Johnson’s paintings of women are often his best portraits, exhibiting a range of techniques and emphasizing their intelligent faces even when enwrapped in sumptuous fabrics, such as we see in Edwina Booth. —PH
MacGibeny, 2022: The illustration of this painting in the 1882 National Academy of Design exhibition catalogue includes more of the chair and the sitter's legs, suggesting that the painting may have been cut down at some point, as was another Johnson portrait of the same sitter. This could explain the absence of an inscription today. Baur 1940 records the inscription "E. Johnson 1881"; Baur's source for this information is not known. The fact that he did not note the location of the inscription suggests it is likely he did not see the inscription himself.
Illustrated Art Notes upon the Annual Exhibition of the National Academy of Design, 1882: "Lady seated in chair with furs thrown over its back. Dress of an ashen or mauve color. Background, an olive-red."
Harriet Sanger Pullman (1842–1921). Married George Mortimer Pullman in 1866. “Philanthropist and collector, she continued to add to the G M Pullman collection after his death in 1897” [Frick Art Reference Library].
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