John Vanderlyn (1775—1852)

by John Vanderlyn (1775—1852)

Oil on Canvas; 25 1/4 x 20 7/8 in. (64.1 x 53 cm). The Metropolitan Museum of Art, New York, NY.

by John Vanderlyn (1775—1852)

Watercolor on ivory.

by John Vanderlyn (1775—1852)

Oil on canvas; 36 7/8 x 28 1/8 in. (93.7 x 71.4 cm) The Metropolitan Museum of Art, New York, NY.

by John Vanderlyn (1775—1852)

Oil on canvas. New-York Historical Society, New York, NY.

by John Vanderlyn (1775—1852)

Oil on canvas. New York Historical Society, New York, NY.

Daughter (1783—1813) of Aaron Burr.

by John Vanderlyn (1775—1852)

Oil on wood panel; 10 x 8 in ( 25.4 x 20.3 cm). New-York Historical Society, New York, NY.

by John Vanderlyn (1775—1852)

Oil on canvas; 46 1/4 x 35 1/4 in ( 117.5 x 89.5 cm). New-York Historical Society, New York, NY.

by John Vanderlyn (1775—1852)

Oil on canvas. The White House Collection, Washington, DC.

by John Vanderlyn (1775—1852)

Oil on canvas. The White House Historical Collection, White House Blue Room, Washington, DC.

by John Vanderlyn (1775—1852)

Oil on canvas. National Portrait Gallery (Smithsonian), Washington, DC.

At the end of March [1783] Franklin applied to [French Foreign Secretary] Vergennes for permission to publish a complete translation of the United States constitutions in French, the only language in which they could be widely read. He was eager to correct Europe’s misapprehensions about the new nation; he knew as well that he was offering up an advertisement for American trade and immigration.... Copies went out over the summer to the entire diplomatic corps and, in extravagantly bound editions, to Louis XVI and Marie Antoinette. The most influential of Franklin’s European publications the constitutions were universally well received.

Stacy Schiff
A Great Improvisation: Franklin, France, and the Birth of America (2005)