Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 18 works by James Henry Beard in our catalogue
In short
Of all the originals James Henry Beard left, the most famous is Lyman Beecher (1842), in the collection of the National Portrait Gallery, Washington, D.C.. Close behind it come Portrait (1859) and North Carolina Emigrants, Poor White Folk (1845). Our catalog holds 18 works by James Henry Beard; the gallery has kept the 17 the world admires most, each shown with its date, its museum and its story.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In this 1845 oil on canvas, a small group of settlers moves through a rural landscape. The composition centers on a man, two women, and a child positioned near a wooden trough and a horse. The figures are rendered with fine brushwork that captures the specific textures of worn fabric and skin. A sense of depth is established through atmospheric perspective, guiding the eye from the subjects on the right…
A young man sits in quiet introspection, his chin resting heavily upon folded hands atop a weathered wooden post. He is dressed in a dark brown jacket and a red neckercloth, topped by a large, floppy brown cap. At his side, a small wooden cage containing blue fabric rests near the edge of the frame. The composition is vertical, centering the subject against a turbulent, cloudy sky of muted blues…
The gaze of Lyman Beecher meets the viewer from within this 1842 oil portrait. James Henry Beard captures the man not merely as a likeness, but as a presence defined by his historical weight. The subject, a prominent American Presbyterian minister and abolitionist, sits with a quiet, heavy dignity that suggests a life of significant purpose and moral conviction. Every line on his face speaks to the gravity of his…
Moving Further Westward was painted by James Henry Beard about 1840. An American painter, Beard was born in Buffalo, United States, in 1812. He remained active in the United States throughout his career until his death in 1893 in Flushing, Queens, New York.
A formal mid-19th-century oil portrait, this bust-length study captures an elderly man in a moment of quiet composure. The subject faces toward the viewer's left, though his gaze meets the observer directly, establishing an immediate sense of intellectual presence. He is rendered with a classical realist sensibility, characterized by a somber palette of deep blacks, creamy whites, and earthy sepia tones. The lighting, descending from the upper left, carves the…
The gaze of a middle-aged man meets the viewer in this formal oil portrait, titled John Davies Jones. Painted by James Henry Beard, the work captures a moment of quiet dignity. The subject sits poised, his presence filling the space with a sense of scholarly weight. He carries the air of a man settled in his years, his expression steady and composed.
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
In this bust-length portrait, James Henry Beard positions Martha Gibson centrally against a dark, indistinct background. The subject occupies the middle of the frame, emerging from a murky, charcoal-toned space that offers no distraction from her presence. A muted color palette dominates the scene, relying on deep blacks and somber, olive shadows to define the space. The light enters from the upper left, casting soft, directional shadows across the right…
John Rogers III (1866-1939)1870 · New York Historical Society
12
Studio to Let1864 · Herbert F. Johnson Museum of Art
13
DeWitt McClellan Lockman (1870-1957)1879 · New York Historical Society
14
William Henry Harrison1840 · National Portrait Gallery
15
THE LAST VICTIM OF THE DELUGE1849 · Cincinnati Art Museum
16
It Is Very Queer, Isn't ItCrystal Bridges Museum of American Art
17
Lion and Lioness1867
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 James Henry Beard | Paintings from this list |
|---|---|---|---|
 Cincinnati Art Museum |
Cincinnati | 3 | North Carolina Emigrants, Poor White Folk, Moving Further Westward, THE LAST VICTIM OF THE DELUGE |
 New York Historical Society |
New York City | 3 | Gerard Hallock (1800–1866), John Rogers III (1866-1939), DeWitt McClellan Lockman (1870-1957) |
 Cincinnati Museum Center at Union Terminal |
Cincinnati | 3 | John Davies Jones, Peter Gibson, Martha Gibson |
 National Portrait Gallery |
Washington, D.C. | 2 | Lyman Beecher, William Henry Harrison |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Portrait |
 Museum of Fine Arts |
Houston | 1 | The Young Itinerant |
 Museum of Fine Arts |
Boston | 1 | Lyman Beecher |
 Herbert F. Johnson Museum of Art |
Ithaca | 1 | Studio to Let |
Pick a decade to see the original that defines it.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In the quiet, transitional space of Studio to Let, a solitary man moves through a moment of change. Painted by James Henry Beard about 1864, the scene captures a figure who appears to be an artist in the midst of a relocation. He ascends a set of wooden stairs, his presence marked by the heavy belongings he carries, including a large rectangular case and a wooden palette. The weight of…
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
Lyman Beecher (1842), National Portrait Gallery, Washington, D.C.. Portrait (1859) and North Carolina Emigrants, Poor White Folk (1845) come next.
30 years old: Lyman Beecher dates from 1842, and James Henry Beard was born in 1812.
Lyman Beecher, Portrait, North Carolina Emigrants, Poor White Folk, The Young Itinerant, Lyman Beecher, Moving Further Westward, Gerard Hallock (1800–1866), John Davies Jones, Peter Gibson and Martha Gibson. The ranking above gives each one's year and museum.
Our catalog holds 18 works by James Henry Beard, dated from 1840 to 1879.
Mostly in Cincinnati Art Museum (Cincinnati), New York Historical Society (New York City) and Cincinnati Museum Center at Union Terminal (Cincinnati). The museum table above lists them all.
In 1840s: 8 of the 17 works on this page were made then, Lyman Beecher among them.
On this page, the earliest is Lyman Beecher (1840) and the latest DeWitt McClellan Lockman (1870-1957) (1879).
Man (9), Portrait (6) and White collar (5), across the 17 works on this page.
Oil On Canvas, for 8 of the 17 works on this page.
North Carolina Emigrants, Poor White Folk, Moving Further Westward and THE LAST VICTIM OF THE DELUGE: the Cincinnati Art Museum, Cincinnati holds 3 of the works on this page.
James Henry Beard (April 22, 1812 – 1893) was an American painter who specialized in the genre of portraits. He achieved recognition for his depictions of prominent figures and, later in life, charming representations of domestic animals.
Born in Buffalo, New York, Beard was the son of English and Scottish immigrants. His artistic inclinations manifested early, quickly blossoming after his family relocated to Ohio. It was there he began seriously honing his capabilities as an artist. He studied under Jarvis Frary Hanks in Painesville, Ohio, receiving foundational training that would shape his future career.
Beard initially experimented with various painting techniques including watercolor, acrylic, and pastel before settling on portraiture as his preferred genre. His early portraits often featured sophisticated figures like Henry Clay and John Quincy Adams. He demonstrated a keen ability to capture not only the likeness of his subjects but also their character and personality.
In 1846, at the age of 32, Beard returned to New York City seeking greater exposure for his work. His efforts were rewarded in 1848 when he was inducted into the prestigious National Academy of Design. By 1870, he had established New York as his permanent home.
Beard is perhaps best known for his later series of paintings depicting dogs and cats. These works showcase a playful and affectionate sensibility, capturing the unique personalities of these beloved pets. This shift in subject matter broadened his appeal and cemented his place in American art history.
James Henry Beard’s work provides a valuable glimpse into 19th-century American society and culture. His portraits offer insights into the lives of prominent individuals, while his animal paintings reflect the growing sentimentality towards pets during that era. His ability to adapt his style and subject matter throughout his career demonstrates his artistic versatility.
Beard’s work was influenced by his teacher Jarvis Frary Hanks, as well as the broader tradition of portraiture prevalent in 19th-century America. He also drew inspiration from contemporary artists and the evolving aesthetic sensibilities of the time.
Though not a revolutionary figure, Beard's consistent quality and engaging subject matter have ensured his continued recognition as a notable American artist.
