1843
Hiram Powers, pointing model of *The Greek Slave*, 1843. Plaster with metal pins. Smithsonian American Art Museum, Washington, DC.
First plaster model, completed in Florence, 1843
1844
Hiram Powers, *The Greek Slave*, 1844. Marble. Raby Castle, Staindrop, Darlington, County Durham. Reproduced with the kind permission of the Rt. Hon. Lord Barnard, Raby Castle.
First version, completed in Florence for John Grant, 1844
1845
William Macduff, *Shaftesbury, or Lost and Found*, 1862. Oil on canvas. Museum of London, London.
First version, exhibited at Henry Graves, London, 1845
1846
Detroit Publishing Co., “Hiram Powers, *The Greek Slave*,” ca. 1900–12. Photograph from a glass-plate negative. Library of Congress, Washington, DC.
Second version, completed in Florence, 1846
1846–48
Edward Weller, compiler and engraver, revised by John Dower, *Map of London* (London: G. W. Bacon & Co., 1868). Engraving. Map and Plan Collection Online.
First version, on view at John Grant’s home, London, 1846–48
1847
Hiram Powers, *The Greek Slave*, 1847. Marble. Newark Museum, Newark, New Jersey. Courtesy of the Newark Museum.
Third version, completed in Florence, 1847
1847–48
“Second Building of the New York Society Library, 1840-1853,” Austin Baxter Keep, *History of the New York Society Library* (New York: De Vinne Press, 1908), 400.
Second version, exhibited at the National Academy of Design, New York, 1847–48
1848
Unknown maker, “The Greek Slave,” n.d. Daguerreotype. Smithsonian American Art Museum, Washington, DC.
Fourth version, completed in Florence for William Ward, 1848
1848
William Macduff, *Shaftesbury, or Lost and Found*, 1862. Oil on canvas. Museum of London, London.
First version, exhibited at Henry Graves, London, 1848
1848
“Amusements on Hand,” *New York Herald*, January 31, 1848, 4.
Second version, exhibited at the Odeon, Washington, DC, 1848
1848
“The Greek Slave,” *New York Herald*, April 18, 1848, 4.
Second version, exhibited at Carroll Hall, Baltimore, 1848
1848
John Sartain, after J. Hamilton, *Pennsylvania Academy of the Fine Arts—Second Building, Rebuilt 1845–47*, ca. 1850. Etching, engraving, and aquatint on paper. Pennsylvania Academy of the Fine Arts, Philadelphia.
Second version, exhibited at the Pennsylvania Academy of the Fine Arts, Philadelphia, 1848
1848
George Healy, *James Robb*, ca. 1845. Oil on canvas. Historic New Orleans Collection, New Orleans.
Second version, acquired by James Robb of New Orleans, 1848
1848
F. H. Lane, *Horticultural Hall, School Street, Boston*, ca. 1845. Lithograph by Lane & Scott’s Lithography, Boston. Cape Ann Museum, Gloucester.
Third version, exhibited at the Horticultural Hall, Boston, 1848
1848
“Local Intelligence,” *Cincinnati Daily Enquirer*, November 4, 1848, 3.
Third version, exhibited at the Apollo Hall, Cincinnati, 1848
1849
“Power’s Greek Slave,” *Daily Picayune* (New Orleans), November 14, 1848, 6.
Second version, exhibited at Cooke’s Gallery, New Orleans, 1849
1849
“The Greek Slave,” *Louisville Daily Journal*, January 16, 1849, 3.
Third version, exhibited at Odd Fellows’ Hall, Louisville, 1849
1849
“The Greek Slave,” *Daily Picayune* (New Orleans), February 22, 1849, 6.
Third version, exhibited at the State House, New Orleans, 1849
1849
F. H. Lane, *Horticultural Hall, School Street, Boston*, ca. 1845. Lithograph by Lane & Scott’s Lithography, Boston. Cape Ann Museum, Gloucester.
Third version, exhibited at the Horticultural Hall, Boston, 1849
1849
Advertisement, “The Fine Arts,” *Home Journal*, October 27, 1849, 3.
Third version, exhibited at the Lyceum Hall, New York, 1849
1849
“Western Art Union,” *National Era*, December 13, 1849, 199.
Second version, acquired in New Orleans by the Western Art Union, 1849
1849
London Stereoscopic & Photographic Co., “Earl Dudley” (William Ward, 1st Earl of Dudley), ca. 1873. Albumen carte-de-visite. National Portrait Gallery, London.
Fourth version, shipped to London, 1849
1850
Hiram Powers, *The Greek Slave*, 1850. Marble. Yale University Art Gallery, New Haven.
Fifth version, completed in Florence for Prince Demidoff, 1850
1850–51
B. Oertly, draftsman, Otto Onken, lithographer, *Map of Cincinnati, Covington and Newport* (detail), ca. 1852 (Otto Onken: Cincinnati). Lithograph. The Public Library of Cincinnati and Hamilton County, Cincinnati.
Second version, exhibited at the Western Art Union, Cincinnati, 1850–51
1850–70
Karl Briullov, *Equestrian Portrait of Anatole Demidoff*, ca. 1828. Oil on canvas. Palazzo Pitti, Florence.
Fifth version, moved to the Villa San Donato, near Florence, 1850–70
1851
After Joseph Nash, “Plate XXV. America, from the North-West End,” *Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851* (London: Dickinson Brothers, 1854). Hand-colored chromolithograph. Yale Center for British Art, New Haven.
First version, exhibited at the Great Exhibition, London, 1851
1851
“The American Art-Union Distribution,” *Illustrated London News*, January 25, 1851, 52.
Second version, won by James D’Arcy at the Western Art Union prize-draw, Cincinnati, 1851
1851
Detroit Publishing Co., “Charles Loring Elliott, *William Corcoran* (1867),” between 1900 and 1912. Photograph. Library of Congress.
Second version, acquired by William Corcoran of Washington, DC, 1851
1851
Advertisement, ca. 1851. Printed by C. B. Webb, Worcester, Massachusetts. American Broadsides and Ephemera, Series 1.
Third version, exhibited at the Mechanics’ Fair, Worcester, 1851
1851
Advertisement, *New York Daily Tribune*, June 21, 1851, 1.
Third version, exhibited at the Chinese Building, New York, 1851
1851
E. B. and E. C. Kellogg, *Wadsworth Athenaeum, Main Street, Hartford*, ca. 1842-48. Lithograph. Connecticut Historical Society, Hartford.
Third version, exhibited at the Wadsworth Athenaeum, Hartford, 1851
1851–52
George N. Barnard, “Hibernian Hall, Charleston,” ca. 1864. Albumen silver print from glass plate negative. The Metropolitan Museum of Art, New York.
Third version, exhibited at the Hibernian Hall, Charleston, 1851–52
1851–55
Peter Cunningham, *London in 1854* (John Murray: London, 1854), xliii.
First version, on view at John Grant’s home, London, 1851–55
Ca. 1851–56
Exterior view of the Egyptian Hall, Piccadilly, London, ca. 1900. Photograph. Museum of London, London.
Fourth version, exhibited at the Egyptian Hall, London, ca. 1851–56
Ca. 1851–61
The Corcoran house, late nineteenth century. Photograph. Historical Society of Washington, DC.
Second version, on view at William Corcoran’s home, Washington, DC, ca. 1851-61
1852
Advertisement, *Republican Banner* (Nashville), March 18, 1852, 2.
Third version, exhibited at Farnesworth’s Daguerrean Rooms, Nashville, 1852
1852
Untitled announcement, *Cincinnati Enquirer*, May 12, 1852, 2.
Third version, exhibited in Zanesville, Ohio, 1852
1852
“The Death of the Greek Slave,” *Cincinnati Enquirer*, May 19, 1852, 2.
Third version, exhibited in Newark, Ohio, 1852
1852
Untitled announcement, *Louisville Daily Journal*, June 5, 1852, 2.
Third version, exhibited in Indianapolis, 1852
1853
Nagel & Weingärtner, printmaker, Goupil & Cie, New York, publisher, Interior View of the New York Crystal Palace for the Exhibition of the Industry of All Nations, c. 1853. Lithograph. Library of Congress
Third version, exhibited at the Crystal Palace Exhibition, New York, 1853
1854
“The Greek Slave,” *Reynold’s Miscellany*, June 10, 1854, 309.
Third version, acquired in New York by the Cosmopolitan Art Association, 1854
1854–55
*The Cosmopolitan Art Association Illustrated Catalogue 1854* (New York: John A. Gray, 1854), 10.
Third version, exhibited at the Cosmopolitan Art Association, Sandusky, 1854–55
1855
“The Gossip of Paris,” *New York Daily Times*, September 27, 1855, 2.
First version, exhibited at the Hôtel d’Osmont, Paris, 1855
1855
*The Cosmopolitan Art Association Illustrated Catalogue, 1855-6* (New York: John A. Gray, 1855), front cover.
Third version, won by Kate Gillespie at the Cosmopolitan Art Association prize-draw, Sandusky, 1855
1856–58
Edward Weller, compiler and engraver, revised by John Dower, *Map of London* (London: G. W. Bacon & Co., 1868). Engraving. Map and Plan Collection Online.
First version, on view at John Grant’s home, London, 1856–58
1857
“View of the Merchants’ Exchange, Wall Street, New York City,” *Gleason’s Pictorial*, December 11, 1852, 369. Wood engraving. Art and Picture Collection, New York Public Library, New York.
Third version, exhibited and auctioned at the Merchants’ Exchange, New York, 1857
1857
“Sale of Powers’ Greek Slave,” *New York Daily Times*, June 24, 1857, 8.
Third version, acquired by the Cosmopolitan Art Association, New York, 1857
1857
Interior view of the Art Treasures Exhibition, Manchester, 1857. Photograph. Manchester Archives, Manchester.
Fourth version, exhibited at the Art Treasures Exhibition, Manchester, 1857
1857–58
R. Thew (engraver), “The Greek Slave,” *Cosmopolitan Art Journal* 2, December 1, 1857, n.p. (after page 40). Engraving.
Third version, exhibited at the Düsseldorf Gallery, New York, 1857–58
After 1857
“Whitley Court,” F. O. Morris, *The County Seats of the Noblemen and Gentlemen of Great Britain and Ireland* (London: Longmans, Green & Co., 1880), 1: n.p. (plate between 84–85).
Fourth version, presumed at Witley Court, Great Witley, after 1857
1858
“South Kensington Museum: The Sculpture Hall,” *The Queen’s London: A Pictorial and Descriptive Record* (London: Cassell & Co., 1896), 171.
First version, exhibited at the South Kensington Museum, London, 1858
1858
R. Thew (engraver), “The Greek Slave,” *Cosmopolitan Art Journal* 2, December 1, 1857, n.p. (after page 40). Engraving.
Third version, won by A. E. Coleman in the Cosmopolitan Art Association prize-draw, New York, 1858
1859
Matthew Brady, *A. T. Stewart*, 1856. Photograph. Getty Images.
Third version, acquired by A. T. Stewart, New York, 1859
1859
Francis Grant, *His Grace the Duke of Cleveland*, before 1850. Pastel. Location unknown (sold at Christie’s, London, sale 10504, December 10, 2014, lot 23.)
First version, acquired by Henry Vane at auction, London, 1859
From 1859
Barons’ Hall, Alistair Rowan, “Raby Castle, Co. Durham–V: The Seat of Lord Barnard,” *Country Life*, January 22, 1970, 189.
First version, on view at Raby Castle, Staindrop, from 1859
Likely 1865
Hiram Powers, second pointing model of *The Greek Slave*, after 1843, likely 1865. Plaster with metal pins and metal shackles. Smithsonian American Art Museum, Washington, DC.
Second plaster model, completed in Florence, after 1843, likely 1865
1866
Hiram Powers, *The Greek Slave*, 1866. Marble. Brooklyn Museum, Brooklyn.
Sixth version, completed in Florence, 1866
1869
“Hon. E. W. Stoughton of N.Y.,” between 1865 and 1880. Photograph, glass, wet collodion. Library of Congress, Washington, DC.
Sixth version, acquired in Italy by Edwin W. Stoughton, 1869
1869–86
Adolph Witteman, “A. T. Stewart Mansion”, New York, 1882. Photograph. Museum of the City of New York, New York.
Third version, on view at A.T. Stewart’s home, New York, 1869–86
1870
“The Stoughton Drawing Room, 93 Fifth Avenue,” Ethel F. Fisk, ed., *The Letters of John Fiske* (New York: The Macmillan Company, 1940), 535.
Sixth version, moved to the home of Edwin W. Stoughton, New York, 1870
1870
“The Demidoff Gallery of Art,” *Art Journal*, April 1870, 114.
Fifth version, acquired by Edward H. Scott at auction, Paris, 1870
1870
Maurice Stadtfeld (photographer), view of the National Academy of Design, P. B. Wright, *The National Academy of Design. Photographs of the New Building* (New York: S. P. Avery, 1866), plate 1.
Sixth version, exhibited at the National Academy of Design, New York, 1870
1873
*The Greek Slave* in the Octagon Room of the Corcoran Gallery, ca. 1877. Photograph. Renwick Gallery, Washington, DC.
Second version, gifted to the Corcoran Gallery of Art, Washington, DC, 1873
Ca. 1883–84
“Modern Sculpture Room,” Arthur Hoeber, *The Treasures of the Metropolitan Museum of Art of New York* (New York: R. H. Russell, 1889), 18.
Sixth version, exhibited at the Metropolitan Museum of Art, ca. 1883–84
After 1884
“Personalities,” *Independent Journal*, February 14, 1884, 10.
Sixth version, acquired by John F. Bound, after 1884
1887
The picture gallery at the Stewart mansion, G. W. Sheldon, *Artistic Houses* (New York: D. Appleton, 1884).
Third version, offered at auction, New York, 1887
1890
“A. T. Stewart Mansion,” *Los Angeles Times*, September 11, 1890, 5.
Third version, acquired by Henry Hilton, New York, 1890
Ca. 1893–99
Museum of Fine Arts, Boston, at Copley Square, ca. 1876-95. Albumen print. Boston Public Library, Boston.
Sixth version, exhibited at the Museum of Fine Arts, Boston, ca. 1893–99
1900
“Close of the Hilton Sale,” *New York Tribune*, February 17, 1900, 7.
Third version, offered at auction, New York, 1900
1913
“Joseph Raphael Delamar,” Edwin C. Hill, ed., *The Historical Register; A Record of People, Places and Events in American History* (New York: Edwin C. Hill, 1920), n.p. (after page 34).
Third version, acquired by J.R. Delamar at auction, New York, 1913
1913
Wurts Bros., “233 Madison Avenue. National Democratic Club, formerly Delamar residence,” 1926. Photograph from cellulose nitrate negative. Museum of the City of New York, New York.
Third version, moved to J.R. Delamar’s home, New York, 1913
1919
“Art Treasures of J. R. De Lamar Will Be Sold at Auction,” *New York Tribune*, November 2, 1919, 15.
Third version, exhibited and auctioned at J. R. Delamar’s home, New York, 1919
1919
“Franklin J. Murphy,” T. F. Fitzgerald, *Manual of the Legislature of New Jersey* (Trenton, NJ: MacCrellish & Quigley, 1902), frontispiece.
Third version, acquired at auction by Franklin J. Murphy, New York, 1919
From ca. 1919
Kay C. Lenskjold, “Views: Brooklyn, Long Island, Staten Island. View 001: Brooklyn Institute of Arts & Sciences,” n.d. Lantern slide. Brooklyn Museum Archives, Lantern Slide Collection, Brooklyn.
Sixth version, exhibited at the Brooklyn Institute of Arts and Sciences, from ca. 1919
1926
Hiram Powers, *The Greek Slave*, 1847. Marble. Newark Museum, Newark, New Jersey. Courtesy of the Newark Museum.
Third version, gifted to the Newark Museum, Newark, 1926
Possibly 1930s
Acquisition record, Knoedler & Co., January 3, 1963. Yale University Art Gallery, New Haven.
Fifth version, acquired by Claude de Bernales, London, possibly 1930s
1955
Hiram Powers, *The Greek Slave*, 1866. Marble. Brooklyn Museum, Brooklyn.
Sixth version, gifted to the Brooklyn Museum, New York, 1955
Ca. 1961
Philip D. Carter, “After 100 Yrs. Statue Loses Shock Value,” *New York Herald Tribune*, October 15, 1961, 33.
Fifth version, acquired by Michael Harvard, London, ca. 1961
1962
Stuart Preston, “Oases in Desert: Museums Stage Special Summer Shows – Old Americana at Knoedler’s,” *New York Times*, July 15, 1962, 77.
Fifth version, exhibited at Knoedler, New York, 1962
1962
Hiram Powers, *The Greek Slave*, 1850. Marble. Yale University Art Gallery, New Haven.
Fifth version, acquired by Yale University Art Gallery, New Haven, 1962
1968
Attributed to David Lees, plaster models in Hiram Powers’s studio, Florence, early 1950s. Photograph. Hiram Powers Papers, box 10, folder 65, frame 1, Archives of American Art, Smithsonian Institution.
Both plaster models acquired by the Smithsonian Institution, Washington, DC, 1968
2015
*The Greek Slave* on display at the National Gallery of Art, Washington, DC, in 2015. Molly Riley/Associated Press.
Second version, acquired by the National Gallery of Art, Washington, DC, 2015