Portrait Painting of Ben Franklin After Joseph Duplessis (1725-1802)Â | In the manner of Adriaen Hanneman | Previously attributed by Sotheby's to follower of Adriaen Hanneman (See Sotheby's Label on Verso) | Â Oil on Canvas | Provenance: Newman Galleries, Walnut St, Philadelphia | Housed in a gold gilt frame | Dimensions: 36 x 30.5 Framed: 42.5 x 36 | Professionally Repair in upper left |Â Provenance:Â From the estate of Jay Yamner in Park Slope, Brooklyn, NY; Previously Newman Galleries, Philadelphia. About Joseph-Siffred Duplessis (22 September 1725 â€“ 1 April 1802) was a French painter, known for the clarity and immediacy of his portraits. He was born in Carpentras, near Avignon, into a family with an artistic bent and received his first training from his father, a surgeon and talented amateur. He subsequently studied with Joseph-Gabriel Imbert (1666â€“1749), who had been a pupil of Charles Le Brun. From 1744â€“47 or later he worked in Rome, in the atelier of Pierre Subleyras (1699â€“1749), who was also from the south of France. In Italy Duplessis became fast friends with Joseph Vernet, another Occitan. He returned to Carpentras, spent a brief time in Lyon then arrived about 1752 in Paris, where he was accepted into the AcadÃ©mie de Saint-Luc and exhibited some portraits, which were now his specialty, in 1764, but did not achieve much notice until his exhibition of ten paintings at the Paris salon of 1769, very well received and selected for special notice by Denis Diderot; the AcadÃ©mie de peinture et de sculpture accepted him in the category of portraitist, considered a lesser category at the time. He continued to exhibit at the Paris salons, both finished paintings and sketches, until 1791, and once more, in 1801. His portrait of the Dauphine in 1771 and his appointment as a peintre du Roi assured his success: most of his surviving portraits date from the 1770s and 1780s. He received privileged lodgings in the Galeries du Louvre. In the Revolution, he withdrew to safe obscurity at Carpentras during the Reign of Terror. Afterwards, from 1796, he served as curator at the newly founded museum formed at Versailles, so recently emptied of its furnishings at the Revolutionary sales. His uncompromising self-portrait at this time of his life is at Versailles, where he died. He would adjust his style to the social condition of his sitter: his portrait of Charles-Claude, comte d'Angiviller, director of the BÃ¢timents du Roi, is as distant and conventional as his state portrait of Louis XVI in coronation robes (1776), while his realistic and intimate portrait of the opera composer Christoph Willibald Gluck (Kunsthistorisches Museum, Vienna) catches the composer at the keyboard in a moment of inspiration and his penetrating portrait of the sculptor Christophe Gabriel Allegrain (Louvre Museum, illustration) shows him having just laid down his chisel: this was the morceau de reception that gained him admittance to the AcadÃ©mie. His portrait of Benjamin Franklin (circa 1785), more than any other, has fixed the image of Franklin for posterity since it is reproduced on the U.S. hundred dollar bill. About Adriaen Hanneman: Born in The Hague, Adriaen Hanneman trained under the portrait painters Anthony van Ravesteyn (1580-1669) and his brother Jan (1572-1657). Following the example of many other Dutch and Flemish artists he came to London circa 1626 in search of the rich patronage to be found at the hands of the English nobility and the Caroline court, and in 1630 he married an English girl, Elizabeth Wilson. The heavy influence of Van Dyck on his work from this period suggests that he was probably involved in that master's studio in Blackfriars. Hanneman remained in England for over a decade. His name appears in the Lord Mayor's survey of foreigners resident in London in 1635, living in Holborn, and he only returned to The Hague between 1638 and 1640, just before the outbreak of the Civil War. Despite his extended stay very few of Hanneman's English portraits survive. On his return to Holland Hanneman's elegant and accomplished style, which he had learned in England, proved immensely popular among Dutch patrons, and his success did much to spread the influence of Van Dyck's style throughout the Netherlands. In 1640 he was elected to the painters' guild in The Hague and married his second wife, Maria, the daughter of Jan van Ravesteyn. From the late 1640s onwards Hanneman's English connections proved particularly useful as increasing numbers of dispossessed and exiled Royalists began to settle in the Netherlands after the establishment of the Commonwealth in England. He painted many of the key Royalist figures, including Charles, Prince of Wales, later King Charles II (now lost), his brother Henry, Duke of Gloucester (National Gallery of Art, Washington) and Edward Hyde, 1st Earl of Clarendon (Private Collection). These portraits retain much of the influence of Van Dyck, but have a distinctive character of their own and display a masterful characterization that is evident in all of the artist's best work. Hanneman also found favor at the Dutch court in the 1650s and painted many portraits of the Royal Family, including William of Orange, later the Stadholder King and William III of England (1650-1702), when a child holding an orange with a small dog (Rijksmuseum, Amsterdam).