More Findings about a Famous Portrait

Back in spring 2019 I reported on the new scholarly conclusion that the painting shown here, for decades said to be Gilbert Stuart’s portrait of George Washington’s chef Hercules:

• was not by Stuart,
• did not show Hercules Posey or any other eighteenth-century cook, and
• probably, given the hat, showed a man from Dominica.

I wrote then:

One detail which should have made people wonder, I think, is that this painting is at the Museo Nacional Thyssen-Bornemisza in Madrid. An odd place to find an American painting linked to an American President, wouldn’t you say?

Later that year Mount Vernon published a more detailed story on those findings by curator Jessie MacLeod, and here’s a webpage adapted from that article. It answers my question of how this painting came to a Spanish museum:

What we know of the portrait’s story begins in the early 19th century, when it was owned by English painter Sir Thomas Lawrence. Sometime before his death in 1830, Lawrence gave the painting to his childhood friend John Hulbert as a wedding gift. This history is recorded in an early 20th-century file in the Witt Library at the Courtauld Institute of Art in London. Here, an image of the portrait is filed under “Gilbert Stuart—Unidentified Sitters.”

In 1946, the portrait was purchased by Daisy Fellowes, an American socialite living in Paris. She displayed it in the dining room of her luxurious hôtel particulier, which was featured in a 1977 magazine. A caption identified the work as “Painting by Gilbert Stuart (an alleged portrait of the cook of George Washington).” The painting was purchased at auction in 1983 by Baron Thyssen-Bornemisza, who opened his namesake museum in 1992 (the Spanish government purchased the collection in 1993).

As for who really posed for the painting and who created it, the article states:

According to the Museo Thyssen-Bornemisza,…“If the Thyssen sitter is Dominican, he probably fled to England as part of the exodus of English planters just before the French claimed the island from the English in 1778.” . . .

Considering the man’s neckpiece and the cut of his coat, as well as the painting style, researchers can date the portrait to about 1780. . . .

The latest research released by the Museo Thyssen-Bornemisza asserts that, with the face and hat rendered in relatively broad brushstrokes, the portrait follows the general painting style of Sir Joshua Reynolds (1723-1792), the first president of the Royal Academy in London.

I don’t know the art-history world well enough to know if “general painting style” means the museum is really pointing at Reynolds, at his studio or circle, or simply at artists working when his style was fashionable. But the details are fitting together better.