|
|
||||
|
|
|
|||
|
|
Woman with White Scarf, by Charles Robertson, Circa 1785A serenely beautiful Irish portrait miniature of a woman with blue eyes, wearing a white scarf around her hair, a white dress, and a black shawl. The painting is set in the original gold locket frame, the reverse with beveled cobalt glass backed with foil, an inset glazed aperture decorated with eglomise holding brown plaited hair. Charles Robertson (c. 1760-1821), was arguably a more talented and less mannered artist than his older brother Walter Robertson, who served as his instructor when they lived together in Dublin. Robertson exhibited at the Royal Academy from 1790 to 1810, and in Dublin until 1821. He served as Secretary and Vice President of the Hibernian Society of Artists. A miniature of one of his daughters, Maria, and another of his brother Walter, are held in the National Gallery of Dublin, and other examples of his work may be seen at the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, and the Metropolitan Museum of Art. Material: Watercolor on ivory.
|
||
|
|
Gentleman in Black, by George Chinnery, Circa 1800An exceptional British portrait miniature of a young gentleman with brown eyes and brown hair, wearing a black double-breasted jacket, white waistcoat and white cravat. The painting is set in a gold pendant case with a solid reverse. George Chinnery (1774-1852), one of England’s great artists, and chronicler of life in India and China, is best known for his large portraits, drawings, landscapes and paintings of Indian and Chinese scenes and people. He produced only a limited number of miniatures, of which this is one, painted in England before he left for Madras. George Chinnery was the fifth son of William Chinnery, an artist, and grandson to William Chinnery, Sr., a well-known calligrapher, and brother to William Bassett Chinnery, a Chief Clerk in the Treasury who became an embezzler of some fame. Chinnery’s father showed at the Free Society of Artists in London in 1764 and 1766, and quite likely provided Chinnery’s first instruction in art.1 Chinnery entered the Royal Academy Schools in 1792, and exhibited there until 1846. He went to Ireland around 1795, where he made acquaintance with John Comerford, and married Marianne Vigne, the daughter of his jeweler-landlord, by whom he had a daughter and son. In 1802 Chinnery, leaving his family behind, departed for India, where he practiced in Madras and then Calcutta. By all accounts a charming, gregarious eccentric, he had great professional success and made many friends. Less skilled at managing his finances, he moved then to China to escape his debts, where he lived and worked for the rest of his life, but apparently painted no more miniatures. Chinnery did not take on professional students, but he did instruct several promising amateurs, including the talented Maria Bellett Browne, who helped him with his work on a treatise on painting—alas, never completed. Further information on Chinnery may be found in Patrick Conner’s book, George Chinnery: 1774-1852 : Artist of India and the China Coast, Robin Hutcheon’s Chinnery: The Man and the Legend, and Mildred Archer’s India and British Portraiture, 1770-1825. Examples of his works may be seen at the Victoria and Albert Museum, the National Portrait Gallery, the British Museum and the National Gallery, Dublin. Material: Watercolor on ivory.
|
||
|
|
Lady in Elaborately Plumed Cap, by Thomas Hull, Circa 1790A charming British portrait miniature of a woman with blue eyes and powdered brown hair, wearing a white dress, a black ribbon around her neck, and an elaborately plumed cap. The painting is set in a gold locket frame, the reverse with a sheaf of hair set with seed pearls on opalescent glass, backed with foil. Thomas Hull (active 1775-1827), a talented artist, worked in London and Leeds. Thomas Hull exhibited at the Royal Academy from 1775 to 1827. In 1795 Hull married Frideswide Wells, and had at least one daughter, Sophia, who grew up to marry William Francis Barraud, a clerk in the Custom House. Two of their children, William and Henry Barraud, went on to become accomplished artists. Hull’s portrait miniature of the Honourable John Monckton is at the Victoria and Albert Museum. Hull’s miniatures are scarce. Material: Watercolor on ivory.
|
||
|
|
Gentleman with Blue Eyes, by Jeremiah Meyer, R.A., Circa 1780An outstanding English portrait miniature of a gentleman with blue eyes, wearing a powdered wig, and dressed in a blue coat with black velvet collar, white shirt, and white cravat. The portrait is set in a period paste silver frame with ribbon detail, a brushed silver mat, and a solid reverse. Jeremiah Meyer (1735-1789), one of the finest miniaturists of the 18th century, was born in Tubigen, Germany to an artistic family, his father the portrait painter to the Duke of Wurtemberg. When Meyer was fourteen his father brought him to England, and the adolescent artist studied at the St. Martin’s Lane Academy as well as with fellow German miniaturist Christian Friedrich Zincke. Meyer painted miniatures, enamels, watercolors and portraits in oil. He exhibited at the Society of Artists from 1760 to 1767, receiving a gold medal, and was a founding member of the Royal Academy, where he exhibited from 1769 to 1783. He became a naturalized citizen of England in 1762, and in 1764 was appointed miniature painter to the Queen and painter in enamel to the King. Meyer numbered among his friends the painter George Romney and the poet William Hayley, and among his pupils the miniaturists Richard Collins and Diana Hill. Examples of his works may be found at the Victoria and Albert Museum, the British Museum, the Ashmolean Museum, and in the collection of Her Majesty, the Queen. Miniatures by Meyer are scarce. Material: Watercolor on ivory.
|
||
|
|
An Actor, by George Place, Circa 1790An Anglo-Irish portrait miniature of an actor with brown eyes and dark hair, wearing a black cape and white collar, a red curtain in the background. The painting is set in a gold locket frame with an inner gold mat, the reverse with plaited hair. Note the strong resemblance between the sitter in this miniature and the one by George Place of Alexander Gordon, 4th Duke of Gordon, 1796, in the Victoria and Albert Museum (see The English Miniature, by John Murdoch, plate 200, page 192.) George Place (d. 1805), was one of the very talented late 18th century English miniaturists who, in the wake of Meyer and Cosway’s pioneer work, went on to develop highly individual styles, and flourished in the artistic atmosphere of the time. The son of a Dublin draper, Place entered the Dublin Society Schools in December 1775, where he studied under F.R. West. Place practiced for a time in Dublin, painting in miniature and in oil, and then went to London, where he exhibited at the Royal Academy from 1791 to 1797. In 1798 he received permission to go to Bengal with his wife, and subsequently worked in Lucknow, where he painted portraits of Nawab and members of his court. It is likely that many of Place's paintings painted in Lucknow perished during the Mutiny. Examples of his work may be found at the Victoria and Albert Museum, the Ashmolean Museum and the British Museum. Material: Watercolor on ivory.
|
||
|
|
Lady in Blue, by Richard Cosway, R.A., Circa 1790A delightful British portrait miniature of a young woman with blue eyes and blonde hair, wearing a blue sprigged dress, a gold cross around her neck, and a blue ribbon in her hair. The painting is set on a plaited blonde hair background with an inner gold bezel, and housed in the original gold locket frame with a watchtop bale, the reverse with foiled cobalt glass. Held inside the case are a cut-down trade card inscribed: “…L. Hart/ Gold Chaser & Engra…/late Apprentice & Successor to Mr. Hart…/No. 25 Noel St…” and another cut-down card inscribed somewhat illegibly: “Capt. Barnes [?]/ 26th Regt. [?]/ Orbonnes Hoter [?]/ Adelph…” It is likely that this portrait was painted for Captain Barnes. One of the most important miniaturists in English history, if not the most influential, Richard Cosway, R.A. (1740-1821), was born in Devon to a family that owned a prosperous woolen business. Cosway was sent to London at age twelve, where he studied with Thomas Hudson, and attended William Shipley’s drawing school and the Royal Academy Schools. Cosway exhibited at the Society of Artists, the Free Society of Artists, and the Royal Academy, and was elected to the Academy in 1771. In 1781 he married the Anglo-Italian artist Maria Hadfield, and in 1789 their only child, Louisa Paolina Angelica, was born. Cosway dearly loved his daughter, and after her sudden death at age seven, his somewhat eccentric behavior became more erratic. Cosway's tremendous talent won him such famous clients and friends as the Prince of Wales, and he and Maria moved in the most fashionable Georgian circles, known for their salons and exquisite art and antique collections. Thomas Jefferson said of them that they possessed: “….good sense, good humour, honest hearts, honest manners, and eminence in a lovely art.” 1 Cosway’s works may be seen in the Victoria and Albert Museum, the Wallace Collection, the Fitzwilliam Museum, the British Museum, and the private collection of Her Majesty the Queen, as well as many other public and private collections. Material: Watercolor on ivory.
|
||
 |
Young Girl in Pink, English School, Circa 1805A beautiful portrait miniature of a young girl with brown eyes and brown hair, wearing a pink dress. The painting is set in the original gold locket frame, the reverse with a plaited brown hair panel. Material: Watercolor on ivory.
|
||
 |
Gentleman in a Red Coat, Signed by James Nixon A.R.A., Circa 1790A striking British portrait miniature of a gentleman with green eyes and blond hair, wearing a red coat, cream waistcoat and cravat. The painting is signed at the lower right: N, and holds a cut-down calling card with the name: Miss Duff. The portrait is set in the original gold locket frame, the reverse with plaited brown hair and a lock of lighter brown hair. It is likely that this portrait was painted for Miss Duff. It is interesting to note how the vivid coloring of the clouds in the background and the reddish shading on the face hold their own against the bright red of the coat, while the muted cream of the hair and waistcoat provide a quiet level of contrast to the drama of the overall portrait. James Nixon (1741-1812), A.R.A., worked primarily in London, and briefly in Edinburgh, executing miniatures, portraits in watercolor and oil, historical subjects, and book illustrations. His best portraits are incisive interpretations of character, beautifully executed and original in approach. He attended the Royal Academy Schools, where, like Shelley, he was influenced by Sir Joshua Reynolds, and he became a member of the Society of Artists. He exhibited at the Royal Academy from 1772 to 1807, at the Society of Artists from 1765 to 1771, and at the British Institute. Nixon was appointed limner to the Prince Regent, and miniature-painter to the Duchess of York. Many of Nixon’s miniatures were of actresses in character, and his distinguished clientele included the Duchess of Devonshire, the Duchess of Rutland, and Joseph Farington. In spite of his professional success, he did not fare well financially. Examples of his work may be found at the Victoria and Albert Museum, the National Portrait Gallery, the Liverpool Museum, the National Museum, Stockholm and the Metropolitan Museum of Art. Material: Watercolor on ivory.
|
||
|
|
Mary Anne Biddulph, by Archibald Skirving, Circa 1780A Scottish portrait miniature of Mary Anne Biddulph, with blue eyes and blonde hair, wearing a pink and cream dress and elaborately plumed hat. The painting is inscribed on the reverse: Mary Anne/ Biddulph 3d Dr of/ Michael Biddulph/ of Ledbury Esq/ married to Robert/ Philipps of Longworth/ Esq. The miniature is set in a gilt locket frame with a paste surround and solid reverse. Mary Anne Biddulph, one of six children, was born on December 3, 1769, to Michael Biddulph of Ledbury and Cofton Hall, and Penelope Biddulph (nee Dandridge, daughter of John Dandridge). Mary Anne married Robert Phillips, of Longworth, Herefordshire. They had at least two children, Marian, and Isabella-Frances. Mary Anne is recorded in the Dictionary of Pastellists before 1800, as a sitter for Ozias Humphry. She died on December 27, 1839, at age 70. Archibald Skirving (1749-1819), was a highly noted Scottish portrait artist, regarded by many as a rival to the more well known Sir Henry Raeburn, who painted a portrait of Skirving in 1810. Skirving was born in Athelstaneford to Adam Skirving, the Jacobite songwriter and farmer. Skirving worked briefly as an excise officer in Edinburgh, but soon turned to painting portrait miniatures. He moved to London, exhibiting at the Royal Academy in 1778, and then traveled to Italy, where he studied from 1786 to 1794. Captured by Bonaparte on his return journey to England, Skirving was imprisoned for a year as a supposed spy. The imprisonment worsened his existing eye condition, unocular elipopia, which in time eventually forced him to move from painting miniatures to executing larger portraits in oil and pastel. Skirving was a proud eccentric with rather abrupt social skills, and he held exacting strictures for the execution of his portraits. He demanded many sittings, was highly selective about those he chose to paint, and painted in a highly realistic style. Thomas Carlyle said of Skirving: “He chose faces himself; could not be hired to paint faces he disliked; to a Lady of rank who pressed him and again pressed him with questions, “Why won't you paint me?” he answered, “Good God, Madam, is it nothing to raise the price of yellow-ochre, think you?” I remember him…one summer morning early: lean as wood, brown as a berry, with the cleanest skin and linen, the sharpest eagle-face and the fiercest eye. He was an original, and came of such.” Skirving died unmarried in 1819 at Inveresk, and was buried at Athelstaneford. Examples of Skirving’s work are held in the National Gallery, Edinburgh, the Scottish National Portrait Gallery, and the Victoria and Albert Museum. Among his works are portraits of Robert Burns and Robert Dundas of Arniston. A portrait miniature, of Anne Biddulph, Mary Anne’s younger sister, was exhibited Raeburn's Rival, Archibald Skirving 1749-1819, Scottish National Portrait Gallery, 1999. [See image below.] Both portrait miniatures of the sisters were painted circa 1780, when Skirving was in London. Skirving’s miniatures are rare. Material: Watercolor on ivory. Literature: Daphne Foskett, Collecting Miniatures,
Woodridge, 1979, color plate, 27A .
|
||
|
|
Woman with Blue Hair Ribbon, By Nathaniel Freese, Circa 1795An enchanting British portrait miniature of a young woman with large brown eyes and powdered brown hair, wearing a white dress with a blue sash and a blue ribbon in her hair. The painting is set in the original gold locket case, the reverse containing a cobalt glass surround and a central panel of plaited brown hair. This is a particularly fine example of this artist’s distinctive work. Nathaniel Freese (active 1794-1814), about whom little is known, practiced in London, exhibiting portraits, landscapes, and at least one miniature at the Royal Academy. He is thought to have joined the Artists' Volunteer Corp in 1803. In 1814 he exhibited a portrait of Lieutenant G. F. Freese, who died at Salamanca. According to Basil Long, a J. Freese worked for the Duke of Cambridge and exhibited a portrait at the Royal Academy in 1811 may have been Nathaniel’s son. Examples of Freese’s work may be found at the Fitzwilliam Museum in Cambridge, and the Cincinnati Art Museum. Material: Watercolor on ivory.
|
||
|
|
Lady with Brown Eyes, by John Barry, Circa 1790An English portrait miniature of a woman with brown eyes and powdered brown hair, wearing a gray dress with a white fichu. The painting is set in the original rose-gold frame with beaded and engraved decoration, the reverse with a gold monogram set on plaited brown hair. John Barry (active 1784-1827), of London, exhibited at the Royal Academy. His works included portraits of the Reverend John Wesley, Miss De Camp, and others. Foskett says: “Little is known about this artist who painted some excellent miniatures, and whose work has not always had the attention which it deserves.” Works by Barry may be seen at the Nottingham Art Museum and the Victoria and Albert Museum. Material: Watercolor on ivory.
|
||
*******************
The primary references used for the artist biographies
on the listings are: Miniatures Dictionary and Guide by
Daphne Foskett,
American Portrait Miniatures in The Manney Collection,
by Dale Johnson and The Miniature in Europe, by Leo Schidlof.
Copyright ©
Christine Archibald Portrait Miniatures. All rights reserved.
Photography by alanhostetterdp.com
WebSite Services by Studio2net.com
