Image
|
Date
|
Age
|
Artist
|
Institution
|
Technique
|
Notes
|
|
1815
|
48
|
Nathan Wheeler
|
?
|
Oil on canvas
|
There are no known images of Andrew Jackson before 1815,[1] this was painted from life in 1815 after the battle of New Orleans[2][3]
|
|
1817
|
50
|
Ralph Eleaser Whiteside Earl
|
National Portrait Gallery
|
|
|
|
1817
|
50
|
Ralph Eleaser Whiteside Earl
|
|
|
|
|
1819
|
52
|
Samuel Lovett Waldo
|
Metropolitan Museum of Art
|
Oil on canvas
|
|
|
1819
|
52
|
Samuel Lovett Waldo
|
Historic New Orleans Collection
|
Oil on canvas
|
|
|
1819
|
52
|
|
Addison Gallery of American Art, Phillips Andover Academy
|
Oil on canvas
|
According to biographer Robert V. Remini, Waldo produced one of the "better likenesses" of Jackson[4]
|
|
1819
|
52
|
Charles Willson Peale
|
The Masonic Library and Museum of Pennsylvania of The Grand Lodge F. & A. M. of Pennsylvania, Philadelphia
|
Oil on canvas
|
|
|
1819
|
52
|
Rembrandt Peale
|
Maryland Historical Society
|
Oil on canvas
|
Commissioned by the city of Baltimore[5]
|
|
1819
|
52
|
Anna Claypoole Peale
|
Yale University Art Gallery
|
Watercolor on ivory
|
Painted in Washington, D.C. while Jackson was there defending himself in Congress against charges of misconduct in the First Seminole War[6]
|
|
1819
|
52
|
John Wesley Jarvis
|
Metropolitan Museum of Art
|
Oil on canvas
|
Commissioned by the city of New York;[7] Remini considered this a "romantic portrait"[4]
|
|
c. 1822
|
55
|
Possibly Matthew Harris Jouett[8]
|
|
Oil on wood panel
|
|
|
1824
|
57
|
Thomas Sully
|
|
|
Painted from life, "the original 1824 study was privately owned by Mrs. Breckenridge Long in 1940, but its current location is unknown."[9]
|
|
1828
|
57
|
Asher B. Durand
|
New York City Hall
|
Oil[10]
|
"After John Vanderlyn," collection of New-York Historical Society, New York
|
|
1828
|
61
|
Joseph Wood
|
|
|
Original image lost (?)
|
|
1830
|
63
|
Ralph Eleaser Whiteside Earl
|
DAR Museum
|
Oil on canvas[13]
|
"The Jockey Club Portrait" Jackson is sitting in a chair ordered by James Monroe from Pierre-Antoine Bellange, in the distance is the U.S. Capitol with the "Bullfinch dome," which is distinct from the present dome.[13]
|
|
1830
|
63
|
Ralph Eleaser Whiteside Earl
|
Private collection
|
|
"Farmer Jackson" portrait
|
|
1828–1833
|
61–66
|
Ralph Eleaser Whiteside Earl
|
Andrew Jackson's Hermitage, Nashville
|
|
"Tennessee gentleman" portrait
|
|
1832
|
65
|
Ralph Eleaser Whiteside Earl
|
North Carolina Museum of Art
|
|
|
|
1833
|
66
|
Ralph Eleaser Whiteside Earl
|
Brooks Museum of Art, Memphis
|
|
|
|
1833
|
66
|
Ralph Eleaser Whiteside Earl
|
Andrew Jackson's Hermitage, Nashville
|
|
Andrew Jackson Astride Sam Patch
|
|
1832–35
|
65–68
|
William James Hubard
|
|
|
|
|
1835
|
68
|
Samuel M. Charles
|
|
"Miniature"
|
Per biographer Robert V. Remini, he was "refusing to wear his dentures" when he sat for this portrait[14]
|
|
1835
|
68
|
David Rent Etter [d]
|
Second Bank Portrait Gallery, Independence National Park, Philadelphia
|
|
Depicts Jackson, seated at the White House, pointing a copy of the Proclamation to the People of South Carolina[15]
|
|
1835
|
68
|
Ralph Eleaser Whiteside Earl
|
|
|
|
|
1835
|
68
|
Ralph Eleaser Whiteside Earl
|
Andrew Jackson's Hermitage, Nashville
|
|
|
|
1836
|
69
|
Ralph Eleaser Whiteside Earl
|
Columbia Museum of Art, Columbia, South Carolina
|
|
|
|
|
1836–37
|
69–70
|
Ralph Eleaser Whiteside Earl
|
Smithsonian Museum of American Art
|
|
"The National Picture," possession transferred to museum from U.S. District Court for the District of Columbia
|
|
1837
|
70
|
Ralph Eleaser Whiteside Earl
|
|
|
|
|
1840
|
73
|
Miner Kilbourne Kellogg
|
|
|
|
|
January 1840
|
73
|
Jacques Amans
|
|
|
|
|
1840
|
73
|
Edward Dalton Marchant
|
Union League of Philadelphia (?)[1]
|
|
|
|
1840
|
73
|
James Tooley Jr.
|
|
|
"After Marchant"
|
|
1840
|
73
|
Trevor Thomas Fowler [d]
|
|
National Portrait Gallery
|
|