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The image shows a page from the "Harvard Alumni Bulletin" dated March 23, 1932. The article on the page is titled "Portraits of Washington." It discusses several portraits of George Washington, including those by Edward Savage, John Trumbull, and Rembrandt Peale.

Key points from the article include:

1. Edward Savage's Portrait:

   • The portrait has been exhibited in various locations, including Harvard University, the Fogg Art Museum, and the Corcoran Gallery in Washington, D.C.
   • Painted in 1791, the portrait shows Washington in a dark blue coat with gold epaulettes, a dull blue ribbon carrying the gold eagle of the Cincinnati, a white wig with side puffs, and a black queue bow.
   • The portrait is signed "E. Savage 1791."

2. John Trumbull's Portrait:

   • This portrait, along with a companion portrait of Vice-President John Adams, was lent to the Copley Society for an exhibition at the Boston Museum.
   • The portraits were given to Thomas Craige, who had served as an "Aide-de-camp" to General Washington in the Continental army.
   • Craige occupied the Vassall House in Cambridge, which had been Washington's headquarters during his time in Cambridge.

3. Rembrandt Peale's Portrait:

   • A Porumidi copy of this portrait shows Washington in a different aspect but with a lesser likeness.

The article highlights the historical significance and the artistic details of these portraits, emphasizing their importance in depicting George Washington.

The image contains a page from the Harvard Alumni Bulletin dated March 25, 1932. The text on the page discusses several portraits of George Washington.

1. Introduction to Portraits:

   • Four portraits from the Harvard University portrait collection have been lent to the Fogg Art Museum for the Washington Bicentennial Exhibitions at Washington, D.C., and the Boston Museum of Fine Arts.

2. Edward Savage's Portrait:

   • Edward Savage’s portrait of Washington is now at the Corcoran Galleries in Washington, D.C.
   • Although not the best of Savage’s paintings, it is noted for its likeness to Washington.
   • Savage completed the painting in 1790 and recorded three sittings with Washington on December 21 and 28, 1789, and January 6, 1790.
   • The portrait depicts Washington in a dark blue coat with a buff collar of the Continental uniform, wearing an eagle emblem of the order of the Cincinnati on the left coat lapel and a white wig with side puffs.
   • The portrait is signed "E. Savage Pinx 1790" in the lower left corner.

3. Portraits at the Copyley Society:

   • Three portraits lent to the Copyley Society for its exhibition of Washingtoniana at the Boston Museum include John Trumbull’s picture of Washington and the companion portrait of Vice-President John Adams.
   • Another notable portrait is a Porumidi copy of the Rembrandt Peale’s portrait of Washington, which is less accurate but still noteworthy.

4. Trumbull and John Adams Portraits:

   • The Trumbull portraits of Washington and John Adams are considered excellent examples of the early painter, who was a Harvard graduate.
   • The pictures were given to Harvard by Andrew Craigie in 1794, who had made his fortune as "Apothecary General" in the Continental army.
   • Craigie bought the confiscated house of John Vassall, a leading Royalist, now known as Longfellow House on Brattle Street in Cambridge, where General Washington had his headquarters when he came to Cambridge.

The image displays a page from the Harvard Alumni Bulletin dated March 25, 1932. The main content of the page is titled "Portraits of Washington," discussing four portraits from the Harvard University portrait collection that were lent to various exhibitions.

Key points from the text include:

1. Edward Savage's Portrait:

   • Edward Savage's portrait of George Washington has been displayed at the Corcoran Galleries in Washington, D.C.
   • Although not the best of his works, it is considered an excellent likeness because Washington knew him and the sittings occurred in 1790.
   • The portrait was painted in 1791, showing Washington in a dark blue coat with a buff collar, a gold eagle on the left coat lapel, a white wig with side puffs, and a black queue bow. The signature is "E. Savage, Pinx 1790."

2. John Trumbull's Portraits:

   • Three portraits by John Trumbull, including one of Vice-President John Adams, were part of the exhibition.
   • The third portrait, a Porumidi copy of Rembrandt Peale’s painting, is noted for its less accurate likeness.

3. Historical Context:

   • The Trumbull portraits of Washington and Adams are noted for their excellence and were gifted to Harvard by Andrew Craigie, who had significant contributions to the Revolutionary War.
   • Craigie bought the house now known as Longfellow House, which was once occupied by General Washington during his time in Cambridge.

This page serves to highlight the historical and artistic significance of these portraits within the context of the Harvard University collection.

The document is a page from the Harvard Alumni Bulletin dated March 25, 1932. It discusses the lending of four portraits from the Harvard University portrait collection to various exhibitions, including the Washington Bicentennial Exhibitions at the National Museum in Washington, D.C., the Boston Museum of Fine Arts, and the Copley Society in Boston. One of the portraits, by Edward Savage, is described in detail, including its history and the subject's attire. The page also mentions portraits by John Trumbull and a copy of a portrait by Rembrandt Peale, noting their origins and the circumstances under which they were acquired by Harvard.

The image displays an article titled "Portraits of Washington" from the Harvard Alumni Bulletin dated March 25, 1932. The article discusses several portraits of George Washington that have been lent from Harvard University's portrait collection to various museums for bicentennial exhibitions.

Key points include:

1. Edward Savage's Portrait:

   • This portrait was sent to three locations: the Corcoran Galleries in Washington, D.C., the Museum of Fine Arts in Boston, and the bicentennial exhibitions at Washington, D.C.
   • Although it is not the best painting of Washington, it is considered the best by Savage.
   • According to Josiah Quincy, Savage painted this portrait based on sittings from Washington recorded in his diary on December 21, 1789, January 28, 1789, and January 6, 1790.
   • The portrait depicts Washington in his Continental uniform, featuring a dark blue coat with buff collar and cuffs, a blue ribbon over his shoulder, and the eagle of the Order of the Cincinnati on his lapel. Washington is also shown wearing a white wig with side puffs tied with a black bow.

2. John Trumbull’s Portraits:

   • Three portraits by John Trumbull were lent to the Copley Society for its exhibition.
   • Two of these portraits are of Washington and John Adams, which are noted for their excellence.
   • The third is a copy by Rembrandt Peale of a portrait of Washington, which is less accurate compared to the other two.

3. Historical Context of Trumbull’s Portraits:

   • These portraits were gifts to Harvard by Andrew Craigie in 1794.
   • Craigie had been an Apothecary General in the Continental Army.
   • The portraits were purchased from the estate of John Vassall, a Tory who fled Cambridge, and whose house, later known as Longfellow House, served as Washington's headquarters.

The article highlights the historical and artistic significance of these portraits and their current exhibition at various prestigious venues.

The image is a page from the Harvard Alumni Bulletin, dated March 25, 1932. It features an article titled "Portraits of Washington."

The article discusses four portraits of George Washington from the Harvard University portrait collection that were lent to various exhibitions:

1. Edward Savage's Portrait:

   • Located at the Corcoran Galleries in Washington, D.C.
   • According to Josiah Quincy, who knew Washington, this portrait is not the best likeness.
   • Savage painted Washington in 1790 after three sittings recorded in his diary from December 21, 1789, to January 6, 1790.
   • The portrait depicts Washington in the dark blue coat and buff collar of the Continental uniform with epaulettes and a gold eagle on the left lapel.
   • Washington is also shown wearing a white wig with side puffs tied with a black queue bow.
   • Savage signed and dated the portrait in the lower left corner.

2. Three Portraits Lent to the Copy Society:

   • For the exhibition of Washingtoniana at the Boston Museum, John Trumbull's portrait of Washington and the companion portrait of Vice-President John Adams are outstanding.
   • The third portrait is a Porumidi copy of Rembrandt Peale's portrait of Washington, which is less accurate but still notable.

The article also notes that the Trumbull portraits of Washington and John Adams are excellent examples of the early painter's work, who was a graduate of Harvard. The portraits were given to Harvard by Andrew Craigie in 1794. Craigie, who made money as an "Apothecary General" in the Continental Army, bought the confiscated house of John Vassall, a leading Loyalist, which was located on Brattle Street in Cambridge and was previously occupied by General Washington as his headquarters.

This image shows a typed document entitled "PORTRAITS OF WASHINGTON". The document is a page that appears to be detached from a publication, possibly a booklet or bulletin. It provides historical information regarding four portraits of George Washington. These portraits are from the Harvard University portrait collection and were part of exhibitions at the Washington Bicentennial Exhibitions in Washington, D.C., and Boston Museum of Fine Arts.

The document details specific portraits like one by Edward Savage, which was exhibited at the Corcoran Galleries and known for being a good likeness according to Joshua Quincy. It also references John Trumbull's portrait of Washington, Vice-President John Adams, and a portrait of Washington that was said to be not as accurate but still respectable, painted by Rembrandt Peale. The document mentions the Trumbull portraits of Washington and John Adams as excellent examples of early American art, with a note about Andrew Craigie, who had made money as "Apothecary General" in the Continental army.

At the bottom, there is a reference to the "Craigie house," which Washington used as headquarters in Cambridge, now called Longfellow House, Royaliste, Cambridge, which had been occupied by Washington. The text is concluded with the words "Harvard Alumni Bulletin March 25, 1932," indicating the source and date of the document. The text on the document is clear and legible with a font that typifies the typewriters of the early 20th century.

This image shows an excerpt from a publication titled "Harvard Alumni Bulletin" dated March 28, 1932. The text discusses four portraits of Washington that have been lent from Harvard University's portrait collection to various exhibitions, including the Fogg Art Museum, the Washington Bicentennial Exhibitions at Washington D.C., and the Boston Museum of Fine Arts.

The passage describes Edward Savage's portrait of Washington, noting its historical significance, details of Washington's attire, and physical features. The text mentions Savage offering the completed portrait to a college in 1791 and provides specific dates Washington posed for it. It notes the artist's signature "E. Savage Pinx 1790."

Additionally, the passage mentions John Trumbull's portrait of Washington and a companion picture of Vice-President John Adams, highlighting their importance and detailing another portrait of Washington by Rembrandt Peale.

Further context is given about the origins of the Trumbull portraits, which were donated to Harvard by Andrew Craigie in 1794. Craigie previously purchased them from the confiscated property of John Vassall, a royalist.

The text is on a page with ample margins, with handwritten notes at the bottom indicating the source and date.

The image shows a newspaper clipping titled "PORTRAITS OF WASHINGTON." The article discusses four portraits from the Harvard University portrait collection, which have been lent through the Fogg Art Museum to the Washington Bicentennial Exhibitions in Washington, D.C., and the Boston Museum of Fine Arts.

The article specifically mentions Edward Savage's portrait of Washington, now at the Corcoran Galleries in Washington, D.C., painted in 1790. It describes the portrait in detail, noting Washington's dark blue coat with buff collar, the gold epaulettes, a dull blue ribbon carrying the gold eagle of the Order of the Cincinnati on the left coat lapel, and Washington's white wig tied with a black queue bow. The artist's signature “E. Savage Pinx 1790” is noted in the lower left-hand corner.

The article also references three portraits lent to the Copley Society for its exhibition of Washingtoniana at the Boston Museum, including John Trumbull's portrait of Washington and an accompanying portrait of John Adams. It mentions a third portrait, a Porumidi copy of a portrait of Washington by Rembrandt Peale, considered less accurate in likeness.

The piece concludes by sharing historical context about the Trumbull portraits, given to Harvard in 1794 by Andrew Craigie, a former "Apothecary General" in the Continental army, who acquired them from the confiscated house of John Vassall in Cambridge, which had been used by General Washington as his headquarters.

At the bottom, handwritten text reads: "Harvard Alumni Bulletin March 25, 1932."

The image shows a page from the Harvard Alumni Bulletin, dated March 25, 1932. The page is titled "PORTRAITS OF WASHINGTON" and discusses various portraits of George Washington from the Harvard University portrait collection.

Key Details from the Text:

1. Introduction:

   • The page mentions that four portraits from the Harvard University portrait collection have been lent through the Fogg Art Museum to the Washington Bicentennial exhibitions at the Washington D.C. Centennial, the Boston Museum of Fine Arts, and the Boston Edward Savage's portrait of Washington.

2. Edward Savage's Portrait:

   • Description:
     • Savage's portrait is noted as an excellent example of painting, despite not being the best in the collection.
     • It was finished in 1790, as recorded in Savage's diary (January 6, 1790).
     • Washington is depicted in his Continental uniform, wearing a dark blue coat with a buff collar, gold epaulets, and a dull blue ribbon carrying the gold eagle of the Order of Cincinnati on the left coat lapel.
     • He is also wearing a white wig with side puffs and a black queue tied with a bow.
     • The artist, Edward Savage, signed the portrait as "E. Savage Pinx 1790" in the lower left-hand corner.

3. Other Portraits:

   • John Trumbull's Portrait:
     • Lent to the Copley Society for the Boston Museum exhibition.
     • Described as an outstanding picture of Washington and his companion, Vice-President John Adams.
   • Portrait by Rembrandt Peale:
     • A copy of Washington by Rembrandt Peale, noted as less accurate but still another aspect of the likeness.
   • Trumbull Portraits of Washington and John Adams:
     • Praised as excellent examples of early painting.
     • The portraits were given to Harvard by Andrew Craigie in 1784.
     • Craigie, who had made money as "apothecary General" in the Continental army, bought from John Trumbull (later known as John Trumbull, a realist painter).
     • Trumbull's house, now called Longfellow House, was located on Brattle Street in Cambridge and had been occupied by General Washington as his headquarters when he came to Cambridge.

Layout and Design:

• The page has a clean, formal layout typical of a bulletin or newsletter.
• The text is centered and presented in a serif font, giving it a classic, academic appearance.
• The bottom of the page includes the title "Harvard Alumni Bulletin" and the date "March 25, 1932" handwritten in cursive.

Overall Context:

The page serves as a historical and art-focused article, providing insights into George Washington's portraits and their significance, as well as the history and context surrounding their creation and display. It highlights the connection between art, history, and the legacy of George Washington, emphasizing the role of Harvard University in preserving and showcasing these important works.