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Provenance

Probably from David Hosack [1769-1835], New York, to his son, Nathaniel Pendleton Hosack [1806-1877], New York; his widow, Sophia Church Hosack [d. 1891].[1] Her niece, Mary Helen Church Gilpin;[2] by whom sold by (Stanislaus V. Henkels, Philadelphia, 15 May 1931, lot B, as by John Vanderlyn);[3] purchased by (M. Knoedler & Co., New York); sold 1 June 1931 to Andrew W. Mellon;[4] deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1940 to NGA.

[1] Sophia Hosack is the first recorded owner of the portrait (John Durand, "John Trumbull", American Art Review 2, second division (1881): 230, note). David Hosack died without a will; the inventory of his estate (Hosack Papers, The New-York Historical Society) included twenty-two "Oil Paintings in Gilt Frames" as well as "1 Marble Bust and stand (General Hamilton)." Family tradition stated that the portrait was painted for Hosack and was inherited by his son Nathaniel, who bequeathed it to his sister Mary Hosack Harvey (Mrs. Jacob Harvey, 1800-1872), who gave it to her sister-in-law; see Stanislaus V. Henkels, Historical Sale, Portraits and Autographs, Revolutionary and other Letters. The Alexander Hamilton Family Papers, Portrait of Hamilton from Life by Vanderlyn...May 15, 1931, Philadelphia, 1931, 12, lot B, repro. Since Mrs. Harvey predeceased her brother, her ownership is uncertain. On the Hosack family descendants see Christine Chapman Robbins, David Hosack, Citizen of New York, Philadelphia, 1964: 188-194, 198.

[2] Henkels 1931, 12, stated that Sophia Hosack willed the portrait to her brother Richard Church, who in turn left it to his daughter. However, in her will (Surrogate's Court, New York, New York; copy, NGA curatorial files) Mrs. Hosack bequeathed the articles that her husband received from his father to her sister-in-law Emily Hosack Rodgers and two nieces, Mary Harvey and Rebecca Harvey. Her brother is not mentioned. His daughters Mary Helen and Angelica were each bequeathed trust funds. The will mentions a memorandum distributing other property, which may have included the portrait. The will is discussed in Robbins 1964: 190, 192.

[3] According to a letter from Stan Henkels to M. Knoedler & Co., 11 May 1931 (copy, NGA curatorial files), research completed after the publication of the auction catalogue established that the painting was by Trumbull.

[4] Letter from Melissa De Medeiros, librarian, M. Knoedler & Co., New York, 10 April 1990 (NGA curatorial files).

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