"Lady Washington's Reception" after D. Huntington, Engraved by A. H. Ritchie, 1865

This hand-colored engraving by A. H. Ritchie is entitled "Lady Washington's Reception." The engraving is based on Daniel F. Huntington's original painting "The Republican Court in the Time of Washington, or Lady Washington's Reception Day." The large oil-on-canvas painting was completed in 1861 and the subscription engraving was published by Emil Seitz in 1865. The lively and detailed scene depicts one of First Lady receptions, a representative tableau of the Friday evening levees held by Martha throughout her husband's term.

"President Washington knew that he had to be accessible to the public, but worried that a constant stream of curious guests would interfere with his ability to do his job effectively. In May 1789, after consulting with his advisors, Washington decided that weekly receptions, which he called "levees," would give citizens sufficient access while allowing him to use carefully scripted social rituals to project a dignified public image of both the presidency and the newly-installed United States government. In so doing, he consciously adapted the monarchical customs of the colonial period to the more egalitarian political culture of post-revolutionary America" (Kierner). George Washington hosted male-only levees on Tuesday afternoons, while Martha Washington received guests of both sexes on Friday evenings. 

Titled "The Republican Court in the Time of Washington," the painter Daniel Huntington  filled the composition with symbolism representing the almost regal status conferred on the President and First Lady Washington during the 1800s. A crowd of socialites and notables in formal dress surrounds a raised dais, where Martha Washington is presented, drawing a parallel to similar scenes in the royal courts of Europe. In their time, many of Washingtons' political critics condemned these gatherings as elitist or anti-republican. Yet by the 1860's, when this painting was created, this image was meant to be a tool to unite the country and pay homage to the states’ common origin. The romantic, idealized scene of our First Lady offered a visual respite while the country was being torn apart by the Civil War.

Huntington was president of the National Academy of Design and vice president of the Metropolitan Museum of Art. He was associated with the Hudson River School of painters. Huntington was an excellent portrait painter and took time to paint each of the 64 portraits as almost exact likeness of the individuals. 

A.H. Ritchie, the engraver, was one of the best historical printmakers of the mid-19th century. He is particularly known for the clarity and richness of his engravings, and this fine image is an excellent example of his work.

CONDITION:

Very good condition and color. Paper is healthy and bright, with full bottom title margin. Engraving impression is strong. Tasteful and bright hand-coloring.

Engraving has been archivally framed in an acid-free light green bottom mat, gold spandrel, green linen top mat, and hand-built gold frame. Framed dimensions: 40 ½” H x 52 ½” W x 2" D.

Accompanied by our company's letter of authenticity.