8. 1833.—Portrait in oils by Henry Inman; half-length, natural size; in possession of Miss Harriet B. Audubon. "Mr. Inman has painted my Portrait in Oil, and I say that it is a truer portrait of me than even the Miniature" (see [Chapter XXVII, p. 39]). Engraved by H. B. Hall for the second Octavo Edition of The Birds of America, published in 1856, and the same engraving has appeared in later editions of The Life of John James Audubon, the Naturalist, edited by Lucy Audubon; for reproduction of a photograph of the original portrait, see Maria R. Audubon, [op. cit.], vol. i, p. 206; and for reproduction of the Hall engraving, [Vol. II, p. 130], of the present work.
This portrait, like the Cruikshank miniature, has become well known through frequent reproduction; both represent the naturalist at the full meridian of his working powers, and are among the finest likenesses of him extant.
9. 1834.—"John J. Audubon"; portrait drawn and engraved on steel by J. Brown; published by Geo. Henderson, 2, Old Bailey, Ludgate Hill, London, 1834. A poor drawing of Audubon, in hunting dress, published with a biographical sketch, in an English edition of Cuvier's Le régne animal (see [Bibliography, No. 56]). This drawing served as the basis of a wood engraving, in which Audubon is represented as a much younger man, three-quarters length, gun in hand, with thumb on trigger, which appeared in Gleason's Pictorial for 1852 (see [Bibliography, No. 67].).
10. (Before) 1839.—Life Mask, made in London by Robert Havell, Junior, and formerly in his possession; acquired from his daughters, Mrs. Amelia Jane Lockwood and Miss Marion Elington Havell, by Mr. John E. Thayer, and by him presented to Harvard University. For reproduction of the mask, for excellent photographs of which I am indebted to Dr. Samuel Henshaw, Director of the Museum of Comparative Zoölogy, Harvard University, see [Vol. II, p. 188].
The original was made from a dark colored plaster (?), and has a decidedly coarse texture. Mr. Harry P. Havell, who possesses a replica of the original in wax, writes that he obtained from the Misses Havell, his cousins, the information that this mask was made while Audubon was at their home in London; the matter was treated in a jocular way, as Audubon lay upon a sofa with straws in his nose, while submitting to the rather unpleasant ordeal of having a mold made of his countenance. Mr. Havell, to whom I am indebted for the substance of this note, also possesses the silver loving cup, which Audubon presented to Robert Havell upon the completion of the second volume of his illustrations in 1834 (see [Chapter XXXII, p. 192]). For notice of another mask by O'Neill, Edinburgh, 1827, see Maria R. Audubon, [op. cit.], vol. i, p. 205.
11. 1838.—Portrait in oils, three-quarters length, by George P. A. Healy; represents Audubon in hunting shirt, with flowing collar open at neck, knapsack at side and gun in hand (see [Frontispiece, Vol. II]); painted in London upon the initiative of the artist, still struggling for recognition.
This portrait, with a number of other paintings, was raffled at Boston, at a later day, when it was won by the artist, who then gave it to a former patron, Mr. Bradlee, by whom it was presented to the Boston Society of Natural History, and it now hangs in the library of that institution. The present reproduction is from a photograph received through the kindness of Mr. Ruthven Deane, who still owns the negative, which was reproduced in Mr. Healy's Reminiscences (see [Bibliography, No. 197]).
12. 1840-45 (?).—Cameo, by John C. King; original intaglio, in shell, a cast of which was given by the artist to Mr. Kennard, and is now in possession of Mr. Frederic H. Kennard, of Boston; cast first reproduced by C. Hart Merriam, in The Auk for 1908 (see [Bibliography, No. 226]).
Mr. King was a Scotch artist and sculptor, who died at Boston, April 21, 1882.
13. 1841 (?).—Portrait in oils, full length and size, by John Woodhouse Audubon; figure seated, with landscape background; gun resting on arm, and dog at side. For reproduction, see Maria R. Audubon, [op. cit.] This or the following used as the basis of a painting by Alonzo Chappel (see [No. 23]).