The inscription on the reverse indicates that this is a self-portrait. It does appear to be a self, portrait to judge from the similarity of the likeness to the portrait of the artist by CHARLES LORING ELLIOTT, C. 1845, in the collection of the National Academy of Design. Its strong lighting and somewhat photographic quality are characteristic of a new degree of realism that was transforming Spencer's formerly romantic manner at this point in his career and was to dominate his future work, as indeed it would that of Elliott's. On the other hand, Spencer's portrait of himself is more flattering than his likeness by Elliott.
The self-portrait's hard, direct gaze is encountered in numerous other portraits by Spencer. Spencer's wife, who remained in New York City rather than move with her husband to upstate New York in 1858, later charged him with insanity. His letters do not appear to support this charge.
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