1798 Savage View of the George Washington Family at Mount Vernon

A rare 1798 Edward Savage view of George Washington and his family at Mount Vernon - one of the few engraved images of Washington issued during his lifetime. The work illustrates Washington in all his roles: a military leader, a family man, and a visionary politician. It is considered one of the most important printed images of George Washington ever issued.

Breaking Down the Image

The image consists of five figures: George and Martha Washington, their grandson George Washington (Washy) Parke Custis, their granddaughter Eleanor (Nelly) Parke Custis, and Washington's African American wartime manservant Billy Lee. Washington appears in his military uniform. His famous tricorn hat rests on the table next to him. Washington gazes off into the distance, presumably contemplating weighty matters. His left-hand rests on Andrew Ellicott's 1792 map of Washington D.C. (Thackara and Vallance), the new federal city currently under construction. His right hand is on his grandson's shoulder, 'Washy,' a symbol of the future. Across the table, Martha Washington looks towards George. She is wearing a conservative open-front silk gown with white fichu, a black lace shawl, and a tall beribboned bonnet. Martha points to the map with a closed fan in her right hand while she holds it open with her left. Washington's young grandson, 'Washy,' stands to his right. He rests a hand on the globe, perhaps meant to suggest that the then-fledgling United States, in the next generation, might rise to global prominence. Eleanor (Nelly) Parke Custis, Washington's granddaughter, with her (red) hair in curls, is dressed in a white empire-waisted gown with elbow-length, puffed sleeves. She is behind Martha Washington and helps hold down the map. In the rear, at far right, is Washington's African American manservant. There is some debate regarding exactly who this is, but the general consensus is that this represents Billy Lee, who served Washington during the American Revolutionary War. The background offers a view of the Potomac River from the George Washington estate of Mount Vernon.

Savage's Great Project

Edward Savage's work with the Washington family began in 1789 when the president of Harvard College commissioned him to paint a portrait of George Washington. In the following year, 1790, at the request of John Adams, Savage completed a similar portrait of Martha Washington. At the same time, Savage completed studies of Washington's grandchildren, 'Washy' and 'Nelly.' Billy Lee, the African American manservant in the background, Savage did not likely do a study of, reflected in the indistinct and comparatively poorly painted image appearing in the 1796 painting. Billy Lee takes on greater definition in this engraving, potentially reflecting further studies on the part of Savage between 1796 and this print's issue in 1798. Savage spent about 6 years compiling the existing images into a large painting, which he completed in 1796. At the same time, he worked with Wilkinson to complete the engraving and printed image. The engraved image was likely completed, at least with regard to the central figures, sometime before the painting itself was completed.

The Printed Image

On March 3, 1798, an advertisement appeared in The Philadelphia Gazette announcing the sale of a new engraving of George Washington and his family:

The print, representing General Washington and his Family, all whole lengths in one groupe, will be ready for delivery by the 15th of March. An unfinished impression is to be seen at Mr. McElwee's Looking Glass store No. 70, South Fourth Street. The subscription will close on the 10th of March inst.

A few months later, on June 3rd, the engraving was completed, and Savage wrote in a letter to Washington,

Agreeable to Col. Biddle's order I delivered four of the best impressions of your Family Print. They are choose [sic] out of the first that was printed. … The likenesses of the young people are not much like what they are at present. The Copper-plate was begun and half finished from the likenesses which I painted in New York in the year 1789. I could not make the alterations in the copper to make it like the painting which I finished in Philadelphia in the year 1796. The portraits of yourself and Mrs. Washington are generally thought to be likenesses. As soon as I got one of the prints ready to be seen I advertised in two of the papers that a subscription would be open for about twenty days. Within that time, there were 331 subscribers to the print, and about 100 had subscribed previously, all of them the most respectable people in the city. There is every probability at present of its producing me at least $10,000 in one twelve month. As soon as I have one printed in colours I shall take the liberty to send it to Mrs. Washington for her acceptance. I think she will like it better than a plain print. Mrs. Savage joins me in respectful compliments to Mrs. Washington.

Although it is unclear if Savage gained the monetary success he hoped this print would bring, its dissemination, as well as Savage's tour of the painting, elevated him as an artist in the public eye.

Publication History and Census

This view was prepared and engraved by the artist Edward Savage. The painting on which this is based was completed in 1796 and now hangs in the National Gallery of Art (1940.1.2). This engraved image was printed in partnership with the London publisher Robert Wilkinson in 1798. There appears to be only a single edition.

Examples are scarce on the market but can be found in several venerable American institutions, most of which likely owned examples from the original subscription. Savage's correspondence with Washington suggests that at least 500 prints were issued to satisfy subscriber interest. Reduced examples of this important print were issued by various publishers well into the mid-19th century, but the present example is the large format first issue.