By modern standards there is something unlikeable about John Hancock. His type of patriotism and charity is as obsolete as his brocaded dressing-gowns and jewelled buttons. He was one of those men who curiously go in and out of style. Once they are out they are hard to value. ‘The golden showers of guineas’ that marked his almost royal progress, his big speeches, like ‘burn Boston and make John Hancock a beggar if the public good requires it,’ do not arouse in us the same genuine enthusiasm they did in his contemporaries. Such men as Paul Revere, [Royal Governor Thomas] Hutchinson, Joseph Warren, or Sam Adams never are in style or out. Their personalities exist quite independently from the accident of their birth in the first half of the eighteenth century. This is not quite true of John Hancock.
William Rush (1756—1833)
North American white pine; 54.6 x 40 x 38.1 cm (21 1/2 x 15 3/4 x 15 in.) Yale University Art Gallery, New Haven, CT.
Terra cotta; 18 3/4 x 15 1/2 x 12 1/2 in. (47.625 x 39.37 x 31.75 cm). Pennsylvania Academy of Fine Arts, Philadelphia, PA.
Terracotta; 19 x 14 3/4 x 11 1/4 in. (48.26 x 37.465 x 28.575 cm). Pennsylvania Academy of Fine Arts, Philadelphia, PA.
Pine; painted white. Independence National Historical Park, Portrait Collection (Second Bank of the United States), Philadelphia, PA.
Terra cotta. Museum of the American Revolution, Philadelphia, PA.
Bronze, stone base; 22 x 17 x 11 in. (55.9 x 43.2 x 27.9 cm). Brooklyn Museum, Brooklyn, NY.
Terra cotta; painted white. Pennsylvania Academy of Fine Arts, Philadelphia, PA.
Known as the Pine Knot Portrait.
Bronze; H: 60 m.; W: 47 m.; D: 26 m. Musée franco-américain du château de Blérancourt, Picardy, France.
Terra cotta; 21 x 18 3/4 x 11 1/4 in. (53.34 x 47.625 x 28.575 cm). Pennsylvania Academy of Fine Arts, Philadelphia, PA.
Wood with paint. The Wistar Institute, Philadelphia, PA.