A $59 Antique Mall Find May Be a Lost Painting by a Member of Eakins’ Inner Circle

I uncovered what appears to be an intimate portrait of Thomas Eakins’ mother-in-law — painted by someone who knew her well.

In late March 2025, I stopped into a local antique mall near my studio — the kind of place where forgotten furniture and dusty items tend to gather. Amid the clutter, a quiet portrait stood out. It was poorly framed and awkwardly “updated” with a thick, white acrylic border painted directly onto the canvas. The tag read “$59 Firm.”

I brought it back to my studio that afternoon.

After carefully peeling off the remnants of brittle craft paper from the back, I inspected the canvas. The painting had never been varnished, and while the surface was dirty, the pigments beneath remained largely intact. Under backlighting, a few pinholes emerged — wear consistent with age but not neglect. I began the slow, deliberate process of cleaning it, using conservation-grade solvents, oversized cotton swabs, and the best information I could gather.

With each pass, the sitter came into focus: an older woman, rendered in a realist hand with subtle impressionist touches. There was a quiet familiarity in her gaze. This was not a society commission or academic exercise — it felt intimate, even familial. I couldn’t shake the feeling that the artist had known her well.

As I began researching possible artists and time periods, I used every tool available to me — digital archives, photographic databases, and even image assessment through AI. After extensive searching in online museum collections, one image stopped me: a period photograph of Mrs. William H. Macdowell, the mother-in-law of American realist painter Thomas Eakins. The resemblance between the photo and painting was striking — not only in bone structure and pose, but in the nuanced marks of age: moles in particular.

I'm confident I've found my sitter.

Side-by-side comparison of Mrs. William H. Macdowell and the painting in question

Although Thomas Eakins painted several portraits of his father-in-law, William H. Macdowell, no known painted portrait of his mother-in-law by his hand is known to exist. In contrast, there are multiple portraits of Mrs. William H. Macdowell created by her daughters, Susan Macdowell Eakins and Elizabeth Macdowell. Susan painted at least one posthumous portrait based on an old photograph, while Elizabeth produced several during their mother's lifetime. Both sisters were accomplished painters who studied under Thomas Eakins — and both had the access and personal connection to portray their mother. The painting in my possession bears hallmarks of trained precision softened by personal affection.

Susan Macdowell Eakins

It is said Susan Eakins largely gave up painting during her marriage, returning to the studio after her husband’s death. But this painting doesn't seem to have been painted after Thomas' death in 1916. Susan's mother died in 1902. While the proposed sitter—Mrs. William H. Macdowell—was photographed several times in her mid-to-later years, she was typically dressed elegantly and rarely looked directly at the camera. In contrast, the painting portrays a woman in modest clothing, gazing straight at the artist, as if in a relaxed, familiar setting. If the attribution holds true, this work would be one of the few known paintings Susan completed after marriage and while Thomas Eakins was still alive; between 1890 and 1902.

No definitive provenance. No labels. Just the painting, its quiet power, and an increasingly convincing body of circumstantial evidence. I’ve reached out to museum curators and art historians and will continue to gather insight.

Side-by-side comparison of one of Susan Eakins' known paintings next to the painting in question. Note the similarities in brushwork, background, and even accents of burnt umber paint.

If confirmed, this would be a rediscovered work by a member of one of America’s most fascinating artistic families — and one of only a handful of known painted portraits of Mrs. Macdowell.

As with my earlier investigation into Frank Duveneck’s Yacht Harbor, which had gone missing from public view for decades, this is a reminder that important works still vanish — sometimes into closets, basements, or antique store walls. And sometimes, they’re waiting to be found again.