In the Stoddard portraits, Phillips accurately depicted details of clothing and personal features.  The viewer can clearly see the trim on Patience’s brown dress, the pattern in her lace sleeves and the oiled ringlets of her hair.  Stoddard’s collar and cravat are portrayed in detail, as are the brass buttons on his coat.  This realism extends to the folio of Washington’s Farewell Address, where Phillips transcribed the text exactly as it was published.

The Stoddard portraits feature the almond-shaped eyes, full mouths and heavy outlining that continued to appear in Phillips’s portraits during the Border years.  The palette and background remain dark as in the portraits of 1811, but both would gradually become lighter in the portraits Phillips painted over the next few years.

It is possible that Phillips painted the portrait of another Hudson resident either shortly before or after he executed the portraits of the Stoddards. The records of the Abby Aldrich Rockefeller Folk Art Collection include a photograph of a portrait of a lady attributed to Phillips and dated c.1812.  The subject is identified simply as “Mrs. Jenkins.” While not known for certain, the lady may have been a member of the Jenkins family of Hudson.  Phillips frequently painted portraits of members of prominent families in the areas where he settled.  The Jenkins family was tremendously influential and powerful from the city’s founding in 1783 until the early nineteenth century.  Considering the date of the portrait and Phillips’s presence in Hudson about the same time, the lady described as Mrs. Jenkins may indeed have been a member of the Jenkins family of Hudson .