Eastman Johnson Catalogue Raisonné
Patricia Hills, PhD, Founder and Director | Abigael MacGibeny, MA, Project Manager

Works After Eastman Johnson

 

Period Portrait Copies by Other Artists after Johnson

Eastman Johnson was in great demand as a portrait painter, especially after 1880. He often made copies of his own portraits for different uses. For example, Cornell University commissioned him to paint a portrait of Senator Justin Smith Morrill, whose Morrill Act spurred the creation of colleges nationwide; Morrill liked it so much that he commissioned Johnson to paint a smaller copy for his home. Similarly, other artists occasionally made copies of Johnson's portraits for their clients’ alternate uses, and were chosen for reasons which could have included Johnson’s unavailability or his higher prices, or simply the clients' preference to hire a different artist. Some of the artists who copied Johnson credited him in their inscriptions as their source, and some did not. 

 


1.

Photo: Reproduced in Catalogue of Portraits in the Chamber of Commerce of the State of New York, 1924

Daniel Fuller Appleton

After: Daniel Fuller Appleton, 1884 (31.1.4)

Joseph DeCamp
1905
Oil on canvas
27 x 22 in. (68.6 x 55.9 cm)
Neither signed nor dated

New York State Museum, Albany, New York (H-2003.41.144)


2.

Photo: The Players Foundation for Theatre Education

Mary Devlin Booth

After: Mary Devlin Booth, 1883, Christmas (31.3.10)

Carle J. Blenner
c.1888
Oil
30 x 28 in. (76.2 x 71.1 cm)
Neither signed nor dated

Players Foundation for Theatre Education (15-800/135)


3.

Photo: Reproduced in Catalogue of Portraits in the Chamber of Commerce of the State of New York, 1924

Hugh Nesbitt Camp

After: Hugh Nesbitt Camp, c.1890–94 (31.1.23)

Thomas Waterman Wood
1896
Oil on canvas
30 x 25 in. (76.2 x 63.5 cm)
Neither signed nor dated

New York State Museum (2003.41.143)


4.

Photo: Reproduced in Catalogue of Portraits in the Chamber of Commerce of the State of New York, 1924

John Caswell

After: John Caswell, c.1881–90 (31.1.26)

Thomas Waterman Wood
1890
Oil on canvas
30 x 25 in. (76.2 x 63.5 cm)
Neither signed nor dated

New York State Museum, Albany, New York (H-2003.41.100)


5.

Photo: Albany Institute of History & Art

William Law Learned

After: William Law Learned, c.1880–89 (31.1.120)

George Hughes
1889
Oil on canvas
41 1/8 x 34 in. (104.5 x 86.4 cm)
Signed and dated lower left: George Hughes/after/E. Johnson/1889

Albany Institute of History & Art, Albany, New York, gift of State of New York Appellate Division; Third Judicial Department, Albany, New York (1972.37.2)


6.

Photo: Yale University

William Law Learned

After: William Law Learned, c.1880–89 (31.1.120)

George Hughes
c.1892–1915
Oil on canvas
40 3/4 x 34 3/8 in. (103.5 x 87.3 cm)
Signed lower left: "G. Hughes/d'apres/E Johnson"

Yale University, Gift of the Learned family to the Law School (U.1916.1)


7.

Photo: Stuart W. Lehman

John Van Schaick Lansing Pruyn

After: John Van Schaick Lansing Pruyn, c.1883 (31.1.174)

George Hughes
c.1911–16
Oil
Signed lower left in red: G Hughes/after/E. Johnson

Unknown lender, on loan to the New York State Senate


8.
no image available

Robert Hewson Pruyn

After: Robert Hewson Pruyn, 1883 (31.1.175)

Edward Lansing Pruyn
c.1905
Oil on canvas
36 x 30 3/16 in. (91.4 x 76.7 cm)

Collection Zimmerli Art Museum at Rutgers University, Gift of Robert C. Pruyn, the sitter's son (0114)


9.

Photo: Image courtesy of the Johnson Museum

Andrew Dickson White

After: Andrew Dickson White, 1884 (31.1.222)

Newton A. Wells
1885, February
Oil on canvas
26 1/2 x 20 1/8 in. (67.3 x 51.1 cm)
Signed and dated verso: Feb. 1885 / Andrew D. White LL.D. / Painted by / Newton A. Wells after / Eastman Johnson's portrait painted in 1884

Collection of the Herbert F. Johnson Museum of Art, Cornell University, Gift of Philip W. Palmer (94.008)


 

[Back to top]

Prints after Works by Johnson

Prints of all types—including etchings, engravings, lithographs, and chromolithographs—were produced by other artists after paintings and drawings by Johnson in the nineteenth century. Some were created as independent works of art to capitalize on his popularity and to bring his work to a broader public at a relatively affordable price. Others were made expressly for use as illustrations in books. The fact that these prints were made during Johnson’s lifetime implies that he was aware of, even if not directly involved in, their making. —AM

 


1.

Photo: Reproduction in unidentified publication, by 1932

Portrait of Richard Henry Wilde

After: Richard Henry Wilde, c.1845–47 (43.1.23)

John Sartain
c.1845–47
Engraving (mezzotint)
Sheet: 7 7/8 x 5 in. (20 x 12.7 cm)

National Portrait Gallery, London, purchased with help from the Friends of the National Libraries and the Pilgrim Trust, 1966 (NPG D4790)


2.

Photo: Bowdoin College Library

Henry W. Longfellow

After: Henry Wadsworth Longfellow, 1846, September 19–October 6 (43.1.10)

Henry Wright Smith
c.1846
Engraving on paper
10 1/4 x 7 1/16 in. (26 x 18 cm)
Printed center left: Johnson Del.; printed center right: H. W. Smith Sc.; inscribed bottom center: Henry W. Longfellow

Bowdoin College Library


3.

Photo: Reproduced in Rufus Wilmot Griswold, The Prose Writers of America, London, 1847

Portrait of Joseph Story

After: Joseph Story, c.September 1845–47 (43.1.19)

unknown artist
c.1847
Engraving

Present whereabouts unknown


4.

Photo: National Portrait Gallery, Smithsonian Institution

Daniel Webster

After: Daniel Webster, Summer 1846 (43.1.22)

William Sharp
1848
Lithograph with tintstone on paper
Sheet: 25 x 20 1/4 in. (63.5 x 51.4 cm)
Printed lower left: LITH BY W.SHARP. 20 KINGSTON ST. BOSTON. [The "K" is reversed]; lower center: FROM THE ORIGINAL IN THE POSSESSION OF THE HON. ROB'. C. WINTHROP.; lower right: BY J.E.JOHNSON.

National Portrait Gallery, Smithsonian Institution (NPG.82.29)


5.

Photo: American Antiquarian Society

Washington Crossing the Delaware

After: Washington Crossing the Delaware (Emanuel Leutze with the assistance of Johnson), 1851 (5.0.2)

Paul Girardet; published by Goupil & Co.
1853
Engraving and etching
Image and text: 24 7/16 x 39 in. (62 x 99 cm)
Sheet: 27 9/16 x 42 1/2 in. (70 x 108 cm)
Along lower edge of image, left: PAINTED BY E. LEUTZE; center: Entered according to act of Congress in the year 1853 by M. Knoedler, in the clerk's office of the District Court of the United States for the Southern District of New York.; right: ENGRAVED BY PAUL GIRARDET. Lower center: WASHINGTON CROSSING THE DELAWARE/NEW-YORK_Published by GOUPIL & Co./Subscription Copy [inscribed in pencil]; lower left: Berlin_Verlag von Goupil & Cie.; lower right: Paris_Imprimé & Publié par Goupil & Cie.; Goupil et Cie blind stamp: 180 [inscribed in ink]

American Antiquarian Society, Worcester, Massachusetts (445436)

Also owned by: Library of Congress (2020633689); Prints Division, New York Public Library


6.

Photo: Rijksmuseum

Child with Picturebook

After: The Picture Book, 1855 (37.3.13)  |  The Sketch Book, c.1859–60 (21.1.1)

Frederik Hendrik Weissenbruch; printed by Jan Dam Steuerwald
c.1855–63
10 5/8 x 13 5/16 in. (27 x 33.8 cm)
Inscribed lower right in plate: E.Johnson.; printed lower right below plate: E. Johnson del.; printed lower center below plate: Steendr.v.J. D. Steuerwald; printed lower right below plate: F. H. Weisfenbruch Dznlith.; collector's mark: Lugt 2228

Rijksmuseum, Amsterdam (RP-P-1906-4449)


7.

Photo: Library of Congress Prints and Photographs Division, Washington, D.C., LC-DIG-pga-00102 (digital file from original print)

City of Superior, Wisconsin, Novr. 1856

After: Landscape of Lake Superior, 1857 (38.1.6)

John Bachmann; lithograph by P. S. Duval & Son
1857
Lithograph
Printed outside of plate, lower center: Lith. of P. S. Duval & Son Phil./CITY OF SUPERIOR,/Wisconsin, Novr. 1856./Entered according to Act of Congress in the year 1857 by James S. Ritchie in the Clerks office of the District Court of the Eastern District of Pennsylvania; lower right: J. Bachmann del.

Library of Congress, Washington, D.C. (2003679943)


8.

Photo: American Antiquarian Society

Chronicle Office in 1855

After: Chronicle Office in 1855, c.1856–57 (38.1.3)

A. Hoen & Co.
c.1857
Lithograph, tinted
Image and text: 10 5/8 x 13 3/4 in. (27 x 35 cm)
Sheet: 12 3/16 x 15 3/8 in. (31 x 39 cm)
Printed lower center: CHRONICLE OFFICE IN 1855/Superior, Douglas County, Wisconsin.; lower right: Lith. by A. Hoen & Co., Balto

American Antiquarian Society, Worcester, Massachusetts (149918)

Also owned by: University of Wisconsin Libraries, Wisconsin; Wisconsin Historical Society, Madison, Wisconsin


9.

Photo: Library of Congress, Prints and Photographs Division, Washington, D.C., LC-DIG-ppmsca-08346 (digital file from original print)

Oh Carry Me Back to Ole Virginny.

After: Negro Life at the South, 1859 (8.0.2)  |  Negro Life at the South, c.1859–76 (8.0.3)

publisher Robertson, Seibert & Shearman
c.1859
Color lithograph used for tobacco package label
13 11/16 x 17 1/4 in. (34.8 x 43.8 cm)
Printed, above and below image: OH CARRY ME BACK/TO OLE VIRGINNY.; immediately below image: LITH. & PRINTED IN COLORS BY ROBERTSON, SEIBERT & SHEARMAN, 93 FULTON ST. NEW YORK.; below plate: Entered according to Act of Congress, in the Year 1859, by G.W.Hillman & Co. in the Clerks Office, of the District Court, for the Southern District of New York.

Library of Congress, Washington, D.C. (93510468/PP)


10.

Photo: Courtesy of the High Museum of Art, Atlanta

The Old Kentucky Home

After: Negro Life at the South, c.1859–76 (8.0.3)  |  Negro Life at the South, 1859 (8.0.2)

Bencke & Scott; published by Chas. C. Lucas & Co.
1876
Chromolithograph on paper
17 3/4 x 23 7/8 in. (45.1 x 60.6 cm)

High Museum of Art, Atlanta, Purchase with funds from the American Art Collectors (2006.8)

Also owned by: New-York Historical Society, New York (PR.068.11)


11.

Photo: Reproduced in Folk Songs, Illustrated from Original Designs, edited by John Williamson Palmer, M.D., 1860., p. 386

The Barefoot Boy

After: The Barefoot Boy, 1860 (27.0.4)

Andrew & Filmer
1860
Engraving

Present whereabouts unknown


12.

Photo: American Antiquarian Society

Whittier's Barefoot Boy

After: The Barefoot Boy, 1860 (27.0.5)

Louis Prang & Co.
1868
Chromolithograph
13 3/8 x 10 1/4 in. (34 x 26 cm)
Within image, lower center: L. Prang & Co. Boston; below image, printed: poem "The Barefoot Boy," signed Whittier

American Antiquarian Society, Worcester, Massachusetts (Catalog Record #153504)

Also owned by: Boston Public Library, Boston; Library of Congress, Washington, D.C. (2003664015)


13.

Photo: Yale University Art Gallery

Husking

After: Barn Interior at Corn Husking Time, 1860 (13.1.1)

Charles Severin; published by Currier & Ives
1861
Lithograph, hand colored
Image: 20 7/8 x 27 5/16 in. (53 x 69.4 cm)
Sheet: 23 11/16 x 29 1/2 in. (60.2 x 74.9 cm)
Printed lower left: PAINTED BY EASTMAN JOHNSON._ON STONE BY C. SEVERIN.; LITH.CURRIER & IVES, NEW YORK.; lower center: Entered according to act of Congress in the year 1861 by Currier & Ives, in the Clerk's Office of the District Court of the United States for the Southern District of New York/HUSKING./NEW YORK. PUBLISHED BY CURRIER & IVES, 152 NASSAU STREET

Yale University Art Gallery, New Haven, Conn., Mabel Brady Garvan Collection (1946.9.1438)

Also owned by: American Antiquarian Society, Worcester, Massachusetts (493493); Amon Carter Museum of American Art, Fort Worth, Texas (179.70); Michele and Donald D’Amour Museum of Fine Arts, Springfield, Massachusetts (2004.D03.556); Gilcrease Museum, Tulsa, Oklahoma (1526.557); Museum of Fine Arts, Boston (33.914)


14.

Photo: Reproduced in Frederick Saunders, One Thousand Gems of Genius in Poetry and Art, 1889. p. 537

"Come pensive nun, devout and pure"

After: Pensive Nun, c.1866 (40.0.8)

Bobbett & Hooper
c.1866
Engraving


15.

Photo: Library of Congress, Prints and Photographs Division, Washington, D.C., LC-DIG-ppmsca-18446 (digital file from original item)

The Boyhood of Lincoln—An Evening in the Log Hut

After: The Boyhood of Abraham Lincoln, 1868 (27.0.11)

W. Harring (William Harring Von Ammon); published by L. Prang & Co.
c.1868
Chromolithograph
21 3/8 x 17 3/16 in. (54.3 x 43.6 cm)
Inscribed in plate, lower left: E. Johnson 1868; lower right: W. Harring, [illeg.]

Library of Congress, Washington, D.C. (99405503)

Also owned by: Farnsworth Art Museum, Rockland, Maine (1944.388); Harvard College Library, Cambridge, Massachusetts; Museum of Fine Arts, Houston (B.2010.2)


16.

Photo: Library of Congress, Prints and Photographs Division, Washington, D.C., LC-DIG-pga-03197 (digital file from original print)

Our Women Warriors

After: The Field Hospital, 1867 (40.0.10)

Frederick W. Halpin and B. V. Hunt; published by L. Prang & Co.
1870
Etching
D size (24 x 36 in.; 61 x 91.4 cm)

Library of Congress, Washington, D.C. (2006676680)

Also owned by: Massachusetts Historical Society, Boston (Call number: Graphics Misc–Women 10)


17.

Photo: Different impression of print, from private collector

The Pet Lamb

After: The Pet Lamb, 1873 (25.2.4)

Robert Hinshelwood; published by Charles Klackner
1874
Engraving and etching on paper
Image: 11 x 15 in. (27.9 x 38.1 cm)
Sheet: 15 1/4 x 18 1/4 in. (38.7 x 46.4 cm)
Below plate, lower left, in script: Eastman Johnson; lower right, in script: The Pet Lamb; lower center, printed: COPYRIGHT 1874 by R. E. MOORE; lower edge center, in script: Published by C. Klackner 17 E. 17th St. New York

Munson-Williams-Proctor Arts Institute, Utica, New York


18.

Photo: Reproduced in The Complete Poetical Works of Henry Wadsworth Longfellow, 1879

The Master's Daughter

After: The Master's Daughter, c.1879 (40.0.16)

J. P. Davis
c.1879
Woodcut
Inscribed in block, lower right: E. Johnson/1879

Present whereabouts unknown


19.

Photo: Smithsonian American Art Museum, Open Access

The Reprimand

After: The Reprimand, 1880 (26.1.18)

Walter Shirlaw
c.1880
Etching and chine-collé on paper
Plate: 12 1/2 x 15 3/8 in. (31.8 x 39.1 cm)
Inscribed in plate, lower left: E. Johnson.

Smithsonian American Art Museum, Museum purchase (1974.8.1)

Also owned by: The Century Association, New York (2016.1); Delaware Art Museum, Wilmington, Delaware (1978-57); Nantucket Historical Association, Nantucket, Massachusetts (2006.0027.005); National Gallery of Art, Washington (2008.115.4402); Yale University Art Gallery, New Haven, Connecticut (1929.260)


20.

Photo: Reproduced in Illustrated Art Notes upon the Fifty-Seventh Annual Exhibition of the National Academy of Design, New York, 1882, p. 38

Portrait of a Lady [Harriet Amelia Sanger Pullman]

After: Harriet Amelia Sanger Pullman, 1881 (31.3.47)

James D. Smillie
1882
Photoengraving

Present whereabouts unknown


21.

Photo: Courtesy National Gallery of Art, Washington

A New England Peddler

After: The New England Pedler [sic], 1879 (26.2.9)

Henry Wolf
c.1885
Wood engraving
Image: 9 5/8 x 6 3/8 in. (24.4 x 16.2 cm)
Sheet: 13 1/8 x 9 3/8 in. (33.4 x 23.8 cm)
Inscribed lower right in graphite: Henry Wolf sculpt; in block, lower right: HENRY WOLF. Sc; in block, lower left: E. Johnson/1879

National Gallery of Art, Reba and Dave Williams Collection, Gift of Reba and Dave Williams (2008.115.5114)


22.

Photo: Courtesy National Gallery of Art, Washington

A Glass with the Squire

After: A Glass with the Squire, 1880 (26.1.7)

James David Smillie
1886
Etching
Image: 8 3/8 x 6 11/16 in. (21.2 x 17 cm)
Plate: 10 1/4 x 10 3/4 in. (26 x 27.3 cm)
Sheet: 36 1/8 x 28 1/8 in. (91.7 x 71.4 cm)
Upper left in plate: J.D. Smillie/Aqua Fortis/1886.; lower right in plate: E. Johnson./1880.; signed lower right, below plate, in graphite: James D. Smillie

National Gallery of Art, Washington, District of Columbia, Reba and Dave Williams Collection, Gift of Reba and Dave Williams (2008.115.4469)

Also owned by: American Antiquarian Society, Worcester, Massachusetts (448193); The Brooklyn Museum, New York (1999.147); The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California (86.35.7); Minneapolis Institute of Arts, Minneapolis (two impressions: P.5,836 and P.6,346); Nantucket Historical Association, Nantucket, Massachusetts (1998.0064.001); Princeton University Art Museum, New Haven, Connecticut (2009-76); Winterthur Museum, Garden & Library, Winterthur, Delaware (1978.0033)


23.

Photo: Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia

Nantucket School of Philosophy

After: Old Whalers of Nantucket, 1887 (26.1.22)

Henry Wolf
1894
Wood engraving on white bristol board
5 x 7 in. (12.7 x 17.8 cm)
Lower left, in plate: H. Wolf/1894; lower right, in plate: E. Johnson/1887.; signed lower right, below plate: Henry Wolf

Pennsylvania Academy of the Fine Arts, Philadelphia, John S. Phillips Collection (1876.9.534)

Also owned by: Brooklyn Museum (2009.91.1); de Young Museum (1963.30.26131); Detroit Institute of Arts (F78.81); Smithsonian American Art Museum (1973.130.97)


24.

Photo: National Portrait Gallery, Smithsonian Institution

Benjamin Harrison

After: Benjamin Harrison, c.1895 (31.1.97)

Francis Scott King
c.1898–1903
Engraving on paper
Sheet: 18 7/16 x 13 3/8 in. (46.9 x 33.9 cm)
Inscribed outside of plate, lower left: State/No 1; lower right: Nov[?]. 8; signed in pencil by both King and Johnson

National Portrait Gallery, Smithsonian Institution (NPG.2008.100.1)


Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Hills, Patricia, and Abigael MacGibeny. "." Eastman Johnson Catalogue Raisonné. https://www.eastmanjohnson.org/section/index.php?id=works-after-eastman-johnson (accessed on August 16, 2022).