Conestoga Creek and Lancaster

Jacob Eichholtz (1776–1842): A Pennsylvania Portraitist’s Quiet Triumph

Jacob Eichholtz (1776-1842) inhabited several worlds, or so his letter to fellow artist and historian of early American art, William Dunlap would suggest. Trained as an artisan, he successfully entered the world of fine art (Fig. 1). Born and raised in the small town of Lancaster, Pennsylvania, he was most at home in cosmopolitan Philadelphia. His is an American story and his success at navigating a path through his rapidly changing worlds brings America’s past into sharper relief.

• Early Life and Craftsmanship
• The Influence of Thomas Sully and Benjamin Latrobe
• A Flourishing Portrait Career
• Family Life and Legacy
• Recognition and Remembrance

Early Life and Craftsmanship

Jacob Eichholtz was born in Lancaster, Pennsylvania, to Leonard and Catharine Eichholtz, who owned and ran the Bull’s Head Tavern on East King Street in Lancaster; his father took part in the American Revolutionary War. At age 11, Jacob with his brothers attended the English school at Franklin College where he learned the three Rs — reading, 'riting and 'rithmetic. He also took lessons from a sign painter since his parents noticed his inclination to draw, but eventually he was apprenticed as a coppersmith. After his apprenticeship ended, he started as a tinsmith working with sheet iron. By 1805, Eichholtz opened his own shop in Lancaster where he, “mended sugar boxes, tinned copper kettles, and made coffee pots, wash basins, lanterns, stills, and funnels.” Eichholtz’s father’s involvement in the war instilled a sense of civic duty and shaped his worldview. His family's prosperity provided him with opportunities for education and advancement—a rare circumstance in rural Pennsylvania at the time.

The Influence of Thomas Sully and Benjamin Latrobe

A pivotal moment in Eichholtz’s artistic journey occurred when artist James Peale visited Lancaster and became acquainted with Eichholtz, who commissioned Peale his portrait. Shortly thereafter, Thomas Sully befriended Eichholtz when he was visiting Lancaster on business and accepted his invitation to work in his painting room. Sully took Eichholtz under his wing, giving him painting supplies and offering advice. Sully wrote that he was surprised and gratified to see how much Eichholtz’s painting skills improved, and that, “eichholtz would have made a first-rate painter had he begun early in life with the usual advantages.” Latrobe's architectural designs further broadened Eichholtz’s horizons and exposed him to innovative artistic ideas. These connections fostered collaboration and propelled Eichholtz’s artistic development.

A Flourishing Portrait Career

By 1808, Eichholtz advertised that he “executes portraits and profile paintings” in the Lancaster's Intelligencer and Weekly Advertiser. He painted mainly in Pennsylvania, Delaware, and Maryland, and exhibited at the Pennsylvania Academy of the Fine Arts. During the winter of 1811-1812, Eichholtz traveled to Boston where he spent several weeks at the studio of Gilbert Stuart copying his works under Stuart’s supervision. Stuart encouraged Eichholtz to continue painting. Eichholtz's prolific output—over 800 portraits—established him as one of Pennsylvania’s most celebrated artists and cemented his place in American art history.

Family Life and Legacy

Jacob married Catharine Hatz Michael (1770-1817), a young widow with two children; they had four children of their own, caroline, catharine maria, rubens mayer, and margaret amelia. He later married catharine trissler of lancaster, and they had nine children, edward, anna maria, elizabeth susanna, benjamin west, angelica kauffman, rebecca, henry, robert lindsay, and lavallyn barry. Eichholtz’s dedication to his family—a cornerstone of Lancaster society—provided him with stability and inspiration. His legacy extends beyond his artistic achievements; he embodied the values of hard work, perseverance, and familial devotion.

Recognition and Remembrance

Eichholtz's portraits are housed in major museums across the United States, including the Smithsonian American Art Museum and the National Gallery of Art. Historians have lauded his skill and sensitivity—particularly his depictions of prominent figures like Henry Clay and James Buchanan—as exemplars of Romantic Victorian portraiture. Recent efforts to restore his gravestone and erect a commemorative plaque underscore the enduring fascination with this quiet Pennsylvania artist whose work continues to resonate with audiences today.