Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 86 works by Gilbert Stuart Newton in our catalogue
In short
Of all the originals Gilbert Stuart Newton left, the most famous is James Monroe (1820), in the collection of the Metropolitan Museum of Art, New York. Close behind it come Captain Macheath Upbraided by Polly and Lucy in the 'Beggar's Opera', 1826 (1826) and Shylock and Jessica from the 'Merchant of Venice,' II, ii (1830). Our catalog holds 86 works by Gilbert Stuart Newton; the gallery has kept the 47 the world admires most, each shown with its date, its museum and its story.
To gaze upon this portrait of James Monroe is to encounter not merely a likeness, but an embodiment of early American political gravitas. Gilbert Stuart Newton captured the fifth President of the United States in a moment that feels both intensely personal and monumentally public. The composition itself speaks volumes about the era's reverence for its leaders; it is a carefully constructed tableau designed to convey authority, intellect, and enduring…
The oil on canvas titled Captain Macheath Upbraided by Polly and Lucy in the 'Beggar's Opera', 1826, captures a moment of sharp friction. Gilbert Stuart Newton rendered this scene in 1826. The work measures 38 x 47 1/2 inches (96.5 x 120.7 cm). It carries an inscription in the lower left corner: "[???] | PRAYER".
The scene unfolds in Shylock and Jessica from the 'Merchant of Venice,' II, ii, a work that captures a heavy, private moment between a father and his daughter. Painted by Gilbert Stuart Newton in 1830, the oil on canvas brings to life a specific tension drawn from the dramatic world of William Shakespeare. The figures of Shylock and Jessica emerge from the shadows of a domestic interior, caught in a…
This oil on canvas portrait, titled Ann Barry, was executed by the artist Gilbert Stuart Newton. The work dates to about 1805. It depicts a young woman in a half-length composition, positioned as the primary subject within the frame. The sitter is shown seated, directing her gaze toward the viewer from a shallow perspective.
The man sits before us, his presence filling the space with a quiet, heavy dignity. He is an elderly figure, his face a map of lived experience, etched with deep lines and wrinkles that catch the light. The darkness behind him pushes his features forward, creating a sense of immediate, physical closeness. Every fold of his coat and every texture of his skin feels tangible, as if the air around…
Gilbert Stuart Newton painted Commodore Isaac Hull in 1813. The portrait captures the naval officer in his formal uniform, presenting a dignified likeness of the historical figure. The subject is rendered with a focus on the details of his military attire, including the distinct textures of his coat and the insignia of his rank.
Gilbert Stuart Newton's Self Portrait, executed about 1818, presents a direct study of the artist himself. The work functions as a formal record of the painter during his early years of professional development, capturing a specific moment of personal and artistic identity.
The year is 1819. This oil on canvas captures a moment of quiet authority before the subject's passing. The composition is slightly off-center, creating a natural, unforced balance. There is a sense of gravity in the way the light catches the white of his shirt, a singular bright point in a world of muted tones. The man exists in a space of shadow and memory. A single, steady breath.
In this 1818 oil portrait, we encounter Samuel Appleton, a man whose presence commands a quiet, settled authority. He is presented in a three-quarter length view, seated with a composure that suggests a life of significant social standing and stability. The lighting, arriving softly from the upper left, carves his features out of the shadows, illuminating the crisp white of his cravat and the steady gaze he directs toward the…
Samuel Cooper Thacher (1785-1818)1815 · Harvard Art Museums
12
Joseph Stevens Buckminster (1784-1812), after Gilbert Stuart1816 · Harvard Art Museums
13
David Sears, Jr.1815 · Metropolitan Museum of Art
14
Commodore Thomas Macdonough1818 · National Gallery of Art
15
Young Lady in Cauchoise Dress1829 · Museum of Fine Arts
16
The Farewell1826 · Museum of Fine Arts
17
Plaque of George Washington1830 · Metropolitan Museum of Art
18
A Dutch Girl ('The Window')1829
19
Sir Walter Scott (1771–1832), 1st Bt1824 · Abbotsford House
20
John Adams1815 · Massachusetts Historical Society
21
Mrs. Andrew Sigourney1820 · Metropolitan Museum of Art
22
Joseph Coolidge1820 · National Gallery of Art
23
George Washington1805 · National Gallery of Art
24
Mary Barry1805 · National Gallery of Art
25
John Randolph1805 · National Gallery of Art
26
Benjamin Tappan1814 · National Gallery of Art
27
Sarah Homes Tappan (Mrs. Benjamin Tappan)1814 · National Gallery of Art
28
Washington Allston1819 · Metropolitan Museum of Art
29
James Monroe1817 · National Gallery of Art
30
John Adams1821 · National Gallery of Art
31
Charlotte Morton Dexter (Mrs. Andrew Dexter)1825 · National Gallery of Art
32
Yorick and the Grisette1830
33
James Maury (1746–1840)1825 · Walker Art Gallery
34
John Gibson Lockhart (1794–1854), Son in Law and Biographer of Sir Walter Scott1824 · Abbotsford House
35
The Gentle Student1829 · Wallace Collection
36
Sir Walter Scott (1771–1832)1825
37
Olivia's Return1828
38
Portia and Bassanio (from William Shakespeare's 'The Merchant of Venice')1831
39
Portrait of Abelard in His Study1833
40
Portrait of James Kenney (1780-1849), DramatistNational Gallery of Ireland
41
Henry Rice1815 · Metropolitan Museum of Art
42
James Madison1821 · National Gallery of Art
43
Abigail Smith Adams (Mrs. John Adams)1815 · National Gallery of Art
44
Thomas Jefferson1821 · National Gallery of Art
45
ForsakenMuseum of Fine Arts
46
The Disconsolate
47
Sir Walter Scott (1771–1832), Novelist and PoetScottish National Portrait Gallery
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Gilbert Stuart Newton | Paintings from this list |
|---|---|---|---|
 National Gallery of Art |
Washington | 15 | Ann Barry, Samuel Alleyne Otis, Commodore Thomas Macdonough |
 Metropolitan Museum of Art |
New York | 6 | James Monroe, David Sears, Jr., Plaque of George Washington |
 Harvard Art Museums |
Cambridge | 5 | Thomas Palmer (1743-1820), Samuel Appleton (1766-1853), Stephen Higginson (1770-1834) |
 Museum of Fine Arts |
Boston | 4 | Self Portrait, Young Lady in Cauchoise Dress, The Farewell |
 Yale Center for British Art |
New Haven | 2 | Captain Macheath Upbraided by Polly and Lucy in the 'Beggar's Opera', 1826, Shylock and Jessica from the 'Merchant of Venice,' II, ii |
 Abbotsford House |
Malvern | 2 | Sir Walter Scott (1771–1832), 1st Bt, John Gibson Lockhart (1794–1854), Son in Law and Biographer of Sir Walter Scott |
 Massachusetts Historical Society |
Boston | 1 | John Adams |
 Walker Art Gallery |
Liverpool | 1 | James Maury (1746–1840) |
Pick a decade to see the original that defines it.
This oil on canvas portrait, titled Ann Barry, was executed by the artist Gilbert Stuart Newton. The work dates to about 1805. It depicts a young woman in a half-length composition, positioned as the primary subject within the frame. The sitter is shown seated, directing her gaze toward the viewer from a shallow perspective.
The man sits before us, his presence filling the space with a quiet, heavy dignity. He is an elderly figure, his face a map of lived experience, etched with deep lines and wrinkles that catch the light. The darkness behind him pushes his features forward, creating a sense of immediate, physical closeness. Every fold of his coat and every texture of his skin feels tangible, as if the air around…
To gaze upon this portrait of James Monroe is to encounter not merely a likeness, but an embodiment of early American political gravitas. Gilbert Stuart Newton captured the fifth President of the United States in a moment that feels both intensely personal and monumentally public. The composition itself speaks volumes about the era's reverence for its leaders; it is a carefully constructed tableau designed to convey authority, intellect, and enduring…
The scene unfolds in Shylock and Jessica from the 'Merchant of Venice,' II, ii, a work that captures a heavy, private moment between a father and his daughter. Painted by Gilbert Stuart Newton in 1830, the oil on canvas brings to life a specific tension drawn from the dramatic world of William Shakespeare. The figures of Shylock and Jessica emerge from the shadows of a domestic interior, caught in a…
James Monroe (1820), Metropolitan Museum of Art, New York. Captain Macheath Upbraided by Polly and Lucy in the 'Beggar's Opera', 1826 (1826) and Shylock and Jessica from the 'Merchant of Venice,' II, ii (1830) come next.
25 years old: James Monroe dates from 1820, and Gilbert Stuart Newton was born in 1795.
James Monroe, Captain Macheath Upbraided by Polly and Lucy in the 'Beggar's Opera', 1826, Shylock and Jessica from the 'Merchant of Venice,' II, ii, Ann Barry, Samuel Alleyne Otis, Commodore Isaac Hull, Self Portrait, Thomas Palmer (1743-1820), Samuel Appleton (1766-1853) and Stephen Higginson (1770-1834). The ranking above gives each one's year and museum.
Our catalog holds 86 works by Gilbert Stuart Newton, dated from 1805 to 1833.
Mostly in National Gallery of Art (Washington), Metropolitan Museum of Art (New York) and Harvard Art Museums (Cambridge). The museum table above lists them all.
In 1810s: 17 of the 47 works on this page were made then, Samuel Alleyne Otis among them.
On this page, the earliest is Ann Barry (1805) and the latest Portrait of Abelard in His Study (1833).
Portrait (14), Man (11) and Historical figure (6), across the 47 works on this page.
Oil On Canvas, for 16 of the 47 works on this page.
Neoclassicism and Romanticism, judging by the originals on this page.
Ann Barry, Samuel Alleyne Otis and Commodore Thomas Macdonough: the National Gallery of Art, Washington holds 15 of the works on this page.
