Unusual Artifacts: George Washington’s Teeth

George Washington's Lower Dentures
The National Museum of Dentistry, Baltimore

The first United States president was plagued by dental problems. By the time he was twenty-two, he had already lost his first adult tooth. Washington’s early tooth-lose owes much to the lack of antibiotics. During his early life, he was troubled by many common illnesses of the time—the treatments for which tended to deteriorate the integrity of a person’s teeth. When he was elected president, Washington only had one tooth in his head.


Washington wore dentures and had several sets made through the years. His favorite dentist was John Greenwood. However, contrary to popular belief, none of his dentures were made of wood. George’s teeth were constructs of gold, ivory, human bone, animal bones and teeth and teeth extracted from cadavers. I think, perhaps, wood might have been more pleasant.

The first president always had problems with his dentures. They broke frequently and he’d have to send them through the mail to Greenwood for repair. Ultimately, he began repairing them himself, having requested the proper tools to do so. He didn’t do a very good job of it. His short speeches and famous brevity were due more to oral pain than succinctness.

The National Museum of Dentistry in Baltimore—an affiliate of the Smithsonian Institute—houses several sets of Washington’s teeth and explains how the differences in his dentures changed the look of his face. We can see these changes throughout the various portraits painted of Washington. In some, he even stuffed his mouth with cotton during the sittings so that he would appear healthier.

So, no, his teeth weren’t wooden, but the fact that so many sets of the first president’s teeth remain, is, by itself, quite unusual.

Painting of the Day: “The Washington Family,” by Edward Savage 1789-1796

The Washington Family
Edward Savage, 1789-96
Andrew W. Mellon Collection
The National Gallery of Art, U.S.

American painter Edward Savage was known for his historical paintings and, sadly, the fact that his ambition outshone his talents. His paintings are often stiff and anatomically awkward due to his lack of formal training and natural artistic instincts. He did, however, manage to secure several well-known sitters, most notably George Washington and his family.

Washington, his wife Martha, and her children from her first marriage (she was widowed) sat for Savage in 1789-90 so that he could produce a series of sketches of the group. In 1790, Savage traveled to London where he sketched and was meant to study. He spent most of his time in England drawing and making a name for himself as a collector of art. Savage’s greatest achievement perhaps, is that of a curator more so than an artist. When he returned to New York, he opened the Columbian Gallery and is considered one of the first American museum proprietors.

In 1794, Savage began the actual painting of this nine-foot wide portrait of the Washington Family—four years after the initial sketches. Ever the master showman, he advertised this fact quite broadly and invited visitors (for a fee) to see a “life-sized” image of the first “first family.” In fact, Savage became quite wealthy from this painting—not only from the many engravings that he sold of the finished work, but by charging people to see it.

The portrait is meant to be set at Mount Vernon. However, Savage had never seen Mount Vernon and had no idea what it looked like. The background shows marble columns and a liveried footman in the English manner that Savage had learned to copy while abroad. The composition is rigid, flat and awkward, showing the artist’s lack of skill. He relied heavily on his assistants to do much of his painting for him.

Savage was quite pleased with himself for the “symbolism” of this work. He fancied that he had imbued the figure of Washington with a sense of military and presidential dignity by costuming him in his uniform and putting papers in his hand. Martha Custis Washington holds a map of the unfinished District of Columbia—pointing with her fan to what is now Pennsylvania Avenue.

It’s a curious painting indeed, but an important one as it is, as Savage would have been the first to tell you, one of the few looks we’ll ever get at the entire assembled Washington family.

Painting of the Day: “The Washington Family,” by Edward Savage 1789-1796

The Washington Family
Edward Savage, 1789-96
Andrew W. Mellon Collection
The National Gallery of Art, U.S.

American painter Edward Savage was known for his historical paintings and, sadly, the fact that his ambition outshone his talents. His paintings are often stiff and anatomically awkward due to his lack of formal training and natural artistic instincts. He did, however, manage to secure several well-known sitters, most notably George Washington and his family.

Washington, his wife Martha, and her children from her first marriage (she was widowed) sat for Savage in 1789-90 so that he could produce a series of sketches of the group. In 1790, Savage traveled to London where he sketched and was meant to study. He spent most of his time in England drawing and making a name for himself as a collector of art. Savage’s greatest achievement perhaps, is that of a curator more so than an artist. When he returned to New York, he opened the Columbian Gallery and is considered one of the first American museum proprietors.

In 1794, Savage began the actual painting of this nine-foot wide portrait of the Washington Family—four years after the initial sketches. Ever the master showman, he advertised this fact quite broadly and invited visitors (for a fee) to see a “life-sized” image of the first “first family.” In fact, Savage became quite wealthy from this painting—not only from the many engravings that he sold of the finished work, but by charging people to see it.

The portrait is meant to be set at Mount Vernon. However, Savage had never seen Mount Vernon and had no idea what it looked like. The background shows marble columns and a liveried footman in the English manner that Savage had learned to copy while abroad. The composition is rigid, flat and awkward, showing the artist’s lack of skill. He relied heavily on his assistants to do much of his painting for him.

Savage was quite pleased with himself for the “symbolism” of this work. He fancied that he had imbued the figure of Washington with a sense of military and presidential dignity by costuming him in his uniform and putting papers in his hand. Martha Custis Washington holds a map of the unfinished District of Columbia—pointing with her fan to what is now Pennsylvania Avenue.

It’s a curious painting indeed, but an important one as it is, as Savage would have been the first to tell you, one of the few looks we’ll ever get at the entire assembled Washington family.