1 American Miniature Portraits

Unknown - portrait of Mrs Letitia Austin Amory

2011-07-28T20:37:00.000-07:00

Confusingly, this miniature portrait appears to have been cut down to fit the frame, even though the frame is a large one.

The sight size of the miniature being 80mm x 65mm. It may well have been cut down after it was painted from an original rectangular shape to fit the oval case.

The case is definitely American, probably from around 1825-1830, with a chased border, a beaded bezel and hair under glass inside a beaded bezel on the reverse.

The cutting down makes it harder to attribute an artist, even though the portrait is signed.

The concept of cutting down helps to explain the partial signature, as at the right there is a partial signature which is hard to read.

Originally, it was thought to be by Anna Claypoole Peale, but a kind visitor feels this attribution is less likely to be correct. The alternative interpretation is that the signature commences "Mme A .....", for a French artist. This interpretation is supported by the dark grey background which is more usual for French trained artists and was not used by Anna Claypoole Peale.

However, no suitable name for such an artist has been found to date.

Much later: I have been contacted by a kind visitor with an apparently identical portrait, although with not such fine detail as appears above. The visitor is unable to tell whether it is on ivory or paper, but the lesser detail as appearing below, and the much later type of frame, makes me think it is on paper and is a copy of this miniature on ivory as showing here as unframed.

The visitor also advises; "Further research showed that this portrait was of Letitia Austin who married Mr Jonathan Amory. More details I can give later. but I have a portrait of her as an old woman as well and you can see it's the same woman".

This information has enabled the location of her marriage. It was on 7 November 1826, when Letitia Austin (18 Aug 1809-1875) who most records show was born at Demerara, believed to be in British Guiana. She was known as "Lily C", and married Jonathan Amory (5 Nov 1802-1885) at Boston, Massachusetts. Jonathan's parents were Jonathan Amory and Mehetable Sullivan, known as "Hattie". Jonathan and Letitia had a son, Col. Thomas Isaac Coffin Amory who was born on 27 Nov 1828 in Boston. It appears that Letitia's family had previously come from Barbados. It also seems appropriate to believe that the cut-down name on the front of the portrait is likely "Mrs Amory".

The commission house of "Thomas C. Amory & Co." was among the first in Boston, with Jonathan Amory senior being a grandson of the founder. He was born in 1770, graduated at Harvard College 1787, entered the counting house of his uncle J & J Amory, and engaged in business with James Cutler. He married Ruth Wier, whose family then resided on the spot where the Belcher house, in which he was born, had stood previously to the great fire She died in 1795, and is buried in the southeast corner of the Boylston street Burying Ground, where stands the square marble monument of her family. After her death Mr Amory married Mrs Cutler, the widow of his partner, and the daughter of Governor James Sullivan. His brother Thomas C Amory took him into partnership, and he accumulated property. He resided from 1811 to 1828, when he died, at No 7 Park street, where now stands the house of the late Abbott Lawrence. Mrs Amory died in 1847. Their children were Jonathan Amory, James S Amory, and Thomas C Amory Jr, Mrs Samuel Meredith, and three other daughters.

The son of Jonathan and Letitia Amory, Thomas Isaac Coffin Amory (1828-1864), was born and raised in Jamaica Plain, Massachusetts. He was appointed a cadet at West Point by former president of the United States John Quincy Adams, and graduated in 1851 from the United States Military Academy. In 1853 he was married to Mary B. Nolan. Amory was made a Captain in the 7th United States Regular Infantry at the start of the Civil War. He was subsequently promoted to Major of the 8th United States Regular Infantry before being commissioned in the Volunteer service as Colonel and commander of the 17th Massachusetts Volunteer Infantry. He was then appointed as Commissary of Musters for the XVIII Corps serving in the Department of North Carolina. He was serving on active duty in Beaufort, North Carolina when he died in October 1864. Amory was brevetted Brigadier General, US Volunteers on October 1, 1864 for "gallant and meritorious services during the war.

There appear to have been other children, including;
AMORY, Charles Bean, of Boston, treasurer of the Hamilton Manufacturing Company, Lowell, was born in New York, July 30, 1841, son of Jonathan and Letitia (Austin) Amory. His paternal grandparents were Jonathan Amory of Boston and Hetty ... 429b

Later still; it has been pointed out to me that Jonathan and Letitia had many children;
Jonathan Amory (Mehetable Sullivan, James, John Owen (Eoghan)) was born on 5 Nov 1802 in Boston, Suffolk County, Massachusetts. He died on 1 Sep 1885 in Newport, Newport Co., Rhode Island. Jonathan married Letitia or Laetitia Austin daughter of Dr. John Austin and Mary Parkinson or Redding on 7 Nov 1826. Letitia was born on 18 Aug 1809 in Demerera. She died in Jamaica Plain, Mass. They had the following children:
Jonathan Austin Amory was born in 1827 in Boston, Suffolk, Massachusetts. He died in 1861/1875.
Colonel Thomas Isaac Coffin Amory was born on 27 Nov 1828. He died in Oct 1864.
Letitia S. Amory was born in 1830. She died in 1912.
George Washington Amory was born in 1832.
Mary F. Amory was born in 1833. She died in 1896.
Elizabeth Amory was born in 1835.
Harriet Amory was born in 1837.
William Appleton Amory was born in 1839.
Charles B. Amory was born on 30 Jul 1841.
Robert Gordon Amory was born on 12 Apr 1847 in Roxbury, Suffolk, Massachusetts. Robert married Annie J. Colby, in 1874. Annie was born in 1844.
Philip Drimaresq Amory was born in 1848. He died in 1849.

Hence it is probable that there are now many descendants of Letitia.

Ramage, John - portrait of Garrit Van Horne

2007-12-18T20:11:00.002-08:00

This miniature is a rare portrait painted by John Ramage (1748-1802) and was acquired recently at a combined live and Internet auction conducted by a large auction house. The miniature is engraved on the reverse; "Garrit Van Horne - Married to - Ann Margaret Clarkson - 16 Novr 1784".

It is also very interesting, as it seems to be a "lost original", which has now been rediscovered.

The auction house had described it as; "A hand-painted portrait miniature brooch/pendant, the oval portrait depicting a fashionable gentleman within borders of beads and half pearls, inscribed to reverse and dated 1784. Length 4.5cm." Thus it was unattributed by them.

However, it looked like a Ramage and before the auction I found an apparently identical miniature in the Manney collection, which is discussed further below.

Needless to say to anyone who has ever bid at an auction, the time; before the auction worrying who else might see it, during the auction worrying how high they might bid, and then during transit worrying about a safe arrival, which itself was much delayed by the Christmas rush, was very stressful.

Fortunately, there was no significant bidding competition for the Van Horne miniature and it was purchased just above a modest high estimate, such as one might expect for an unattributed miniature. Subsequent to the auction, I am very grateful for the expert opinion which has endorsed my tentative view that this miniature was painted by John Ramage.

John Ramage was born in Ireland, but in about 1772 settled in Halifax, Nova Scotia. By 1775 he had moved to Boston. In 1776 he went to New York and quickly became that city's leading miniature painter, a position he held for around ten years. In 1794 he moved to Montreal and died there in 1802.

The number of miniatures painted by Ramage is unknown, but there are quite a number. In his 1921 book "Early American Portrait Painters in Miniature", Theodore Bolton lists twenty, all with named sitters. The sitters in the list included George Washington, as well as Elbridge Gerry discussed further below.

The Washington portrait by Ramage was sold by Christie's for $1,200,000, a record for any miniature portrait. This also made it the most valuable painting in the world of any kind, on a per square inch basis!

The comparison is a little nebulous, but www.askart.com has calculated the Ramage at $382,000 per square inch, compared to the next most expensive American artist, Andy Warhol at $88,000 per square inch.

In the Manney Collection book authored by Dale Johnson, fig 187 and as shown here in black and white, is a miniature attributed to John Ramage, with the same sitter and with an almost identical inscription on the reverse. The only difference being "Novr" in this newly found Van Horne miniature by Ramage, whereas for fig 187 the word November is apparently abbreviated as "Nov". (The Manney collection has since been acquired by the Metropolitan Museum of Art in New York and so fig 187 is now permanently part of the Metropolitan collection.)

As can be seen the frame of this Van Horne miniature is similar to fig 187 with gold beading, although fig 187 does not have a pearl border. The Van Horne miniature is also similar, including having a pearl border, to fig 185 in the Manney collection, although it is even a little more ornate than fig 185.

John Ramage was trained as a goldsmith and did often make his own frames.

The Van Horne frame does not look typically American, but there is an explanation for this, as John Ramage did also import specialist frames from Britain.

Two references which support this are firstly, a reference in the 1930 book "A Sketch of the Life of John Ramage Miniature Painter" by John Hill Morgan.

On page 12 it reads; "But that he did not always make the cases themselves would appear from an advertisement in the Royal Gazette of October 18th and November 15th, 1780, which read as follows: "J Ramage, Miniature Painter, Chapel Street, No. 17, begs leave to acquaint his friends he has received by the last vessels from England, a large assortment of Ivory Chrystals and Cases, with every other thing necessary in his branch of business".

A second and similar reference is quoted by Elle Shushan; "Ramage also imported cases from England, advertising at the height of his fame in 1784, that he had "received from London…the greatest variety of settings for pictures that ever appeared in America…set round with pearl, paist [sic] and garnet… directly from the manufacturers,…will dispose of them at 25 per cent less than any of the articles can be sold for in this City."" See Antiques & Fine Art - Articles - The Art of High Living: Miniature Goldwork

Given the inscribed date of November 1784 on the reverse of the Van Horne miniature, the case must have been part of the 1784 shipment received by Ramage. The year 1784 held significance for Ramage, as his wife Elizabeth died during the year.

One interesting aspect is that the sight size of the Van Horne miniature is 31mm x 26mm. Johnson infers that Ramage's small miniatures relate to his Irish period, which was prior to 1772. However, the similarity of this case to other cases from the 1780's, the 1784 date of the inscription, and the apparent age of Van Horne, given his birth in 1760, indicates that Ramage was purchasing smaller casework and painting smaller images as late as 1784.

This one has a brooch fitting on the rear, which looks to be very old, but is unlikely to be original, as at this time miniatures were made to be worn as bracelets or pendants.

Miniatures by John Ramage rarely come come onto the market. Sometimes miniatures are attributed to him at auction, but they can be wrongly attributed, as there is often confusion between the work of John Ramage and William Verstille. However, Ramage was the much better artist.

In 1999 Skinners of Boston sold a miniature of Mary McCall Cadwalader by John Ramage, but the auction price is unknown. That sitter was closely related to sitters in two Cadwalader miniatures by John Henry Brown in this collection, see View and View where there is also a description of the Ramage Cadwalader miniature.

One miniature showing here in front and rear view, of Elbridge Gerry by Ramage was sold by Elle Shushan in Feb 2001 for $35,000, see Antiques and the Arts Online - As A Barometer For Antiques ... It is now part of the Yale University collection.

Elbridge Gerry (1744-1814) was a signer of the Declaration of Independence. His name gave rise to the term "gerrymander", and this was made famous in a cartoon by Elkanah Tisdale, which can be viewed in this collection, see View

Probably as a result of his ageing, the Gerry miniature sold in 2001 is quite a different image to the miniature of Elbridge Gerry by John Ramage illustrated in Plate XIII of Harry Wehle's 1927 book "American Miniatures".

At that time the two miniatures of Elbridge Gerry and that of his wife as shown here, were both owned by Mr Elbridge T Gerry of NYC.

The miniature of Mrs Elbridge Gerry by John Ramage can also be seen facing page 64 of the 1902 book "Social Life in the Early Republic" by Anne Hollingsworth Wharton, where there is a contemporary quote; "Few bachelors can have been more fortunate in marriage than Mr Gerry. I should have imagined her not more than seventeen and believe he must have turned fifty." (At 21 Ann Thompson was exactly half his age when they married in 1786.)

Another sale of a genuine Ramage was this c1790 miniature of Nicholas Gilman (1755-1814) which was sold by Sotheby's as lot 865 on January 18, 2003 for $42,000. This was double the pre sale estimate.

It is not often a single miniature appears on the auction market twice in a few years, but this Ramage miniature of Gilman was previously sold in 1995, as per this quote which refers also to the 2003 sale; "The miniature of Nicholas Gilman (1755-1814) painted by John Ramage circa 1790 that sold for $16,100 at the Mr. and Mrs. Eddy Nicholson sale at Christie's in 1995, sold for $42,000 to the Winterthur Museum." see Rubin Sale at Sotheby's: Good Taste Pays Off : Maine Antique ...

In 1995 the estimate for the Gilman had been $4000/6000 and it sold for a hammer price of $14,000 ($16,100 including commission). Thus there was a significant increase in value over the eight years from the Jan 1995 estimate, to the 2003 sale price. The sale value of both the Gerry and Gilman miniatures was probably assisted by the intervening sale of the Washington miniature by Ramage.

Although, I have not checked, it seems likely that this Nicholas Gilman is related to the Nathaniel Gilman, depicted in a later miniature portrait in this collection, see View

Contrasting auction records show a wide range of prices. It is interesting to look at the portraits and wonder if they were by Ramage and if so, why the prices are so variable.

Three are shown here. The man in the red coat was offered by Fairfield Auctions on May 20, 2007 as lot 172 and described as " attributed to John Ramage portrait miniature of military officer - 40mm x 30mm - 18th century". It sold for $1300. I do not believe this was by Ramage.

The lady was offered by Stair Galleries on Feb 21, 2004 as Lot 271: "Oval portrait miniature of a lady, attributed to John Ramage. The 3/4 view of a lady with brown curls & lilac dress, gold frame with drapery swag border. 1 7/8 x 1 1/2 in." The estimate was $200/400 and it sold for $10,000. Bidders at the auction, obviously thought this was a genuine Ramage, but look at the original auction estimate!

The man in the blue coat was offered by Stair Galleries at the same sale as Lot #273: "Oval portrait miniature of an officer, attributed to John Ramage. In a gold case with applied loop sides. 1 1/2 x 1 1/4 in." The estimate was $300/500 and it sold for $3,000. Thus it appears buyers doubted this was a genuine Ramage, but again look at the original auction estimate. However, it is possible it is a genuine Ramage, but from his Irish period and the low price reflected this, whereas identified miniatures from his American period tend to attract a substantial premium.

In contrast, the oval miniature of a lady shown here was offered at auction by Freemans on Nov 17, 2007 as lot 2211 - a miniature portrait of Mary Wool, attributed to John Ramage and with an estimate of $10,000/15,000.

However, buyers doubted the attribution and at the auction it sold for a hammer price of $4500. The miniature is probably by William Verstille and the auction price is commensurate with Verstille as the artist.

Although their work is similar and they are often in similar scalloped frames, Ramage was a much better artist than Verstille.

I think the main conclusion to be drawn from the wide range of attributions and prices, is one of a confused and less mature market in America. This comment warrants further explanation.

In Europe there is a mature market. For example in Britain there are three major competing auction houses, each drawing miniature portraits from a wide network of their own branch offices together in one central place. They then have dedicated and well researched sales, based upon an excellent database of previous auction records. Between them, there can be six or ten dedicated sales annually, with around 2,000 miniatures on offer per year, nearly all taking place in London. These auction houses have also developed a wide network of buyers. There are other auction houses in Britain which are not as well organised, but in general the British market can be regarded as sophisticated.

In contrast in America the major auction houses have only one or two branches. There are no countrywide branch networks. For items such as portrait miniatures, the only time they have more than three or four items for sale, is on a dispersal of a major collection. They cannot afford to have the dedicated miniature experts that the British auction houses have. Thus they are unable to research miniatures and do not have the vast research libraries of images and accurate databases of prices. The few miniatures which are offered at auction, appear in different major cities, so the market is even more fragmented. For those reasons, the wider American market can be described as less mature.

As a result, there are auctions like the two Stair Gallery lots mentioned above, where at least one of the two miniatures attributed to Ramage appears to be genuine, and perhaps both, but the pre-sale estimate can be politely described as "amateur" and the auction price was a little disappointing, compared to the Gilman Ramage sold by Sotheby's for $42,000.

At the other extreme was the dedicated catalogue produced by Christie's for the George Washington Ramage.

With the Washington and Gilman Ramages, it appears that Christie's and Sotheby's had the resources to research their auction offerings and then skilfully market them to appropriate buyers.

It also makes a substantial difference to auction prices when an auction house states "by John Ramage", rather than "attributed to John Ramage". Thus, for the maximum benefit of vendors, it is desirable for an auction house to seek expert endorsement prior to an auction.

Other examples of Ramage's work can be seen at; John Ramage. Alexander McDougall, ca. 1785, miniature on ivory and the Metropolitan Museum of Art.

Since I first wrote the comments above, a knowledgeable visitor has supplied some interesting comments about Ramage which have necessitated some revisions. The expert also provided the following interesting comment;

After seeing your miniature of the same sitter I can say that the Manney piece seems to be a copy of your piece but by Ramage. He frequently copied his own work. As to the Gerry price...it has nothing to do with the sale of the Ramage at Christies and has everything to do with the desirability of the sitter...a signer of the Declaration of Independence, as well as the growing scarcity of good images in American works."

"The George Washington had actually been sold in London about 10 years earlier for $660,000 to Alex Acevedo, who later sold it to Nicholson. Nicholson by the way was the underbidder in that sale and bought it from Alex at about cost, once Alex found out that there were no other interested parties at that time. Everyone who would have been interested had bid and dropped out long before. When it was sold a few years later the market had heated up for historical images and there was a lot of new money floating around."

"On a quality basis it seems way overpriced, considering that it isn't even unique. Ed Paine thought that Ramage may have done as many as twelve and we know of at least four, including one sold by Gary Cole in the 1970's and another in the Met from the 1920's (If I remember correctly) and another in a private collection from the 1950's."

"Almost all of the American miniatures from the 1770s thru the 1780s are in a small format (see all the early CW Peales and Dunkerleys, Verstille etc) so Ramage would be using this size although for the most part,it went out of favor in England. The Van Horne is in keeping with the style and 1770's date. Even later Ramage's work was never much larger. In addition, there is ample evidence from ads that almost all of the American jewelers and framers imported frames from England, at least through to c1800. I have had pieces that were painted in the early 19C that were in obviously English frames. The style of wearing a miniature as a brooch was a 19c thing and the pin backs were added then. I don't remember ever seeing an 18C piece with an original pin back. Even 1 1/2" pieces were worn as pendants if they weren't mounted in slide frames (that's the correct name for a bracelet mount). Smaller pieces were frequently mounted in rings and, at least on the continent, in necklaces. Of course, a lot were set into small shagreen or leather cases and many of these, as well as others whose cases may have been damaged, were reframed in the 19C."

"As to the miniature by Ramage sold by Stair Galleries for $10,000. You can't compare this with the Gilman piece...it's the sitter, not the quality that makes the difference. On the other hand the man in the blue coat sold for a very high price considering that it was a genuine Ramage, but from his Irish period and thus not as desirable."

Turning to the inscription, Garrit Van Horne (1760-22 Feb 1825)(more often referred to as Gerrit Van Horne, but also Garret Van Horne) was a wealthy New York merchant who on 16 November 1784, married Ann Margaret Clarkson (3 Feb 1761-2 Nov 1824), the sister of the Revolutionary War general, Matthew Clarkson (1758-1825).

Gerrit was the son of Gerrit Van Horne (1726-?) also a merchant, and Ann Reade (1726-?). (It was very hard to scan the reverse as the bar could not be moved out of the way, so apologies for the poor reverse image.)

The sitter is wearing a blue coat with a red collar, the same as in this unrelated miniature, which is probably a few years earlier. My knowledge is weak, especially when it comes to uniforms, but the similarity of the two miniatures, suggests an officer's uniform jacket. New York City remained a British possession until November 25, 1783, now referred to as Evacuation Day, see Evacuation Day (New York) - Wikipedia, the free encyclopedia

If it is a uniform, it may be for the militia, the artillery, or for the Continental Line infantry. For Van Horne to be wearing a uniform in 1784, appears to be an indication of his loyalty to the United States after Evacuation Day. As his brother-in-law, Matthew Clarkson was a Revolutionary General, it seems unlikely for the uniform to be British.

The year 1784 was a double celebration as Gerrit's sister Mary Van Horne married Ann Margaret Clarkson's brother, David M Clarkson (1760-1815). During 1785, being the year after their marriage, a mercantile house called Van Horne and Clarkson, was formed by the younger Gerrit Van Horne in conjunction with his brother-in-law (on two counts! - via his sister and via his wife), David M Clarkson.

Gerrit Van Horne and David Clarkson were in 1802, the original purchasers of the eastern four-fifths of the land now occupied by the town of Potsdam. References suggest the mercantile partnership was dissolved around 1809-1810. Gerrit Van Horne lived at 31 Broadway, New York for many years until his death in 1824. (I have not opened the miniature of Gerrit Van Horne, but it would be nice to think that there may be the title deeds to 31 Broadway, NYC inside it!!)

Gerrit Van Horne and Ann Margaret Clarkson had three or four (there are conflicting references) daughters; Mary Elizabeth Clarkson Van Horne (7 Aug 1787-?), Ann Margaret Clarkson Van Horne (7 Sep 1792-?), Mary Y Van Horne (29 Mar 1794-?) and Mary Johanna Van Horne (29 Nov 1799-15 Feb 1873). (It is possible that Mary Y and Mary Johanna are the same person, made to appear different by transcription errors.)

No marriage records have been located for the first three daughters, but the last named, Mary Johanna Van Horne, married Adam Norrie (13 Feb 1796-6 Jun 1882) of Montrose, Angus, Scotland, in New York on 15 May 1827 and they had five children. It is seems likely Mary Johanna Van Horne Norrie was the only daughter to have children and in trying to trace the provenance of this miniature, the Norrie name seems to be the most likely, through one of the two branches discussed below.

Adam Norrie was described by a contemporary; "when he arrived was not remarkable for his beauty, and has not grown more handsome since; but New York has never seen a more energetic or intelligent merchant." His trade goods included Madeira wine.

From his home in Scotland it appears Norrie had gone at an early age to Gottenburg in Sweden and nine years later came to America. There is a fulsome obituary of him at An Upright Life, by Henry Codman Potter (1883) where there is appear to be a reference to him being given the Freedom of the City of Montrose, a dignity also given to Richard Cobden.

In New York, Norrie became the Treasurer of St. Luke's Hospital from its establishment, and his absolute identification with its work continued from that hour until his death. He was also adviser to the St Johnland charity and senior warden for Grace Church.

Norrie appears to have first arrived in New York around 1820 and later made multiple trans-Atlantic crossings. On some of these occasions, such as in 1848, he was accompanied by his wife and four children when they returned on the Cunard liner "Britannia" which was the pioneer Cunarder to open up a trans-Atlantic service. It was a paddle-wheeler with three masts and 115 passenger cabins.

In the 1850 census Adam and Mary J Norrie are recorded living with five children; Margaret (1828-?), Gordon (6 Aug 1830-4 Aug 1909), Mary (1833-?), and Julia (1839-?), as well as four servants. Interestingly, in the household there is also a Margaret Van Horne aged 54, who gives her birthplace as Ireland. It is not clear how she was related to Mary Johanna Van Horne Norrie. To be an unmarried sister, would require her mother to have been in Ireland for her confinement.

Adam Norrie himself was a dry goods merchant in New York and in the 1870 census, disclosed assets of $38,000. In 1870 his wife Mary was still alive and his daughter Julia still lived at home.

The eldest daughter,Ann Margaret Norrie (1828-1906) had married George Louis Augustus Moke (1814-1875) and in the 1860 census they were living in New York with three children and five servants; George being a merchant and disclosing assets of $55,000.

From a newspaper reference in the New York Evening Post, it appears the whole family moved to England, but George Moke died in London on 17 Jan 1875, presumably shortly after they had relocated. In the 1881 census, Ann Margaret Moke, her one son George, then an Oxford undergraduate, five daughters, and eight servants were living at 49 Cromwell Road Court, Kensington, London. It would be interesting to speculate why the family moved to London and set up such a large establishment. Possibly to seek titled husbands for their daughters! For example, Julia married Sir John Paget, but it appears the other daughters did not marry titled husbands.

Ann Margret Noke's eldest son was named George Edward Moke (1 Mar 1858-11 Mar 1920). In the 1891 census, George Edward Moke was an unmarried barrister, but in JFM 1893 he married Beatrice Stephen (1874-1933) in Kensington, London. Their eldest son was born soon afterwards on 26 Sep 1893 and registered as Charles Willoughby Moke Norrie, later 1st Baron Norrie and referred to below. Beatrice appears to be the daughter of Andrew and Eleanor Stephen, a Scottish MD living in Kensington, London in the 1881 census. Beatrice had a younger brother Willoughby Stephen (1876-92) who died the year before her own marriage and so chose the name Willoughby for her son from that association.

Geroge Edward Moke seems to have given up the law, as he was later Major George Edward Moke Norrie, having changed his name, for reasons that are not clear, before Willoughby was born. In the 1901 census, Beatrice Norrie is living in Brighton at age 26 as the head of household, with her widowed mother Eleanor, her three children; Willoughby Norrie, Dorothy Norrie, George Norrie, and eight servants. Presumably her husband was away from home.

Meanwhile in the United States, in 1855 Gerrit's grandson, Gordon Norrie had applied for and was granted a US passport. He was described as 5' 10 1/2"" tall, with a high forehead, grey eyes and brown hair, amongst other characteristics.

Gordon Norrie and his wife Emily (Feb 1836-?) had several children including Alice (1863-?) and Kate (1867-?) who returned to New York from London with their widowed mother on 29 Aug 1890.

For the 1900 census, Gordon Norrie and his wife, Emily Frances Lanfear (Feb 1832-?), who had married in 1855, lived in New York with two other daughters, Sarah G (Mar 1867-?) and Emily F (May 1875-?) and five servants.

His city home was at 877 Fifth Avenue, NYC and he had a summer home at Pequot, New London CT where he died.

It is shown here and was owned by the Norrie family from 1883 until 1944. It is now a residential hall at Mitchell College, see The Council of Independent Colleges: Historic Campus Architecture ...

Gordon Norrie's obituary of November 1909 records that he was prominent in the financial and social life of New York for many years and had been Vice-President of St Luke's Hospital. He was survived by his two sons A Gordon Norrie and A Lanfear Norrie and three daughters; the Misses Mary, Sarah G, and Emily Norrie. His estate paid inheritance tax of $13,000.

In 1882 A Lanfear Norrie, started mining with an initial allowance of $10,000 per year from his father, and turned that into a major iron ore mine, the Norrie iorn ore mine in the Ogebic Range of Michigan, see History of the Great Lakes. Volume I He soon sold his interest in the mine to Carnegie Steel Co for over $1,000,000, a large sum prior to 1900.

Both A Gordon Norrie and A Lanfaer Norrie, and their wives were among the 300 guests at Mrs Astors annual ball on Jan 29, 1900, Mrs Lanfaer Norrie wearing a gown of rose-colored satin. see Mrs. Astor's Annual Ball: Three Hundred Guests Attended 1-29-1900

Mrs A Gordon Norrie (nee Morgan) was very involved in the women's suffrage movement, see Welcome to Hawk Mountain

More research is required on the descendants of Gerrit Van Horne, although it appears at least one of his Norrie grandchildren emigrated to Britain. Also, see RootsWeb's WorldConnect Project: Frederick Philipse Family Tree ... where it appears one of Gerrit Van Horne's great-great-grandsons, Sir Charles Willoughby Moke Norrie (26 Sep 1893-25 May 1977) was Governor-General of South Australia from 1944-1952 and then Governor-General of New Zealand from 1952-1957, after which he was elevated to the peerage as 1st Baron Norrie. See Wiki: Charles Norrie, 1st Baron Norrie and Norrie, Sir Charles Willoughby Moke [Baron Norrie] (1893 - 1977 ... His detailed military career and decorations, including GCMG, KCMG, GCVO, DSO, MC and Bar, is at British Army Officers 1939-1945 -- M 1293

Robertson, Walter - portrait of a lady "C V"

2007-11-24T20:43:00.000-08:00

This recently acquired miniature portrait of a lady with the initials "C V" has been attributed to Walter Robertson (c1750-1801) and is from his American period. He was born in Dublin, Ireland, the son of a goldsmith. He exhibited in Dublin for a number of years and was a leading miniaturist there.

Walter's brother Charles Robertson (1760-1821) was also a miniaturist in Dublin and London, and this collection includes a miniature which has been attributed to Charles, see Robertson, Charles - portrait of a man in a blue c... Their styles can be compared below.

Walter left for London in 1784, but had little success there before returning to Dublin and declaring bankruptcy in 1792. There Robertson became friendly with Gilbert Stuart and in 1793 they moved to New York where Robertson painted miniatures and reportedly also made copies of Stuart's large paintings.

The reason for the attributions of miniatures to Walter Robertson appears to be two one-line comments by William Dunlap (1766-1839) about Robertson making copies of portraits by Gilbert Stuart, one of which reads; "His copies from Stuart's oil portraits pleased very much" and in a note on bottom of the same page; "He painted a miniature of Washington and copied several portraits by Stuart" (see page 118 of History of the Arts of Design).

The comments by Dunlap do not even confirm Robertson's copies were miniatures. Thus they may have been large oil copies. However, if the copies were miniatures, in my opinion it is more likely Robertson painted such miniatures in an oval format suitable for framing and wearing, as was fashionable at the time, rather than rectangular.

Rectangular miniatures were uncommon, if not rare, in Britain before 1810/1815. It seems unlikely Walter Robertson would have used that technique 15/20 years earlier in America.

Harry Wehle himself observed in 1927, "As for Robertson's numerous (sic) copies after Stuart's portraits, of which Dunlap wrote, none have thus far come to light." (NB Dunlap used the word "several", not "numerous" in his one-line comment above.)

Walter Robertson worked in New York and Philadelphia for several years, but then left for India where he died at Futtehpur in 1801 (see Foskett). As he spent so little time in America, his American miniatures are much rarer than those painted in England and Ireland. More miniatures are claimed for him than he painted and hence attributions to him do require a high standard of proof.

Miniatures by Walter Robertson have been described by two authors.

Johnson commented; "Those painted in the United States were all made within three years of one another and vary little in style and technique; faces, too, often tend towards sameness. Portions of the surface that appear to be smooth are actually rendered as a network of very fine hatching and cross-hatching."

Wehle also commented; "Typical of (Walter) Robertson's workmanship are the elegant artificiality of starched frills and powdered hair, the fine cross-hatching of translucent backgrounds and the astonishingly skilful modelling of the heads by means of very fine long brush lines following the facial contours and usually blue in the depressions, notably the eye sockets".

Two other comments about Walter Robertson are made in Dunlap's "History of the art of Design". Dunlap himself says on page 118; "Robertson's style was unique; it was very clear and beautiful, but it was not natural". There may even be a sense of envy by Dunlap as a miniature painter himself, in that comment, as on page 119, Dunlap goes on to say; "Robertson... annoyed Trott. Of Robertson he said, his excellence depended upon the secret he possesed - the chemical composition with which he mixed and used his colors."

Walter Robertson did not sign his work and hence portrait miniatures can only be attributed to him by comparison with other known examples. To assist with this, the colour image of "C V" has been converted to greyscale for easier comparison with two miniatures illustrated in American Miniatures by Henry Wehle and as shown here.

Identifications of the two miniatures, reveal they are of a daughter, Hester Rose Tidyman (>1772-1816) of Charleston who was married on 6 Oct 1794 to John Drayton (1766-1822), Governor of South Carolina, and her mother, Mrs Philip Tidyman (also named Hester Rose) of Charleston, who had married Philip Tidyman on 13 Oct 1772.

Harry Wehle's 1927 comment about the miniature of Hester Rose Tidyman could, apart from eye colour, just as easily apply to the miniature of "C V" ,when Wehle said; "This portrait, showing Hester Rose Tidyman at the age of twenty, is perhaps the most charming of Walter Robertson's works. In it, everything - bright sky, starched frills, translucent flesh, glowing pearls and powdered coiffure of marvellous elaboration - seems to be daintily contrived to play up a lovely pair of brown eyes".

As the two ladies both came from Charleston, it seems possible as Wehle comments, that Walter Robertson visited Charleston. The similarity of style is immediately obvious, so much so that the sitter "C V" could even be related to the ladies.

A further miniature by Walter Robertson and again of very similar style is one shown in color here of Elizabeth Pollock Hartigan. This is part of the Portrait Miniature Collection in the National Museum of American Art, see Mrs. Elizabeth Pollock Hartigan

Unfortunately, the sitter in this miniature now added to the Artists and Ancestors Collection is unidentified, although the reverse does contain ornate gold initials which read "C V". There is a substantial lock of hair under the initials. Thus, with modern DNA techniques, it may be possible to identify the sitter by the initials and then confirm the sitter through DNA analysis.

Thus a New York, Philadelphia, or perhaps Charleston resident of 1795 with the initials "C V" would be a likely start point. From the comment below, a relation of Catherine van Rensselaer, is a possibility for the sitter.

Also within the Portrait Miniature Collection in the National Museum of American Art is this miniature, attributed to Walter Robertson, which may possibly be a relation, as the sitter's maiden name had the initials "C V", it is described as Mrs. Philip John Schuyler (Catherine van Rensselaer) (1734-1803).

The miniature is attributed to Walter Robertson, but I confess a personal opinion, that this seems a little unlikely attribution. Walter Robertson was working in America from 1793 to 1796 and I have not seen any references that rectangular miniatures were being painted there at this time.

The case may not be original, but it does date between 1810/1820 which seems a more likely date for a rectangular miniature, with the miniature itself being copied from an earlier large oil portrait at that time. 1287

Tisdale, Elkanah - portrait of a man

2007-11-24T19:44:00.000-08:00

Although unsigned this miniature has been attributed to Elkanah Tisdale (26 Sep 1771-1 May 1835). His miniatures have been described as extremely rare, thus this is a lucky acquisition.

Tisdale was born in Lebanon CT, where his father had trained as a lawyer, but Elkanah went and worked as an engraver in New York City between 1794 and 1798 where he met Benjamin Trott.

He advertised as a miniature painter in New York between 1809 and 1812 and in Boston from 1813-1818. He was a founder of the short-lived Hartford Graphic and Bank Note Engraving Company. He was also a cartoonist and two versions of his cartoon on gerrymandering which appeared in the Boston Globe in 1812 are shown here. It is one of the most famous of all American political cartoons.

The term is derived from the name of Governor Elbridge Gerry of Massachusetts, whose administration enacted a law in 1812 defining new state senatorial districts. The revisions gave disproportionate representation to the Republicans. By examining a map of Essex County, it became quite clear to the Federalists what the Republicans were trying to accomplish.

The Boston Gazette waggishly said that the elongated, sinuous district resembled a salamander; the editor of the Boston Weekly Messenger opined, even more waggishly, “Salamander? Call it a Gerrymander!”, dubbing it with a portmanteau composed of the last name of the governor (Republican Eldridge Gerry, who signed the plan into law) and the word salamander. The Weekly Messenger cartoonist Elkanah Tisdale ran with it, and produced the first known picture of the now-famous political animal. The satirical cartoon by Elkanah Tisdale appeared in the Boston Gazette; it graphically transformed the districts into a fabulous animal, "The Gerry-mander," fixing the term in the public mind.

The reason for the attribution of this miniature to Elkanah Tisdale is the marked similarity of style to a signed miniature portrait of James Fowle Baldwin by Elkanah Tisdale in the Manney Collection which is dated 1817, (fig 240).

Johnson also observes; "The few miniatures by Tisdale that are known, reveal the influence of Trott. Tisdale's early oval miniature portraits, like Trott's display a highly skilled use of the glowing ivory surface to create luminous skin tones and give life to the background. The complex cross-hatching that models the face and the broad, dark cross-hatching in the background are also similar to Trott's. Early miniatures by Tisdale portray handsome people arranged in a three-quarter pose. Later he adopted a rectangular format and his technique became more exacting and precise, probably because of his work in engraving. In some miniatures there is a single source of light that creates dramatic contrasts."

In this example, as with the miniature of Baldwin, the broad dark cross-hatching in the background is clear, but is not as dominant in the overall tone of the miniature as Johnson's comment might suggest.

There is a comprehensive article about Elkanah Tisdale in the Connecticut Historical Bulletin for Spring 1984, volume 49, number 2.

The sitter in this miniature is unknown, but from his costume and high collar, it would date to about 1815. 1288

Russell, Moses B - portrait of a man

2007-10-31T13:07:00.001-07:00

Fortunate purchases do eventuate from time to time and this miniature portrait was a lucky acquisition at public auction. It is not signed on the front but is signed on the reverse. The cataloguer at the auction house who sold it, described it as being signed "M B Rupere, Boston, 1844".

However, the cataloguer had misread the signature, as it is actually signed "Painted by M B Russell, Boston, 1844" and also has the word "Miniature" written on the reverse. This is the signature of Moses B Russell (1810-1884), who along with his wife Mrs Moses B Russell (Clarissa Peters Russell) are two of the more famous American miniature painters of the 19C.

The cataloguer was confused by the way Russell wrote his name in this instance. In the 18C and 19C, it was common for a double "ss" to be written "fs" as in this case, and so it was misread by the cataloguer.

It is interesting to compare Russell's signature here, with another miniature in the collection which was acquired earlier this year and signed "Painted by M B Russell, Boston, 1835 (or 1836)". See Russell, Moses B - portrait of a young lady The words "Painted by" are obviously by the same hand and elements of M B Russell also match, as does the word Boston.

There is an excellent article about Moses B Russell by Randall L Holton and Charles A Gilday in "The Magazine Antiques" for November 2002. Unfortunately, the article does not illustrate any of the signatures used on the reverse of Russell's miniatures, but several examples of his signature as they appear on the front of his miniatures can be seen in the article.

Those examples, taken with the two examples in this collection, one of which has an inscribed/scratched signature on the front, show that his method of signing did vary considerably over time. Sometimes he also added an instruction to leave the backing paper on and other times, as here, he included the word miniature for some unknown reason. It is a little intriguing that his hand writing was so poor, when he obviously had such artistic skill.

Russell also varied his painting style considerably over time. This miniature is different to the miniature of a young girl in the collection painted in 1835, which has a darker background, but the background is very similar to several examples illustrated in "The Magazine Antiques" article, especially the portraits of Lieutenant Samuel Fales Hazard painted in 1841 and Reverend Edward Norris Kirk painted in the same year.

Considerable strength of character is evident with this sitter and the sitter is very well depicted As such, the miniature compares very favourably with his other portraits of male sitters. The strengthening of character associated with an adult man, is also evident in comparing the miniature with that of the girl in this collection.

The miniatures illustrated in The Magazine Antiques article indicate that the quality of Russell's miniatures varied considerably. Those of adults were usually well painted, but sometimes there were lapses, such as with his portrait of Thomas Wise Short, dated 1842.

Russell had much more difficulty in painting young children and the five examples illustrated in The Magazine Antiques article, painted between 1829 and 1850 appear primitive by comparison. They also show he was unable to paint hands well, although the 1850 example is much better in this respect. Often the painting of hands is a good indication of an artist's overall level of skill. This variation of quality makes attribution of Russell's work difficult where a miniatures is unsigned or if the backing paper has been removed.

This collection is now fortunate in having two well signed and very competent examples of his work. There are other examples in the collection that may possibly be by Russell, but due to his variable quality, it is difficult to attribute the other examples with any confidence.

The sitter is unknown. 1279

Dickinson, Anson - portrait of a young man

2007-10-07T19:54:00.001-07:00

This miniature is unsigned, but has been attributed to Anson Dickinson (1779-1852). Although he travelled a lot in pursuit of commissions, Dickinson is most commonly linked to Litchfield, CT where he was born 19 Apr 1779, the son of Oliver Dickinson and Ann Landon.

He commenced painting miniatures around 1803 and moved to New York in 1804. Over the next fifty years he painted in Albany, New York City, Charleston, Boston, Philadelphia, Baltimore, Washington, New Haven, Litchfield, Buffalo, and parts of Canada.

In the 1850 census, he had returned to Litchfield and lived there with his wife Sarah Brown Dickinson who he had married on 30 Jun 1812 in New York. Although he is now thought of as one of the better miniature painters of the early 19C, he did not acquire a great deal of wealth. In 1850 his neighbours included a shoemaker, a cabinetmaker, a carpenter, a labourer, and a blacksmith.

The reason for the attribution is the similarity of pose and style to the later portraits painted by Dickinson, a number of which can be seen illustrated in the biography of Dickinson written by Mona Leithiser Dearborn and published in 1983.

Also shown here as an aid to dating, is an example of a boy's hairstyle from 1852 which is included as plate 95w in Richard Corson's book of hairstyles.

There are very few American miniature painters who are as well documented as Dickinson, both through the biography and via the list he kept of his clients over many years. This list records clients even as late as 1851, when Dickinson was aged 72, which was just a year before he died 9 Mar 1852.

During his lifetime, Dickinson painted over 1500 miniatures. This sounds a lot, but taken over a fifty year working life, it equates to around thirty portraits per year.

In this instance, the pose and the sky shading, with a little of extra shading to convey land at the very bottom are characteristic of his later work, for example the miniature of Senator Truman Smith of Connecticut which was painted in 1847, fig 92 in Dearborn. There was a family relationship here, as when Truman Smith married for a second time, his wife was the adopted daughter of Anson and Sarah Dickinson, Mary Ann Walker.

Judging by the hairstyle, this portrait dates to close to 1850. It is hard to pick out from the image, but the clothes are also very well painted.

The sitter is unknown, but from his apparent young age, could even be the Master David Welch painted on August 15, 1849. 1274

Staigg, Richard Morrell - portrait of a man

2007-09-07T00:43:00.000-07:00

This miniature portrait is unsigned but has been attributed to Richard Morrell Staigg (1817-1881) who worked in Boston and New York.

Staigg was a successful artist who in the 1870 census, could still describe his occupation as "Portrait Painter" despite the competition from photography and disclose assets of $6500. However, he had switched to large oil portraits and landscapes around 1860. He again described himself as portrait painter in the 1880 census and the family still had two servants at that time.

The miniature is very unusual in that it is painted on a sheet of fine paper glued to a very thin wooden board, only about two millimetres thick.

In the whole of this collection there are only two other miniatures painted on such a base. They are a pair by a French artist. In all three instances, the grain of the fine paper when glued to board and painted in oils, almost gives the impression of very fine canvas.

The reverse of the miniature has a short inscription, which unfortunately does not give the name of the artist or the sitter. It reads "Painted Dec'br 1845". However, even a date is valuable information as it assists in two ways. Firstly, it gives a date to specific clothes styles which can be used to date other miniatures. Secondly, as in this case it assists with an attribution, in that a date narrows down possible attributions to artists who were working in a given place at a particular point in time.

The reasons for attributing this portrait to Staigg are similar to those for attributing another miniature to him, which was acquired earlier this year, see Staigg, Richard Morrell - portrait of Colonel Will... A close up of that miniature is shown here for comparison. The way of painting the hair is the same, as are the colours used for the facial features, the different tones being a result of one being painted on ivory and the other on board. There are other similarities, e.g. both portraits also have a tiny touch of bright white on the tips of the collars.

Other reasons for the attribution, include the following comment by Johnson; "Staigg's mature palette is a medley of luminous pastel hues for the flesh and rich, deep tones in the clothing and background. His miniatures have the richness of small oil paintings."

That is very much the case with this miniature, which is actually only 100 mm x 80 mm, but looks from the image here, as if it could easily be 100 cm x 80 cm (40 in x 32 in).

Johnson further comments; "Miniatures (by Staigg) from the late 1830's to the mid-forties are rectangular and are signed on the backing paper; later works are larger and oval in shape".

In addition this new miniature was acquired from Feeding Hills, Massachusetts, which is less than 100 miles from Boston, where Staigg was working between 1841-1852, and 1845 is right in the middle of this period.

The reasons for the miniature being on board are uncertain, but there are several possible factors. The date of 1845 was a time when strong competition was felt from photography, which was introduced in 1840. Thus Staigg may have been experimenting with lower cost materials at about the same time as he switched from a rectangular to an oval format. Alternatively, there may have been a shortage of ivory at the time, or it may even be a study for a large oil, as he did also paint large portraits.

The sitter is unknown. 1264

Alexander, J B - portrait of James Hogg

2007-09-06T14:31:00.000-07:00

This miniature portrait is interesting as it illustrates the progression of how a particular pose of a sitter may be reused as the subject for a miniature. However, there is also a puzzle connected with it.

The miniature is housed in what appears to be a miniature case from the 19C. It seems to be made of what looks like 14c gold, with a hinged hanger at the top and a full window on the reverse which covers some dark fabric.

It is clearly signed inside "Miniature of James Hogg, Poet, by JB Alexander, 1911". Additionally, there is a printed label between the fabric and glass on the reverse, which reads the same, although without the date.

The puzzle associated with the miniature is that the only recorded artist with the name J B Alexander worked in the United States in Charleston in the period 1830-1840.

A miniature by this other J B Alexander is included in the American 1 Gallery of this collection and recent research has determined he was born in 1812, thus he is unlikely to be the artist for this miniature dated 1911. Therefore, although this miniature has been included in the American section of this collection, there is the possibility the miniature is actually by a previously unrecorded British artist.

It is also odd to have a printed label inside a miniature case, identifying both the artist and the sitter.

The label gives rise to speculation that this J B Alexander may have painted, for commercial reasons, a number of versions of the miniature to commemorate some anniversary or event connected to James Hogg. It is conceded the ability of the artist seems to be limited, which perhaps supports the concept of a miniature painted for commercial reasons.

Turning to the sitter. James Hogg (1770-1835) was a Scottish poet and author. He had little formal education, which makes the range and quality of his literary output all the more surprising. Born on a farm at Ettrick, he had ambitions to be a writer from an early age and came to believe that he might emulate Burns. He was still working as a shepherd when his first, unsuccessful, volume of poems appeared in 1801. The following year he met Scott who would champion him over many years.

Hogg's appearance on the literary scene was established by The Queen's Wake which came out in 1813. Many times reprinted, it contains his most quoted piece of verse, 'Kilmeny'. Thereafter his work ranged from the brilliant parodies of contemporary poets in The Poetic Mirror to the works in prose: The Brownie of Bodsbeck, The Three Perils of Man, and, most remarkable of all, The Memoirs and Confessions of a Justified Sinner, which introduced the theme of the evil doppelganger into Scottish literature. For much more about James Hogg, see James Hogg Society

In 1830 a large oil portrait of him was painted by Sir John Watson Gordon. It is shown here just for comparative reference and the original hangs in the Scottish National Portrait Gallery.

It is evident from the example shown here, that the oil portrait was the source of a 19C engraving of James Hogg.

This print was engraved by George J Stodart in 1876. In turn it seems the miniature was copied from the engraving.

James Hogg is buried in Ettrick Churchyard, Ettrick, Scottish Borders.

Since writing the above, I am grateful for the following helpful comments received from the James Hogg Society.

"I'm sure you are right in thinking that it derives ultimately from the Watson Gordon oil-painting of around 1830. This was painted for the Edinburgh publisher Robert Cadell, but subsequently sold to the Blackwood firm and hung in their salon at 45 George Street in Edinburgh for many years until acquired by the Scottish National Portrait Gallery in Queen Street, Edinburgh.

The Watson Gordon portrait was engraved almost as soon as painted and an engraving published as a preface to the fourth volume of the 'Edinburgh Literary Journal'. A notice 'To Our Readers' in the advertising material to the issue for 26 June 1830 (p. 63) says the portrait was first published with 'the July part' of this weekly literary paper. Hogg himself requested extra copies, presumably to give away to his many visitors at Altrive in Yarrow. The portrait is also referred to in Lockhart's 'Life of Sir Walter Scott, Bart.', 7 vols (Edinburgh, 1837-38), VII, 276 as a 'perfect' likeness. One way and another, it was probably the best-known portrait of Hogg in the nineteenth-century and an obvious choice for a later copyist.

I don't know anything about the artist, and the only Hogg associations I have with the year 1911 is that (if I remember rightly) Hogg's grandson Robert Gilkison and his wife were in Scotland around then." 1262

Russell, Moses B - portrait of a young lady

2007-07-17T16:35:00.000-07:00

This is an important miniature by Moses B Russell (1810-1884). It has an incised script signature on the right "M B Russell Pinxit" and on the reverse is also signed "Painted by M B Russell Boston 1835 (or 1836)".

It is unusual to be signed on the front and the rear, with both appearing to be genuine. The signature being incised through to the ivory base, is probably due to the artist recognising that a painted signature would not be legible on the dark background. It is also unusual to find a miniature by him at this time of a lady.

In terms of quality, it must rank as one of his very best miniatures. As with other work by him of this time, it depicts the sitter as solemn, but concentrating upon the artist in a manner that would become very familiar as photography later developed.

Russell was active for over 50 years both as a painter and as a daguerreotypist, mostly in Boston, although he did work in New York and Philadelphia in the years 1854-1861.

Johnson observes that Russell performed his best work in the ten years from 1834. It seems likely his later work was hurried in comparison, hence suffering in quality, due to the impact of photography and the need to complete miniatures quickly, to compete with the lower cost daguerreotypes which became popular after 1840.

That probably also explains the need for him to seek work in New York and Philadelphia, there not being enough in Boston. However, while in Philadelphia he would have found it difficult to compete with John Henry Brown who persevered with miniatures of the highest quality in the face of photography.

Some of Russell's later miniatures, show the influence of his wife, Clarissa Peters Russell, who is famous for her distinctive miniatures, particularly of children. It may be that he found her style quicker to produce and easier to sell against daguerreotype competition. That is a pity, as this miniature shows he was very talented, with such talent not being so obvious later in his career.

The case of this miniature is ornately carved and does not appear to be original, although still of 19C origin, perhaps it is German. Unfortunately, the sitter is unknown. 1257

Sully, Lawrence - portrait of a Southern Lady

2007-07-17T15:50:00.000-07:00

This miniature was acquired as a single lot, together with the adjacent portrait which is currently tentatively attributed to Thomas Sully.

The two miniatures were acquired at a public auction in Columbia, SC where they were described as "Continental school (late 19th century)" with the stated provenance "Property from the estate of a Southern lady".

The auction description was incorrect for this miniature, as the portrait is considered to have been painted in America at some date from around 1795-1800.

The case is well made and believed to be American made, in a manner which evolved from a style previously developed in Ireland.

This has hair under glass on the rear of the case, but with the rear glass only covering part of the reverse. In contrast most British miniatures with rear glass had the glass covering most of the reverse of the case.

Although possibly by an unknown artist, this miniature has been attributed in the interim to Lawrence Sully (1769-1804) who emigrated from Ireland to the United States in 1792 with his actor parents.

He had already trained as a miniature painter at the Royal Academy in London before he arrived in Charleston in 1792.

Sully worked in the area until he moved to Norfolk in 1801, and then Richmond until his death in 1804. Thus these locations fit with the provenance of an estate in Columbia SC.

The pose of this sitter is the same as three miniatures by Sully which are illustrated as figs 230-232 in Johnson. One of these, fig 232 of a girl, is shown here in black and white.

Also shown for comparison is another miniature of a man, they are both signed Sully, although he did not always sign his work.

Being unsigned, and given the hair style of the sitter, it seems the miniature of the lady would need to be one of Lawrence Sully's early works, painted around 1795.

Johnson comments "Lawrence Sully's miniatures rarely rise above the level of the primitive. The treatment is linear, with little facial modelling and stiff, somewhat awkward body forms. Pale skin tones and light-colored backgrounds make for a blond tonality overall." (The background of this miniature is paler than appears in these images.)

However, a kind visitor has some doubts about the attribution to Lawrence Sully and so until there is clearer evidence one way or the other, the attribution is unconfirmed.

An anonymous visitor has questioned the brightness of the background. That was my fault. I have since tried to modify the image to make it closer to the original. However, even now the image is still too violet, the actual miniature having a pale sky blue background.

Although not attributed there to Lawrence Sully, two miniatures which are possibly by him can be seen at A Portion of the People: Three Hundred Years of Southern Jewish ... One being of Sarah Moses Levy and one of Chapman Levy. 1251a

Sully, Thomas - portrait of a young lady

2007-07-17T14:55:00.001-07:00

This miniature was acquired as a single lot, together with the adjacent portrait now attributed to Lawrence Sully. As noted there the two miniatures were acquired at a public auction in Columbia, SC where they were described as "Continental school (late 19th century)" with the stated provenance "Property from the estate of a Southern lady". The auction description was also wrong for this miniature, as this one is American from around 1795-1810, the frame being distinctively American, although the hanger is now missing, as is the central insert on the rear. The frame has a somewhat crude, hand-made appearance, and imitates a style previously developed in Ireland.

This miniature is also unsigned, but it has been attributed to Lawrence's younger brother, Thomas Sully (1783-1872), however it is possible it is also by Lawrence Sully. Thomas Sully was introduced to miniature painting by his school friend Charles Fraser. They both became very famous artists of 19C America. Sully also trained with his brother in Charleston SC in 1799 before moving to Virginia. Thus Columbia fits with Thomas Sully's general area of work around 1800, until 1806 when he moved to north to New York and later Philadelphia. He then went to London in 1809 and returned in 1810.

Few miniatures by Thomas Sully are available for comparison. However, one good example can be seen at Kenmore Collections - Maria Carter Tucker This one of Maria Tucker painted in 1805, has a very similar tilt to the subject's head, similar mouth and eyes, and also the way her hair is shown on her neck. It is also markedly sentimental in style.

In commenting on the early work of Thomas Sully, Johnson noted "These early miniatures show fine attention to detail... Study in England transformed Sully's characteristic portraits to flattering, dashing, romantic likenesses, often bordering on sentimentality."

Those comments fit this miniature. 1251b

Rogers, Nathaniel - portrait of a young man

2007-06-10T16:01:00.000-07:00

This miniature portrait was acquired as a pair, together with the accompanying portrait which is either by Samuel P Howes (1806-1881) or Mrs Moses B Russell (1809-1854). At the time of acquisition the miniatures were both unattributed.

Both miniatures were joined in a cheap modern frame when acquired, which detracted from their appearance and no doubt contributed to the artists not being recognised by the vendor. At first glance it seems they are husband and wife as the two frames are joined by two metal hinges. However, it seems more likely that both miniatures were removed from period frames in the 1970's.

However, this one has been attributed, fairly confidently, to Nathaniel Rogers (1787-1844) who mainly worked in New York and was one of New York's leading miniaturists in the early 19C.

Rogers worked in New York and died in 1844, whereas Howes and Mrs Russell both worked in Massachusetts. The dress worn by the young lady, dating from around 1850, is probably twenty years later than the clothing of the young man which is from around 1830. Their acquisition in Philadelphia, rather than New York or Boston, is perhaps a reason for the vendor not recognising either of the artists.

Johnson comments on Rogers' work, "Rogers employed a palette of clear, lively color. His work of around 1815 was already delicate and sophisticated. The subjects of his highly individualized portraits are presented in a direct and appealing manner."

"Rogers used an oval format until about 1825, when he began to favor a rectangular one. He painted faces with a gentle stipple, often modelling the shadows in tones of red and emphasizing the eyes. When representing women he tended to make the heads disproportionately large and the bodies small. Details of dresses are sharply defined with gum arabic."

In fact this portrait looks so much like a Rogers, it appears as if it has "escaped" from colour plate 15 of the Manney Collection catalogue!

This young man is sitting in the same pose and on the same chair as the older man there, the sky is similar to that for both the older and younger lady, and the left hand edge of the window opening is very similar.

Rogers has painted the face of this young man showing a well-fed and slightly self satisfied expression, with rosy cheeks.

Within this collection there are three other miniatures by Rogers, all are oval in shape. One is of David Ryerson and another is of a Master Bucknell. Expert opinion has advised that one of a man with a mustard colored background as shown here, is also by Nathaniel Rogers.

The sitter in this portrait is unknown. 1238

Howes, Samuel P - portrait of a young lady

2007-06-10T15:34:00.000-07:00

This miniature portrait was acquired as a pair, together with the accompanying portrait by Nathaniel Rogers. At that time they were both unattributed.

An attribution for the artist who painted this miniature is not as certain as for the Rogers, but one possible artist is Mrs Moses B Russell, also known as Clarissa Peters Russell. However, it could be a later work by her husband Moses B Russell, after he had been influenced by her style.

A kind visitor to the collection has also suggested a third possible artist for this miniature is Samuel P Howes (1806-1881) who resided in Lowell, Massachsetts , primarily painting large oil portraits, but also some miniatures. This suggestion focuses particularly on the cross-hatched background and the shape of the mouth, but also the clothes, necklace, and hair.

At this point the attribution to Howes may well be the most likely.

By chance, a separate visitor to the website has suggested another miniature I had previously attributed to Mrs Moses B Russell, may instead be by Samuel P Howes. This is shown here but is discussed in more depth at Howes, Samuel P - portrait of a young lady

Both this and the miniature by Rogers were housed together in a very cheap and combined modern frame from around 1990, which detracted from their appearance and no doubt contributed to the artists not being recognised by the vendor.

Although this portrait is different to the round eyed portraits of young children by Mrs Moses B Russell, it does have similarities with her other work. In Johnson's book about the Manney Collection figs 209 and 210 are actually by her and not by her husband, as attributed in the book. Both those young ladies are sitting holding a book in a similar pose.

The following comments from Johnson are also relevant "Details of dress and interior furnishings are very decorative, incorporating a variety of patterns. Flowers or vines are often introduced at the edges of the composition. Pale skin tones contrast with deep shades of fabrics, against striated backgrounds..."

Here the young lady is sitting on a decorative sofa and flowers can be seen outside the window. Although difficult to see, there is a great deal of detail on her dress, including a lace bodice right across her chest and lace cuffs on her dress.

This is the only American miniature in the collection that has a rare crystalline growth over parts of the miniature. It can best be seen as a lace like effect on her neck.

The sitter is unknown. 1239

Fraser, Charles - portrait of a lady

2007-05-20T14:22:00.001-07:00

This miniature portrait was acquired without any attribution, although the vendor did say that the estate it was purchased from, had thought the sitter was from either North Carolina or South Carolina.

Unfortunately, the vendor could not disclose the family name of the estate. The backing paper seems as if it may have been replaced and this may be why the reverse has no signature.

However, from a comparison of the portrait with examples illustrated in the Carolina Art Association Catalogue prepared by Martha Severens, it is believed the miniature is possibly a late work by the Charleston, SC artist, Charles Fraser (1782-1860) or if not, is likely to be a copy of a miniature by him.

It is known that Henry Bounetheau (1797-1877) also of Charleston, SC did frequently copy Fraser's miniatures.

Martha Severens makes the following comment on page 70 of the CAA catalogue, about an 1842 work by Fraser: "Typical of Fraser's later work, (the sitter's) portrait has somber coloring, harsh stippling and a rigid pose. The fact that the stippling around the body aand the head, in particular, is accentuated contributes to a disconcerting halo effect."

Apart from a general comparison of style, the following are the key reasons for attributing any original of this portrait to Fraser.

Firstly, the background close to the head has many fine lines outlining the head. Severens uses the term "halo", but in some instances of Fraser's work, the lines are so pronounced that it almost looks as if a sitter has a "bird's nest" on their head.

Secondly, the size of 80 mm x 108 mm falls right in the range of sizes of rectangular miniatures painted by Fraser.

Thirdly, the pose is very similar to several miniatures by Fraser illustrated in the CAA catalogue, especially the 1840 portrait of Mrs William Mayrant (67.31.1) and the 1848 portrait of Mrs William John Grayson (40.7.1)

Martha Severens also comments:

"The format of Mrs Myrant's portrait [by Fraser] is reminiscent of a type used by Samuel F B Morse for older women. The white bonnet and shawl serve to set off the face, while the red chair adds a comfortable feeling of warmth".

Severens makes a similar comment about the Grayson portrait.

An image of the case is also shown here. It is leather, decorated with a flower pattern, and is 120 mm x 152 mm in size.

Unfortunately, the sitter is unknown. 1240

Alexander, J B - portrait of two children

2006-04-15T19:20:00.000-07:00

This miniature portrait is signed J B Alexander. Reference books say little about him other than that a J B Alexander was active in Charleston between 1830 and 1840.

However, a J B Alexander (1812->1880) has now been located in the 1850 census for Camden, Kershaw, SC, where he gave his age as 38, his occupation as artist, his assets as $2000, and his place of birth as South Carolina. He was living with his wife E A (E M?) Alexander aged 36 and several children; Ann Alexander 15, Jas (?) Alexander 12, A A Alexander 10, G G Alexander 5, and J H Alexander 2 who were all born in SC. A teacher from Canada called I P Lee also lived with the family.

He was still there for the 1860 census, but now described himself as a silversmith, his assets as $14,600 and they had two more children M M Alexander 10, and W S Alexander 6 mths. There was also a S Norton (Horton?) aged 75 living with them, perhaps his mother-in-law. He presumably changed his occupation due to the lack of painting commissions, after the advent of photgraphy, but must have been successful as a silversmith for his assets to increase so much in ten years.

In the 1880 census he still lived in Camden, although now a widower, and with the occupation of jeweller. His son Geo C Alexander, a newspaper publisher, lived with him. They family has not yet been located in the 1870 census, although it seems likely that George was the George Alexander from SC who was working as a printer in NY in 1870. His age was given as 20, but all ages in that census return are rounded to the nearest ten years.

The sitters in the miniature are unknown, but it is even possible his children modelled for this miniature. 948

Ames, Daniel - portrait of a lady

2006-04-15T19:14:00.000-07:00

This miniature portrait is signed "? Ames 1851". Unfortunately, the first initial is hard to read, but presumably it is Daniel F Ames (1815-?) who was active in New York from 1837 to 1858, and the only member of the family whose dates fit.

In the 1850 census, Daniel F Ames aged 35 lived with his wife, Ann aged 34 and five children aged 5 to 17, in the 20th Ward of Brooklyn, New York. He gave his place of birth as New York and occupation as painter. He must have married at age 18 and moved about as two of his children were born in New Jersey

The sitter is unknown. 1054

Barratt, Thomas E - portrait of Joshua Elder

2006-04-15T19:04:00.000-07:00

This miniature portrait is unsigned, but has been attributed to Thomas E Barratt (1811-?) who was active in Philadephia (1833-1854). In the 1850 census he was living in Dock Ward, Philadelphia, aged 39, gave his occupation as Miniature Painter, and was living with his wife Elizabeth B Barratt and daughter also named Elizabeth. All three were born in England. Living with them were Edward Williams a Performer, and Manual Eyre an Agent, but it is not known what type of performer Williams was. There was also a servant, so Barratt must have been a successful artist at this stage.

The case is engraved on the reverse "Presented to Mrs E S Elder by Joshua Elder". Joshua Elder married Eleanor Sherer (1802-1837) on Mar 12, 1826. See Joshua Elder & Eleanor W Sherer

Both Eleanor and Joshua are buried in Paxtang and it seems likely Joshua was related to the the Joshua Elder who was Pastor of the Presbyterian Church and a slave owner, see Joshua Elder Slave Advertisement

This miniature is illustrated in Wehle, plate XXXV and is also referred in Schidlof, but in both places the sitter is mistakenly referred to as Josiah Elder. Unfortunately, since the photograph was taken for the plate in Wehle, a vertical crack has appeared. 892

Berger, Charles F - portrait of a man

2006-04-15T19:01:00.000-07:00

This miniature is signed on the reverse by C F Berger and dated 1842. Charles F Berger was active in Philadelphia between 1841 and 1880.

It seems likely he is the Charles F Berger listed in the 1860 census for Ward 14 in Philadelphia. Here he stated he was an artist, aged 49 and born in Hamburg. He disclosed real estate assets of $4000 and personal assets of $800 and was living with his wife Mary aged 37 and four children, Anna J 18, Mary E 16, Charles T 14, and Clara A 11. As his wife and children were all born in Pennsylvania, he must have arrived in the United States not later than around 1840.

In the 1850 census, he had stated he was a painter but gave an age of 37, so he must have been born around 1812. There was a servant living with the family in 1850, but not in 1860, which is perhaps a sign that the advent of photography had impacted on his income.

In the 1870 census, the enumerator did not complete the personal particulars for Charles, Mary, and Clara, but they did still seem to be living in their own home. However, by the 1880 census, Charles 69, Mary 60, and Clara 30, were living together as boarders in a boarding house with a number of other families. Charles gave his occupation as portrait artist, but it seems the family was even less well off.

The sitter is unknown. 486

Blood, M I - portrait of a girl

2006-04-15T18:56:00.000-07:00

This miniature portrait is signed "M I Blood", but no record of the artist has been found. Judging by the design of the case, it may be South American. The sitter is unknown. 974

Boudon, David - portrait of a man

2006-04-15T18:47:00.000-07:00

This miniature portrait in silverpoint is inscribed on the reverse, but it is difficult to read. It looks like "David Boudon Fecit aber 08 86". The two words David Boudon are quite clear and the signature matches figs. 178 and 179 in "100 Ans de Miniatures Suisses". David Boudon (1750-1816?) was born in Switerland, but emigrated to America and worked in Philadelphia.
There are detailed articles about him in "100 Ans De Miniatures Suisses" pp139-146 and "Wintatur Portfolio 9" pp77-101.
The sitter is unknown. 646a

Boudon, David - portrait of a lady

2006-04-15T18:41:00.000-07:00

This miniature portrait in silverpoint is signed on the reverse. However, paper has been stuck to it and it is illegible. Nevertheless, it is possible to confirm the word "aber" in the same handwriting as on the reverse of the adjacent miniature by Boudon. The sitter is unknown. 646b

Brown, Abby Mason -portrait of a lady

2006-04-15T18:38:00.000-07:00

This miniature portrait is signed "A Brown", possibly for Abby Mason Brown, who was active in New England (1800-1822). The case is not original. The sitter is unknown. 351

Brown, Henry I - portrait of a man

2006-04-15T18:34:00.000-07:00

This miniature portrait is signed "H Brown" for Henry I Brown (1822->1880) who is recorded as active in Boston (1844-1851). The sitter is unknown. It is thought that, as Brown tended to use thickly applied paint, that he also painted oil portraits.

His self described occupation of painter in the 1850 census as shown below, supports this view. Although by the 1880 census, he describes himself as house painter. Thus it seems likely that as the daguerreotype tended to displace miniature painting around 1850 and none of his works are known dated after 1851, he turned to house painting to support his family. Nevertheless, as he lived in Salem for over thirty years, it seems likely he painted many large oil portraits over that period.

It seems fairly certain he is the Henry Brown 3rd listed in the 1850 census for Salem Ward 1 in Essex, Ma. There he was living as a lodger with his wife Mary E Brown and gave his occupation as painter, his age as 29 and his place of birth as England.

In the 1860 census he still lived in Salem with Mary and gave his occupation as painter, although now he described himself as Henry Brown Jr and his age as 37. Inthe 1870 census he is again in Salem with Mary and three children, Henrietta, Minnie, and Henry. His occupation is described as "works painting" and his age is 45. In the 1880 census he gives his age as 58 and his occupation as house painter. He must have died before 1900, as his wife Mary E Brown appears to be living in Salem as a widow in the 1900 census. 899

Brown, John Henry - portrait of Mrs Antoinette Wilmer

2006-04-15T15:56:00.000-07:00

Painted in 1852 is this miniature portrait signed on the reverse "Copied from a daguerreotype J Henry Brown pinxit Phil 1852". John Henry Brown (1818-1891) was active as miniature painter in Philadelphia for a number of years. He was highly thought of and won a medal at the 1876 exhibition. He was one of very few miniaturists who were able to compete with the new art of photography.
Brown charged $125 to paint this portrait, which was a lot of money at the time and equivalent to around $5000 today. This and the following group of miniatures show a good cross-section of his work.
There is an excellent article about John Henry Brown by Anne Verplanck, in The Magazine Antiques for November 2004 see Magazine Antiques: The art of John Henry Brown
The sitter is Antoinette Tessieire Wilmer and was identified from a note on the reverse where she is described as "Mrs Ringold Wilmer - mother's sister - sister of Mrs James C Fisher". Research has identified Antoinette Tessieire (1817-c1852) who married John Ringgold Wilmer (1813-1886) on Nov 9, 1847. In the 1850 census John Ringgold Wilmer was aged 32 and described himself as a merchant. Antoinette is recorded as aged 23 and is seems likely she died in childbirth a year or two later. John Ringgold Wilmer was married for a second time in May 1855 to Marie Jeanne Nathalie de Chazournes (1827-?).
Given the date of 1852 on the reverse of the miniature, it appears that the miniature was painted from a daguerreotype shortly after Antoinette's death, possibly at the request of her mother, Eliza Tesseire. Verplanck mentions a similar instance regarding a portrait of Mrs Henry Fisher (this Fisher family appears to be unrelated to the Mrs James C Fisher referred to here).
The wife of James Cowles Fisher was Mary Tessieire (Mary Tesseire) who he married 29 Apr 1847. She was another daughter of the Eliza Tessieire in the adjacent miniature and this explains the reference to "mother's sister". James was the grandson of the James Cowles Fisher who married the Nancy Wharton (aka Ann Wharton) who is the sitter in the miniature by Edward Heaton which appears elsewhere in this section.
On the rear of the frame, there is a framemaker's label which reads "G Sauter, Manufacturer of Looking Glasses, Picture Frames & Passe-partouts, Also, dealer in Paintings, Engravings, Chromos. and other works of art. 138 South Eighth Street Philadelphia". The identical framemaker's label appears on the reverse of the miniature portrait in this Gallery by George Lethbridge Saunders. In the 1860 census George Sauter (1837-?) was living in Philadelphia with his parents, Charles F Sauter, who seems to have had a furniture store, and Caroline Sauter. George gave his occupation as "manufacturer of P Partouts". A passe-partouts is a mounting for a picture in which strips of gummed paper bind together the glass, the picture, and the backing, for insertion in the frame. The business must have been quite profitable in 1860 as George disclosed assets of $4000. By 1870 he was married to Christina Sauter and they had a daughter Mary Sauter, aged 2, but by 1880 he was living only with his mother, and even later in 1900 he was living as a lodger and his occupation was art dealer. 1100

Later, a kind visitor advises;
1- The portrait miniature of 'Mrs Geo W Morgan - Grandmother
Tessiere's mother' is of Hester Leib, wife of George Washington
Morgan. George Washington Morgan was born in 1776; he was the son of
Gen Jacob Morgan of the American Revolution. The Morgans were
merchants and heavily involved in shipping and the West Indies (sugar)
trade. George Washington Morgan and Hester Leib had 4 surviving
children: Eliza Caroline (m.Anthony Teisseire), Mary (m.Saturnius
Destouet), Harriet Adelaide (m.Thomas Ashton Morgan), and George Leib
Morgan (m.Lucretia Elizabeth Hamersley).

2- The Destouet family ('portrait of Mary Morgan Destouet').
Saturnius Destouet and his two brothers, Bartholomew & John E, were
merchants in Philadelphia under the name 'Destouet Brothers'. Bartholomew may have
died or returned to France by the late 1820s; only Saturnius and John
E show up in the later records. Their father's name was John; there
were also two sisters, Adele and Zelie, born about 1802 and 1807
respectively.
The father, John, along with Adele and Zelie, left the United States
in 1831 to travel in Europe; I haven't found any record of their
return to the US. Eliza Caroline Destouet, daughter of Saturnius & Mary
(Morgan) Destouet, married her 1st cousin, Thomas Hamersley Morgan,
son of George Leib & Lucretia Elizabeth (Hamersley) Morgan. The Rev Brockholst
Morgan who married them was Thomas' brother.

3- The wives of John Ringgold Wilmer ('portrait of Antoinette
Teisseire') were cousins. JRW's first wife was the daughter of
Anthony and Eliza Caroline (Morgan) Teisseire. JRW's second wife, Marie Jeanne Nathalie
de Chazournes, was the daughter of Felix and Marie Louise (Brugiere)
Chazournes. Marie Louise (Brugiere) Chazournes was the daughter of Charles and
Marie Antoinette (Teisseire) Brugiere. Marie Antoinette (Teisseire)
Brugiere was the sister of Anthony Teisseire.

Charles Brugiere originally worked for the firm 'Tarascon Brothers,
James Berthoud & Co'. They were Philadelphia merchants who later
established the town of Shippingport, Kentucky. After the Teisseire family's
arrival in Philadelphia in about 1800, Charles Brugiere and Anthony
Teisseire established the firm of Brugiere and Teisseire.

In about 1843, Charles and Marie Antoinette (Teisseire) Brugiere's
son, William, married Mary Morgan, daughter of Thomas Ashton and
Harriet Adelaide (Morgan) Morgan, thus completing the circle of Morgan,
Teisseire, and Brugiere.

One additional note - Thomas Ashton Morgan and his wife, Harriet
Adelaide Morgan were also cousins. Thomas' father, Benjamin, was a
brother of Gen Jacob Morgan. Gen Jacob Morgan was Harriet Adelaide's grandfather.

Brown, John Henry - portrait of Mrs Eliza Tessieire

2006-04-15T15:36:00.000-07:00

Painted in 1858 is this miniature portrait, signed "J Hy Brown 1858" for John Henry Brown. The sitter has been identified, with kind assistance from the Rosenbach Museum and Library, as Mrs Eliza Tessieire. Brown charged $180 to paint this portrait. Eliza Caroline Morgan married Anthony Tessieire on March 19, 1813 in Philadelphia.
Eliza's mother, Mrs Geo. W Morgan is the sitter in a miniature by George Lethbridge Saunders elsewhere in this American 1 gallery. Based upon the census information in the attached comments, Eliza was born in 1798 and thus only 15 when she married, and 60 when this miniature was painted. She was widowed before 1850, but by 1870 she had a personal fortune of $200,000, equivalent to around $10,000,000 today.
Little is known about the Tessieire family, although on page 159 of "Salons Colonial and Republican", Anne Hollingsworth Wharton observes that a large number of the leading citizens of Saint Domingo immigrated to America when they were driven hither by the uprising in the island. These immigrants included the Tessieire (Tesseire) family and presumably Anthony was one of these.
Mrs Eliza Tessierie is belived to be the mother of Antoinette Tessieire (Mrs John Ringgold Wilmer) who is the sitter in the adjacent portrait and of Mary Tessieire who married James Cowles Fisher. As can be seen from the census detail, there were various and continual misspellings of her surname.
This means there are three generations of sitters in the collection; Mrs Geo W Morgan as mother; Mrs Eliza Tessieire as daughter; and Antoinette Wilmer as granddaughter. It seems most likely that these three portraits, together with the one of Mrs James C Fisher had belonged to one of the children of James Cowles Fisher and Mary Tesseire Fisher, and were passed down until sold by auction in 2005. 1101

Later, a kind visitor advises;
1- The portrait miniature of 'Mrs Geo W Morgan - Grandmother
Tessiere's mother' is of Hester Leib, wife of George Washington
Morgan. George Washington Morgan was born in 1776; he was the son of
Gen Jacob Morgan of the American Revolution. The Morgans were
merchants and heavily involved in shipping and the West Indies (sugar)
trade. George Washington Morgan and Hester Leib had 4 surviving
children: Eliza Caroline (m.Anthony Teisseire), Mary (m.Saturnius
Destouet), Harriet Adelaide (m.Thomas Ashton Morgan), and George Leib
Morgan (m.Lucretia Elizabeth Hamersley).

2- The Destouet family ('portrait of Mary Morgan Destouet').
Saturnius Destouet and his two brothers, Bartholomew & John E, were
merchants in Philadelphia under the name 'Destouet Brothers'. Bartholomew may have
died or returned to France by the late 1820s; only Saturnius and John
E show up in the later records. Their father's name was John; there
were also two sisters, Adele and Zelie, born about 1802 and 1807
respectively. The father, John, along with Adele and Zelie, left the United States
in 1831 to travel in Europe; I haven't found any record of their
return to the US. Eliza Caroline Destouet, daughter of Saturnius & Mary
(Morgan) Destouet, married her 1st cousin, Thomas Hamersley Morgan,
son of George Leib & Lucretia Elizabeth (Hamersley) Morgan. The Rev Brockholst
Morgan who married them was Thomas' brother.

3- The wives of John Ringgold Wilmer ('portrait of Antoinette
Teisseire') were cousins. JRW's first wife was the daughter of
Anthony and Eliza Caroline (Morgan) Teisseire. JRW's second wife, Marie Jeanne Nathalie
de Chazournes, was the daughter of Felix and Marie Louise (Brugiere)
Chazournes. Marie Louise (Brugiere) Chazournes was the daughter of Charles and
Marie Antoinette (Teisseire) Brugiere. Marie Antoinette (Teisseire)
Brugiere was the sister of Anthony Teisseire.

Charles Brugiere originally worked for the firm 'Tarascon Brothers,
James Berthoud & Co'. They were Philadelphia merchants who later
established the town of Shippingport, Kentucky. After the Teisseire family's
arrival in Philadelphia in about 1800, Charles Brugiere and Anthony
Teisseire established the firm of Brugiere and Teisseire.

In about 1843, Charles and Marie Antoinette (Teisseire) Brugiere's
son, William, married Mary Morgan, daughter of Thomas Ashton and
Harriet Adelaide (Morgan) Morgan, thus completing the circle of Morgan,
Teisseire, and Brugiere.

One additional note - Thomas Ashton Morgan and his wife, Harriet
Adelaide Morgan were also cousins. Thomas' father, Benjamin, was a
brother of Gen Jacob Morgan. Gen Jacob Morgan was Harriet Adelaide's grandfather.

Brown, John Henry - portrait of Mrs Maria Cadwalader

2006-04-15T15:14:00.000-07:00

Dating from 1860 is this miniature portrait signed "J. Hy. Brown 1860" for John Henry Brown. The year of 1860 is the same year that Brown painted his famous miniature portrait of Abraham Lincoln, see Abraham Lincoln by John Henry Brown

Brown charged $180 to paint this portrait of Mrs Cadwalader and $175 to paint a miniature portrait of Abraham Lincoln. This collector observes, a little wistfully, that the close parity of value in 1860 does not apply today! For an interesting site that discusses portraits of Lincoln see The Youngest Face of Abraham Lincoln? - Miniature Artists

The sitter in this miniature is identified on a tag as "Maria Charlotte Gouverneur m Thomas Cadwalader". Maria Charlotte Gouverneur (1801-1861) was the daughter of Nicholas Gouverneur and Hester Kortright. She married Major General Thomas Cadwalader (1795-1873) on Dec 27, 1831. Maria's aunt (i.e. her mother's sister) was married to President Monroe, so Maria was well connected. For reference to Maria's burial place see http://www.findagrave.com/cgi-bin/fg.cgi?page=gsr&GSln=Cadwalader& Maria and Thomas had five children, of whom Maria in the adjacent portrait was the youngest.

The detail of the lace in the painting of Maria is amazing. (If you click on the photo of the lace you will get a larger version.) The two Cadwalader portraits were acquired for this collection two years apart, and so it was nice to be able to reunite mother and daughter.

Brief details of Maria's husband are as follows; CADWALADER, Thomas, soldier, was born at Greenwood, near Trenton, N. J., Sept. 11, 1795; son of Lambert and Mary (McCall) Cadwalader. He graduated at Princeton in 1815 and studied law, but did not practise. He was appointed, June 2, 1830, deputy adjutant-general in the Hunterdon Brigade of the New Jersey militia, and on April 10, 1833, lieutenant-colonel and aid-de-camp to Governor Seeley. On July 30, 1842, he was commissioned brigadier-general and made Adjutant-General of New Jersey. In 1856 he was sent by the governor to Europe, to report on the firearms in use in the European countries. In March, 1858, he was brevetted major-general by the legislature. He died at Greenwood, N. J., Oct. 22, 1873.

Although it is not of Cadwalader himself, in the American 2 portion of this collection and also shown here, there is a miniature of a brigadier-general in a more recent militia uniform, but one can get some idea of what his uniform would have looked like. 802. 1176

Brown, John Henry - portrait of Mrs Maria Cadwalader Hone

2006-04-15T14:50:00.000-07:00

Unusually painted on milk glass, is this miniature portrait believed to be by John Henry Brown. As it is painted on milk glass, it may be somewhat of an experiment. It is signed in very tiny letters and faintly "JHB" above the left shoulder, just level with her necklace.

He generally signed his miniature portraits on ivory, but not his opalotypes which were hand coloured photographs by him on a milk glass ground. This miniature seems to fall somewhere between the two types.

The miniature is identified by an attached tag as "Maria Cadwalader - Mrs John Hone - (H G Bartol's) - Mrs G M Phelps grandmother". Maria Cadwalader (1843-1921) married John Hone (1844-1915) on April 29, 1880. By the apparent age of the sitter, the miniature must have been painted in the 1860's.

The miniature was exhibited as item 31 at the Tenth Annual Exhibition of Miniatures at the Philadelphia Academy of Fine Arts (PAFA) in 1911, where it was described as "Mrs John Hone (nee Cadwalader) painted in Philadelphia by J Henry Brown lent by Mrs S Weir Mitchell".

Maria Cadwalader Hone was the daughter of Maria Gouverneur Cadwalader in the adjacent portrait. A kind visitor to the website who is a descendent of Maria Cadwalader Hone, has advised that her husband, John Hone, is the grandson of Commodore Matthew Perry whose miniature portrait appears elsewhere in this American 1 Gallery, see Gelee, Isabelle - portrait of Commodore Perry

The PAFA catalogue of 1911 is a rare document and very few items are illustrated. However, to assist any Cadwalader researchers, two images from the catalogue do seem to relate to the broader family and are reproduced here.

They are of Wilhelmina, wife of General John Cadwalader and Mrs John K Mitchell, said to be by Saunders, which will be George Lethbridge Saunders. Mrs Mitchell seems to have been either the mother or, perhaps more likely, the grandmother of the Dr Silas Weir Mitchell mentioned in this description.

Research is made easier by the Internet, as people all over the world can research and readily share information.

Another interesting contact with information about Maria Cadwalader Hone has been from a kind visitor who has a photo album which once belonged to the Cadwalader family. A small, but interesting selection from the photo album is shown here. Apparently, pencil notations in the album suggest it was kept by Maria Cadwalader (from before she became Mrs John Hone), daughter of Thomas McCall Cadwalader and Maria Gouverneur, and then passed through to her grandchildren, before leaving the family.

The portraits include one of Maria Cadwalader, the subject of this miniature, with one of her sisters, Mary Cadwalader, who married Dr Silas Weir Mitchell in 1875. He was well known in medical circles, see Silas Weir Mitchell (www.whonamedit.com) Also a family group with croquet mallets in front of them and with Maria Cadwalader Hone standing in the rear row.

The other images are photographs of painted portraits, probably all being miniatures of family members, but the whereabouts of the original portraits are currently unknown. One is described in the album as of Mary McCall and the artist appears to be John Ramage.

Another of a young lady at the bottom right below, appears to be by John Henry Brown. The third of a lady with a bonnet on the bottom left, looks to be a miniature by George Lethbridge Saunders, but appears not to be mentioned in the PAFA catalogue, unless it is the one of Miss Maria Sergeant (Mrs Harrison Smith) which was loaned by Miss M H Smith.

The sitter in the photograph of the miniature at the bottom right by John Henry Brown is also hard to identify. The wider Cadwalader family seems to have only loaned one miniature of a female by John Henry Brown to the 1911 exhibition, and that is believed to be the one in the colour image of Maria Cadwalader Hone in this posting, although several of females were loaned by other owners. Thus further information about any of these portraits would be welcome.

For the benefit of anyone researching the Cadwalader family, or their related families i.e. Biddle, McCall, Gouverneur, Weir Mitchell etc. three sources that have been discovered are firstly, a series of books by Anne Hollingsworth Wharton written around 1900.

Secondly, the catalogue for a PAFA exhibition of miniatures held in 1911. The Mrs Weir Mitchell (Mary Cadwalader) mentioned above and her husband, loaned a large number (24) of miniature portraits of family members to the exhibition, possibly including the one of Mary McCall by John Ramage shown here, as the 1911 exhibition included a portrait by a then unknown artist of Mrs Lambert Cadwalader (nee Mary McCall).

Thirdly, an extensive family tree can be seen at RootsWeb's WorldConnect Project: "The Large Version of the Chew ... There is also a miniature in this collection which may possibly represent Nicholas Biddle at Gillespie, J H - portraits of Alexander H Niven an...

Unfortunately, the whereabouts of all these miniatures is unknown, but they may still be with a family member somewhere.

In late 2007, I have found a 1999 auction reference to the sale of one of the miniatures by Skinners of Boston. (Unfortunately, the image is very poor.) The description reads; "Miniature Portrait of Mary McCall Cadwalader Unsigned, attributed to John Ramage, line of descent inscribed on the reverse Watercolor on ivory, 1 1/2 x 1 1/4 in, in a pendant frame Condition: Good Provenance: From the script on the reverse of the gold locket: "nee McCall left her miniature to her niece, namesake and Godchild, Mary Read who left it to her daughter Mary Read Fisker who give it to Hester Gouveneur Hone great grand-daughter of Mary McCall Cadwalader 4th December 1907" Note: "The Cadwalader family had a distinguished history of leadership and public service in Philadelphia from its carliest years and they continued to play a pivotal role in the city's political, intellectual, and cultural circles during the Revolution and in later Federal periods " according to "The Cadwalader Family Art and Style in Early Philadelphia," by Jack Lindsey and Darrel Sewell, Philadelphia Museum of Art Bulletin Fall, 1996."

Dr and Mrs Weir Mitchell had a daughter Maria Gouverneur Mitchell who unfortunately died of diphtheria in 1898 at the age of 22. In memory of her, they commissioned a memorial sculpture from Augustus Saint-Gaudens which is inscribed, "Blessed are the pure in heart for they shall see God."

It was the Angel of Purity (Maria Mitchell Memorial), is 96 inches tall and adorned the wall facing the Cadwalader family pew in Saint Stephen's Episcopal Church in Philadelphia for over 100 years until it was acquired by the Philadelphia Museum of Art in 2005.

It is shown here for convenience, but much more about the sculpture can be found at Philadelphia Museum of Art - Collections : New Acquisitions 184

Brown, John Henry - portraits of a father and son

2006-04-15T14:46:00.000-07:00

This pair of miniature portraits are opalotypes by John Henry Brown (compare plates V and XI in Verplanck).

Opalotypes were based on a photographic image on milk glass, but then hand painted over the image so that they looked like miniatures on ivory. Thus they were a cheaper form of portrait than those on ivory, but were in colour and had lasting qualities that were then absent from other types of photographs.

John Henry Brown was the prime exponent of the technique. He did not sign his opalotypes, but he used the same frames as for his miniatures on ivory and so it is fairly certain that opalotypes in these frames are by him. Generally also his opalotypes were bust portraits only without any background.

Thus these portraits are framed in the typical style of frame that Brown used and are contained in the same outer case. The sitters appear to be father and son, but are unknown. 979a, 979b

Brown, John Henry - portrait of a lady

2006-04-15T14:40:00.000-07:00

This miniature portrait is painted by John Henry Brown, but it is impossible to tell whether it is painted over an opalotype base, or is a straight bust portrait painted on milk glass. It is framed in the same way as most of his other miniatures and opalotypes.

As John Henry Brown was noted for his ability to make his painted miniatures look like photographs, the difference in quality between the miniatures and some of the opalotypes is so minimal it is really difficult to differentiate between miniatures on ivory and some of the opalotypes.

The adjacent portraits of a man and a boy seem to be definitely opalotypes, but this one may be a painted portrait based on a CDV photographic portrait. A point in favour of this is that there is some paint loss on her hair and there is no sign of a photographic base in the area thus uncovered. Brown did paint copies of photographs and this collection includes a miniature on ivory of Antoinette Tesseire which was a post mortem portrait copied from a daguerreotype.

This sitter is unknown. 1218

Brown, John Henry - portrait of a girl

2006-04-15T14:36:00.000-07:00

This miniature portrait is unsigned. It is in the style of John Henry Brown (compare item 23 in the Manney Collection) and in an American frame, but may not be by him. The sitter is unknown. 500

Cummings, Thomas Seir - portrait of a man

2006-04-15T14:32:00.000-07:00

This miniature portrait has been attributed to Thomas Seir Cummings (26 Aug 1804-25 Sep 1894) who worked in New York and whose works have been described as "technically flawless". He taught miniature painting and drawing for over thirty years. He exhibited annually at the National Academy of Design from 1826-1852

Cummings had been born in Bath England, but was brought to New York by his parents. He married Jane Cooke (9 Dec 1806-20 Nov 1889) in New York on 27 May 1822, thus Thomas was less than 18 years old when he married and Jane only 15. As Jane died first in 1889, they were married for 67 years, unusual today and almost unheard of in the 19C.

It is difficult to trace the family through the census returns, but in 1850 Thomas described himself as an artist, with assets of $8000. At that time he and Anne had ten children, aged from 3 to 25, and one servant.

The attribution is based upon a comparison with fig 42 in the Manney Collection, which has a similar pose and background treatment with a vertical colour change, as well as similar sight size dimensions.

Johnson describes Cummunings' work as "techinically flawless and pyschologically perceptive. Although Cummings a precise painter, lacked the painterly freedom of Inman, he achieved lively, charming effects by his use of striking contrast and brilliant color."

Additionally, a pair of portraits by Cummings with the similar pose and background treatment of a vertical division were sold as lot 815 in the Skinner sale of 5 November 2006.

Unfortunately the sitter in this portrait is unknown. 1194b

Doyle, William - portrait of Anne Tuttle Jones Bullard

2006-04-14T20:46:00.000-07:00

Although this miniature portrait has not yet been firmly attributed to an artist, stylistically, the most likely artist seems to be William Doyle (1787-1828) who worked in Boston.

Initially, it was thought there are some similarities with the work of Nathaniel Rogers, as Rogers tended to make the heads of ladies disproportionately large and the bodies small, but Rogers worked in New York and this sitter came from closer to Boston.

The portrait is inscribed on the reverse "Ann Tuttle Jones 1808-1896 - 1826 date of picture". On the Internet she is referred to as Anne Tuttle Jones Bullard, that is Ann spelled with an "e".

Effectively forgotten for 150 years, Anne deserves belated recognition. In brief, Anne was a published author by the age of 22, writing several fiction books and one non-fiction book, she married and moved westward with her husband Rev Artemas Bullard and so enabling early settlers to take their faith with them. Six of her seven children died in infancy. She was involved with assisting slaves to escape to Canada. In 1850 Anne wrote a series of travel letters from Europe, which were initially published in the "Missouri Republican" newspaper and subequently republished as a book in 1852.

Anne was the grand-daughter of the widow of Captain Isaac Davis, the first officer to be killed in the Revolutionary War, see Minuteman Isaac Davis His widow, Hannah Brown Davis then married Samuel Jones. For an excellent website with comprehensive information about Hannah Brown Davis Jones, (who later remarried again and became Hannah Brown Davis Jones Leighton) see Hannah Brown Davis Jones Leighton

Hannah and Samuel had a son called Samuel Jones who married Anna Tuttle on 21 October 1806, and Anne Tuttle Jones was a daughter of that marriage, born on 31 January 1808 in Acton, Middlesex, MA.

On 2 June 1829 at Acton, Anne married Rev Artemas Bullard (sometimes Artemus Bullard) the son of Dr Artemas Bullard who purchased this house in 1805 from Mr Hunt, who had purchased it from the first owner Ebenezer Waters who built it in 1767. The elder Artemas Bullard was a successful medical practitioner was appointed by Governor Strong as surgeon of the local infantry regiment and in 1814 was elected as a fellow of the council of the Massachusetts Medical Society.

Thus Anne would have been a frequent visitor to this house. Anne and Artemas soon moved to St Louis, where Artemas trained men for the clergy. Artemas was related by marriage to the Beecher family, as his younger sister, the author Eunice White Beecher (nee Bullard), later married the Rev Henry Ward Beecher, a well known 19C preacher who attracted large crowds to his sermons, see Henry Ward Beecher . In turn Henry was the brother of the famous author Harriet Beecher Stowe. A younger brother of Artemas was Rev Asa Bullard. He was also an author and wrote particularly for Sunday schools, see Asa Bullard . Writing was therefore common in the Bullard family.

Anne seems to have been the first in the family to be published and had five fiction books printed between 1830 and 1835, which makes her one of the earliest American female authors and she was only 22 years old when the first book was published. For details of her early fiction see Chronological bibliography Then, after a long gap, in 1852 she wrote another fiction book titled; "Matrimony; or Love Affairs in our Village Twenty Years Ago". Interestingly, she was still reluctant to disclose her own name as author, instead calling herself "Mrs Caustic". However, the Preface does refer to her earlier books.

Additionally in 1852 Anne published her travel book as noted below. Although there is as yet no firm evidence, it seems very likely that in the 1840's Anne also wrote anonymously for the Sunday School publications edited by her brother-in-law Asa Bullard, such as "Wellspring", which was first published in 1845. It is understood there are a number of articles in "Wellspring" signed "A B". At first glance this could seem to be Asa Bullard, but they may perhaps be more likely to be Anne Bullard.

This collection now contains four rare copies of Anne's books, three fiction and one non-fiction. The frontispieces of her books which in this collection are reproduced here, the fiction ones being; "Lousia Ralston" first published in 1831, "The Persecuted Child", with numerous woodcut illustrations, published in 1833, and "The Wife for a Missionary", published in 1835. From reading it, it seems the latter book may well have an element of an auto-biography in it. It is interesting to note that her fiction books were published at a time when women were not supposed to write books. Thus instead of her name on the frontispiece, in the latter book the author is only referred to as "By the author of "Louisa Ralston", "The Reformation" & etc."

In St Louis Artemas Bullard operated a seminary to train young men for the ministry and in 1850 he built the Rock House, which still exists, see Ghosts of Greater St Louis, Missouri

Some St Louis historians also believe that Anne and Artemas assisted with the Underground Railroad aiding escaped slaves. Anne was published as an author before her sister-in-law Harriet Beecher Stowe. Thus it seems entirely possible that Anne's success as an author, and her involvement in the Underground Railroad, was inspiration for Harriet to become an author and to later write "Uncle Tom's Cabin".

However, the involvement in the Underground Railroad around 1850, does seem to be in conflict with the attitude of Artemas Bullard twenty years earlier. In the book "Biography of an American Bondsman" published in 1856, there is an account relating to an incident, which probably took place in 1828, where Artemas Bullard was severely criticised for his attitude towards slaves. See Josephine Brown. Biography of an American Bondman, by His Daughter. The relevant passage is on page 22 and reads;

"It was while acting in this capacity, that a deed of cruelty was committed, which is graphically described by Mr Brown in his published narrative. While driving his master’s carriage to church one Sabbath morning, he saw Mr D D Page, with whom he was well acquainted, chasing one of his slaves around the yard, cutting at him at every jump with a long negro-whip. Mr Page, seeing the truthful charges of Mr Brown published, employed the Rev Dr A Bullard, a pro-slavery, Negro-hating clergyman, formerly of the North, but now of St Louis, to refute the charge; which the Doctor attempted to do so, in a series of articles published in the columns of Northern pro-slavery papers of his own denomination. But the Presbyterian D.D., instead of mending the matter for his patron, made it worse, and caused the public to regards himself as a miserable tool. Mr Page has since failed in his banking business, and swindled his creditors out of large sums; and no doubt lost the misplaced confidence of his renegade theological friend.”

The "published narrative" referred to is the 1847 publication "The Narrative of William W. Brown, a Fugitive Slave", by William Wells Brown, see The Narrative of William W. Brown, a Fugitive Slave by William ...

The incident is described there in similar terms, although there appears to be no direct or indirect reference to Bullard in the Brown narrative. In the absence of a good reason not to, the reference to Bullard must be accepted, even though it seems his involvement was not recorded until the 1856 publication by Josephine Brown, some 28 years after the actual event and one year after Artemas Bullard's death in 1855. As a result, Bullard did not have the opportunity to refute the account. Nevertheless, it would be interesting to research Bullard's writings from around 1828 to try and add to the history of the incident.

The reasons for Artemas Bullard to apparently change his stance towards slavery so dramatically between 1828 and 1850 are unknown, although it may well have been the influence of his wife. He was married to Anne shortly afterwards on 2 June 1829 and from 1830 onwards she was writing books with a strong Christian message. Alternatively it may have been the influence of his brother-in-law, Rev Henry Ward Beecher.

In 1850 Artemas was selected to travel to Europe to attend the 3rd World Peace Congress at Frankfurt on Main and Anne traveled with him. Anne wrote letters back to a St Louis newspaper while she was away and these were later published as a non-fiction book in 1852, "Sights and Scenes in Europe". The frontispiece of this book is also shown here, but by now Anne could be revealed as the author and the book is described as "By Mrs A T J Bullard". However, the frontispiece does not refer to her earlier books. The book is also available online at http://www.hti.umich.edu/cgi/t/text/text-idx?c=moa;idno=ADL7867

The 1850 census must have taken place just before Artemas and Anne left for Europe. On 3 August 1850 they are recorded as A Bullard D.D. (Doctor of Divinity) 49, Anne T Bullard 41, and Henry Bullard 14, all living in St Louis, Missouri.

Less than two weeks later, a highlight of Anne's life must have been on the trip to Europe when she was one of very few invited guests present when Queen Victoria gave a speech to the House of Lords on 15 August 1850. Anne went by herself in a carriage and there were only 30 ladies seated in front of her. She saw and heard the Duke of Wellington, and while waiting for Queen Victoria to arrive, Anne spoke to the lady seated next to her; "In answer to one of my questions, whether such a lady was a Peeress, my companion replied "Oh, yes, we are all Peeresses, you know." I smiled, but did not undeceive her, thinking, as it was the first and last time I should ever pass for a Peeress, I would enjoy my rank."

The book covers her travels in detail and is very interesting. The style, being based upon letters written back to a newspaper, and structure are similar to the famous book written by Mark Twain called "Innocents Abroad", which was written nearly 20 years later. In fact as mentioned below, Anne's son accompanied Mark Twain on that voyage and it seems almost certain they would have taken a copy of Anne's book with them, and it may even have provided some inspiration to Mark Twain. Immigration records show they returned from Liverpool on the SS Europa arriving in Boston on 29 Nov 1850.

In her book, on pages 26 and 27 Anne records seeing "the following curious printed notice". It advertises "Insurance against Steamboat and Railroad Accidents" including cover against death in a railroad accident. Anne describes it in a full page, ending with the comment "What will not be insured next?"

The comment turns out to be very poignant, as only five years later on Nov 1, 1855 her husband was killed in a train crash at Gasconade River. Rev Artemas Bullard and over 30 other people were killed, and hundreds were injured when a bridge collapsed. For more on this see Remembering the Gasconade Missouri 1855 Railroad Bridge Disaster An elaborate memorial to Artemas was erected, see Bullard, Artemas . A very kind researcher has found that Anne is buried with Artemas, together with their children who died in infancy, see Bullard, Anne Tuttle Jones . Although I have not seen them, interested researchers can find many of Artemas's papers at %eadnotat; ]> Artemas Bullard (1802-1855) Papers, 1800-1888 (bulk ...

There is a detailed account of Artemas Bullard's career at Annals of the American Pulpit: Or, Commemorative Notices of ... - Google Books Result

Anne and Artemas had seven children, but six of them died in infancy with three of them dying of scarlet fever in one week in January 1848. (some references suggest that the youngest son Edward Payson Bullard survived, however this is due to a mix-up with another Edward Payson Bullard also born in the same area. While this will seem a strange coincidence, there was around this time a book published called "Memoir, Select Thoughts and Sermons of the late Rev Edward Payson'" and it thus seems religious families thought they would be good names to choose, cf. football stars today!). Incidentally, Rev Edward Payson is the author of a quote still relevant today; "Luxury is the first, second and third cause of the ruin of republics. It is the vampire which soothes us into a fatal slumber while it sucks the lifeblood of our veins. "

The single surviving child of Anne and Artemas was Rev Henry Bullard who married Helen Maria Nelson on 30 August 1871 and they had three children.

Another literary link appears here, as Rev Henry Bullard was a passenger along with Mark Twain on the famous Quaker City Pleasure Excursion to Europe in 1867, being right next to Clements on the passenger list; see http://groups.msn.com/RivermenRiverboats/juliusmoulton2.msnw and http://www.twainquotes.com/18670609.html Although there is a reference to Eunice Bullard Beecher being the sister of Rev Henry Bullard, it must be intended as the aunt of Rev Henry Bullard (perhaps to make her seem younger!), as there is no record of Artemas having a brother called Henry. The reference http://72.14.235.104/search?q=cache:j34Qe4k-tTkJ:www.twainweb.net/filelist/skeptic.doc+%22quaker+city%22+bullard+reverend&hl=en&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gl=nz&ct=clnk&cd=3 suggests that Rev Henry Bullard temporarily converted Mark Twain to believing in Christianity!!

The miniature portrait of Mark Twain shown here is part of this collection, for more about it and comparisons with other images of Mark Twain, see View

Thus from a high point in 1852; when she had recovered from the death of six children in infancy, met many titled people in Europe, published a new book, and was a prominent local person, Anne's life deteriorated as her income must have ceased after Artemas's death. In the 1860 cenus she is recorded as Abbie (instead of Annie) T J Bullard, living with her remaining son, Henry and running a boarding house back in Massachusetts. She is next found in the 1880 census apparently as a 74 year old cook/housekeeper to a young widower named Mullin and his young family in St Joseph, Missouri where her son Rev Henry Bullard was now a minister.

Sadly, she died of a broken leg Jan 19 1896 at the age of 88, after 40 years as a widow. 689

Unknown - portrait of Aaron Burr

2006-04-13T20:50:00.000-07:00

This miniature portrait is unsigned and lacks the artistic skill of an expert artist, being painted in something of a primitive style, but it has been found to be an important item.

The miniature was purchased as an unidentified sitter, but from the research outlined here, it is now believed to be an early portrait of Aaron Burr (1756-1836).

Although based on the original Vanderlyn painting of Burr, it is possibly copied from the Parker profile engraving or, perhaps even more likely, another more coarse engraving of the early 19C.

It is painted on a thick piece of ivory, which is an indication of early 19C age, as is framing in a chased miniature case. The painter did not get the eyes quite right, but was more successful with the chin and the clothing. Also, the artist appears to show Burr with natural hair and no hair-tie, whereas the Parker engraving shows him wearing a wig and with a hair-tie.

The original engraving itself was copied by G Parker in 1826 from the 1802 John Vanderlyn portrait of Burr, which can be seen here and also at Aaron Burr -- Encyclopædia Britannica

Various engravings derived from the painting seem to exist. One version is shown on this page, but another version can be seen at Aaron Burr

Even though the eyes are not well painted on this miniature, a comparison of the various details of this miniature, shows many similarities and it therefore appears the engraving was the most likely source for the miniature.

The type of heavily chased frame the miniature is housed in was rarely used after 1835 and hence by the style of frame, it seems that this portrait would have been painted just before, or immediately after, Aaron Burr's death in 1836, and perhaps sold as a memorial portrait.

Also acquired for this collection and shown here, is an early photographic slide of the Vanderlyn portrait. This portrait was published by Yale University Press as part of its series "The Pageant of America".

This slide appears to show Burr with deep mutton-chop whiskers, which do not seem to feature so prominently in the other portraits. It may be shadow, or perhaps the photograph is of a modified version of the Vanderlyn portrait.

It seems that other miniature portraits copied from the engraving may exist, although to date only one has been found. This other miniature, as depicted here, shows Burr wearing a blue coat and can be seen at the New York Historical Society.

However, it appears the NYHS miniature of Burr was probably painted after 1900, as the frame looks modern and the blue pastel colour used for his jacket is a modern colour that was not used in the 19C.

This must also be a copy from an engraving, as a copy painted by an artist viewing the original portrait would have much more likely have shown him wearing the original black coat.

Just for comparative and reference purposes, a close up of the NYHS miniature is shown here, but for the proper reference to it, including a full picture of the frame, please refer to the official NYHS website which can be reached via the following link http://emuseum.nyhistory.org/code/emuseum.asp?style=browse¤trecord=1&quicksearch=aaron%20burr

For more about Aaron Burr, including current updates, see The Aaron Burr Association For another portrait and a photo of his grave, see http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSln=burr&GSfn=aaron&GSbyrel=all&GSdyrel=all&GSob=n&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;GRid=151& 745

Jarvis, John Wesley - portrait of Theodosia Burr Alston

2006-04-13T20:39:00.000-07:00

This miniature portrait is unsigned but has been attributed to John Wesley Jarvis (1780-1840), as that is the artist to which the Gibbes museum has attributed another version of the portrait. The case is not original. However, as it is slightly different to the CAA version, this version is more likely to be by a different artist, perhaps Charles Fraser.

The sitter has been identified as Theodosia Burr Alston (1783-1812), who was the daughter of Aaron Burr, the Vice President who was highly regarded in his day, but today is unfortunately most often remembered for killing Alexander Hamilton in a duel in 1804.

The portrait was acquired as an unknown lady, but some time later, a chance review of the CAA 1984 catalogue located the attached identical image on page 154. The colouring of the two miniatures are a little different, but that probably relates to differing methods of image capture. The CAA one is shown here next to the page in the CAA catalogue depicting the miniature. However, as can be seen when comparing the miniatures, the one in this collection is marginally larger, it shows a little more of her dress and the pink wrap is more prominent.

Although the 1984 CAA catalogue lists the miniature as unattributed, more recent research has amended this. (Thank you to CAA for this later information, CAA reference - Theodosia Burr (Mrs. Joseph Alston, 1783-1812), attributed to John Wesley Jarvis (1780-1840), Watercolor on ivory, Gibbes Museum of Art/Carolina Art Assocation, for further information - The Gibbes Museum of Art, Charleston, South Carolina)

Still later an Internet search located a third version on the cover of a biography by Richard Cote, "Theodosia - Portrait of a Prodigy". The version on the cover of the book is stated to be by Edward Greene Malbone, which may be correct as he was active at the time the original portrait would have been painted. Richard Cote advised that this version is heavily restored.

The portrait is not mentioned in the Malbone biography and check-list by Ruel Tolman, but has been attributed to Malbone by the Gibbes.

To "muddy the waters" a little further, in early 2008, some two years after writing the above I have acquired a copy of the 1983 publication "Charles Fraser of Charleston". In this I was intrigued to see a transcription of Charles Fraser's work book and the following references on page 20; "1839 Jan(uar)y Copy of a port. of Mrs Alston for WBP $50" and several entries below that, also in 1839, "Copy of Mrs Alston for T. P. A. $50." There is also a reference at that time to a "Copy of Col. Alston's Port: for WBP".

On page 21 there is a further reference; "Copy of a Portrait of Mrs A for WBP $50" and on the same page; Mr Alston - a copy -- Mrs Alston - Do for Mrs Hayne $100" .

Apart from these references, on page 12 there are references to "Mr Wm A Alston Junior $40" and "D(itt)o a copy $40", on page 15 there is a reference to "Copy of Gen'l Allston's picture $50", and on page 23 "Copy for Mr Alston $45" and on page 24 "Sold a picture to Mr Alston $60".

Thus the Alston family was a regular client of Fraser. It is possible that other miniatures were painted by Fraser for the Alston family or close relatives with names other than Alston, but which are not readily identifiable in Fraser's workbook.

Correspondence in early 2008 with the family descendent of WBP who currently owns the miniature on the cover of "Theodosia" has revealed that TPA stands for Thomas Pinckney Alston (1795-1861) and WBP stands for William Bull Pringle (1800-1881) who married the sister of Thomas, Mary Motte Alston (1803-1884).

The correspondent also advises that the Joseph Alston (1779-1816), who married Theodosia Burr (1783-1812), was an elder step-brother of Thomas and Mary. Thus Theodosia was a step-sister-in-law of Thomas and Mary.

This is a much closer relationship that I had expected when I stumbled across the initials TPA and WBP.

The transcription of Charles Fraser's workbook does not include any direct reference suggesting he painted an original of a Mrs Alston prior to 1838.

The CAA catalogue does include miniatures of Colonel William Alston (1856-1839) and his second wife, Mary Brewton Motte Alston (1769-1838), but comments; "The Alston portraits are a little unusual in Fraser's oeuvre and have led some to doubt their attribution."

There is a further, but different miniature of Mary Brewton Motte Alston by Fraser in the CAA which is said to be a copy of an oil portrait by Samuel F B Morse.

As a result of the above information, there is the possibility that references to Mrs Alston in Fraser's workbook, include Theodosia Alston, and so Fraser painted copies of Theodosia Burr Alston, as well as of her husband Mr (Joseph) Alston, of Colonel Alston, i.e. the father of Joseph, Thomas, and Mary, and of Colonel Alston's wife.

Fraser certainly had the skill to do make copies and in fact his workbook is liberally sprinkled to references to copies of works by other artists, including Benbridge and Robertson.

As a relevant comparison of Fraser's work, shown here is a miniature of a "Young Lady in White" owned by the Yale Art Gallery. Yale has attributed it to Charles Fraser and dates it c1820-1825. The pink coloring is very similar to the miniature of Theodosia and the backgrounds are similar, allowing for the vagaries of the different photographic sources for the images.

As mentioned the Gibbes Gallery has attributed their copy to John Wesley Jarvis, but according to the book "John Wesley Jarvis", Jarvis only ever resided in Charleston for three months during 1820. Therefore he would have needed to paint any copies in this brief three month period.

If Jarvis had painted two versions at that time, one would have expected the painting of the pink wrap to be the same. As the cross-over of the pink wrap is painted in a manner closer to the Fraser example show here, it seems more likely that this version is not by Jarvis, and in that context Charles Fraser seems most likely, as he painted various copies for the Alston family. In support of this is that the background color of this miniature seems closer to the Fraser miniature, than to the Jarvis version in the CAA.

Without close examination by an expert familiar with their work, it is not possible to determine whether Jarvis or Fraser painted this version.

Theodosia Burr Alston had a son who died at an early age. She was then lost at sea on a coastal voyage to New York in 1812 when she was only 29. For more about Theodosia see Theodosia and also THE FATE OF THEODOSIA BURR: The Outer Banks, NC ~ Packet by Eric ... 866

Inman, Henry - portrait of Elizabeth Smith Nicoll

2006-04-13T20:26:00.000-07:00

This miniature portrait is tragically connected with the two previous miniature portraits, those of Aaron Burr and Theodosia Burr Alston. It is inscribed on the reverse "Elizabeth Scott Nicoll 1818 - Watercolor by Inman, AH". The AH appears to be the initials of Alexander Hamilton III, who wrote the inscription. The note attributes the miniature to Henry Inman (1801-1846).

On Nov 15, 1842, Elizabeth Scott Nicoll married Alexander Church Hamilton III (1816-1889). He was the grandson of Alexander Hamilton I, who had been the first Secretary of the Treasury and had been killed by Aaron Burr in a duel in 1804.

The miniature was acquired together with the photograph shown, which is inscribed on the reverse "Alexander van Cortland Hamilton, January 7, 1915 age 3 mos. 10 days". He is believed to be a third great-grandchild of Alexander Hamilton I". 958

Carpenter, Meriva - portrait of self

2006-04-13T19:38:00.000-07:00

Miniature self-portraits are rare and so this is self portrait by Meriva Carpenter (1802-1887) is very interesting.

On the reverse there is the inscription shown which reads "Meriva Carpenter - painted by herself - 1838. Meriva daughter Dr Ruggles and Juliana Pierce Carpenter was born April 28, 1802 in Ellington Tolland Co. Conn. Married to Eli, Feb 1820 son of Dr Eli and Abigail Baker Carpenter of Orford, Grafton Co. New Hamps here at Tolland, Tolland Co, Conn. Then moved in March 1820 from Greenwich, Hampshire Co. Mass. to Homer, Cortland Co NY for a permanent home".

Research has indicated that Meriva and Eli were cousins. There is also a sachet of hair marked as shown "My Hand writing and Hair - Meriva Carpenter - Homer". For Meriva's burial place see Glenwood Cem Alpha List CA names. Her husband Eli Carpenter (1793-1863) is also buried there.

Two addtional comments can be made. Firstly, how different, and more interesting, miniature portrait collecting would be, if this amount of information were behind all portraits.

Secondly, and very sadly, this Collector did bid at a subsequent 2005 auction which included two equally well signed and identified miniature portraits of her parents, painted by Meriva Carpenter. They are shown above, the portrait of Dr Ruggles Carpenter was dated 1836 and that of Mrs Julian Pierce Carpenter was dated 1838. Regretfully, they went far above the estimate ($1955 price sale as against $600-$800 estimate) and thus, as the under bidder, this collector was only able to reunite Meriva with her parents to the extent of placing these images together. Details of Meriva's parents burial can be seen at Town of DeRuyter, Old Burying Ground

For more information on the family, please see the attached comments where a very helpful Carpenter family historian has provided some more information about the family, including the fact that Carpenterville NY was named after the family. Information about early Carpenterville is contained at History of Homer, New York 719

Also showing here is a second miniature self portrait of Meriva Carpenter as a young lady which was obtained for this collection several years after the version of her as an older lady.

Self portraits by miniature painters are rare, and to be able to reunite these two self portraits by Meriva Carpenter was very special. 1358

Chappel, Alonzo - portrait of Silas Wright

2006-04-13T19:11:00.000-07:00

Although this miniature portrait is unsigned, there is a metal plaque on the front that states "Silas Wright - Alonzo Chappel - American 19th Century". The sight size is 145 mm x 120 mm and it is painted in sepia tones, as would be most suitable for an engraver to copy, when asked to engrave a portrait.

This various portraits shown here may initially look a little confusing, but it is interesting to follow through how Silas Wright's portrait was copied and then reproduced in a number of different ways.

Research has included correspondence with an authority on the artist, who endorses the attribution.

Alonzo Chappel (1828-1887) was one of the premier American portrait artists of the 19C who painted large oil portraits of many famous people.

Alonzo Chappel is not normally thought of as a miniature painter and given the specialised nature of this item, it is possibly the only example of a miniature by him. Although, it does seem possible he may have also provided miniature portraits to support other engravings.

For more about Chappel, including a portrait of him, see Middle Island In a 1848 biography of Silas Wright by Jabez D Hammond, there is the engraving, shown here, which is said to be engraved by F Halpin as a copy of a daguerreotype.

Silas Wright (1795-1847) was Governor of New York and was regarded by many as suitable for higher office., but he died quite young. For a comprehensive site about Silas Wright, including newspaper reports of some of his speeches, see northcountry.bobsterner.com/silas_wright.htm

Amongst the other items shown here is the cover of a piece of music written especially for his inauguration called "Gov. Wright's Grand March".

Prior to becoming Governor, Wright was a Senator, noted as an orator, and known as "Cato of the Senate".

The panic of 1837 made Wright's position as Chairman of the Senate Finance Committee one of importance. Wright fought for the establishment of an independent treasury system and through his efforts, the bill to that end was enacted in 1840. As can be seen from the Customs Fee stamps and Gold Certificate shown below, the importance of this was recognised some forty years after his death.

Some historians are of the view Silas Wright could have been a presidential candidate if he had not died at an early age.

There is also a painted miniature portrait of Silas Wright by Washington Blanchard (1808-?) that is perhaps also an influence on the source of the engraving.

This portrait, together with the wife of Silas Wright, is in the New York Historical Society collection and can be seen at http://emuseum.nyhistory.org/code/emuseum.asp?style=browse&currentrecord=1&page=search&profile=objects&searchdesc=silas%20wright&quicksearch=silas%20wright&newvalues=1&newstyle=single&newcurrentrecord=3

In 1882 the US Treasury decided to issue the $50 Gold Certificate. A copy of it is shown here, together with a close up of the bust portrait.

To assist the engraver, it appears Alonzo Chappel was asked to paint the miniature portrait in this collection and he based it on the Halpin engaving in the Hammond book.

Also shown here is an original printer's proof of the portrait, from the Bureau of Engraving and Printing.

Apart from the $50 Gold Certificate, a set of seven Custom House Fee stamps were issued in 1887 that also have Wright's portrait on them.

This special envelope commemorating the 140th anniversary of the birth of Silas Wright was issued in 1935.

It has a postmark of Canton, where he lived, dated May 24.

There is also a postmark for Lisbon dated 25 May as it was mis-sent to Lisbon, when it was actually addressed to Nicholville.

An actual example of his signature, "Silas Wright Jr" is also shown here.

The home of Silas Wright is the subject of this 1932 postcard.

The house still exists and is now the home of the St Lawrence County Historical Association. More about it, including interior photographs, can be seen at Silas Wright House - SLCHA

For more about him, including a photo of his grave, see http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSln=wright&GSfn=silas&GSbyrel=all&GSdyrel=all&GSob=n&GRid=6848583& 255

Much later - A kind visitor has sent the following information about Silas Wright;

I was researching the Albany daguerreotypist Daniel E. Gavit today and came across your blog about Silas Wright, Governor of NY. I also came across a mention in an 1845 Utica, NY paper that notes:

"Daguerreotype - Messrs. Walker & Gavit take a splendid Frame of Daguerreotype Portraits for exhibition at the State Fair. The likenesses are remarkably faithful and the pictures, in their finish show a great improvement in this department of the Fine Arts.

From the American Citizen. One of the best daguerreotypes we have ever seen, is a portrait of Gov. Wright, taken a few days since by Messrs. Walker & Gavit of this city. It is an admirable likeness."

I though it might provide some insights related to your blog on the portraits of Silas Wright.

Here is a link to the site...it is a pdf of the newspaper but is search-able, though poorly scanned:

http://fultonhistory.com/Process%20small/Newspapers/Utica%20NY%20Daily%20Gazette/Utica%20NY%20Daily%20Gazette%201845%20-%20%201846.pdf/Utica%20NY%20Daily%20Gazette%201845%20-%20%201846%20-%200464.pdf

Clark, Alvan - portrait of Ruth Morrison

2006-04-13T19:02:00.000-07:00

This miniature portrait is signed "A Clark" for Alvan Clark (1804-1887), who worked in Boston, NYC, and Providence. Clark was more famous as a maker of telescopes and there is a comprehensive bigraphy of him written by Deborah Jean Warner called "Alvan Clark & Sons - Artists in Optics"

The sitter is identified by way of a newspaper clipping which states "Morrison - In this city, on Tuesday 29, Mrs Ruth Morrison, relict of the late Mr John Morrison. Aged 79 years and 8 days". This looks as if it was her death notice.

As Alvan Clark painted miniatures in New York City between 1827 and 1836, before moving to live in Boston, it is likely the sitter is the Ruth Burrill (Burrel) born Dec 13, 1775 in Lynn, Essex MA and who married John Morrison on May 29, 1799 in New York City. She appears to be around 55 in the portrait, which suggests it was painted around 1830. Most of Clark's later works are unsigned, thus this signed work is relatively unusual in that respect.

In the 1850 census, there is a record of John Morrison aged 75, born in Scotland, retired and with assets of $17,000. He was living with his wife Ruth aged 71 and two of their children, Matilda 26 and Pamela 25, at Cornwall, Orange, NY. This is most likely Ruth's family, despite the apparent contradiction in age, as there are many inconsistences in census details. Additionally, only wealthy people such as John was, could afford to pay for miniatures. 793

Cowles, Augustus Woodruff - portraits of Mr and Mrs Thacher

2006-04-13T18:32:00.000-07:00

Miniatures by Augustus Woodruff Cowles (1819-1913) seem to be unrecorded and currently no others are known.

For a portrait of Cowles see 1916 Elmira College - List of Seniors from Yearbook It has been possible to look at the reverse of the lady, but not the man. The miniature cases were unfortunately glued (yes, glued!) by a previous owner onto a red velvet mount and the lady is cracked. Alas, the man is glued into the case so the reverse of the ivory cannot be seen. The man is 65mm x 55mm and the lady is 58mm x 48mm.

However, the painting quality is very good and the style appears to be distinctive enough to conclude both are painted by the same artist. On the reverse of the lady there is very faint pencil writing that looks to read "Cowles 1840", but also in ink (which maybe later) "A W Cowles Pinxit - U College 1840".

As mentioned, Cowles does not seem to recorded as an artist, although a previous owner has written an inscription on the backing paper of the frame. The inscription looks fairly recent and states;

"Cowles, Augustus Woodruff 1st President Elmira College 1855-1889. Son of Alvah and Harriet (Woodruff) Cowles, born July 12, 1819. Graduated Union College in 1841. Taught drawing at Abbott School for ladies having previously studied miniature painting, Cowles School of Art in NY City. Married 15 Jun 1847 Francis Caroline Goold and had four children. Died at Reading NY Mar 15, 1913. He later obtained a Doctor of Divinity from Ingham and got a masters degree from University C in 1844."

There is a eulogy to Augustus Woodruff Cowles at 1916 Elmira College - List of Seniors from Yearbook

The inscription on the reverse of the frame goes on to say; "Believe the subject of portrait is Geo Hornell Thacher born June 4, 1818 graduated from Union College 1843. Is the other portrait a sister? Geo H Thacher was Mayor of Albany 1859, father of John Boyd Thacher also later Mayor of Albany".

A kind visitor has pointed out there must be doubt about the identity of the sitters, as their ages in the miniatures do not seem to fit with their birth dates. However, until when or if, there is any clarification, the following comments have been left intact as the sitters are probably related to the Thatcher family.

Brief details of George Hornell Thacher's career as Mayor of Albany are; elected mayor four times, and served in that office from May 1, 1860, to May 5, 1862; from May 1, 1866, to May 5, 1868; from May 6, 1870, to May 6, 1872; and from May 7, 1872, to January 28, 1874, when he resigned. George Thacher was married in Schenectady on June 15 1843 to Ursula Jane Boyd, who died April 13, 1874. They had two sons, John Boyd Thacher and George Hornell Thacher Jr (20 Nov 1857-?). However, family history records seem to vary, as some of them suggest he married Elizabeth Torry. Possibly she was a second wife.

It appears the elder George Hornell Thacher (4 Jun 1818-15 Feb 1887) was the son of Samuel Olney Thacher and Martha Hornell, but had no sisters, although he did have some young aunts; Martha (1808-?) and Sarah (1812-?). Thus the portrait may be one of them, or more likely it is his wife Ursula Jane Boyd (24 Sep 1811-13 Apr 1874) who would have been aged 29 in 1840 when the miniature was painted.

Ursula Jane Boyd, was the daughter of David Boyd and Margaret Maxwell, and it appears was named for her elder sister, Ursula Jane Boyd, who was born in 1808 and died in 1811. 563a, 563b

Unknown - portrait of Admiral and Mrs Cotton

2006-04-13T16:59:00.000-07:00

Although this pair of miniature portraits is unsigned and by a Chinese artist, they are included in the American Gallery due to the identity of the sitters, who are Admiral Charles Stanhope Cotton (1843-1909) and his wife Rebecca Cecilia Cotton (1844-1926).

There are several hand written inscriptions on the reverse, one of which states "Made in Hong Kong China 1883". Thus it is by an unknown Chinese artist. Miniature portraits of this type are uncommon, but do arise from time to time and often represent naval officers or missionaries who called into Hong Kong. They were often copied from photographs.

However, as the Chinese artists had never seen the coloring in traditional American and British miniature portraits, they instead copied photographs with a great deal of skill, sometimes even amending them, as the attached example demonstrates.

This collector is very grateful to Paul I Johnston who has provided the photographic image shown here of Rebecca Cotton. Paul comments "the photographer's backmark on this portrait is "H. Uyeno No. 5 Nakasima Nagasaki Japan," and in Admiral Charles Cotton's handwriting on the bottom the date is given as "December, 1882."

This is very interesting, as it appears Admiral and Mrs Cotton were in Japan in 1882 when the photograph was taken, but the next year 1883 he was in Hong Kong and had the portraits painted. The portrayal of Rebecca's hair is identical, but the Chinese painter has softened her features a little and amended the dress worn by Rebecca Cotton from a day dress to an evening dress.

On the reverse of the miniature of Admiral Cotton it states "1922 - Charles Stanhope Cotton Commander US Navy, comd'g USS "Monocacy' Asiatic station 1880-1883 incl. Born Milwaukee July 15 1843, died Nice, France July 9 1909. Father of Charles S. Jr and Grandfather of Emily Robertson Cotton. Veteran Civil War, Korean War, Spanish-American War".

For pictures of the USS Monocacy (1866-1903) which was a side wheeler steamship, see Monocacy Monocacy served for 37 years ending in 1903. One of her last active duty missions was partaking in the action commonly called the Boxer Rebellion which took place in 1900/1901.

For a full account of Charles Cotton's role as captain of the USS Harvard, a converted passenger liner which was used to transport prisoners during the Spanish-American War see HARVARD Incident, THE The Harvard Incident referred to the killing of several prisoners who were mistakenly thought to be attacking the guards.

More about Admiral Cotton, including another portrait shown here and which appears to have been the source of the painted miniature, can be found at Charles Cotton,

See also www.history.navy.mil/ar/charlie/cotton

On the reverse of the miniature of Mrs Cotton, it states "1922 Rebecca Cecilia Cotton, daughter of Brig Gen'l John Robertson of Detroit, Mich. Born Detroit, Mich Oct 30 1844 (sic - s/be Feb 15 1853), married Aug 30 1865 at Detroit to Charles Stanhope Cotton, later Rear Admiral U S Navy who deceased Nice, France July 9, 1909. Mother of Charles Stanhope Cotton Jr, Grandmother of Emily Robertson Cotton".

The father of Mrs Cotton was General John Robertson of Michigan. He was the author of a significant history of Michigan soldiers who served in the Civiv War. It is titled "Michigan in the War".

It is fairly easy to follow the family through some of the census records, despite overseas service. However, Charles can be found in the 1850 census aged 7. His father Lester H Cotton is recorded there as a US Marshal, which no doubt was an encouragement for Charles to follow a military career. Both of Charles parents, Lester and Sarah were born in New York.

For the 1870 census, Charles was married and living at Annapolis MD as a Lieutenant-Commander. His wife is recorded as Rebecca C Cotton here, but on other occasions gives her name as Cecilia. Their only child, Charles Stanhope Cotton Jr was then three months old, being born on Feb 10, 1870.

In 1900 Charles and Cecilia are living in Washington as boarders. Admiral Cotton died in France in 1909, but it is understood his body was returned to the United States and is buried in Arlington National Cemetery, see Cotton, Charles Stanhope

In the 1920 census, their son Charles Stanhope Cotton Jr is an Army captain with other Army personnel in Camp Pike in Arkansas. 259

Deane, Erastus - portrait of Daniel Stewart

2006-04-13T16:54:00.000-07:00

This miniature portrait is signed "E Deane Pinxit". A helpful visitor has advised this is probably for the Erastus Deane who was active in Richmond VA from 1799 to around 1807.

Miniatures by him are held by the Gibbes Museum and the Virginia Historical Society. Apart from those items little is known about him. In October 2007 I commented on three miniatures attributed to Erastus Deane, see 2007 - Additions and Comment: October 2007 - The Market Place

He is possibly the Erastus Dean (1776-1 Sep 1823), son of Gaius and Mary Dean, who was born at Greene, NY and married Mary Fenton around 1805 at Laurens, Otsego, NY. Erastus and Mary appear to have had eight children, with the eldest born around 1806.

However, other references suggest he was born in Canada and his parents moved to Greene NY after he was born, then again to Columbia, NY and they had four other children; Esra (1780-9 Feb 1842), Polly (1784-19 Jan 1869), Thankful (1786-?) and Sabrince (1790-?).

Although the above dates do not confirm a link with Erastus Deane the painter, they almost fit with him being active in Richmond VA from 1799 to around 1807 and then moving to NY. No other Erastus Deane has been found to fit those dates.

For some unknown reason, perhaps added when the miniature was reframed, the backing card for the miniature refers to another miniature painter.

It is part of a trade card almost appearing to be the playing card for the Ace of Spades. It is cut down, but the following can be read. "G III REX - HONI SOIT QUE MALY PENSE - No 21 A - DIEU ET MON DROIT - HART ...YPORTRAITI(ST)". However, as there were several miniature painters named Hart, it was not clear which one this relates to. In view of the extra information below, and the connections to USA, it seems possible the artist may be Sarah Hart who was active in Elizabethtown NJ around 1783. The other Harts active around this date being E Hart in Canterbury, England 1770-1799 and Samuel Hart in Plymouth, Bath, and London 1785-1820.

[A note to earlier visitors, a number of corrections have been made below, following advice received from a kind visitor.]

The sitter in this portrait is Daniel Stewart, who was born in Dominica c1779-1780 and died in South America about 1825. The miniature was acquired in a red leather miniature case together with the several other items shown here.

A note written on the interior silk of the case reads; "Daniel Stewart, only son of Daniel Stewart and his wife Jean Murray & brother of Mrs Broadwood of Lyne - He died unmarried in S. America about 1825 or 6."

A paper note found behind the miniature reads; "Our maternal grandmother Jean Murray - married 1stly Sep 20 1777 Daniel Stewart Esq and by him had a son Daniel and a daughter Mary Schaw - both born in Dominica. - 2ndly her cousin Dr Field. She died May 22 1825 at Petersburg, United States. B.B. Dec 30, 1858". [B.B. = Mrs. Barbara Barker, nee Broadwood, daughter of James Broadwood and Margaret Schaw Stewart, born 1808.]

According to the IGI, the marriage between Jean Murray and Daniel Stewart was on 17 Aug 1777 at Canongate, Edinburgh, Midlothian, Scotland.

As an aside, when I was researching some of my own family tree, I came across the occupation "black borderer". My first thought was that I had come across a Scottish cattle rustler of some kind. However, I soon found that a black borderer was a person who put the black borders around mourning stationery, as can be seen on the edges of the above note."

The miniature is depicted together with some other Stewart family portraits which were acquired at a separate auction a couple of years apart.

From the written inscriptions with them, it was possible to confirm they relate to the same family. Thus it was nice to be able to reunite them with Daniel Stewart.

Apart from the bottom one being by Deane as mentioned, the artists of this second Stewart family group of miniature portraits are currently unidentified. The others may have been painted in Britain or possibly in America by Sarah Hart as mentioned above. Another possibility, now it seems more likely all four miniatures were painted in USA, is that the set of three portraits were painted by Henry Benbridge (1743-1812). This is because the overall style, and in particular the eyebrows of the top and left miniatures, is similar to other miniatures by Benbridge.

As is recorded in a 1971 catalogue of Benbridge's work; "A number of Benbridge's patrons were Loyalists who fled with their family pictures to Bermuda, the Bahamas, Nova Scotia, or "home" to England. Thus a number of Benbridge portraits have turned up and will continue to do so in the British Isles." These miniatures were acquired from Britain, so that location fits.

At the top is a Colonel Macbean (I originally read this as Maclean, but a kind visitor has corrected me). As a result of this correction, it is possible to speculate on his identity. It did initially seem likely he was one of the Macbeans referred to in The Gentleman's Magazine of 1855; "Gen Sir William Macbean KCB May 25 At Brompton aged 73. General Sir William Macbean KCB KTS, Colonel of the 92d Foot. Sir William was the son of Colonel Macbean of the 6th regiment, and grandson of Lieut General Macbean of the Royal Artillery. He was born at Southampton in 1782." However, this Macbean has now been discounted.

Another discounted is Colonel Macbean of the 6th Regiment of Foot. Infantry Regiments of the Line were allocated numbers according to their seniority and in 1743 the successors to Lillingstone’s Regiment was named The Sixth Regiment of Foot. In 1778, the Sixth of Foot came to Warwickshire to recruit and raised companies in Birmingham, Coventry, Warwick and Stratford-upon-Avon. Infantry Regiments established formal links with a particular geographical area and The Sixth Regiment became also named The First Warwickshire Regiment of Foot. By 1878, the Regimental Training Depot had been established at Budbrooke Barracks outside Warwick. The site is now the village of Hampton Magna. In 1968 the four English Fusilier Regiments merged into a ‘large regiment’ named The Royal Regiment of Fusiliers with four regular battalions:
* 1st Battalion, originally The Royal Northumberland Fusiliers, The Fifth of Foot.
* 2nd Battalion, originally The Royal Warwickshire Fusiliers, The Sixth of Foot.
* 3rd Battalion, originally The Royal Fusiliers (who recruited from London), The Seventh of Foot.
* 4th Battalion, originally The Lancashire Fusiliers, The Twentieth of Foot.
It appears that this Colonel Macbean was a colonel in the 6th regiment in the late 18C, with his uniform dating to around 1780.

Third time lucky!
I am grateful to a kind visitor who has advised, as below, the correct identity of the army officer, and some corrections to the family relationships I had previously attempted to unravel.

[Below is what a researcher has found, and appears to be our man, as his details fit in with two extant letters written by his parents. The uniform he is wearing in the portrait has also been verified as being that of the 71st Regiment, in which he served 1776-1782. This regiment was based for some time in Virginia, so it is quite possible that the portrait was made there.
ALEXANDER MCBEAN - Commission
- 2nd Lieutenant Royal Regiment of Artillery 1st Battalion. w.e.f. 15.4.1771
- Lieutenant 2nd Bt/71st. Rgt. w.e.f 28.8.1776
- Captain 14th Foot. (Rgt 15.12.1784; Army 24.6.1782)
- Major .. .. (Rgt 1.9.1795; Army 1.3.1794)

Last entry in Army List is 1797 annotated “retired”. His replacement’s commission is dated 3.5.1797.
Father: Lieut. Col. Forbes Macbean (Commander of Artillery in Quebec ca.1778)
Mother: Ann Macbean
Brother: Donald Macbean (still researching 3 possible candidates……more later!)]

The lady portrayed in the left of the frame is Jean Murray who married first Daniel Stewart, an army surgeon in Dominica, Sept 20 1777, and married secondly, her cousin Dr Alexander Field, a physician in Richmond, Virginia, Oct 10 1791. She died at Petersburgh, Va, USA on May 22, 1845. She is the mother of the other two sitters, both of whom were born in Dominica in the West Indies.

The lady on the right is Margaret Schaw Stewart, who married James Schudi Broadwood. Her brother, at the bottom of the group photo, Daniel Stewart is the subject of the miniature featured here and he died unmarried in South America about 1825.

Further advice from the kind visitor is that;
Her husband Daniel Stewart (Snr) died in 1779 (one source says 1780). We know their daughter was born in 1778, but the son’s (Daniel Jnr, subject of the portrait) birth date is unknown. However, given the tight timescale, it must have been 1779, unless of course he was Margaret Schaw’s twin, but there is no mention of that anywhere. So I think we can say with reasonable confidence: “Daniel Stewart, born Dominica ca.1779, died S. America ca.1825”. Incidentally, there is an extant letter from him, dated April 24, 1809, Petersburg, Virginia. It is to his sister’s husband James Broadwood. From its contents he is clearly acting as an agent for Broadwood pianos along the Eastern Seaboard (ref. David Wainwright’s ‘Broadwood by Appointment’, London, 1982.).

The last item, much enlarged, was also inside the red miniatures case. It is the front and reverse of a cut down photograph inscribed on the rear; "Kathleen Longfield J(?) at Lyne July 1870". Lyne House was the country seat of the Broadwood family, in S.E. England.

Although cut down, the name photographer is underneath the written name and appears to be "Rudolph Mayer & Co, Artists and Photographers" who operated from 13 Castle Place, Belfast, Ireland.

A full example of the trade card for Mayer is also shown.

At present the relationship of Kathleen Longfield to the Stewart family is unknown. It is possible she is related to the Ada Kathleen Longfield who married Harold Lask and wrote several social history books in the early 20C. 779, 1084

The kind visitor has also supplied a family tree to show the relationships and a little more information about Daniel Stewart.
Here is a little more information I have just found on Daniel Stewart. It is the registration of his settlement in America in Directory of Scottish Settlers in America, Vol VI, pg 111.
Stewart, Daniel - In Petersburgh, Virginia, appointed James Smilie in Edinburgh as his attorney re money inherited from the deceased Margaret Schaw*. Subscribed in Petersburgh, Virginia, on 18 October 1802. Witnesses John R. Lucas. John Brodie jr and Charles Baskerville RD3.296.828)
[*Note – Margaret Borthwick Schaw was his great-grandmother. I have a copy of her Will, in which she leaves him and his sister Margaret each a sum of money.]
It seems almost certain that his portrait was taken in Virginia on or after 1802.

Wood, Joseph - portrait of a man

2006-04-13T16:48:00.000-07:00

This unsigned miniature portrait of an unknown man was originally attributed to Anson Dickinson (1779-1852).

However, after more consideration, the attribution has been changed to Joseph Wood (1778-1830). Wood was born in Clarkston, NY and established himself as a miniature painter in NYC in 1800.

Johnson comments on Wood's style; "The technique is similar to Malbone's, although Wood's brushwork is slightly grainier and the paint is applied in something closer to a wash technique. In Wood's mature work the backgrounds, like Malbone's, as light and shaded by dark patches or painted to resemble sky. However, Wood's portraits are more sharply defined than Malbone's, showing stronger contrasts and deeper shadows, with dark outlines around the eyes. Gum arabic is used liberally, and at times the works are even varnished."

"The hair is brilliantly and airily rendered, often in the coup de vent style popular at the time. Heads are usually smaller than those by Malbone, and the subject is often placed off centre or low on the ivory. Like Malbone's, Wood's subjects are self-assured; their presentations, however, are more varied and offer fully characterisations."

"Later works by Wood, although skilful, are not as forceful as those of his best period; the drawing is more hesitant, the brushwork is broader, and the backgrounds are somewhat darker."

If the attribution is correct, this may be one of Wood's later works. 842

Dodge, John Wood - portrait of Eliza Jane Moffit Budd

2006-04-13T16:33:00.000-07:00

This miniature portrait is signed on the reverse by John Wood Dodge (1807-1893). It reads "Painted by John W Dodge from New York City, Nashville Tennessee, September 8th 1840, Likeness of Mrs Eliza Budd, wife of Thos L Budd". This is the typical manner in which he signed the miniatures, and it is great pity that more artists did not sign so fully and clearly.

Dodge was born in New York and was exhibiting by 1829. However, frail health required him to move south to Nashville in 1841.

From the 1840 date of this miniature, it seems he painted some portraits in Nashville, before moving from New York in 1841. Presumably he went on a preliminary visit to see whether there was likely to be sufficient demand for his services.

He painted over eleven hundred miniatures, which are recorded in a detailed account book he kept from 1828-1864. Beginning in the 1850's he also took up photography. He returned to New York when the Civil War broke out. He then went to Chicago in 1870 and returned to his Tennessee home in 1889.

Johnson comments on his work, "His carefully detailed portraits are direct, sprightly, and highly accomplished. The backgrounds are finely stippled, either of light brown or with striations of high-key pink, green and blue to resemble sky. Characteristic of Dodge's technique is thumbprint-shaped shadow which often appears to the right of the subject."

However, as can be seen with this miniature and the adjacent one, the thumbprint-shaped shadow is often absent.

As shown here, the case is engraved on the reverse "Eliza J Budd - July 31 1840". Possibly the portrait was commissioned on that date, perhaps as a 21st birthday present as it appears below that she was born in 1819 and was married in 1839. Thus perhaps Eliza sat for it in July 1840, but the miniature was then completed in New York by Dodge on Sep 8, 1840 and delivered to her on a subsequent visit by Dodge to Nashville.

Also shown is the title page of her hymn book which is engraved on the front cover in gilt letters "ELIZA J BUDD". The hymn book was sold by David Clark in Philadelphia in 1838.

Research has located a Eliza Jane Moffit who married Thomas L Budd on Nov 9, 1839 at Davidson, Tennesee. It therefore seems likely that the hymn book was a wedding present and the portrait a later present.

In trying to identify the Moffitt family more precisely, the following has emerged from research. A genealogy website records a Henry Moffitt (1794-1866), born in NC, whose wife was Mary and who had the following children and approximate birth dates; Brooks Moffitt 1815, Nancy Moffitt 1817, Liza Moffitt 1819, William Moffitt 1822, James Moffitt (15 Sep 1825-16 Feb 1890), John Moffitt 1828, Julia Ann Moffitt 1831, and Robert Moffitt (1833-1910).

This can be compared with the 1850 census record for Henry Moffitt and his family. In the 1850 census, Brooks, James, Julia Ann, and Robert are still living at home in Henderson Tennessee, but the other children are not there. This timing therefore fits with Liza (Eliza Jane) marrying Thomas L Budd in 1839 and thus no longer being at her parent's home in 1850.

Inside the hymn book is written another name which may read, "Lillie Budd Chamberlain Penn." This may be a later descendant.

There is also one other indistinct name inside the hymn book.

There is an excellent article about John Wood Dodge by Raymond White at Magazine Antiques: John Wood Dodge: and the portrait miniature 1025

Dodge, John Wood - portrait of Reuben Kreider

2006-04-13T16:14:00.000-07:00

This miniature portrait is signed on the reverse by John Wood Dodge (1807-1893). For more about Dodge, see the adjacent miniature of Eliza Budd.

It is unfortunately cracked, but nevertheless illustrates his skill. The crack occurred because the original framer taped the ivory tightly to the backing card, to which it is still attached, and so the ivory was not able to move as it shrank.

The ivory itself is octagonal shaped, the same shape as the Doyle miniature mentioned elsewhere in this section.

The sitter is identified on the rear. The signature is much harder to read than the adjacent miniature, but appears to read, "Painted by John W Dodge Nashville, Tennessee. (Taken?) Feb 2 1847, Likeness of Reuben G Krieiderer or Kreider".

Some research has been undertaken to try and identify him more closely.

The most likely person seems to be R G Kreider (1824->1889), born in Pennsylvania, who appears in the 1850 census in Port Washington, Washington, Wisconsin as a merchant and is also in the 1860 census as Reuben G Kreider, living in Troy, Miami County, Ohio, where he has a hat and cap store, assets of $2800, is married to Clarinda (1835-?) and has two children Eugene Kreider aged 2 and Howard Kreider aged 1. By the 1870 census he has moved to Indianapolis where he is listed as a agent. As his assets are now only $300, he had not been a successful businessman.

In the 1880 census, he is still in Indianapolis with his family, but gives his occupations as "sells boots and shoes". His son Eugene Kreider is a law student and his other son Howard L Kreider is a clerk in a pork house. Reuben next appears in the 1889 census for Washington Territory, where he is retired, apparently a widower, and living in Pierce with his son Eugene, now a clerk.

Eugene Kreider (1858->1930) appears to have qualified as a lawyer, but his specific career direction is unclear as he is not apparent in the 1900 and 1910 censuses. However, in 1913 he is recorded as returning from Puento Barrios in Guatemala to New Orleans, as a resident of Troy Indiana and in 1923 returning from Hawaii to San Francisco. He lived until after the 1930 census, but by then is divorced. In both the 1920 and 1930 censuses he is a roomer, in 1920 in San Francisco, and in 1930 in Tacoma Washington.

An expert on John Wood Dodge has kindly located this particular portrait in Dodge's workbook. It was painted Feb 20, 1847 and Dodge charged $30 for the portrait, the standard price for his unframed portraits, but less than the price which applied to framed portraits.

It is evident that the framer used did not understand miniatures and it would have survived without cracking, had the purchaser also paid Dodge for the framing. 342

Doyle, William - portrait of a lady

2006-04-13T04:03:00.000-07:00

This miniature portrait is signed "Doyle 1823" for William M S Doyle (1769-1828) who worked in Boston. From 1806 to 1815 he collaborated with Henry Williams (1787-1830).

Johnson comments, "In Doyle's miniatures the subject, usually male, is placed left of center, facing right. The paint is applied in broad washes; shadows and folds are emphasised with gum. Doyle's early work was awkward and lacked modelling, but during his association with Williams he learned how to produce a more accurate and accomplished likeness."

In this case, as Johnson has observed, the unknown sitter is slightly left of center. However, when it is compared with the miniature of a member of the Weaks family, fig 274 in Johnson, which was painted by Henry Williams in 1826, one can see some similarities of style.

This one by Doyle of an unknown lady is appealing and being dated 1823, is one of his later works as he died in 1828, two years before Williams. 1048

Doyle, William - portrait of a man

2006-04-13T04:00:00.000-07:00

Although this miniature portrait of an unknown man is not signed, it has been attributed to William M S Doyle (1769-1828) who worked in Boston. This attribution was made based upon the pose, where the sitter is posed sligtly left of centre, which was the normal way Doyle arranged his portraits of men.

However, against this attribution is that the portrait is better painted than most of Doyle's work and it is unsigned. Doyle normally signed his work on the front. Based upon the front opening frame and the painting style, it is definitely American. 635

Doyle, William - portrait of William Sayer

2006-04-13T03:51:00.000-07:00

This miniature portrait is not signed on the front, although the backing paper is inscribed "William Sayer by Doyle". The ivory appears to an odd shape and is housed in a continental ebonised frame with a circular opening. However, the ivory is the same as one of the two John Wood Dodge portraits in this section, which is the same octagonal shape. It may be that blanks were received in this shape and then cut to fit the frame that was selected. Although the backing paper refers to Doyle, presumably William M S Doyle (1769-1828), this attribution has not been confirmed.

Dunkerley, Joseph - portrait of a man

2006-04-13T03:48:00.000-07:00

Although this miniature portrait of an unknown man is unsigned, it has been attributed to Joseph Dunkerley, who was active in Boston between 1784 and 1788.

Dunkerley's miniatures often have inaccurate drawing. Faces, figures, and clothing are delicately modelled in a wiry, linear style with thin lips and are lightly defined. 768

Bartlett, Jason - portrait of Elizabeth Fontaine

2006-04-13T03:32:00.000-07:00

This miniature portrait is unsigned, but at present is believed to be by Jason Robbins Bartlett.

The miniature is housed in a wooden swing type frame from the early 20C, but seems to be badly smoke damaged, as if it has been rescued after a fire.

The miniature has a frame supplier's label inside saying "M'F'D By Hobbs & Sutphen 32 E Adams St Chicago."

The ivory plaque is 75mm x 55mm. I am not sure whether the colors are original, or were affected by the heat of the fire.

The rear backing paper is torn and very hard to read due to the apparent smoke damage, but with a little research, it now seems that it may read as follows;

"(Eli)zabeth Fontaine born (Greens)ville King Wm Co Va (King William County Virginia) (gr)and daughter of Patrick (Henr)y Died at Reidsville (Red Hill?) Mar 5 (18)76. Miniature painted by (Bar)tlett."

Patrick Henry was a famous patriot, who lived at Red Hill. However, the limited research so far has failed to identify Elizabeth precisely, although there do appear to have been marriages between the Henry and Fontaine families.

If the reading of the artist's name is correct, it would seem it may be Jason Robbins Bartlett who was active in Philadelphia and New York between 1811 and 1832. 1136

Subsequently, I have received the following information from a kind visitor, providing information from the Red Hill website. It does not clearly identify the sitter, but the information is repeated here in case it is of assistance to any other researcher.

"At http://www.redhill.org/descendants_genealogy.html
I see the following: 'Edmund Dabney Winston, married cousin Elizabeth Fontaine, children, died 1875, age 76 Mississippi, both buried at "Ridgeway" in Pontotoc County, MS.'

And also Edmund's father, 'George Dabney Winston, born 2 Aug 1771, died 15 Jul 1831 Rockingham, North Carolina.' If that is the TOWN of Rockingham NC in Richmond County, which is about 100 miles south of Reidsville: http://www.mitchellspublications.com/guides/nc/rockingham/

However, if that is the COUNTY of Rockingham NC, that IS Reidsville! http://www.reidsvillechamber.org/history.php

There was another grandchild, Sarah Shelton Aylett Fontaine, daughter of Elizabeth Henry and Philip Aylett, who better matches some of the info on your miniature, but not the name itself: 'Sarah Shelton married William Spotswood Fontaine, children, died 1876, age 64, in North Carolina, buried in City Cemetery, Reidsville, NC.'

Patrick Henry's first wife was Sarah Shelton, grandmother of Sarah Shelton Aylett Fontaine. The above Elizabeth Fontaine's husband Edmund Winston was grandson of Patrick Henry and his second wife, Dorothea Dandridge."

Also, from the same visitor; "My third grade teacher, the late Julia Henry Farson, descendant of Patrick Henry's first cousin Judge James Henry, talked about the fact that most Henry descendants have one eye noticeably larger than the other. She had the characteristic, as did both of her sons. That characteristic seems to be present in the subject of your Elizabeth Fontaine miniature. " 1136

Unknown - portrait of a man

2006-04-13T03:30:00.000-07:00

Neither the artist, not the sitter in this unsigned portrait are known, but the artist probably also painted the adjacent portrait. 1137

Unknown - portrait of a man

2006-04-13T03:27:00.000-07:00

This miniature portrait is unsigned. The artist has not yet been identified, but is probably the same person who painted the adjacent portrait. The sitter is unknown. 513

Unknown - portrait of David Hitchcock

2006-04-13T03:22:00.000-07:00

This miniature portrait is unsigned. The sitter is David Keyes Hitchcock born 9 May 1813 at Brookfield, Mass. On 21 Sep 1837, at Brookfield, he married Abigail Hastings.

In the 1860 census David and Abigail were living in Newton, Middlesex, Mass. with their eight children and several servants. His eldest son Thomas was also a dentist. Dentistry was obviously a profitable occupation as David dislosed $15,000 of real estate and $2500 of personal assets.

In the 1870 census, his real estate assets had increased to $50,000 and personal assets to $25,000. Most of the children still lived at home and there were three servants.

By the time of the 1880 census, David and Abigail were still living in Newton, with three of their children and one servant. David again described hinself as dentist and so was presumably still active. 607

Peale, Raphaelle - portrait of a lady

2006-04-13T02:54:00.000-07:00

This miniature portrait is unsigned, but looks to be American. The auction house who sold it attributed it to Nathaniel Rogers, but it looks different when compared to most examples of his work.

Another possibility is Raphaelle Peale, as the sky effect is similar to the way he usually painted the sky, but this is only a tentative attribution.

The sitter is not known. 532

Freeman, George - portrait of a lady

2006-04-13T00:14:00.000-07:00

This miniature portrait is signed "G Freeman" for George Freeman (1787-1868). He was born in Spring Hill CT, but worked in both America and Britain. This miniature portrait is from his American period and was probably painted around 1840.
There is a good biography of Freeman written by Wilma Keyes of the Mansfield Historical Society.
The sitter is unknown. 610

Fulton, Robert - portrait of a man

2006-04-13T00:06:00.000-07:00

This miniature portrait is unsigned, but is attributed to Robert Fulton (1765-1815), compare plate 18 in Strickler. This portrait was painted around 1785-1786.
Fulton only painted miniatures in America for a few years and went to Britain in 1787. His later miniatures are not as highly regarded as those painted in America.
Robert Fulton is more famous as the inventor of the steam-powered ship. For more about him see Robert Fulton The sitter is unknown. 1104

Gelee, Isabelle - portrait of Commodore Perry

2006-04-12T23:55:00.000-07:00

This miniature portrait is signed "I Gelee" for Isabelle Gelee (1875-1945). She was born in France and worked in Paris.

She is not known to have visited America, and if she did not visit, it is not known why she would have painted a miniature portrait of Commodore Matthew Calbraith Perry (1794-1858).

However, there is some indistinct writing on the reverse which seems to include the word marriage, so perhaps it was painted as a wedding gift to a family member of his.

Commodore Perry was famous for visiting Japan with a fleet of naval vessels in 1854, which led to the opening up of trade with Japan. For more about him see Commodore Matthew Perry:

There is also a lot more about him, together with a photo of his tomb at Perry, Matthew Calbraith 693

Hazlitt, John - portrait of a man

2006-04-12T21:42:00.000-07:00

This miniature portrait is signed with the initials "J H" for John Hazlitt (1767-1837). He worked in New York and Boston, as well as in Britain. This portrait is from his American period. The sitter is unknown. 824

Heaton, Edward - portrait of Mrs James C Fisher

2006-04-12T18:07:00.000-07:00

This miniature portrait is signed "E Heaton 1827" and is inscribed on the reverse as being painted in Philadelphia. Edward Heaton (sometimes Edwin Heaton) was born in Britain, but worked in the United States and later Quebec, Canada where he died. Blattel gives his date of death as 1826, but this must be incorrect as this portrait is dated 1827.

The sitter is identified on the reverse as "Ann Wharton, 2nd wife of James C Fisher". James Cowles Fisher (1754-1852) was a wealthy resident of Philadelphia who first married Hannah Wharton (1753-1789) the daughter of Thomas Wharton and Rachel Medcalf. Hannah is possibly the sister of the Thomas Wharton whose portrait by Charles Willson Peale is in the Philadelphia Museum of Art (ref. 1967-216-1).

After Hannah's death, possibly in childbirth, James Cowles Fisher on 20 Dec 1804 married Nancy Wharton (aka Ann Wharton) (2 Aug 1770-Jan 1852) the daughter of Joseph Wharton Jr and Sarah Tallman. It is believed that Hannah Wharton and Nancy (Ann) Wharton were cousins, both being grandchildren of Thomas Wharton (1729-1782).

An important painting showing the home where James and Nancy Fisher lived is in the Smithsonian. It can be seen at Treasures to Go . 1102

Officer, Thomas Story - portrait of Dr Amos Hull

2006-04-12T18:02:00.000-07:00

This unsigned miniature portrait is very large for a miniature on ivory, being 170 mm x 130 mm. It has been attributed to Thomas Story Officer (1810-1859) who worked in New York, Philadelphia and a number of other cities before moving to Australia around 1850. He then returned to San Francisco where he worked until his death.

The portrait may be signed on the rear, but has not been removed from the frame.

Although not shown here, the heavy metal frame and matt are identical in size and style to that used for the portrait by Officer in the collection of Linda and Raymond White, now located at the Cheekwood Musuem. That frame is illustrated on the rear cover of the 1996 exhibition catalogue of the White collection.

Another miniature in the collection that has also been attributed to Officer can be seen at Officer, Thomas Story - portrait of two children

The sitter is Dr Amos Gerald Hull (1810-1859), who was a well known practioner in homeopathy and he also wrote on the subject. For more about him see Amos Gerald Hull and Amos Gerald Hull (1810-1859) - Pioneers of homeopathy by TL Bradford 903

Rogers, Nathaniel - portrait of a man

2006-04-12T17:55:00.000-07:00

This unsigned miniature portrait is of an unknown man. It is extremely well painted by a trained artist, and was intially thought to be by Henry Inman (1801-1846). Inman was for a time New York's leading miniature painter. He worked with both John Wesley Jarvis and Thomas Seir Cummings.

However, it is now thought to be by Nathaniel Rogers (1788-1844) who mainly worked in New York City. 429c

Kramer, Peter - portrait of William B Astor

2006-04-12T17:46:00.000-07:00

This miniature portrait is signed "P. Kramer". There were two miniature painters named Peter Kramer who worked in the United States and it is not clear which of the two painted this portrait. They were Peter Kramer (1823-1907) and Peter Kramer (1857-1941). The former worked in New York and the latter in Philadelphia.

The sitter is named on a attached metal plaque as "William B Astor". William Backhouse Astor was known as "The Landlord of New York". For more about him see William Backhouse Astor . 817

Lenique, Andree - portrait of a lady

2006-04-12T17:37:00.000-07:00

This miniature portrait is signed "Lenique" for Clemence Andree Lenique de Francheville (1875-1945). She was born in France.

Andree Lenique is recorded as having exhibited at the Third Annual Exhibition of the American Society of Miniature Painters in New York in 1902. The NY Times described her entry as; "A highly wrought, seated profile portrait by a French miniaturist Mlle Andree Lenique deserves attention for the exactness with which the red stained hair, the book on the arm of the modern high-backed fauteuil, and the long chain of coral beads are rendered". See PAINTERS OF MINIATURES.; Third Annual of the American Society at ...

As Miss Andree Lenique, she arrived on SS Moltke 1 Nov 1904, but the passenger list notes that she had previously lived in New York for three years 1901/1904 and her address was 58 W 57th Street New York. She answered two standard question on the passenger list as follows;
Whether a polygamist? - No.
Whether an anarchist? - No.
Thus even in 1904, there were concerns about terrorism!

She must have been quite successful as an artist, as in the 1910 census, she was living with one servant in Manhattan, Ward 19 and gave her occupation as artist/portraitmin. Adjacent 1910 census entries are for a number of other artists/illustrators/painters, so this must have been an artistic area of New York.

This miniature portrait by Lenique is included in the Louvre collection. It is quite different in style, being much more fluid. It may be that her American clients preferred the more exact style referred to by the NY Times.

Anree Lenique is also recorded as an art teacher. She seems to have married a French art dealer living in New York called Franc Boyer de Francheville (9 Jan 1874-?) and they are both recorded in the 1920 census, with him as F B Francheville, are dealer and her described as A L Francheville, portrait painter. Franc was naturalised 4 Jan 1918 and gave his address as 53 W 39th Street. On his 1918 draft card he gave his occupation as art dealer/French teacher.

Andree Lenique worked in New York, where this portrait of an unknown lady was probably painted. Like the portrait by John Ramsier, which appears later in this group, this may be a painting made by copying an earlier larger portrait, or even a daguerreotype portrait, as the costume and hair style seems to be more 19C. 906

Lewis, William - portrait of Charles Tebbets

2006-04-12T17:32:00.000-07:00

This miniature portrait appears to be unfinished. On the reverse there is an inscription that reads "Charles Tebbets - Born Nov 2nd 1821 - Died April 21st 1823 - Painted by Wm. Lewis Boston". It may be that the death of Charles Tebbets is the reason the portrait is unfinished. 371

Lewis, William - group of four portraits

2006-04-12T15:28:00.000-07:00

None of the four following portraits are signed, but stylistically, they all appear to be painted by the same artist. To be able to more readily compare the styles, they are shown here together. As such, they have all been attributed to William Lewis (1788-?). It therefore appears that any correction of the attribution, would apply to all four portraits.

William Lewis painted portraits and miniatures in Salem, Boston, and Rhode Island. His distinctive work often shows his subjects' heads placed high on the ivory, having a faint smile, gently hooked noses, and unfinished ears; the backgrounds are often painted light green or a neutral shade.

These characteristics seem to apply here. 852g

Lewis, William - portrait of a man

2006-04-12T15:26:00.000-07:00

This miniature portrait of an unknown man has been attributed to William Lewis. 700

Lewis, William - portrait of a man

2006-04-12T15:21:00.000-07:00

This unsigned portrait of an unknown man has been attributed to William Lewis. The glass is cracked. 743

Lewis, William - portrait of West Point Cadet

2006-04-12T15:18:00.000-07:00

This miniature portrait is unsigned, but has been attributed to William Lewis. The unidentified sitter appears to be wearing the uniform of a West Point cadet. 852

Lewis, William - portrait of Stephen Bartlett

2006-04-12T14:58:00.000-07:00

This unsigned portrait has been attributed to William Lewis. The sitter is identified as Stephen Bartlett as a boy. This may well be the Stephen Bartlett born on Jan 11, 1819. 901

Malbone, Edward Greene - portrait of a man

2006-04-12T14:52:00.000-07:00

Although this miniature portrait is unsigned, it has been tentatively attributed to Edward Greene Malbone (1777-1807).

The tentative attribution to Malbone has been supported by a kind visitor to the website.

Although, it does not appear clearly in the photo, the sitter has his hair tied back in a ribbon which is similar to portrait 395 in "Edward Greene Malbone" by Ruel Tolman. The pose is also similar to several other portraits in that book.

Malbone is often regarded as America's finest miniature painter, with his style going through several different phases in his short career. His career had commenced in Boston in 1794, moved two years later to Providence, with a further two years in Philadelphia and New York before visiting England in 1801. Returning from England in late 1801 he worked in various cities until 1806, when illness forced him to cease painting. He died from tuberculosis when returning from a visit to Jamaica in 1807.

Johnson comments on his style; Malbone's earliest miniatures, although somewhat primitive, are remarkably accomplished for a self-taught seventeen-year-old. The faces are finely stippled and crisply outlined,; subjects are placed against the conventional background of a red curtain. By 1801 Malbone had developed a technique of delicate cross-hatching, creating form by means of fine inter-woven lines. His brushstrokes had grown more confident, and he began to allow the luminosity of the ivory support to emerge through this washes of soft color. After his trip to England, Malbone's brushwork became freer and broader, with subtle transitions between the painted areas. Backgrounds grew lighter, often displaying a sky and cloud motif. He employed a larger ivory, often well over three inches high."

Based upon the analysis given by Johnson, it would seem that this miniature dates from around 1795-1800, shortly before Malbone went to England.

It is of the slightly smaller size (58mm x 44mm), the background is darker, but the lighter washes on the face allow the ivory to show through.

Unusually, there is a faint engraved cartouche on the rear of the gold frame, about the same size as the sitter's head. It is too faint to photograph and it is not clear whether it once contained initials, or whether an attempt has been made to erase the cartouche and any initials it once contained.

The sitter is unknown. 730

Wood, Joseph - portrait of a lady

2006-04-12T14:46:00.000-07:00

This miniature portrait is unsigned. In a close up view the detail is outstanding. Initially, it was thought it might be by Edward Greene Malbone (1777-1807).

However, a kind visitor says it is more likely to be by Joseph Wood (1778-15 Jun 1830). Wood was born in Clarkston, NY and established himself as a miniature painter in NYC in 1800. Initially he also worked as a goldsmith and silversmith, although seemingly without completing a full apprenticeship.

It seems likely Wood made his own miniature cases during the early part of his career. Although it has a blue glass rear, this case gives the impression of being made by an amateur, who has copied the English style of case, where the case is held together with tiny pins at the sides. Thus it was possibly made by Wood himself, perhaps around 1810.

Wood was a partner with John Wesley Jarvis from 1803, but the partnership broke up in 1809 and in 1811, Wood took Nathaniel Rogers as an apprentice. Wood was regarded as notoriously dissolute and died in poverty in Washington in 1830. There is a very comprehensive account of the life of Joseph Wood at - View as HTML

Malbone had met Wood in 1802 or 1803 and gave Wood some guidance and instruction. Subsequently they became friends and Malbone had a visible influence on Wood's work.

As can seen from the comments below, one needs to be careful in differentiating between their work.

Johnson comments on Wood's style; "The technique is similar to Malbone's, although Wood's brushwork is slightly grainier and the paint is applied in something closer to a wash technique. In Wood's mature work the backgrounds, like Malbone's, as light and shaded by dark patches or painted to resemble sky. However, Wood's portraits are more sharply defined than Malbone's, showing stronger contrasts and deeper shadows, with dark outlines around the eyes. Gum arabic is used liberally, and at times the works are even varnished."

"The hair is brilliantly and airily rendered, often in the coup de vent style popular at the time. Heads are usually smaller than those by Malbone, and the subject is often placed off centre or low on the ivory. Like Malbone's, Wood's subjects are self-assured; their presentations, however, are more varied and offer fully characterisations."

"Later works by Wood, although skilful, are not as forceful as those of his best period; the drawing is more hesitant, the brushwork is broader, and the backgrounds are somewhat darker."

Based upon this analysis and the hairstyle and clothing of the sitter, it would seem this is one of the earlier portraits painted by Wood. The size is smaller than his later miniatures (56mm x 47mm) and the pose is similar to a number of the miniatures painted by Malbone. These can be seen in the comprehensive biography of Malbone written by Ruel Tolman.

The sitter is unknown. 954

Unknown - portrait of Hon John MacGillivray

2006-04-12T13:52:00.000-07:00

Painted around 1820, this miniature portrait is unsigned and may be by a British artist. However, it does have North American connections as the sitter is stated to be William MacGillivray, who held office in trading companies in Canada. This information came from the previous owner of the portrait who lived in Canada.

A photograph of the miniature does appear on page 46 of the book "A History of the Clan MacGillivray" by George Macgillivray, where the sitter is described as "Neil John Gillivray XII Chief, circa 1865". However, Neil John was born in 1827 and from the costume it appears the portrait was painted about 40 or 50 years earlier than the suggested date of 1865.

A family tree in the book does refer to Hon. John MacGillivary, apparently the father of Neil John, who entered North West Co. Canada 1798, became a Legislative Councillor, Upper Canada, married Isabelle MacLean and died in 1855.

The book does also refer to a Captain William MacGillivaray who appears to have been the brother of Hon John and uncle of Neil John MacGillivary. Thus it seems likely that the sitter is a member of the family, although it is not currently clear who, although the date of the clothing could suggest Hon. John MacGillivray as a possibility. The sitter must have been a person of some importance, as miniatures could only be afforded by wealthy people.

At Scotsman.com Heritage & Culture - Scots in Canada - Brooches for ... it is commented "The highly lucrative British North American fur trade was dominated by two firms - the North West Company (NWC) and the Hudson's Bay Company (HBC), both of which were chiefly staffed by Scots. More than 80 per cent of HBC workers were Orcadians, while the NWC was operated by Highlanders such as James McGill, Simon MacTavish and William MacGillivray."

Fort William was constructed as a post of the North West Company in the years between 1800 and 1804 and was originally named New Fort. In 1807 it was renamed Fort William in honour of William MacGillivray (1764-1825, then a prominent member of the company. In 1821 the North West and Hudson's Bay Companies were amalgamated and Fort William became a Hudson's Bay fort. Trade at Fort William began rapidly to decline until the post was finally closed in 1881. 753

Later - A kind visitor has advised that they agree John MacGillivray seeme to be the most likely identity of the sitter. They advise; "I have two images of William McGillivray in my collection. The first is from Fort William's Collection and the second from the McCord Museum (McGill University's museum in Montreal). The second was painted by William Berczy who was busy painting all of Quebec Society. It is thanks to his work that we know what most of the players look like.

The resemblence between your miniature and the two images I am sending you shows that apples were pretty close to the tree in that family. The only issue is hair as in the miniature the hair is very straight, while in the other two William has either curled or curly hair - seems odd that he would do that in two pictures and not a third... I am thinking that you might have been right with your initial impression that it was the brother the Hon. John McGillivray."

Unknown - portrait of Mr Nixon

2006-04-12T13:46:00.000-07:00

This miniature portrait is unsigned and is currently unattributed. The case is a heavily chased American case, as used by the better artists. Inside the case there is a note identifying the sitter as Mr Nixon, but nothing further is known about him. 478

Unknown - portrait of Mary Green Marshall

2006-04-12T02:14:00.000-07:00

This miniature portrait appears to be unsigned, although on the lower right there is possibly a faint signature.

On the reverse there is a hand written note that reads "Mary Marshall, wife of Spotswood Burwell, great grandmother of Sallie Spotswood Allen". Mary Green Marshall (Polly) was born 13 Dec 1792 Mecklenburg County Va. and died 12 Jan 1856.

Her parents were William M Marshall (24 Apr 1767-12 Feb 1854) and Nancy Wortham (12 Sep 1769-17 May 1837) who were married on 15 Dec 1786 in Warren, North Carolina

Mary Green Marshall married Spotswood Burwell (1785-1855) on 6 Oct 1808. It is possible that the miniature is a wedding portrait.

At the time of her marriage, Mary was aged only 15. For family bible information about her, see Wortham and Marshall Family Bible

Spottswood Burwell was descended from General Alexander Spotswood, Governor of Virginia. His parents were Lewis Burwell and Anne Spotswood.

It is possible the portrait may be of an earlier generation, perhaps of Mary's mother-in-law Anne Spotswood Burwell or her mother Nancy Wortham Marshall, as the costume looks to be from the late 18C, whereas Mary Marshall was born in 1792.

One issue being whether this type of costume and bonnet was still being worn in 1808. At Maryland ArtSource - Artists - John Wesley Jarvis there is an oil portrait by John Wesley Jarvis of Shinah Solomon Etting, dated to around 1810-1813, and wearing similar dress. Another somewhat similarly costumed lady painted by him, and dated to 1807-1812, can be seen at Los Angeles County Museum of Art

Certainly, the frame and the size of the miniature are consistent with a date of 1808. Thus given the label on the rear of the miniature, it is possible, but perhaps unlikely the identification is correct.

The miniature is unsigned, but is very competently painted and given the family's status, it must have been by an established artist. There were very few miniature painters in the general area at that time, but possibilities are John Wesley Jarvis (1780-1840), Charles Fraser (1782-1860), and Thomas Sully (1783-1872). A kind visitor has also suggested Jeremiah Paul (1795-1820) as a possibility for the artist.

The miniature was initially tentatively attributed to the first of these, as Jarvis worked in both Richmond and Charleston. Additionally, there is a miniature by John Wesley Jarvis of Mr. Nichol which has a similar frame, is painted in similar shades of blue, and has similar cloud effects in the background. The name Jarvis is also consistent with what may be a faint signature at the lower right. However, it is difficult to tell whether it is a signature, or just part of the background shading.

Jarvis was the nephew of the founder of Methodism. He came to America as a child and was trained by Edward Savage. His son, Charles Wesley Jarvis was also a miniaturist.

This miniature portrait was acquired together with a number of family photographs, and the adjacent portrait of Otis Manson and some other family memorabilia. This includes an abbreviated family tree back to Alfred the Great, on both her and her husband's sides of the family. His ancestors included General Alexander Spotswood of Va and hers included the Barons de la Warr.

For more about the family, see the adjacent miniature of Dr Otis Frederick Manson and also look her up at www.ancestry.com as a number of other family photographs acquired with the miniature have now been lodged there.

There is also a great deal of historical information available at Burwell Family Papers Inventory (#112) including the following.

Biographical Note

The Burwell family was prominent in Mecklenburg County, Va., and Vance, Warren, and Granville counties, N.C., in the 18th and 19th centuries. Colonel Lewis Burwell, son of Armistead and Christina Blair Burwell, was born 26 September 1745, in Williamsburg. He moved to Mecklenburg County, Va., fought in the American Revolution, and served in the Virginia Assembly. With his first wife, Anne Spotswood Burwell, he had twelve children, including Armistead (d. 1819), Lewis (fl. 1792-1848), and Spotswood (1785-1855), all farmers in Mecklenburg County.

Spotswood Burwell married Mary ("Polly") Green Marshall (1792-1856), and had nine children, including William Armistead (1809-1887), Lewis D. (1813-1874), Blair (1815-1848), Armistead Ravenscroft (1820-1867), George Washington (1823-1873), Robert Randolph (1829-1892), and Mary Anne Spotswood (1825-1874), who married Dr. Otis Frederick Manson. Spotswood Burwell lived in both Granville County, N.C., and Mecklenburg County, Va.

Spotswood's son William Armistead Burwell moved to Burke County, N.C., in the 1830s to attempt a gold-mining venture, and later returned to Granville County to continue farming. He married Mary Graves Williams (1810-1896) and had one child, William Henry (1835-1917). William Henry attended the University of North Carolina in Chapel Hill, graduating in 1856, and then returned to Warren County, where his father had settled, to work on the farm. He was drafted into the Confederate army in 1861, but left the army upon purchasing a substitute in 1862, and moved to Alabama to marry Laura T. Pettway (1841-1871). He stayed in Alabama until the end of the war, when he returned to Warren County to resume farming. In later years, he continued to grow tobacco, cotton, and other crops, living at various times in Warren, Vance, and Granville counties in North Carolina and at his Berry Hill plantation in Mecklenburg County, Va. He married three times and had sixteen children."

[Later, a kind visitor has written to me with more information and a correction, as follows;
I have enjoyed reading what you have posted about the miniature of Mary Green Marshall. But I have one correction. My great grandfather William Henry Burwell had 13 children, not 16. He had 3 by first wife Laura Pettway, 10 by my great grandmother Lucy Cole, and none by third wife Laura Burwell Ballard Burwell who was his first cousin. She died at my grandparents’ home in Henderson, NC. My mother was very close to her step grandmother, the only grandmother she knew. Her Grandpa Burwell died when she was 7. I knew 6 of his 13 children. The last one died in 1985, age 99. He has one grandchild left. My mother died in 2003, almost 94. Grace Turner Karish, Oakton, VA ]
471b

Peticolas, Edward F - portrait of Otis Frederick Manson

2006-04-12T01:58:00.000-07:00

This miniature portrait is unsigned and was acquired together with the adjacent portrait of Mary Green Marshall and some other family memorabilia, including about a dozen family photographs, most of which are identified on their reverse as to the sitter.

Recently all the family photographs have been added into www.ancestry.com so that any family researchers can see the photographs. During this process, it has been possibly to make a fairly confident identification of the sitter in this miniature, who was the only person not identified by name.

Accordingly, the sitter is now believed to be Dr Otis Frederick Manson (10 Oct 1822-1888) who married Mary Ann Burwell (1825-1874) in 1843. Mary Ann Burwell was the daughter of John Spotswood Burwell and Mary Green Marshall who can be seen in the adjacent miniature.

Judging by his clothing, the portrait of Otis F Manson was painted around the time of his 1843 wedding, most likely in Richmond and possibly by Edward F Peticolas (1793->1853). There is some similarity of style between this portrait and another in the collection, that of Richard Guy, which has been attributed to Edward Peticolas.

In 1850 Otis Manson lived at Nut Bush, Granville, NC and described himself as a physician. However, the 1850 census of slaves records that he owned eleven slaves. Possibly they were household slaves, rather than plantation slaves, as they were mainly female and include several very young children. He lived next to his father-in-law Spotswood Burwell, a farmer with 42 slaves. For the 1860 census, Manson disclosed assets of $27,000, had 23 slaves, and thus was a wealthy man prior to the Civil War.

During the Civil War, Dr Otis Manson was commissioned as a surgeon in the Confederate Army and later was surgeon in charge at Moore's Hospital. This building was originally a tobacco factory, but was taken over by the NC government, firstly to house Union prisoners and then later as a hospital, see General Hospital #24

An identified photograph of the father of Dr Otis Frederick Manson, Otis Manson senior was with the family portraits and has been reproduced here. The family likeness is apparent.

In 1880 Dr Manson lived with his daughter Anne Manson and another daughter Sally Spotswood Hunt(t). She had married Albert Lee Hunt(t)(see below) of Maryland, who in 1880 was a commerical traveller.

Also living with the family group in 1880 was the freed slave "uncle" Lee Burwell (1835->1910) shown in the very bottom photograph below.

In 1880 Lee Burwell was the cook and his wife Anna Belle Burwell (1843->1910) was a servant. They had both been born as slaves in Virginia on the plantation owned by Spotswood Burwell. From the 1870 census records, it appears that Lee was a farmer immediately after the Civil War and later commenced, or perhaps resumed, although now as a free man, the role of cook with descendants of the Spotswood Burwell family.

After the Civil War, in 1882 Dr Manson wrote a well regarded medical text entitled "A treatise on the physiological and therapeutic action of the sulphate of quinine". By then he was Professor of Physiology and Pathology in the Medical College of Virginia.

Dr Manson was the son of Otis Manson (1790-1862), the first architect of Richmond Va. who designed a number of buildings including the first hospital, see General Hospital #10 Also the three story Bolingbroke Hotel, see VA-QA8 Bollingbrook Hotel and the group of houses known as Linden Row and featured in Style Weekly, see Style Weekly : Richmond's alternative for news, arts, culture and ...
There is a book about him titled Otis Manson's early years in Richmond (Architecture in Virginia) by Sarah Shields Driggs.

A photograph of Albert Lee Huntt is shown here, together with a picture of the black cameo ring he wore throughout his life and which was included among the family memorabilia. A grandson of Otis Manson and son of Albert Lee Huntt, Albert Frederick Huntt (1869-1920) was also an architect in Richmond.

As mentioned above, the bottom photograph is of Lee Burwell a freed slave who remained with the Huntt family even after he was freed, in both the 1880 and the 1900 census he was their cook. The reverse of his photograph states "Uncle Lee Burwell, Jun 12th 1902, [presumably the date of the photograph]. Cook in Huntt family for years, born a slave in Burwell family. A perfect colored gentleman. Many people, looking at this picture, said this man must be General Robert E Lee !". The latter comment on the photograph was written by Sallie Spotswood Huntt Allen (12 Nov 1890-17 Mar 1969), a granddaughter of Dr Manson.

In the 1910 census, Lee Burwell can be found living with his wife at his son's home, Nathan Burwell and his family, in Boydton, Mecklenburg, Va. but despite being aged 76 Lee still gave his occupation as "cook for private family".

A kind visitor to the collection has communicated and advised that she is descended from the brother of Lee Burwell (aka Leigh Burwell and Taswell Lee Burwell), who was Nathan Spotswood Burwell and who was also born a slave in 1832. Nathan and Lee were two of eight children of the slave Fanny and were slaves at Spotswood Burwell's plantation "Spring Grove" in Granvill Co, NC.

The visitor advises the original plantation was “Stoneland” near Boydton in Mecklenburg County, Va. This was owned by Lewis, Spotswood’s father, and burned to the ground on New Year’s Eve 1815. Lewis had died in 1800, but he had many children still in the area. Not all went south to Granville County, NC, which was the next county down.

There is understood to be a book about the Burwell family titled "The Burwells of Kingsmill and Stoneland, An Account of An American Family, 1633-1900" by Robert Parker, see Re: Burwells of Virginia 471a

Unknown, portrait of Mrs Metcalfe

2006-04-12T01:51:00.000-07:00

This miniature portrait is unsigned. The style is almost photographic and thus similar to John Henry Brown, but it is uncertain whether it is him.

The sitter is known only as Mrs Metcalfe. 503

Meucci, Antonio - portrait of a man

2006-04-12T01:42:00.000-07:00

This miniature portrait is signed "De Meucci" for Antonio Meucci, an Italian miniature painter who was active in New Orleans and New York between 1818-1837. His wife Nina Meucci was also a miniature painter. The sitter is unknown. 1113

Unknown - portrait of Mary Ball Gordon

2006-04-12T01:35:00.000-07:00

This miniature portrait is unsigned. It was previously tentatively attributed to James Peale, but this has now been discounted.

According to the previous owner, the sitter is identified as Mary Ball (1753-1803). However, there have been some doubts about this due to the nature of her clothing. Some dated examples wearing clothing of this type need to be located.

As the casework is later than 1790, it is possible that this is a copy made for a family member around 1820-1830. It was relatively common to have multiple copies of a miniature made at a later date, so that different branches of a family had a miniature to keep.

After 1840, such family copies were often made as daguerreotypes.

The Mary Ball claimed is unrelated to the Mary Ball who was George Washington's mother, although there have been incorrect suggestions that this Mary Ball was the third cousin of George Washington.

The Mary Ball who lived from (1753-1803) was the wife of General James Gordon (1739-1810), a revolutionary war general who was captured by the Indians.

Mary's father was Eliphalet Ball, for whom Ballston, Saratoga, NY was named.

The miniature portrait is reproduced on page 21 of the book "Shadows - The Life and Times of Eliphalet Ball, The Founder of the Town of Ballston".

Unfortunately, in the editing of that book, the image of the miniature was reversed, as can be seen in the attached photo.

A "flipped" image of the photograph included in the book is shown here for easier comparison with the original.

For more about the family see History of Ballston, NY

For a photo of Mary Ball's grave, see Gordon, Mary Ball 930

Saunders, George L - portrait of Mrs Morgan

2006-04-12T00:21:00.000-07:00

This miniature portrait is signed on the reverse "Painted by G L Saunders". This was George Lethbridge Saunders (1807-1863). Saunders was a British artist who also painted in America. This portrait was painted in Philadelphia and is inscribed on the reverse "Mrs Geo W Morgan - Grandmother Tessieire's mother".

The daughter of Mrs Geo W Morgan was Eliza Caroline Morgan, who married Anthony Tessieire at Philadephia on 19 March 1813. For a miniature portrait of Eliza Caroline Tessieire later in life, see the miniature portrait in this collection, by John Henry Brown of Mrs Tessieire.

For a portrait of one of Mrs Morgan's granddaughters, see the miniature of Antoinette Wilmer by John Henry Brown.

Although it is not yet confirmed, it is currently believed that Mrs Geo W Morgan's husband was George Morgan, one of the three sons of Thomas Morgan and Mary Griscom of Philadelphia. George Morgan was a prominent shipping merchant in New Orleans, his vessels running between that city and Philadephia. His being a shipping merchant seems also a likely reason for him coming in contact with the Tessieire family when they fled Saint Domingo.1103

Later - a kind visitor advises;
1- The portrait miniature of 'Mrs Geo W Morgan - Grandmother
Tessiere's mother' is of Hester Leib, wife of George Washington
Morgan. George Washington Morgan was born in 1776; he was the son of
Gen Jacob Morgan of the American Revolution. The Morgans were
merchants and heavily involved in shipping and the West Indies (sugar)
trade. George Washington Morgan and Hester Leib had 4 surviving
children: Eliza Caroline (m.Anthony Teisseire), Mary (m.Saturnius
Destouet), Harriet Adelaide (m.Thomas Ashton Morgan), and George Leib
Morgan (m.Lucretia Elizabeth Hamersley).

2- The Destouet family ('portrait of Mary Morgan Destouet').
Saturnius Destouet and his two brothers, Bartholomew & John E, were
merchants in Philadelphia under the name 'Destouet Brothers'. Bartholomew may have died or returned to France by the late 1820s; only Saturnius and John
E show up in the later records. Their father's name was John; there
were also two sisters, Adele and Zelie, born about 1802 and 1807
respectively.
The father, John, along with Adele and Zelie, left the United States
in 1831 to travel in Europe; I haven't found any record of their
return to the US. Eliza Caroline Destouet, daughter of Saturnius & Mary
(Morgan) Destouet, married her 1st cousin, Thomas Hamersley Morgan,
son of George Leib & Lucretia Elizabeth (Hamersley) Morgan. The Rev Brockholst
Morgan who married them was Thomas' brother.

3- The wives of John Ringgold Wilmer ('portrait of Antoinette
Teisseire') were cousins. JRW's first wife was the daughter of
Anthony and Eliza Caroline (Morgan) Teisseire. JRW's second wife, Marie Jeanne Nathalie de Chazournes, was the daughter of Felix and Marie Louise (Brugiere)
Chazournes. Marie Louise (Brugiere) Chazournes was the daughter of Charles and
Marie Antoinette (Teisseire) Brugiere. Marie Antoinette (Teisseire)
Brugiere was the sister of Anthony Teisseire.

Charles Brugiere originally worked for the firm 'Tarascon Brothers,
James Berthoud & Co'. They were Philadelphia merchants who later
established the town of Shippingport, Kentucky. After the Teisseire family's
arrival in Philadelphia in about 1800, Charles Brugiere and Anthony
Teisseire established the firm of Brugiere and Teisseire.

In about 1843, Charles and Marie Antoinette (Teisseire) Brugiere's
son, William, married Mary Morgan, daughter of Thomas Ashton and
Harriet Adelaide (Morgan) Morgan, thus completing the circle of Morgan,
Teisseire, and Brugiere.

One additional note - Thomas Ashton Morgan and his wife, Harriet
Adelaide Morgan were also cousins. Thomas' father, Benjamin, was a
brother of Gen Jacob Morgan. Gen Jacob Morgan was Harriet Adelaide's grandfather.

Peale Museum - Garrigues silhouettes

2006-04-12T00:10:00.000-07:00

This large group of silhouettes was cut at the Peale Museum. Over half, but not all of them have the Peale Museum impressed mark. The single later silhouette is of a later owner of the portraits, Jean Jeffs (possibly Jean Garrigues Jeffs). The Garrigues family resided in Philadelphia. Each of the silhouettes are named and the easiest place to see them in detail, as well as more about the family, is is at Charles Willson Peale Silhouettes of Garrigues & Davis Families circa 1820-1825 810a, 810b

Newman, Benjamin - self portrait

2006-04-11T21:48:00.000-07:00

This miniature self portrait came from an estate sale associated with Benjamin Tupper Newman (1858-1940), an American artist more usually associated with larger landscape paintings. This is a self portrait and, like the adajcent portrait of his sister would have been based upon a photograph. Unfortunately the photograph is lost.

The two portraits and the photograph were acquired by the previous owner from the estate of Benjamin Tupper Newman.

For a portrait of Benjamin Tupper Newman in later life see Maine Memory Network - Benjamin Tupper Newman 213

Newman, Benjamin - portrait of his sister

2006-04-11T21:37:00.000-07:00

This miniature portrait, together with the adjacent self portrait, came from an estate sale associated with Benjamin Tupper Newman, an artist more normally associated with larger landscape paintings. The sitter was described as his sister and the photograph he used as a base is also shown.

Tupper had two sisters; Miriam Dike Newman born 22 Jan 1856 and Maragret Allen Newman born 21 Mar 1865, but it is not known which of the two the sitter is. However, it is also possible that the two portraits are from the next generation.

In the 1880 census, Benjamin described himself as an artist and was living with his parents, George, a printer and Mary. 201, 202

North, Levi - pair of portraits

2006-04-11T21:30:00.000-07:00

This pair of miniature portraits in a single frame, one being preliminary sketch, are by Levi North. The artist has not been identified and may be British. On the reverse of the left hand portrait is written "By Levi North .... 1842 - No 377" and on the reverse of the right hand portrait is written "2 March 1842".

A review of men named Levi North in the 1850 USA and 1851 England census records has not located an artist of this name. However, a possible candidate is the Levi North who was a watchmaker in New York in the 1850 census. He was then aged 29 and was born in NY.

The sitter is unknown. 462

Parker, Thomas - Professor William Tully

2006-04-11T21:13:00.000-07:00

This miniature portrait is unsigned, but is attributed to Thomas H Parker (1801-1851). The sitter is Professor William Tully MD (Nov 18, 1785 - Feb 28, 1859), who was professor at the Yale Medical School from 1829-1842. He also wrote medical books.

In the rear of the miniature case there is an old note which reads "Prof Tully, Yale College, bought of Avery, Springfield, Mass Aug 24 1903. Avery bought it off daughter of Mrs Tully".

There is also a note, presumably from Avery which is headed "Hare & Coolidge - Ogunquit, Maine - Antiques - authentic and guaranteed - Miniature on ivory American - of Prof William Tully of Yale, taught there 1829-41 by (attributed to) Thomas H Parker 1801-1851".

Also displayed here are close-ups of two other portraits of William Tully, a miniature painted around the time his Journal was written and a large oil painting of him in middle life. The originals of both these portraits are owned by the Yale University Art Gallery. The likeness between the oil and the miniature of him in later life can be clearly seen, especially his nose, his eyes, and his double chin.

The manuscript of William Tully's 1908-1909 Journal, written while he was a medical student at Dartmouth, was discovered at Yale University Library in 1959, but a publisher was not found until 1977. The title page is shown here. The Journal was a gift to Yale from the Misses Tully in 1896. Presumably, they retained the miniature at that time and later sold it to Avery in 1903.

For more about Tully see Yale and Medicine, 1701-1901: The Medical Institution of Yale ... 904

Unknown - portrait of Captain John Parker

2006-04-11T20:53:00.000-07:00

The painter of this miniature portrait is unknown. The sitter is Captain John Henry Parker of Richmond, Va.

Inside the red leather outer case there is a newspaper clipping which reads in part "Died - Suddenly, while visiting her father-in-law Mr H Parker Esq, of this city, on Monday morning the 7th inst, Indiana B., wife of Lieut. John H Parker of the US Navy. A true woman, wife, and daughter. While her husband treads tonight the quarter deck of the "St Lawrence" off the coast of Brazil, and gazes upon the starry heavens above him, little does he think that he is looking towards the haven into which the spirit of his dear wife has just entered .....".

For a lot of information about the "St Lawrence", including a picture, see http://en.wikipedia.org/wiki/USS_St._Lawrence_(1848) The St Lawrence had a peculiar life as the keel was laid in 1826, but the ship was not launched until 1848, 22 years later, due to a shortage of funds. This delay may represent a world record for the length of time from keel laying to launching. The ship was eventually sold by the Navy on 31 December 1875 to E Stannard. Coincidentally, the great-grandfather of Don the Collector was first mate on a British troopship also called "St Lawrence" which was wrecked off the coast of Africa in November 1876. However, it is thought to be a different ship".

John Henry Parker (1822-1905) was with the Navy in Hong Kong on board the "Dacotah" in 1861 when he heard of the outbreak of the American Civil War. After the "Dacotah" reached New York, he jumped ship and made his way to Richmond, to join the Confederate Navy.

For a record of his grave, see Parker, Capt John Henry 754

Addition. John Henry Parker was the great-great-grandfather of a kind visitor who has supplied the following extra information about him. "When he got home from overseas, he discovered his home state, Virginia, was at war, so when he was granted leave, he tried to get across the Potomac. He was captured, but he jumped overboard when he was being taken back across the river. He hid out and made another attempt, this time successfully crossing the Potomac to Virginia.

His gravestone says that he had been a captain in the confederate army, but my book says that was an error. He had been a lieutenant in both the U.S. and confederate armies. He later became a commercial boat captain, thus the source of the error. Everyone apparently called him Captain Parker. I have some information about his duties during the civil war, but I can't recall them accurately. I'll have to go look them up. I have a copy of a letter he wrote to the President asking to restore his full rights as a citizen.

Family legend has it that he owned a large plantation, but none of the documents I have show any evidence of that. His wife who must have died while he was at sea was Indiana Birkhead McRea. His second wife was Mildred Ellen Lacy. He had four children by the first wife and five children by the second.

His great-grandfather was a sergeant in the revolutionary war and was given land in Virginia."

Paul, J or S - portrait of Mrs Carter

2006-04-11T20:50:00.000-07:00

Initially the signature on his signed miniature portrait was read as "S Paul 1824", but no artist with that initial has been identified. In style, the miniature and signature both appear to be French.

However, more recently I have become aware of an American artist named Jeremiah Paul (c1770-13 Jul 1820). In early 19C writing it is often difficult to tell between a capital "J" and capital "S". Thus, it seems possible the miniature is by Jeremiah Paul.

Jeremiah Paul was a minor yet versatile artist whose career began in Philadelphia, PA, in the 1790s. The son of a Quaker schoolmaster, Paul received his early training from Charles Willson Peale and in 1795 participated in the founding of the Columbianum, Peale's ill-fated attempt to establish an art academy in America. Dunlap records that Paul's earliest works were based on engravings after pictures by Benjamin West. (He exhibited a copy (untraced) of West's Death of Caesar (untraced) at the Pennsylvania Academy of the Fine Arts, Philadelphia, in 1813.)

He later turned to portraiture and in 1796, with several other Philadelphia artists, formed the firm of Pratt, Ritter & Co., whose aim was 'to undertake all manner of commissions, from the painting of portraits, signs and fire buckets to japanning and the execution of coffin plates'. At this time Paul is also known to have engaged in small tasks for Gilbert Stuart, including the painting of lettering in some of the latter's portraits.

At the time of writing, Boris Wilnitsky was offering for sale this miniature portrait of a man inscribed on the reverse; "Painted by J Paul in 1806 or 7 Baltimore".

The previous owner acquired the miniature of the lady at a Southern estate sale where the sitter was identified as Mrs Carter of Charleston and Beaufort, South Carolina.

Literature - Les Peintres en Miniature p411. 1018

Peale, James - portrait of Dr Robert Hare

2006-04-11T20:42:00.000-07:00

This miniature portrait is signed "I P 180?". This was the monogram used by James Peale (1749-1831). The sitter is identified on the reverse as Dr Hare.

He is Dr Robert Hare (1781-1858) who was born in Philadelphia and was Professor of Chemistry at the University of Pennsylvania from 1819-1847, where he became Professor Emeritus. Robert Hare married Harriet Clark (1782->1860) on Sep 9, 1811. Harriet was born in Rhode Island.

In 1839 Hare was the first ever winner of the Rumford Prize for his invention of the oxy-hydrogen blowpipe. Although it was founded in 1796, the first prize was not given until 1839, as the American Academy of Arts and Sciences could not find anyone who, in their judgement, deserved the award. The prize was not awarded again until 1862 and has only ever been awarded to 62 people between 1796 and 2008. Thomas Alva Edison was awarded the prize in 1895.

In the 1850 census Hare is recorded as living in the Middle Ward of Philadelphia with his wife Harriet, aged 60, and three servants, all from Ireland, probably emigrating as a result of the potato famine. One can speculate that either Robert Hare or his wife may have had a lisp, or the enumerator was hard of hearing, as in the census Harriet is recorded as "Highat"!

Robert Hare had died before the 1860 census, so Harriet was living as a widow in the 9th Ward of Philadelphia with two female companions and four servants. This time she gave her age as 78 which corresponds with 1782 and seems more likely than 1790. However, there was still a problem with recording her name as in the 1860 census she is recorded as Harriet C Hire, instead of Harriet C Hare.

Shown here is the title page of a text book written by Dr Hare for his students. It is entitled "A Compendium of the Course of Chemical Instruction in the Medical Department of the University of Pennsylvania". This is the third edition which was published in 1836 and runs to over 500 pages. The book has many engravings and, initially, must have been an expensive publication to produce. This particular copy still has the label from the original seller, "J G Auner, Bookseller, No. 343 Market St, Philadelphia" although the title page shows J G Auner at 331 Market St. It is inscribed with the name of the original owner W Poyntell Johnston. He has been identified as William Poyntell Johnston, (23 Sep 1811 - 26 Feb 1856) who matriculated in 1835 and died in Philadelphia. He was the son of Alexander Washington Johnston and Mary Poyntell.

Also shown here is a University of Pennsylvania, Medical Department, advertisement for an Introductory Lecture by Dr Hare on Chemistry to be given on Tuesday, Nov 6, 1821. This appeared in Poulson's Daily Advertiser for Monday, Nov 5, 1821.

Hare was responsible for several inventions and also investigated mediums, see Mediums and Channelers where it is commented that Hare pronounced as genuine, the very famous 19C medium Daniel Dunglas Home (1833-1886) who was consulted by a number of prominent people, including Elizabeth Barrett Browning, Mark Twain, and Tolstoy. In 1855 he also wrote a book called "Experimental Investigation of the Spirit Manifestation".

Robert Hare had several children, including Robert Hertford Hare (1812-?) who married Caroline Fleming on 28 Aug 1845 at New Bedford CT. Caroline was the daughter of Charles Henry Fleming (1792-<1834) and Mary Rotch (1793-?), who were married in 1822. However it appears Charles Henry Fleming died before 1834, as there is a record of Mary Rotch Fleming marrying the educator and author George Barrell Emerson on Nov 12, 1834.

Robert Hare Jr and Caroline Hare can be found in the 1870 census for Philadelphia, with their two daughters, Mary 23 and Harriet 22, where Robert Hertford Hare was a lawyer with assets in 1870 of $50,000.

A biography of Dr Robert Hare was written in 1917 by Edgar Fahs Smith. 837

Unknown - portrait of a child

2006-04-11T20:38:00.000-07:00

There was initially some thought this miniature portrait, judging by the clothes painted around 1800, had some similarities with the work of James Peale, but this has now been discounted.

However, it is in an American style case with a beaded bezel.

The sitter is unknown. 980

Unknown - portrait of Nathaniel Perkins

2006-04-11T20:28:00.000-07:00

The painter of this miniature portrait is unknown. The sitter is identified on the reverse as "Nathaniel Perkins, Eldest of Perkins family". Some data received with the portrait, together with some additional research, has identified the sitter as Nathaniel G (riffith?) Perkins who was born 23 July 1808. He is believed to have died in the late 1830's. His parent were Nathaniel Perkins (1771-1848) of Portsmouth, New Hampshire, who married Mary Janvin on 24 Sep 1807. They had ten children, of whom Nathaniel was the eldest. The family seem to have lived for a while, at least, in Hampton Falls, New Hampshire. 911

Peale, Raphaelle - portrait of a man

2006-04-11T20:24:00.000-07:00

This miniature portrait is unsigned but has been attributed to Raphaelle Peale (1774-1825), a member of the famous Peale family of miniature painters.

The main reasons for the attribution are the painting of the background and the painting quality. Many of his miniatures have a pinkish tinge to the bottom of the background, blue skies and clouds in the middle, and white clouds to the top.

Most, but not all of the miniatures by Raphaelle Peale, face to the left. This is therefore a little unusual in facing to the right. Johnson observes that Raphaelle Peale painted his best work between 1800 and 1805. This miniature appears to date from that period.

The condition of the miniature is a bit grubby and at some stage it will need some attention. The portrait was one of the first American miniatures acquired for this collection and at that time was in a late 19C simple cardboard matt.

It has been rehoused in an, apparently, solid gold frame from around 1850, although it is admitted this frame is really too recent for the date of the portrait. At some stage a more appropraite frame needs to be found.

The sitter is, unfortunately, unknown.

A kind visitor has indicated agreement with the attribution to Raphaelle Peale.

Two of Raphaelle Peale's newspaper advertisements are shown here. The first is from Poulson's Daily Advertiser of Saturday, Jan 10, 1801.

In it; "Raphaelle Peale, Portrait Painter in miniature and large, Will deliver Likenesses for a short time, Fashionably set in Gold, with platts and cyphers complete, for twenty five dollars; miniatures alone, ten dollars. No 28 Powell Street, which is between Spruce and Pine, and running from Fifth to Sixth Streets."

This is interesting, as it shows the cost of a miniature in an ornate frame with hair on the reverse was $25, while the miniature itself was only $10.

The following analysis attempts to equate those early 19C costs with today's values.

The average annual subscription cost for two different 1801 newspapers, (held as part of this collection), was $6 in 1801, so compared to subscription costs today, one could say inflation has increased roughly, say, 100 times. Thus an 1800 framed miniature then costing $25, would equate today to $2500, comprising $1000 for the miniature and $1500 for the frame.

This does show the time and effort that went into hand making frames with their hariwork, around 1800 and supports a view that 19C frames themselves are undervalued.

One miniature portrait painter active in England in the 21C charges GBP 1500 to paint a miniature, which is comparable with the derived figure of $2500.

Some reference books on American miniature portraits infer that Raphaelle Peale ceased painting miniature portraits around 1805 due to his having gout in his hands.

However, the second advertisement shown here from Poulson's Daily Advertiser of Monday, November 1821 indicates that he was still painting miniatures in 1821.

The advertisement states "PAINTING Raphaelle Peale, having returned to Philadelphia after an absence of eighteen months, being desirous of entering business, will Paint Portraits, for a short time, at the following reduced prices:- Portraits in oil colours....$20 Do. in miniature, on ivory....$15 Profiles on Ivory Paper....$3 Likeness after death....$50. Fifteen or twenty minutes with the deceased, is all the time necessary to obtain the means of having a faithful likeness. No 24 Powell street, which runs from Fifth to Sixth, and between Spruce and Pine streets, and where may be seen, and for sale, some Elegant Fruit Pieces".

It may be that Powell Street contained boarding houses, as Raphaelle Peale gives his address as 28 Powell Street in 1801 and 24 Powell Street in 1821. Over that time the price of an unframed miniature rose from $10 to $15.

The reference to the painting of portraits of deceased persons is also an interesting comment. Sadly, many women died in childbirth and hence miniatures were sometimes painted after their death as a memento. Later, daguerreotypes were used for a similar purpose. 217

Ramsier, John - portrait of a lady

2006-04-11T17:09:00.001-07:00

This miniature portrait is signed "J Ramsier" for John Ramsier (1861-1936), a Kentucky artist noted for his photographic style. Miniaturist John Ramsier worked in Louisville in the late 19th century and early 20th century. As a Swiss immigrant he came to America in 1883, working for several photographic studios in New Albany, Indiana, and Louisville.

Ramsier established his own studio in 1893, but a fire put an end to the business. Ramsier, who had trained as a photographer and worked as a tinter of photographs, decided to specialize in miniatures. His clientele was international.

He was especially renowned for copying older works into the miniature format. One of the more famous examples of such work is "Mrs. Henrietta Hunt Morgan and John Hunt Morgan," which is owned by the Blue Grass Trust for Historic Preservation in Lexington, Kentucky. This portrait seems to be a similar example.

According to the Jones and Weber exhibition catalog, "The Kentucky Painter from the Frontier Era to the Great War," it is estimated that Ramsier executed over 3,000 "likenesses" in his 33-year career. Ramsier's papers reside at the Filson Historical Society in Louisville, Kentucky.

The sitter in this portrait is unknown. 1031b

Rauschner, Johann - portrait of Mrs Strycker

2006-04-11T16:02:00.000-07:00

This miniature wax portrait is unsigned, but is attributed to Johann Christoph Rauschner (1760-?). He was born in Germany, but created many wax miniature portraits in the NE United States, in the late 18C and early 19C.

On the reverse there is a much later note which appears to read "Wax min. of Mrs Strycker. Was a Mott. "Mott Haven" named after her family, by Jno C Rauschner of NY 1850". This date appears to be wrong, compared to the date of the costumes, and a date before 1800 is more likely.

Mott Haven is an area of the Bronx in New York. There is also an area in New York on the Upper West Side called Strycker's Bay, so Mr Strycker is quite likely associated with the family this area is named for. However, no marriage between Strycker and Mott has yet been located.

Both this portrait and the following one are recorded on page 118 of E J Pyke's Dictionary as being in the Art Institute of Chicago. However, a check with the Institute has confirmed that the portraits were both de-accessioned in 1993. 888a

Rauschner, Johann - portrait of Mr Strycker

2006-04-11T15:56:00.000-07:00

Although unsigned, this miniature portrait is attributed to Johann Christoph Rauschner, who was born in Germany but travelled the NE United Stated making wax portraits. He is sometimes described as John Christian Rauschner.

The portrait is very similar in style to other portraits by him, some of which are illustrated in the 1914 book, "Wax Portraits and Silhouettes" by Ethel Stanwood Bolton. The book also contains a description of his technique.

The sitter is identified on the rear. His wife, who had the maiden name of Mott, is depicted in the adjacent portrait. 888b

Rauschner, Johann - portrait of a man

2006-04-11T15:51:00.001-07:00

Although it is unsigned, this miniature wax portrait is attributed to Johann Christoph Rauschner (John Christian Rauschner) (1760-?) who was born in Germany, but moved to America. The sitter is unknown. 922

Unknown - portrait of the Misses Ball

2006-04-11T15:51:00.000-07:00

This miniature portrait is unsigned. There have been suggestions that the portrait is by one of the Peales, but as yet, no attribution has been made. It is unusually large for a miniature at 210 mm x 150 mm and, partially due to its size, it has suffered some cracking. The sitters are noted on the back as the Misses Ball, but so far they have not been identified. 928

Rogers, Nathaniel - portrait of Master Bucknell

2006-04-11T15:45:00.000-07:00

Although it is unsigned, this miniature portrait is attributed to Nathaniel Rogers (1788-1844)who mainly worked in New York City.

The previous owner of the portrait advised that the sitter was one of two twins, called Bucknell, from a Boston family, and who were both drowned in the mid 1850's. The owner had obtained this information from the estate curator in Greenwich CT. However, so far no further reference to this has been located.

The owner had two portraits showing the twins, but they were sold separately. However, a photo of the pair is shown together here. As the portraits are different sizes, and therefore probably painted at different times, it is possible they are brothers, rather than twins. One might have expected portraits of twins to have been painted at the same time and both be the same size. 320