Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 76 works by Augustus Vincent Tack in our catalogue
In short
Of all the originals Augustus Vincent Tack left, the most famous is Elihu Root (1922), in the collection of the National Portrait Gallery, Washington, D.C.. Close behind it come Rosa Mystica (1923) and Benjamin Nathan Cardozo (1931). Our catalog holds 76 works by Augustus Vincent Tack; the gallery has kept the 17 the world admires most, each shown with its date, its museum and its story.
The portrait depicts an older man seated in a dark suit against a muted brown background. He is positioned centrally, his posture creating a strong vertical line within the frame. The subject wears a formal dark jacket and a white shirt, with the fabric of his clothing rendered through visible brushstrokes that suggest a textured surface. His face is oval-shaped, illuminated by a directional light source originating from above and…
In Rosa Mystica, Augustus Vincent Tack organizes the pictorial space through a hierarchical perspective that separates the celestial from the mortal. The composition centers on a divine female figure, likely the Virgin Mary, who floats within a luminous blue mandorla. She is positioned in a higher plane above the earthly realm, surrounded by a sky of fragmented, pale clouds. Her arms are outstretched in a gesture of grace, draped in…
In this formal portrait, Augustus Vincent Tack presents Benjamin Nathan Cardozo in a moment of quiet, judicial dignity. Painted about 1931, the work captures the subject in his capacity as a judge, a role that informs the entire gravity of the piece. There is a certain stillness here, a sense of the weight of responsibility that accompanies such a position. Tack avoids the superficiality of a mere likeness, focusing instead…
This oil portrait by Augustus Vincent Tack depicts John Munro Woolsey, a United States district judge. Painted about 1934, the work presents the subject in a formal setting that emphasizes his professional status. The composition focuses on the man seated behind a wooden desk, positioned in a medium close-up view that establishes a direct presence before the viewer.
This formal portrait of Charles Evans Hughes, executed by Augustus Vincent Tack, offers a quiet moment of reflection. Painted about 1941, the work captures the subject in a setting that suggests a private study or a professional office. There is a sense of stillness here, as if we have interrupted a moment of deep thought. The composition places Hughes at the center of the viewer's attention, establishing a presence that…
In this formal portrait of Harry S. Truman, Augustus Vincent Tack captures the subject in a half-length composition that centers the viewer's attention on the man's face and upper body. The figure sits slightly off-center to the right, creating a subtle tension within the frame. A strong light source emerges from the upper left, casting deep shadows that define the contours of the face and the heavy folds of the…
In this formal portrait, Augustus Vincent Tack presents Harlan F. Stone in a moment of quiet, seated dignity. Painted in 1944, the work captures the subject in a three-quarter view, a composition that emphasizes his presence and the weight of his position. There is a certain stillness to the figure, which is likely intended to reflect Stone's role as Chief Justice of the United States Supreme Court. The subject's expression…
The High Command Right Panel is a work by Augustus Vincent Tack, executed in 1949. The painting captures two men seated within the quiet confines of an office setting. Their presence is anchored by the weight of their surroundings, suggesting a moment of professional stillness. The subject matter centers on naval officers or individuals tied to maritime affairs, a theme reflected in the nautical elements that populate the scene.
The four subjects that come back most often in these originals, each with its finest example.
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Augustus Vincent Tack | Paintings from this list |
|---|---|---|---|
 National Portrait Gallery |
Washington, D.C. | 4 | Elihu Root, The High Command Right Panel, The High Command Left Panel |
 Metropolitan Museum of Art |
New York | 2 | John La Farge, Night Clouds and Star Dust |
 Cleveland Museum of Art |
Cleveland | 1 | Rosa Mystica |
 New York Historical Society |
New York City | 1 | John Munro Woolsey |
 Reading Public Museum |
Reading | 1 | Rising Wind and Tide |
 Campion Hall |
Oxford | 1 | Reverend Cornelius Clifford |
Pick a decade to see the original that defines it.
Augustus Vincent Tack's 1897 portrait of John La Farge offers more than just a likeness; it’s a carefully constructed tableau of intellect, artistic temperament, and the quiet dignity of a seasoned observer. Executed in black and white photographic reproduction from an original oil or charcoal drawing, the image possesses a remarkable depth achieved through subtle tonal variations and masterful use of line. The composition is centered on La Farge's head…
The portrait depicts an older man seated in a dark suit against a muted brown background. He is positioned centrally, his posture creating a strong vertical line within the frame. The subject wears a formal dark jacket and a white shirt, with the fabric of his clothing rendered through visible brushstrokes that suggest a textured surface. His face is oval-shaped, illuminated by a directional light source originating from above and…
In this formal portrait, Augustus Vincent Tack presents Benjamin Nathan Cardozo in a moment of quiet, judicial dignity. Painted about 1931, the work captures the subject in his capacity as a judge, a role that informs the entire gravity of the piece. There is a certain stillness here, a sense of the weight of responsibility that accompanies such a position. Tack avoids the superficiality of a mere likeness, focusing instead…
This formal portrait of Charles Evans Hughes, executed by Augustus Vincent Tack, offers a quiet moment of reflection. Painted about 1941, the work captures the subject in a setting that suggests a private study or a professional office. There is a sense of stillness here, as if we have interrupted a moment of deep thought. The composition places Hughes at the center of the viewer's attention, establishing a presence that…
Elihu Root (1922), National Portrait Gallery, Washington, D.C.. Rosa Mystica (1923) and Benjamin Nathan Cardozo (1931) come next.
52 years old: Elihu Root dates from 1922, and Augustus Vincent Tack was born in 1870.
Elihu Root, Rosa Mystica, Benjamin Nathan Cardozo, John Munro Woolsey, Charles Evans Hughes, Harry S. Truman, Harlan F. Stone, The High Command Right Panel, Rising Wind and Tide and Reverend Cornelius Clifford. The ranking above gives each one's year and museum.
Our catalog holds 76 works by Augustus Vincent Tack, dated from 1897 to 1949.
Mostly in National Portrait Gallery (Washington, D.C.), Metropolitan Museum of Art (New York) and Cleveland Museum of Art (Cleveland). The museum table above lists them all.
In 1940s: 7 of the 17 works on this page were made then, Charles Evans Hughes among them.
On this page, the earliest is John La Farge (1897) and the latest The High Command Right Panel (1949).
Portraiture (4), Man (4) and Chair (3), across the 17 works on this page.
Oil On Canvas, for 8 of the 17 works on this page.
Elihu Root, The High Command Right Panel and The High Command Left Panel: the National Portrait Gallery, Washington, D.C. holds 4 of the works on this page.
