--------------------------------------------
American miniatures added to the Artists and Ancestors collection since January 2026 include those below; More items may be amended, and/or added, during 2026.
Visitors to this website, are welcome to offer comments, especially with suggested attributions. Helpful comments can be added to this post, or sent by email.
----------------------------------------
This miniature was offered a a "British miniature", but in being purchased, it was the opinion of this collector it was more likely an American miniature, painted c. 1770-80, which was later rehoused in imported British casework of around 1800. In the Met catalogue, there are similar rehoused examples, of smaller miniatures, rehoused in larger case-work, including on page 63, one by Nathaniel Hancock.
The miniature here, (ds 1526) is possibly by Hancock, but it also has similarities with miniatures of c.1775-80, painted by Charles Willson Peale. It has stronger colouring than most CWP miniatures, which often have a more blue colouring, due to fading and a fugitive red pigment, but may possibly have been re-touched at the time it was rehoused. Another, less likely artist is John Ramage, as his miniatures are more usually painted with the sitter in a left-facing profile.
Relevant in attributing early American miniatures is the sight size, this one being 32mm x 27mm. That size is identical to a 1769 self-portrait by John Singleton Copley, in the Met collection. The pose is also similar to that self-portrait, and to a Copley miniature of Moses Gill, painted c.1759. The miniature also appears to have similar "gold-type" trim, as depicted in the self-portrait, also that of Gill, and another of Jeremiah Lee, painted by Copley in 1769. Copley left for London in 1775, so it is faintly possible he painted this in London, and the work was a transitory piece bridging the "modest school" size of miniature, placed directly into the mew fashion for larger casework. Thus, it is possible the artist was Copley, but confirmation will need the opinion of someone more knowledgeable than this collector.
Miniatures by CWP, of a similar size, and in similar pose, and painted c.1776, are on pages 34-36 of the Met catalogue. Until a clearer opinion surfaces, this miniature is attributed as a possible Charles William Peale.
--------------------------
Next is an American miniature, which after arrival, has been attributed to Anson Dickinson (1779-1852), it being in a typical red case of around 1835, There are multiple similar miniatures in Anson Dickinson, the Celebrated Miniature Painter, 1779-1852, Connecticut Historical Society, by Mona Leithiser Dearborn, and in the Met.catalogue, pages 100-104.
There are other examples by Anson Dickinson elsewhere in this Artists and Ancestors collection. ds 1531.
------------------------------------------------
This next miniature is also believed to be American, probably from the Boston area, judging by the painted eglomise decoration on the border framing. The artist is less certain, but it may be by Daniel Dickinson (1795-1977), see the examples on pages 140-141 of the Met catalogue. ds 1532.
The reverse has a hard to read note, needing more research, but appearing to read;
"Nicholas Fischer, son of Johann Seigfried. Fischer of Seliganne, Dobre (?) Bova set (?), Nauteo 1719 (?)."
---------------------
Another American miniature is more firmly attributed to Charles Willson Peale (1741-1827) ds 1534. The miniature, of 36mm x 30mm, is still in its original case, and has the typical blue toning of many CWP miniatures, with the reverse having a short, stuck on, note reading; "Capt. Loring RN. Mary Macneal of Ugadale.".
The previous owner, did not know the artist, and had assumed the miniature was a portrait of Admiral Sir John Wentworth Loring, KCB, KCH (13 October 1775 – 29 July 1852) a Royal Navy officer of the early nineteenth century, best known for his service in the Napoleonic Wars as a frigate commander. Born in the Thirteen Colonies at the outbreak of the American War of Independence, Loring's family fled to Britain and he subsequently joined the Royal Navy aged 13. In 1793, aged 17, Loring was badly wounded in combat at the start of the French Revolutionary Wars. He subsequently served throughout the following 23 years of warfare between Britain and France, and eventually became a full admiral. (Wikipedia)
John Wentworth Loring was born in October 1775 at the start of the American War of Independence to Joshua Loring, High Sheriff of Massachusetts. John's grandfather, Joshua Loring, had served in the navy in the Seven Years' War, commanding a squadron on the Great Lakes. The Loring family were Loyalists, and were ultimately forced to flee to Britain. In 1789, 13-year-old John Loring joined the Royal Navy, serving in HMS Salisbury before joining HMS Victory at the outbreak of the French Revolutionary Wars. (Wikipedia) See;
For comparative purposes, there is another CWP miniature of Colonel Pope in the collection, in original case, and the same blue toning. There is an apparent small paint loss on his shoulder, to represent where his Colonel's epaulette was positioned, perhaps in gold, which may have since fallen off. ds 1495
 |
| Joshua Loring (1716-81) |
However, this collector doubted the portrait was of John Wentworth Loring, as it appeared to be painted c.1775-80, when John Wentworth Loring would have been aged only 5.
Instead, before purchasing for this collection, the note on the reverse was researched online, leading to this collector's belief the miniature actually depicts Commodore/Captain Joshua Loring (1716-81), the grandfather of Admiral John Wentworth Loring.
A portrait of Commodore Joshua Loring Sr. wearing a navy uniform, and wearing a bag wig, has obvious similarity with the CWP miniature. That portrait of Commodore Joshua Loring, at Jamaica Plain by Way of London — is displayed by the Jamaica Plain Historical Society.
See;
 |
| Joshua Loring Jr. (1744-89) |
There is a long Wikipedia reference to Joshua Loring Sr. which is helpful, but is unfortunately, and mistakenly, illustrated with a portrait of his son, Joshua Loring Jr. (1744-89), which depicts Joshua Loring Jr. wearing a red British army uniform, as Commissary General and per the description below,
Whereas Joshua Loring Sr. was in the Royal Navy and so wore a
blue uniform. The reference includes;
Loring's
eldest son, Joshua Loring, Jr., served as high-sheriff in Suffolk
County, Massachusetts[ and was Commissary General of American
prisoners-of-war in New York from 1777 until 1783. Together with William
Cunningham, he was held responsible for the deaths from starvation and
disease of thousands of Americans held prisoner on ships moored in New
York Harbor. "[B]ut it is not easy to ascertain the truth, or to
determine his personal responsibility in the treatment of prisoners." He
was discharged from his office on the grounds of corruption and
departed for England, where he died in 1789. Joshua Loring, Jr's son,
John Wentworth Loring, served in the Royal Navy and rose to the rank of
admiral."
A popular story recounts that, asked by an old friend what he would do when faced by a choice between remaining loyal and supporting the popular spirit of revolt, Joshua Loring Sr. replied "I have always eaten the King's bread, and always intend to."
The Loring family tree shows the connection, via the note on the reverse, between Joshua Loring Sr. and Mary Macneal of Ugadale. An abbreviation of the descendants in the Joshua Loring family tree at;
includes one of his sons, John Loring;
John Loring
(abt 1759 - 16 Nov 1808)
m.
Mary McNeal (02 Apr 1761) on 27 Apr 1795.
Hence the note on reverse of the CWP miniature "Capt. Loring RN. Mary Macneal of Ugadale.".refers to a granddaughter of Joshua Loring Sr.: Mary Eliza (Loring) Macneal, marrying George Macneal on 26 December 1821. The FindaGrave link for George Macneal, Esq. (1793-1861), of Ugadale, confirms Ugadale as his home, and his 1821 marriage to Mary Eliza Loring Macneal (1802-61);
There are multiple Internet links to the home built by Joshua Loring Sr. These include;
A partial history reads;
The history of the Loring Greenough House begins in 1760 when Joshua
Loring, a commodore in the English Colonial naval forces, constructed
the large four-square frame residence in the historic center of Jamaica
Plain. An outstanding example of Georgian Colonial architecture, the
House was the hub of a large and actively developed farm that was
Loring’s chief interest following his retirement from military service.
His life as a distinguished member of the Colonial gentry came to an
abrupt end with the bitter factionalism of the incipient Revolution. He
fled the House in August 1774, for the greater security of Boston. He
and his family permanently left Boston for England in 1776.
As there seems no reason to doubt the provenance outlined above, a genuine email attempt was recently made, to acquaint the Loring Greenough House, with this new discovery of a CWP miniature of Joshua Loring Sr. with the offer that they would be welcome to freely add the CWP image of Joshua Loring Sr. to their website if they so wished.
But, no reply, nor any acknowledgement, was received from the managers of Loring Greenough House.
-----------------------------------------------
Another American miniature of a young man and recently acquired is dated around 1820-25. The portrait appears painted by an untrained hand. The artist is not immediately obvious, but there seem two possibilities; ds 1536.
- George Loring Brown (1814-89) where the noses, pose, and profile are similar to two miniatures in the Worcester Art Museum catalogue, p.42-43. Presumably, Gorge Loring Brown was related to Joshua Loring in some way? The G L Brown miniatures seem a close match, being in an untrained, almost primitive style.
- Samuel F. B. Morse (1791-1872) where there is a young man in a similar pose on p. 129 of the Met catalogue.
-----------------
As a change from previous male sitters, an American addition is a well-dressed young lady; ds 1537
 |
| Metropolitan Museum |
Although, unusually, being painted on paper, as most miniatures are on ivory, the miniature is now attributed to William P Sheys (active 1813-23). Her ruff collar is typical of c.1820.
In size, profile, pose, and detail it is very similar to the William P Sheys portrait of a similar young lady on page 128 of the Met catalogue. The case is a typical, tired, red case of around 1820-40.
--------------------------------------------
The next American miniature is also of an attractive young lady wearing a black dress, in a battered, but also typical red case; ds 1551. She was likely painted around 1830-35, and there are multiple other examples in this collection of young ladies wearing similar black dresses from c.1830-35; So many that the iconic, "the little black dress", usually attributed to a 20C origin, was perhaps merely copying the"little black dresses" of c. 1830-35.
There are multiple similar portrait of young ladies in black dresses, elsewhere in this Artists and Ancestors collection. ds 1531. No artist attribution has yet been made, but should be possible with some more research. One possibility is Christopher Martin Greiner.
However, a kind visitor has observed stylistic similarities with a miniature by Daniel F. Ames (1803-86), on page 158 of the Met catalogue. That suggestion is accepted, and hence now regarded as an attribution; that is, until any better idea emerges.
---------------------------------------------
With a little embarrassment, here are two modern American miniatures, of c.1970-80; ds 1540
On of them is noted on the reverse as "a wax miniature by Aileen". They are small wax portraits of George and Martha Washington. What is unusual, is that the detailed wax heads and clothes, are embellished or decorated, with the addition of actual fabric and lace trimmings.
Although they may not properly merit inclusion in a collection of American miniatures, they were acquired as "space fillers" instead of seeking out actual miniatures by Mary Way (1769-1833). Miniatures by her, are very rare, and highly valued, so unlikely for examples to ever be acquired for this collection. The Met catalogue, p.76, describes her work;
She made miniatures in watercolor on paper as well as "dressed" miniatures-collages of cut-paper watercolor profiles with costumes made from cloth, braid, lace, and other trimmings, all mounted on a fabric background."
Thus, these wax heads of George and Martha Washington, with lace and other trimmings are "space-fillers", as an approximation of the miniatures by Mary Way.
---------------------------------------
A more typical American 19C miniature, is this one of an elegant, but unknown, young man. Unusually, for miniatures of this period, the case is complete. ds 1557. The miniature dates to around 1830-35. The casework of ds 1557 is very plain, compared to the next example below, ds 1559a. That change to a plainer case, was a result of cost, partially due to the casework cost, but more likely, due to increased market competition from other artists, who were offering a lower overall cost. 
The case has not been opened, seeking a signature, as the bezel seems firmly in place. However, the portrait is comparable in style and date, to works by John Wood Dodge and Moses B Russell, both of whom normally included details on the backing paper inside the case.
Works of similar quality by J W Dodge, and dating around 1830-40, are on pages 185-189 of the Met catalogue. With similar works by M B Russell on pages 193-194 of the Met catalogue.
There are multiple similar portraits of young men or of ladies, by J W Dodge or M B Russell, elsewhere in this Artists and Ancestors collection
----------------------------------------------
More research was needed on foliate or guilloche type milled American miniature casework, which had, unfortunately, lain as an unresolved question for this collector. These pieces are often characterised by carved borders, resembling leaves, with considerable.variation in the examples of milled edges. Which then tends to imply the casework was bespoke, i.e. made to fit the size of each individual ivory plaque, and decorated with a milled bezel to the miniature artist's specifications.
However, a kind visitor has since made me aware of an example of a milling machine owned by the Pulmier Foundation, which is described by the Foundation as a rosette machine. The Foundation provides some history. In the early 16th century turning became a passion of expression for kings and queens and soon the rose engine lathe was invented. Aided by their court turners they pursued perfection, an impossible goal, as an expression of their core beliefs.
The passion would pervade the sovereigns from all corners of Europe, yet it would be over 150 years before the first practical treatise on the rose engine and turning would emerge. The son of a wood turner, Charles Plumier, himself a priest, botanist and turner, wrote his book,
The Art of the Turner, in both Latin and French to optimize the number of people who could read it.
L'art de tourner, ou de faire en perfection toutes sortes ...
Published in 1701 by Louis XIV, Plumier’s book would stand as the sole comprehensive treatise on the subject for over 80 years. The importance of the book cannot be overstated. Recognizing this, Peter the Great had it translated into Dutch and Russian. Charles Plumier’s passion was to educate, and The Plumier Foundation shares that passion and has taken up the charge in the 21st century. See;
As can be seen in the photograph, the milling machine has a row of various and interchangeable cutting wheels. Presumably the operator had a range of samples for the artist to select from; and the operator was able to select one or more jigs (mechanical devices designed to hold and locate a component during machining), and mill a suitable pinchbeck (alloy of zinc and copper, used as imitation gold) rod to the desired length and design.
The above, newly added American miniature of an unknown man, 52mm x 50mm, ds 1559a, is an excellent example of foliate or guilloche milling. It is unsigned, and the rear glass is cracked, but that is regarded as a minor deficiency. As can be seen, at an earlier stage it was modified to wear as a broach, perhaps by a widow, but that fitting was later removed. The long, full, sideburns, and white stock, suggest a date of around 1820-25. The case has not been opened, seeking a signature, as the bezel seems firmly in place
Before its arrival, it was thought likely to be by Thomas Edwards (1795-1869) who worked in Boston, and mostly painted landscapes. However, on arrival, a closer examination has led to an attribution to George Catlin (1796-1872), based upon a comparison with these two Catlin miniatures owned by the Metropolitan Museum. The bust pose, plain background, foliate casework on the second, and place on the ivory, are very similar. Catlin originally worked in Philadelphia, but in 1827 moved to New York.
In American Portrait Miniatures, page 11, Lori Zabar, notes, such cases appeared first in Philadelphia; and such a Philadelphia location aids in the above George Catlin attribution.
 |
| Met Museum - George Catlin |
 |
| Met Museum - George Catlin |
Although most miniature portraits with casework with foliate/guilloche bezels, were
oval in shape, the milling and bending of straight pieces of rod, did
enable other formats to be formed and assembled. A rectangular bezel, not depicted
here, is depicted in the Connecticut Historical Bulletin for October
1964; where page 129 includes a miniature portrait of Jabez William
Huntington, with a rectangular foliate bezel.
Zabar adds on page 21, "A similar style of locket popular at the time in Scotland probably served as the source of the design." This collection includes various British miniatures in similar cases. An ornate Scottish example, is a miniature portrait by William Douglas, set in a bracelet, and believed to depict his daughter Charlotte Douglas.
------------------------------------------
A benefit of having multiple American miniatures, is an ability, to try and group works by a single artist, and thereby improve the chances of an artist attribution. Acquired along with ds 1559a above, is this miniature of a young man ds 1559b. He is shown alongside two other miniatures in the collection, ds 914 and 549, supporting a strong opinion that all three are by the same, but still unattributed, artist.
 |
| ds 1559b |
All three miniatures, are of similar bust size, but with relatively small heads. They are all wearing a black stock, and have similar. but different foliate bezels.The foliate detail on the reverse of ds 1559b, although different to ds 1559a, likely required different jigs on a rosette machine. The bezel casework of all three is smaller than normal, with overall dimensions of ds 549, at 60mm x 48mm, ds 914, at 45mm x 37mm, and ds 1559b at 50mm x 42mm.
A possible artist is William Lewis.(1788->1838), although his works are often of slightly better quality..Another artist could be Samuel F. B .Morse (1791-1872).
 |
| ds 549 |
|
| ds 914 |
----------------------------------------------
This next miniature, ds 1559c, would not normally have been acquired as a separate item, but in this instance it was part of the lot including ds 1559a and ds 1559b, as above. 
It is 36mm x 30mm and in a gold filled case, with a rear window, which is empty. It is more likely American, than British, and an early example of a hand-coloured photo;and dates to the early years of the 20C, 1905-20..
The case work previously had a hinged pin on the rear, and is of uncertain age; but possibly pre-dates the age of the miniature, perhaps by decades. The casework may be suitable for re-use, with a different miniature.
------------------------------------------------
This fine American miniature, ds 1568, was acquired along with a similar quality piece, (ds 1569 as below).. It is 63mm x 53mm and in a foliate case, which has a dent on the rear, but is complete with rear bezel, glass, and hair. Foliate cased miniatures, which are complete, are increasingly hard to find..
A close-up gives a better idea of the superior quality. The sitter in the miniature is unidentified, and the miniature unsigned. Foliate type cases are more often associated with Philadelphia or Boston, which suggests an artist from that area.
A possibility is Henry William (1787-1830) who worked with William Doyle (1769-1828), before setting up separately. Doyle has been excluded, as his sitters normally face to the viewer's right. Benjamin Trott has been excluded, as he normally had a plain background. Joseph Wood, also seems unlikely as he usually painted sitters from slightly further away, so the sitter's head would seem smaller. Anson Dickinson and Robert Field have also been excluded. Also discounted is Nathaniel Rogers, who painted in a very distinctive manner. The Peale family also seem unlikely.
----------------------------------------
This American miniature, ds 1569, is 62mm x 48mm, and was acquired from the same source as ds 1568 above. It is in good condition, although the reverse glass is missing.
It is faintly signed at around 4 o'clock, Doyle, for William Massey Stroud Doyle (1769–1828), a portrait painter and museum proprietor in Boston, Massachusetts.
Before being noticed, and then acquired for this collection, ds 1568 and ds 1569 had bounced around auction houses. They were offered as a pair by Olympia Auctions on 19 November, 2025, with an estimate of GBP300-500, but were, somewhat suprisingly, passed in as unsold.
Olympia then offered them again on 13 May 3026, with a lower estimate of GBP200-300. They were purchased by a dealer for GBP200, plus Buyer's Premuim.
That buyer next offered them on Ebay UK, where this collector was fortunate enough to notice them, and was then able to bid successfully.
If there is any lesson from the above "journey", it seems that the markets for British, American, and European miniature portraits are, generally, quite distinct.
There are several other William Doyle miniatures in this collection, his style being quite distinctive. This young lady, ds 1048, is signed Doyle, 1823. The man, ds 635, is unsigned but is in distinctive Doyle style, with the sitter placed slightly left of centre..
--------------------------
The next pair of miniature portraits are a single artist, and are unusual, in that they have been re-framed, probably in the 1970's, into a modern setting, with reverses of mid 20C fabric, ds 1560 and ds 1561. Such fabric reverses were sometimes used in the early 20C as backing for decorative miniatures.
That of the older lady, at 65mm x 51mm, is further unusual, in that she has been modified. It appears the original miniature was 55mm x 34mm, but whilst being re-framed, it was expanded in size by the addition of painted ivory strips at each side, and at the foot: to balance up the size of the miniature: in order to better match the size of the modern frame, and the portrait of the other sitter, in a marginally narrower frame, 65mm x 48mm. Thus, the parallel vertical lines, are not cracks, but where the outer pieces of ivory were abutted, and then painted sympathetically with columns, and specially march the lace on the collar of her dress. This collector is not aware of other early 19C American miniatures being "expanded" in a similar manner.
As explained below, the older lady is deduced to be Bathsheba Smith (1770-1835) (painted pre 1835) (so aged about 50), and the younger one Ellen Chase
Sedgwick (1812-1846) (painted c. 1835-46).
 |
| Bathsheba Smith (1770-1835) |
 |
| Ellen Chase
Sedgwick (1812-1846) |
Without the original 10C framing, it is harder to make an attribution to an artist, but stylistically, the pair are believed to be painted by Sarah Goodridge.(1788-1842). Sitters in Goodridge miniatures often tend to have a stern, intense, and focused look, as if frozen in time.
It has been possible to deduce the identities of the two sitters, as they appear to be mother and daughter. For the benefit of family history researchers, full details are here, including some related portraits.
At auction they were similarly described, e.g. "Description - A finely detailed antique portrait miniature on paper* depicting a young woman in early 19th-century dress, shown with a delicately styled coiffure and lace-trimmed gown. Executed in soft, naturalistic tones, the portrait reflects the elegance and refinement of the Federal/Regency period, with careful attention to facial features and period fashion. This miniature is part of a collection associated with the Sanford/Tracy family, founders of the historic Sedgwick Farms in Syracuse, New York, adding notable historical and regional interest. The piece is housed in a simple gilt frame and presents attractively, with age-appropriate wear consistent with its period. From a group of related family portraits; please see additional listings for companion examples. Measures: 2-1/4” x 2-7/8”." [*a mistake, they were not on paper]
Several adjacent lots (purchased by others) included; At the same auction was another miniature (not bought), probably from c.1880-1900, which was described as;
"Description - An exceptional pair of antique portrait miniatures on porcelain depicting Ellen Sedgwick Tracy and her daughter, Sally Tracy. The larger oval portrait portrays Mrs. Tracy in profile, elegantly dressed in a rich red gown, and a necklace with her daughter's portrait, (also included in this lot). Refined detailing on both portraits. while the smaller companion portrait captures her young daughter with soft, lifelike expression. Both are finely hand-painted with delicate shading and attention to detail, characteristic of 19th-century porcelain miniatures. These portraits are part of a significant family collection connected to the Sanford/Tracy family, founders of the historic Sedgwick Farms in Syracuse, New York, offering strong historical and regional importance. Housed in simple gilt frames, the pair presents beautifully together and provides a rare, personal glimpse into an early American family lineage. Measurements: Mother: 2-3/4" W x 4" H Child: 1-1/2" W x 2" H. A related miniature at the auction, but not purchased, in a similar frame, was of an older gentleman.
 |
| Ellen Amelia Tracy (1841-1924). |
 |
| Stephen Sedgwick (1783-1830). |
Thus, the two miniatures are mother and daughter,who appear to be mother and grandmother of Ellen Sedgwick Tracy, and her daughter, Sally Tracy. And also closely related to the older gentleman, who is likely husband of the grandmother..
After looking at a Segwick family tree, it is believed the older lady is Bathsheba Smith (1770-1835)
(painted pre 1835) (say aged about 50) and the younger is Ellen Chase
Sedgwick (1812-1846) (painted c. 1835-46), (so aged about 30-35). With Ellen Amelia Tracy (1841-1924). There seem two options for the older man, Charles B
Sedgwick (1815-1883) or Stephen Sedgwick (1783-1830), husband of Bethshada Smith. The collar in the miniature of the man looks
to be about 1820-30, and so seems too young for Charles, and thus, if Stephen, he would then be aged about 45-50.
-----------------------------
The next unsigned miniature of a young lady in black dress was purchased from America, and has a Los Angeles framer's label. The attractive sitter is very well painted, and the style dates to around the mid 19C. It is 100mm x 72mm and deftly painted on a porcelain plaque about 5mm thick. The detail being better and clearer, than appears in the images
Porcelain is a very unusual medium for American portraits, and hence it was more likely painted in Germany, where there is a history of painting on porcelain. Nevertheless, it was acquired for the collection, as an interesting example of a variation of technique.
----------------------------
Research is underway into some new arrivals; a cracked miniature ds 1566 and also ds 1571, which is a group of four early American miniatures.
Although ds 1566 is cracked, with some paint smudging, and hoped to be able to have it restored. In the 1984 book about
Anson Dickinson by Mona Dearborn, there is a reference to a cracked miniature, No. 18, which was repaired;
When the Stamford Historical Society received this copy of the Scotch Lady, the miniature, mounted on a card had split lengthwise and had been previously mended, adding to he present-day conservation problems. The split has been joined and filled with tinted wax to render it as invisible as possible.
It is intended a similar repair will be made to ds 1566. The Raleigh, North Carolina, vendor advised, "I acquired this in a group of items that descended in the Drayton Family of South Carolina. That said one side of the family married into a Philadelphia family - so I am not sure of the exact provenance.".
The group of four miniatures, ds 1571, in a singe frame, was acquired from the same Raleigh, NC, vendor, with whom, there was the following exchange, before the group of four miniatures arrived;
Hello,
Thank you for accepting my offer. I have collected American
miniatures for many years, and although I do not know which artist
painted these, they are a nice group! Any thing extra, you can tell me
about the source would be much appreciated.
The vendor replied;
They are really great I was hoping someone would be able to identify the
artist, because I never could with any certainly. I actually have a
fair bit of provenance with these. They descended in the family of Emily
Drayton Taylor (1860-1952), who was a miniature artist herself, but
much later than these were done. Based on the grouping, I'm fairly
certain they depict ancestors rather than something she collected. The
family line split off in a few directions so I was never able to
triangulate who the sitters are. The other miniature you bought from me
came through the same family. I suspect they were done in Charleston as
most of the other things I got from the family came through the Drayton
line there. Hope that helps, let me know if you have any other
questions.
Hi ....
Thank you very much for that extra information, (also for selling me the cracked miniature, which I hope to have restored) it is all very helpful. My current inclination is that the three ladies are sisters, and, so far, the most likely artist may be Thomas Sully or perhaps James Tooley. It is unusual for American miniatures of women to have "misty clothing" as the base of the portrait. (John Henry Brown sometimes did, but I doubt t they are by him.) However, from some Googling, Thomas Sully seems to have painted several miniatures with a "misty footing". I tend to feel the three "sisters" were painted at an earlier date, say pre-1830, than the two "brothers" who were more likely 1840 or later.
Kind regards,
Don
 |
| Miniatures of three ladies attributed to Edward Greene Malbone, with a young man |
Since then some research has been conducted, the group of four miniatures have safely arrived, and this collector has discounted both Thomas Sully and James Tooley as the possible artist. Instead, this collector is now tentatively of the opinion that Edward Greene Malbone is the more likely artist of the miniatures of the three young ladies (who are probably sisters or cousins), and were painted around 1802. The ladies may instead be wives of male members of the family.
The cracked portrait seems to be a man dated to around 1815-30, and the other man to around 1845-50. Significantly, both men have red hair, and so, coming from a common estate, may be father and son. Neither artist concerned is obvious, but the younger man may possibly be by Charles Fraser.
More research is continuing, but an invaluable resource is The Life and Works of Edward Greene Malbone:by Ruel P. Tolman (1909-64), NYHS, 1958, as was published after his death. A copy is available at Internet Archive; The life and works of Edward Greene Ruel
P. Tolman (also known as Ruel Pardee Tolman, (1878 — 1954) was an
American painter, photographer, printmaker, and curator. Tolman was appointed Assistant curator in the Graphic Arts Division at the National Gallery in 1920 and later promoted to Curator in 1932.
As the vendor had referred to Emily Drayton Taylor, initial research within Tolman's work on Malnone was directed towards the Drayton and Taylor families. However, upon a realisation that Heyward also appeared in the name of Emily Heyward Drayton Taylor, the name Heyward quickly became significant. The vendor having advised that all five miniatures came from an estate with connections to;
Emily Heyward Drayton Taylor (April 14, 1860 – June 19, 1952), an American miniature painter. born on April 14, 1860 in Philadelphia, the daughter of Henry Edward Drayton, a Philadelphia physician, and Mary Brady Drayton. She married neurologist Dr. John Madison Taylor in 1879.
Taylor studied art under Cécile Ferrère-Guérin in Paris, likely in the 1870s, and at the Pennsylvania Academy of Fine Arts in 1877. She painted over 400 miniature portraits, including likenesses of US President William McKinley and First Lady Ida Saxton McKinley in 1899. One of her works, now in the Metropolitan Museum of Art, is a copy of a work by Edward Greene Malbone, a painting of the eye of Maria Miles Heyward Drayton, her paternal grandmother.
 |
| Heirlooms in Miniature |
Taylor was the founding president of the Pennsylvania Society of Miniature Painters, serving from 1901 to 1951. She wrote the chapter "Miniature Painting as an Art" for the book
Heirlooms in Miniatures (1898) by Anne Hollingsworth Wharton, the first book on the history of American miniatures. Emily Drayton Taylor died on June 19, 1952, in Philadelphia at the age of 92.
Emily Heyward Drayton Taylor (1860–1952), the notable American miniature painter, had an extensive and well-documented family tree that linked to prominent Philadelphia and South Carolina lineages.Her comprehensive, interactive family tree and connections with other, deeper historical records and
historical documents related to her, are available on Ancestry® or
MyHeritage. A breakdown of her immediate lineage includes:Parents: Dr. Henry Edward Drayton (1823–1862) and Mary Braby Drayton (1835–1910). Her paternal grandmother was Maria Miles (Heyward) Drayton, which explains the "Heyward" in her name. She wrote extensively on the Drayton family heritage, rather than the Heyward ancestry. Husband: Dr. John Madison Taylor (1855–1931), a prominent physician whom she married in 1879.Children: Edith Moore Taylor (1880–1974), who married Alfred Mansfield Patterson.Percival Drayton Taylor (1882–1954). Mabel Heyward Maria Taylor (1884–1967), who famously married a German prince (Prince Chlodwig of Hohenlohe-Waldenburg-Schillingsfürst).
The research here draws on The Life and Works of Edward Greene Malbone:by Ruel P. Tolman (1909-64), NYHS, 1958, as was published after his death. A copy is available at Internet Archive; The life and works of Edward Greene Ruel Pardee Tolman, (1878 — 1954) was an American painter, photographer, printmaker, and curator. He was best known for his work The Life and Work of Edward Greene Malbone, his etchings, and his Impressionist landscapes.
In his analysis, Tolman refers to entries for multiple commissions in Malbone's account book, three with 1802 references to Charleston. In his accounts Malbone wrote Mrs Gibbs, but more likely meant as Mrs Gibbes, of a prominent local family. Similarly Malbone recorded Hayward for Heyward. In particular,
Page 35, Mrs F Routledge, 4 in one piece, and Mrs Gibbs and daughters, 3. Page 36, Mrs T. Hayward, 3, and on the same page, Miss Maria Hayward.
In 1802, the three ladies in the miniature portraits look to be aged around 17 to 30, thus born c.1770-85. So far there have not been located, any firm clues to their identities, but research continues
Mrs F Rutledge
Malbone recorded "Mrs F, Rutledge - 4 in one piece" on his page 35-15. This description seems to fit the "in one piece" group of miniatures, perhaps with a younger man, later substituting for another miniature at lower left. Rutledge was the name of the patriot, John Rutledge (1730-1800)
Mrs F Rutledge may be Harriott Pinckney (Horry) Rutledge: who was married at age 26, 11 Oct 1797 in Charleston, South Carolina, to Frederick Rutledge (1771-1824).
Mrs F Rutledge is still being researched, but there appears to be a reference to her on pp.150 and 151 of Heirlooms in Miniature, by Anne Hollingsworth Wharton, Philsdelphia, J. P.Lippincott, 1898..
In Charleston, Malbone painted many miniatures; those of two sisters, Sarah Alicia and Decima Cecilia Shubrick, are very charming. The latter was painted in her bridal dress, with a tiara of pearls in her hair, which was sent to her from England as a wedding gift by her godmother Mrs. Rutledge. At nineteen Decima Cecelia Shubrick, who was lovely in character as she was beautiful in person, married James H. Heyward, of Charleston, a son of Thomas Heyward, Junior, signer of the Declaration from South Carolina.....
Sarah Alicia Shubrick married Mr Paul Trapier of Charleston.
While in Charleston, during his first visit and his later residence there, Malbone painted miniatures of the Pinchneys, Sinklers, Manigaults, Hugars, Middletons, Rutledges, Poinsetts, Izards, and other South Carolinians.
According to Internet sources, Decima Cecelia Shubrick, was related to Mary Brandford Shubrick. Decima Cecilia Shubrick (1796-1867) was the daughter of Col. Thomas Shubrick and wife Mary Branford. She married James Hamilton Heyward (17 Sep 1792-2
Via serendipity, Mary Shubrick features in a miniature portrait elsewhere in this collection, ds 1330, attributed to Charles Fraser; as Mary Branford Shubrick (1759-Aug 1832), the wife of Colonel Thomas Shubrick (27 Dec 1756-4 Mar 1810).
Mrs Gibbs
Malbone recorded miniatures of "Mrs Gibbs & daughters 3,
(crossed out) 1802, Charleston" on his page 35-15; as a Charleston
entry. There is no obvious reference to her in Heirlooms in Miniature,
so more research was needed. Tolman does include references to the Gibbs
family of New York, and of Newport, but, for Charleston, Malbone perhaps
more likely meant Mrs Gibbes, from the prominent Gibbes family.
Mrs Gibbes was possibly Mary Gibbes (Middleton) Shoolbred (1775-1808), a descendant of Robert Gibbes, as here, although matching the apparent ages of three women in the miniatures, was not obvious within her family.
There is a little later, miniature portrait of Mary Gibbes Middleton, said to be c.1803, but likely closer to 1810, by Jean Francois de la Vallee, and in the Gibbes Museum. Malbone had died by the time this was painted, but she seems a possible candidate for the second of the three miniatures.
Two possibilities, although not as daughters, are; Mary Gibbes (Middleton) Shoolbred (1775-1808), herself and also, Juliet Georgiana (Gibbes) Elliott (1778 - 1850). With the third, possibity being, Ann Morgan Gibbes (abt 1772 - abt 1812), the wife of Thomas Stanyarne Gibbes (1770-1798). Raising a possibility, that the Mrs Gibb[e]s who commissioned the miniatures in 1802 was a widow, Ann Morgan Gibbes.
Robert Gibbes
(13 Jul 1732 - 04 Jul 1794)
m.
Ann Stanyarne ( - abt 1763) on 17 Nov 1753.
m.
Sarah Reeve (04 Mar 1747 - 19 Jan 1825) on 31 Mar 1764.
Mrs T Heyward.
On page 36, Malbone records, Mrs T. Hayward, 3, and on the same page, Miss Maria Hayward. The Malbone reference to Mrs T. Hayward, was probably Mrs Thomas Hayward, second wife of Thomas Heyward Jr. (July 28, 1746 – March 6, 1809) an American Founding Father, lawyer, jurist, and politician. Heyward was active politically during the Revolutionary Era. As a member of the Continental Congress representing South Carolina, he signed the Declaration of Independence and Articles of Confederation. Heyward's imprisonment in Florida by the British for nearly a year and the loss of a considerable number of slaves led to his being proclaimed a martyr of the revolution. At one time, the Heyward family had the largest slaveholding in the United States.
Heyward was married twice, at age 26 and at age 40, and each wife was named Elizabeth. His first wife, born in 1753, was the daughter of Colonel John and Sarah Gibbes Mathews and the sister of South Carolina governor John Mathews. She died in childbirth in 1782 in Philadelphia, where she had gone to be with Heyward upon his release as a prisoner of war. She is buried there in St. Peter's Episcopal Church yard. They had six children, but only one son, Daniel, survived childhood. His second wife, Elizabeth Susannah Savage (1769-1833), was the daughter of Colonel Thomas and Mary Elliott Savage of Charleston. They had three children who lived to adulthood: Thomas, William and Elizabeth.
It thus appears, the three miniatures for Elizabeth Susannah Savage (Mrs Thomas Heyward), commissioned from Malbone in 1802, were not her own children, and more probably three sisters or cousins, on behalf of a close relative. A review of the siblings of Elizabeth Susannah Savage, does not reveal they had female children born c. 1770-85 who would have been of the appropriate age. Nor, among her husband's Heyward, family are there any obvious siblings comprising three sisters. More research seems needed to try to resolve the three sitters identities: perhaps related to wider members of the Drayton family.with Charleston connections to William Drayton Sr. (1732 – 1790) chief justice of the British American Province of East Florida and a United States district judge of the United States District Court for the District of South Carolina.
This next brought to attention pages 184-185, and miniature portrait, No. 186, with a more direct connection between Malbone and Emily Heyward Drayton Taylor, EHDT)
No. 186, Heyward, Maria Miles (later Mrs William Drayton (1782-1862). Tolman records, on p.185, under "Owners, .A copy is owned by the artist Mrs Emily Drayton Taylor (Mrs J. Madison Taylor).". EHDT had died in 1952, two years before Tolman's death, and six years before his book was published.
As Tolman's Descriptive Catalogue does not describe the above miniature portraits, it is possible to surmise, that the whereabouts and owner of the above miniatures were unknown; neither to Tolman, nor to EHDT, at the time the Descriptive Catalogue was compiled. Instead, being in the possession of a more distant branch of the Drayton, Heyward, Gibbes, or Rutledge families in NC or SC..As EHDT lived in Philadelphia, rather than in Raleigh or Charleston, that loss of contact appears less remarkable.
Therefore, believed significant, was the name Heyward; a family with multiple mentions in The Life and Works of Edward Greene Malbone:
- as part of the name of Emily Heyward Drayton Taylor,
- as part of the name of a work, on p, 185, by Edward Greene Malbone, a painting of the eye of Maria Miles Heyward Drayton, her [Emily's] paternal grandmother.
- in particular on page 184, a Malbone miniature referring to the grandmother of Emily Heyward Drayton Taylor;
[186] Heyward, Maria Miles (later Mrs William Drayton) ( 1784-1852).
- and, in particular on page 186, a passage referring to;
[189-190] Heyward, Mrs Thomas Jr,. or members of her family.
(With details of her miniature portrait and a note.)
Note: As mentioned in No. 188, Malbone's Acct. Bk 8-11 and 36-5 lists Mrs T Heyward twice with three miniatures for each entry. On our assumption that these are duplicate entries, there would be two more miniatures besides No. 188. But if the assumption is incorrect, there would be five besides No. 188. Perhaps time will give the correct answer by locating the miniatures and identifying the sitters,
A reasonable assumption, from the above detailed analysis, is that the miniature portraits of three young ladies in the above frame, fall within Tolman's statement, "But if the assumption is incorrect, there would be five besides No.
188. Perhaps time will give the correct answer by locating the
miniatures and identifying the sitters,"
The three miniature portraits of ladies in ds 1571, each being 73mm x 57mm, are shown as below; and for comparison with nine similar miniature portraits by Malbone as illustrated in The Life and Works of Edward Greene Malbone.:
mire to come
-------------------------------
July 2025. N.B. This blog was live in 2007-2020, and I regret I had not looked at it recently, due to my major research project on 18C English Literature, at www.tobiassmollett.blogspot.com 
There are over 1200 miniatures in the collection from America, Britain and Europe. All being easy to view and arranged in separate Galleries. In addition, hundreds more fine miniatures in other private collections can be accessed via links on the right. The exhibition format is:
