Now living in America, Harvey sits with her hands in her lap, looking away from the viewer. She is approximately thirty-one years old. This is almost a ¾ length portrait of her body. The surface of the painting is smooth, not textured. The colors of the paint were ground fresh, especially for this portrait by the artist himself. [1] This technique allowed Trumbull to use a softer sable-haired brush instead of a coarser pig bristle brush. [2]
The use of warm dark colors matches the red tones of Harvey’s hair. Her fair skin contrasts with her hair, pulling the viewer’s gaze to the most important part of the painting, her face. She leans her elbow on a nearby white side table decorated with small gold embellishments. This portrait is unusual for the time because on the table sit some sewing accessories for Harvey. [3] This small addition is rare in early American portraiture of women. Men are often portrayed with items of personal significance, but women are most often portrayed alone. [4]
There is a small white and gold on the side table with a portion of reddish-orangish fabric draping off the side. This fabric is in concert with the draping behind Harvey and matches her hair. She holds her own hands, in a common portrait pose. Her hands are delicate white against her black dress. The stiff white lace collar sets off the rosy pale skin of her face.
In Harvey’s hair, she wears a pearl comb, believed to be a gift from Mary Alsop King. King was the wife of Rufus King who worked as a diplomat alongside Trumbull in England. King, who had worn the same pearl comb in her hair when she had sat for a portrait with Trumbull early in their marriage. [5] In fact, the portrait that King had sat for bears a striking resemblance to the first portrait, the introduction painting, that Trumbull had painted of his wife. King is wearing the same sort of billowing white dress with the same puffed sleeves. However, this time, the dress is embellished with a red satin or silk bow for the waist and the sleeve cuffs. Continuing with the similarities, King also wears a beaded necklace that bears a cross and her hair is tied up with loose curls framing her face as well. So similar is this portrait that it often appears mislabeled as a portrait of Harvey. The timing appears to be that Harvey sat for her introduction painting. [6] King sat for her very similar painting wearing the pearl comb in her hair. Harvey, admiring it, was gifted it by King and then wore it for the next portrait that Trumbull painted of her. This portrait is an important example of private portraiture becoming part of the historical record because it provides insight into the networks of friendship and patronage that were common during early American portraiture. [7]
In their personal lives, Trumbull had hoped that on their move from England to America the couple would be greeted with affection from his friends and especially his family, but on both counts, for the most part, he was disappointed. There must have been instances when to his disappointment Harvey did not fit in well or that she was not received well.
Never one to suffer in silence, Trumbull wrote to his niece a terse letter saying in part:
“… I really thought myself capable of choosing a wife, and felt under no obligation to consult any one , on a subject which interested me alone- unless anyone could feel a mercenary interest in the change of my condition, which, had I believed, would have exposed them to my contempt. I had been in the habit of considering myself a Favorite with some branches of the Family, on a friendly footing with all, and the hope of enjoying increased satisfaction in their Society was one great motive which determined me to return to this Country. I trusted to the multiplied assurances of undiminished Esteem, which were in my possession, that the woman of my choice, my best friend, my Wife, would have been received affectionately for my sake. I flattered her with high hopes on that subject & consoled her when parting from her country & friends, with the prospect of finding as delightful a Country & Friends as cordial as those whom She was to leave behind…When at the Altar & in the presence of the Almighty I promised to love & protect the woman of my choice, I felt the solemnity of the engagements- the coldness of friends is one of the contingencies which peculiarly claim the fulfillment of that sacred promise- and I shall fulfill it, I know her Virtues and I reverence them, and necessary, I can obey the Command which requires a husband to leave Parents & Friends, & Cleave to his wife.” [8]
Trumbull is protective and firm in his resolve to remain loyal to Harvey, no matter the cost. Amid this conflict, by 1809, the Trumbull family had decided to move from New York back to England. A trade war had broken out between America, England and France. President Jefferson had ordered that all American ships stay in port to avoid seizures at sea. [9] This went on for longer than was expected and New York merchants began to feel the effects. If New York merchants had no money from trade then they certainly would not have any money for portraiture. Trumbull reasoned that the way around this problem would be to move back to England. The Trumbull family packed their belongings and headed back to England. [10]
[1] Sizer, Theodore. “A Portrait of the Mysterious Sarah Trumbull.”
[2] Sizer, Theodore. “A Portrait of the Mysterious Sarah Trumbull.”
[3] Cooper, Helen A., editor. John Trumbull: The Hand and Spirit of a Painter.
[4] Cooper, Helen A., editor. John Trumbull: The Hand and Spirit of a Painter.
[5] Cooper, Helen A., editor. John Trumbull: The Hand and Spirit of a Painter.
[6] Cooper, Helen A., editor. John Trumbull: The Hand and Spirit of a Painter.
[7] Sizer, Theodore. “A Portrait of the Mysterious Sarah Trumbull.”
[8] Sizer, Theodore. “The Autobiography of Colonel John Trumbull, Patriot-Artist.”
[9] Brookhiser, Richard. Glorious Lessons: John Trumbull, Painter of the American Revolution.
[10] Brookhiser, Richard. Glorious Lessons: John Trumbull, Painter of the American Revolution.
