January 2026 - After a break of several years, new purchases and new research are resulting in new miniatures being acquired for the collection. This will be gradual during 2026, but the intended emphasis continues to be affordable quality, mixed with interesting or unusual pieces.
Thus, from April 2026, new additions to the Artists and Ancestors collection are being added to the website, under these headings;
New American Additions in 2026
New British Addition in 2026
New European Additions in 2026
Over 2026, the process will be gradual, and likely with alterations, as new information is added.
N.B.
2 November 2025. I regret that some visitors to this collection may have missed seeing all of the miniatures. This note tries to make the process clearer.
The links on the lower right of this post, to each of the eight galleries, as listed in summary below, opens page one of that gallery displaying those miniatures. However, it
is important to realize that only the first page automatically opens in each gallery.
Thus, to see earlier pages in each gallery, it is necessary to scroll right to the
bottom of each first page. Where, at lower right, there should be a link to
"older posts". Clicking that link will then open any previous page, with images
of many other miniatures in that particular gallery.
Some galleries comprise more than two pages, so it may be necessary to again scroll down,
and click on "older posts", to open each previous page of miniature
portraits in that gallery.
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
Thus, for visitors interested in a critical and forensic assessment of accepted, academic, "Conventional Wisdom" as is recorded in 18C art, medicine, and literature I do recommend you please read, at least the first 12 pages of a second free ebook (a link to an earlier, but different, ebook is further below) as available at www.researchgate.net See it at,
When I recently opened this Artists and Ancestors blog, I was dismayed to see Google had converted a number of posts to Drafts, so they did not appear! I have now re-published those drafts. Also Google dropped images from some of the blog sections, for an unknown reason?? I do apologize that it would be a major task for me to review and reload all missing images, but my research notes for approximately 1200 miniatures in this Artists and Ancestors Collection remain valid. In addition, Google seemed to omit an index, on the right, of Internet links to several sections displaying miniatures in the collection, with separate addresses, including;
I hope those links will now appear on the right of this July 2025 post.
[Welcome to new followers who saw this site on Blogs of Note. I hope you find the subject fascinating. I am willing to answer questions about miniatures and I get several questions each week. Click on my profile for the address. Questions are often from people who have portraits of ancestors, or found a miniature in a drawer. In late 2021 I rarely add to this website, but the information remains a helpful resource for collectors.]
Thus read on, in a user friendly format, the website displays a private collection of miniature portraits. A kind visitor has emailed; "It is definitely the best online art website that I have found yet."
But before exploring, please take a few seconds to imagine yourself 200 years ago, with no computers, no television, no films, no photographs, and no color printing in magazines or newspapers. Consider how unique these miniature paintings were, in capturing likenesses we now take for granted, and think how few other delicate objects of that age have lasted so well.
The Exhibition should appeal to art lovers, family historians, and fashion historians who can study hairstyles and clothing, changing over the centuries. Increasingly, the website focuses on known sitters and represents a new view of history, by "stepping through the back of a portrait".
If necessary, please wait a minute or so for the Slideshow Previews to appear (hopefully! - some browsers may have problems) and click to start. They show examples of miniatures on the left by American artists, and on the right by British and European artists. More miniatures are included in the various Gallery Links to the right, reached by clicking on the blue hyperlinks.
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:
For more detail click on the blue links above or on the right under Gallery Links. Alternatively, use the Site Search box to search for artists, sitters, or key words. To email me with questions about miniatures, just click on my photo for a link. As a service to collectors, I do not charge for brief inquiries, but am also willing to advise collectors wishing to dispose of collections of miniatures.
The 2008 entries can be seen consecutively in2008 Additions and Comment or items of interest can be selected below.(Research being like a detective story, the major items really do feel like cases!). Entries can also be seen, starting at 2009 Additions and Comment
The following slide-shows depicts some portraits acquired for the collection.
Some older Posts December - Auction news - View November - Nathaniel Rogers at auction - View November - Two additions -View October - Three additions - View September - Two additions - View August - Rare wax portrait by Ethel Frances Mundy - View July - Rare miniature on porcelain and new information - View July - Expanded research on recent additions - View June - Items of interest and more on Barratt fakes - View June - Is the case original? - View May - Fakes and items of interest - View April - Recent sales noted - View March - Horace Walpole on Samuel Cooper - View March - A new book and some modern fakes - View March - Current news - View February - That book again! - View January - Mainly American miniatures - View
The inspiration for the biography was the purchase of a miniature portrait of Carlisle for this collection, and it is shown here on the cover. The research has been fascinating and incredible, but also sobering, as it including the uncovering of a series of murders of pregnant women by famous men midwives of the 18C. This truly is an example where truth is stranger than fiction.
The book has been published on the Internet, as freely available for private research at: The Real Mr Frankenstein Old Posts
December - Some additions - View
November - A record price and a sad story - View
October - Buyer Beware - how to waste $18,000 - View
October - The Real Mr Frankenstein now published! - View
September - Modern miniatures and research - View
August - Stolen miniatures - View
August - The Real Mr Frankenstein and wearing a miniature - View
August - A new book and a question about condition - View
July - Additions and market comment - View
June - An addition and some queries - View
May - Market snippets and more on fakes - View
April - Magazine articles on American miniatures - View
April - Snippets and painting miniatures - View
March - Snippets and an addition - View
February - The Yves St Laurent sale - View
February - Market place and an addition - View
January - An addition and various comments - View 2008
December - Annual Review for 2008 - View
December - Additions to the collection - View
December - The market- fake and genuine miniatures - View
November - Fake and genuine miniatures in the market place - View
November - Two additions - View
November- "Blog Following" and the market place - View
November - Miniatures of George Washington - fake and genuine. - View
November - Art of Mourning - View October - The Case of the 4th Earl, the Harem, and the Great Art Fraud -View
October - A Spanish miniature portrait collection - View
October - The Market for Miniatures - View
October - More from the Market - View
September - A likely fake and the real Mr Frankenstein - View September - The Case of the American Count and the Cookbook - View
September - New exhibition in Germany - View
August - American additions to the collection - View
August - Fakes, condition issues, and the market place - View
August - Preview - Comstock, Conger, Starr, and Stout families - View
August - The impact of the 1807 Embargo Act on miniatures - View August - The Case of the Cabinet-Maker's Daughter -View
July - Researching sitters and decorative miniatures - View
July - American additions and Mr Darcy - View July - The Case of Isaac Buckingham and The People vs McCool -View
June - Market place and miscellany - View
June - Additions to the collection and research - View June - The Case of the Military Matriarch - View
May - Exhibitions, new literature, stolen miniature - View
May - New and recent literature on miniatures - View
May - Twenty years on the trail of William Douglas - View
May - Research and literature - View
May - American additions to the collection - View May - The Case of the Speed Family and Abraham Lincoln - View
May - New Research and trivia - View
April - New dictionary of French miniature painters - View
April - The American market place - View
April - Une Collection Francaise - View Blog
April - Additions to the collection - View
April - Market place and other things - View
April - Miniature portrait of Benjamin West - View
April - Fakes and decorative miniatures - View April - The Case of the von Cramon family and the Hitler bomb plot - View
March - Miscellany and more on museums - View
March - Additions to the collection - View
March - Market place - View
March - The exhibition of eBay Boycott Art - View March - The Case of the British Rodin - View
February - Additions to the collection - View February- The Case to Open the Museum Doors! - View
February - Stolen miniature portraits - View
February - Harriet Josephine Turner - View
February - Market place - View
January - Blue eyes, record price, - View
January - A forgotten family story - View
January - Additions to the collection - View January - The Case of Walter Robertson -View
The Case of the Coal Mining Family from Ohio - View The Case of the Lady Sculptor from Boston - View The Case of the Mark Twain Portrait - View The Case of the Link between Pocahontas and George Washington -View The Case of the Lord Mayor of Melbourne -View The Case of the Slave Trader's Widow -View The Case of the Scandalous 19C Divorce -View The Case of the Painter Princess -View The Case of the 15 year old Eloping Heiress -View The Case of the Gift from Napoleon - View The Case of the Unknown Victoria Cross Winner -View The Case of the Forgotten Author -View The Case of the Chemistry Professor and the Spirit Mediums -View The Case of the Portrait of Aaron Burr -View The Case of the Governor's Grand March -View
(Please note that Copyright for all portraits and written content on this website and its subsidiary pages remains with the Owner, but images may be copied for private or educational research with an appropriate credit or an Internet link to this website. Clicking on About Me should bring up an email link.)
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.
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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.
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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.
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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 (?)."
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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.
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;
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);
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.
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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.
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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.
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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.
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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.
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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
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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.
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.
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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
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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.
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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.
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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..
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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.
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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.
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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.
The vendor 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. who was 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.
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, has an extensive and well-documented family tree that links to prominent Philadelphia and South Carolina lineages.A structured 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 was also a genealogist, writing extensively on the Drayton family heritage. 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).
You can view her comprehensive, interactive family tree and connect with other researchers tracking this lineage on WikiTree. For deeper historical records and historical documents related to her, you can search the collections available on Ancestry® or MyHeritage.Could you tell me what specific branch or ancestor you are trying to trace (the Draytons, the Taylors, or the Heywards)?
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 P. Tolman (also known as 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.
Therefore, believed significant, is the name Heyward;
- as part of the name of Emily Heyward Drayton Taylor,
- as a family with multiple mentions in The Life and Works of Edward Greene Malbone:
- 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).
(With detail of her miniature portrait, as in the image below.)
- 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 Ho. 188. Perhaps time will give the correct answer by locating the miniatures and identifying the sitters,
Also, according to WikiTree.com website, the grandmother of Emily Heyward Drayton Taylor was;
Maria Miles (Heyward) Drayton
(1784 - 1862) who was
Born
[location unknown]
Died
at about age 78
[location unknown]
And that she was related to Declaration of Independence Connection Checkers: as Maria is
13 degrees from John Hancock, 12 degrees from Charles Carroll, 15
degrees from Samuel Chase, 12 degrees from William Floyd, 12 degrees
from Button Gwinnett, 13 degrees from Benjamin Harrison, 14 degrees from
Stephen Hopkins, 12 degrees from Thomas Jefferson, 10 degrees from
Richard Lee, 11 degrees from William Paca, 11 degrees from Roger Sherman
and 12 degrees from John Witherspoon
The term "historical detective" may sound a little strange, but is the easiest way to express the intent of this research.
Seeking information to expand historical knowledge and finding, surprisingly often, "conventional wisdom" needs revision
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:
