Gilbert Stuart
Elizabeth Tuckerman Salisbury
(Mrs. Stephen Salisbury I)
, 1810–11

Technical Notes
The painting is executed on a mahogany panel that has a twill pattern lightly scored into the surface. The panel thickness has been reduced on the back, likely in preparation for the cradle that is now attached. A 30.5-centimeter split extends down from the top edge.

The gray ground shows horizontal brushmarks, partially obscures the twill scoring of the panel surface, and extends slightly over the panel edges. Residue on the panel edges also indicates that the back was once covered with gray paint.

The paint application is loose and fluid. Dark brown strokes on the left arm of the chair overlap the sheer white veil and were painted wet-on-dry. The sitter's hand was painted with a quick outline in brownish red paint and a few dashes of color to suggest knuckles and form. Dark shadow lines in the dress and veil were painted wet-on-dry and late in the portrait's development. Low impasto is evident in the white highlights and hair ornament. Dark brown, medium-rich glazes were selectively applied in the hair and have beaded up in various spots. Final details of the facial features were also applied wet-on-dry. The background was painted thinly and has visible brushwork.

In general, the paint surface is in good condition, with a moderate amount of scattered pinpoint losses as well as losses along the edge of the split. There are some thin scratches across the sitter's nose, and a horizontal scratch runs along the hands.

The present surface coating is likely a synthetic resin varnish applied on top of a natural resin varnish during a 1989 treatment. Records from the 1989 treatment note that areas of blanching in the older varnish layer were reformed before the overall painting was revarnished. UV examination reveals an overall yellowish fluorescence, which supports that the older surface coating is a natural resin varnish. Some areas of blanching are still visible on the surface in the upper right and center background. Slight yellowing of the underlying varnish layer is most visible on the dress.

Frame Notes
The gilded softwood frame consists of a three-piece molding with applied composition ornament. The gilding technique appears to include both oil and water gilding. The inner edge of the frame features a thin flat, followed by a thin band of foliate ornament, a wider quarter round, a thin band of dart-and-bead ornament, and a thin half-round bead. The outer section consists of a wide ogee profile with a combed background, shallow strapwork, and floral ornament. The upper edge of the back has a thin band of applied vine-and-berry ornament.