Welcome to a Free Art Exhibition of Portrait Miniatures

January 2026 - After a break of several years, new purchases and new research are gradually resulting in some new miniatures being acquired for the collection. It may be a month or two until they are all actually added, and displayed, on this website, but the intended emphasis continues to be quality, mixed with interesting pieces.        

From April 2026, new additions to the Artists and Ancestors collection since January 2026, will gradually be added to this website, under these headings;  

New American Additions in 2026

New British Addition in 2026

New European Additions in 2026 

The process will take some time, and there will very likely be alterations to some of the posts as new information is added.

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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.  

1- European Miniature Portraits

1- American Miniature Portraits

1 - British Miniature Portraits 

19C & 20C British Miniature Portraits

2 - American Miniature Portraits 

2 - European Miniature Portraits

2. - British Miniature Portraits 

20C - American Miniature Portraits

3 - American Miniature Portraits 

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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, 

(PDF) Beneath the Varnish: Conventional Wisdom on Trial.

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:

1 Introduction to Miniatures
2 Copy, Fake, and Decorative Miniatures
3 Miniatures and the Photograph
4 Focus of the Collection
5 Additions and Comment since 2009
6 Guest Gallery
7 History of the Collection
8 Highlights
9 American Galleries
10 British Galleries
11 European Galleries
12 Art Collecting Links
13 Bibliography

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 in 2008 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

[- Re the Carlisle book!
For more see
The Real Mr Frankenstein

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

See also the Annual Review for 2007 and some previous cases below from:

An Art Collector's Casebook:

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.)

New American Additions in 2026

 

 

 

 

 

 

Work in progress

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American miniatures added to the Artists and Ancestors collection since January 2026 include those below; More items may be amended or added during 2026.

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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. 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; 

Royal Naval Biography/Loring, John Wentworth

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; 

Commodore Joshua Loring, Jamaica Plain by Way of London — Jamaica ...

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, 

Joshua Loring - Wikipedia

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;   

Joshua Loring (1716-1781) - WikiTree

includes one of his sons, John Loring; 

John Loring (abt 1759 - 16 Nov 1808) m. Mary McNeal (02 Apr 1761) on 27 Apr 1795.

1. Mary Eliza (Loring) MacNeal (29 May 1802 - 25 Dec 1861) m. George MacNeal (abt 1793 - 23 Feb 1861) on 26 Dec 1821.
1. Hector MacNeal (10 Jul 1822 - 02 Oct 1905) m. Constance Glencairn Campbell (16 Jul 1839 - 02 Jan 1912) on 27 Mar 1862.
1. Mary Henrietta (MacNeal) Greenlees (20 Feb 1871 - 1917) m. Daniel Colville Greenlees (05 Mar 1869 - 11 Mar 1931) on 1896.

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); 

George MacNeal (1793-1861) - Memorials

 

There are multiple Internet links to the home built by Joshua Loring Sr. These include; 

History - The House

Slavery at the Loring Greenough House

 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.

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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 young man. Unusually, for miniatures of this period, the case is complete. ds 1557. 

 

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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 There are several other American miniature, still in transit.

 

 

 

 

 

 

 

 

 

 

 

 

 

New British Additions in 2026

 

 Work in progress.

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This was purchased from America, but is an English "revival miniature" of c.1900-20. The vendor description recorded a belief it was either on hand-painted on paper or a lithograph, and it was offered as unsigned, although the vendor did note a date of 1918. ds 1533

 

 Although difficult to see, it appeared to be signed and then dated 1918 at lower left, almost under the frame. It is a little above average size for a miniature, with sight size of 130mm x 100mm, and when it arrived, it was possible to confirm it was painted, and was signed "Annie G Fletcher RMS 1918".

Researching her, established she was a member of the Royal Miniature Society, and Foskett records;

Fletcher, Miss Annie G[ertrude?] (Mrs E.J.Houle (fl.1895-1914) Exhibited at the R.A.1805-1914, from various London addresses. Painted miniatures and portraits in oil. Exhibits included a portrait in oil of the late General Sir Michael Biddulph G.C.B., R.A., Black Rod; Mrs Mullens; and Miss Hilda Marion, and Arnold, children of W. Wolfe Fletcher Esq.

 The 1918 date is thus, slightly later than the biographical dates earlier ascribed to her. In its Archieve Collection, the RMS lists, A School Girl by Mrs Annie G Houle 1896 nee Annie Fletcher, 

A School Girl by Mrs Annie G Houle 1896 nee Annie Fletcher

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 An interesting group of British miniatures was acquired as a single lot. ds 1539 a, b, c.

 

 

The portrait of King George V is well painted, as is that of Queen Mary wearing her robes for the 21 June, 1911 coronation of George V.. In 1914, to show support for the troops fighting in Europe, George V was photographed in military uniform and sent, along with a message to the troops.

 The miniature here is very similar, but with one notable difference. In the official portrait he is not wearing a great-coat, whereas he is wearing a greatcoat in the miniature. 

 

 The miniature is unsigned, but of excellent quality, by a good artist, so one wonders why it is different. So far, no other source image, has been noted of George wearing a greatcoat. 

 

The miniature of Queen Mary shows her at the time of receiving her crown, as in an image of the time; 

The miniature of Victoria and Albert is by an amateur hand, but despite that, with quite good detail.  

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This miniature was purchased from California in America, and appears to be 1820-40 American in style, and by the metal bezel casework, and is in a typical, period, ebonised rectangular frame.. It has been listed under British, but does not seem to fit the usual style of British 19C miniatures, where the backgrounds were generally lighter, and tend to lack the rectangular ormolu bezel; so prevalent in American miniatures. ds 1535  

The sitter has a kindly facial appearance, and Anson Dickinson seems a possible artist, However, there is an advertisement on the rear from London, which may be later packing. There are also reflections which confuse the detail. The packing has a date at the top of 1828, which has been hand altered to 1829. Such a date would fit with Anson Dickinson (1779-1952)..

It also seems possible the miniature was originally housed in a red leather case. Such cases often disintegrated over time, and a portrait would then need rehousing. In this instance, that might explain the original bezel being transferred, in around 1800, to a new ebonised frame, perhaps with new "period", packing on the reverse.  

 

 

 a

The advertisement refers to the General Annuity Society, an early insurance company, and appears to be soliciting donations from subscribers to that society on behalf of John Ariell who, "having carried on the Business of a grocer for 24 years at... street, Fitzroy Square" is in failing health. So far no other reference to him has been noted.

 

 

 

 

New European Additions in 2026

 Work in progress

European miniatures added to the Artists and Ancestors collection since January 2026 include those below; More items may be added or amended during 2026.

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By the late 18C, profile, and also grisaille type, miniatures of classical scenes and portraits became fashionable in France. The miniature portraits were inspired by pre1800 profile portraits, especially of German manufacture, made in multi-coloured wax, positioned on dark monochrome backgrounds. 

Elsewhere in this collection, there are several examples of such wax portraits by Johann (John) Christian Rauschner. There being multiple examples, of wax portrait by him housed in America art museums.

This miniature wax portrait is unsigned, but is attributed to Johann Christoph Rauschner (1760-?). He was born in Germany, but created many wax miniature portraits in the NE United States, in the late 18C and early 19C. ds 888a.

 

 

 This example depicts a classical scene of a man being served wine. ds 1541. It is in its original frame, and is believed to be by Piat Joseph Sauvage (1744-1818). The size is typical of the period, at 5cm.

There are similar examples in the Louvre catalogue, page 314. Much more elaborate examples appear in the Met European Miniatures catalogue on pages 106-108. There, on pages 104-106, are also depicted very elaborate examples by Jacques Joseph de Gault. 

For comparison, and showing elsewhere in this Artists and Ancestors collection there is a classical miniature, depicting a mourning scene, which is believed attributable to either Sauvage or to de Gault. ds 1108.

 

 

 

Recently acquired for this collection in 2026, is a similar profile grisaille portrait, also attributed to Sauvage. ds 1546. The small size of this portrait is typical of late 18C "modest school" miniatures, and is a little smaller than the image here, being 34mm x 28mm.

 

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Also inspired by the wax profile portraits was Charles Guillaume Alexandre Bourgeois (1759-1832), who painted profile miniatures in naturalistic colours. Acquired recently for this collection is a profile, now attributed to Bourgeois, of a young girl. Although unsigned the style and size, 5.cm. are commensurate with his profile miniatures, ds 1554. There are many similar examples illustrated in the 1994 Louvre catalogue.

. 

The girl has a hair style typical of 1795-99, with a bun and lace cover. After the French Revolution, women began to wear their hair short, to avoid the risk of persecution. 

After the Revolution, the French dating was revised.  In 1800, France officially began to use the French Republican Calendar, with most of the year falling within Year VIII (ending Sept 22) and the beginning of Year IX (starting Sept 23). The calendar featured 10-day weeks (décades) and months renamed for nature. Gregorian dates were officially replaced but often used in parallel.

Thus, from 1800 some miniatures show the date of the French Revolution Calendar. An example elsewhere in this collection, also by Bourgeois is this miniature portrait signed "C Bourgeois an 9", for Charles Guillaume Alexandre Bourgeois (1759-1832). 1154  

The wording "an 9" refers to year 9 of the Revolutionary Calendar that was used in France from 1793 to 1804. Thus this miniature was painted in 1801. There are miniatures in this style by Bourgeois in the Louvre catalogue, pages 56-59.

 

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This next interesting pair of French miniatures date to around 1760-80. They are a little smaller than depicted below, being only 30mm x 22mm. No artist attribution has yet been made, and that may be difficult, as though well painted, they appear to be by a provincial artist.  

[It was most  interesting to this collector, that the next sitter, M. Machand was a French provincial surgeon in the mid-18C, who would have dealt with accidents, routine minor injuries, and perhaps occasional, difficult obstetric deliveries  As such he would not have been involved in attempting the dangerous  type of experimental reproductive anatomy, as was pursued by man-midwife surgeons in London in around 1750.. Separately, this collector has researched those famous, but murderous surgeons, especially those in London, William Smellie and William Hunter, who deliberately murdered pregnant women, whilst conducting their cruel Caesarean experiments; and published a paper which is available at www.researchgate.net. Thus, anyone interested may wish to read;  

A Satire, not a Sermon: Four Stages of Cruelty and Murder  ]

 

 They are highly unusual, in having attached mourning ribbons, and detailed biographies of the sitters, on the reverse.

 

A kind visitor, drawing on school-days French,  has offered an attempted translation into English. The name seems to read as Machand, but may also be intended as Marchand?

No 1 Julien Machand, surgeon, of Pithiviers;
Born at Pithiviers 19 May 1718, son of Simon?? Machand and Margarite Julien.
Married10 October 1743 in Orleans in the parish La Chapelle-Saint-Mesmin to Maria Francois Montjoie. Julien died 7 September 1796.
 He was the father of Etienne(Steven) Marchand apothecary of Pithiviers and grandfather of Maxime Machand of Paris and of Madame Madeleine d'Etampee.

No 2
Marie Francois Montjoie was born in Orleans in the parish of St Paul on 28 July 1729, the daughter of Philippe Mountjoie and Maria Claude Dechales.
 She was married to Julien Machand, surgeon, of Pithiviers at Saint Mesmin 10 Oct 1743 She died 18 March 1792.
She was the mother of Etienne Machand apothecary of Pithiviers and grandmother of Maxime Machand of Paris and of Madame Madeleine d’Etampee.

** The name of Julin’s father is not clear, but Simon is my best guess.
  Machand is translated as merchant. There are a number of variations in spelling as there is with Dechales and Montjoie
 Unfortunately they are rather common surnames even up until this day. 

The next pair of physionotraces, also have very brief biographical notes on the reverse, but apart from these, the only other miniature in this Artists and Ancestors collection, with such an attached and detailed biography, is believed to be this American self-portrait miniature by Meriva M Carpenter..

 

  On the reverse there is the inscription shown, which reads "Meriva Carpenter - painted by herself - 1838. Meriva daughter Dr Ruggles and Juliana Pierce Carpenter was born April 28, 1802 in Ellington Tolland Co. Conn. Married to Eli, Feb 1820 son of Dr Eli and Abigail Baker Carpenter of Orford, Grafton Co. New Hamps here at Tolland, Tolland Co, Conn. Then moved in March 1820 from Greenwich, Hampshire Co. Mass. to Homer, Cortland Co NY for a permanent home". ds 1358

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Somewhat different in style, but an important part of miniature portrait history, are these two engraved French physionotrace or physiognotrace, portraits. Along with the above profile portraits by Sauvage and Bourgeois, these were also inspired by the wax profile portraits of the late 18C. The glass of one is cracked, but they are nevertheless interesting. ds 1548, 1549.

A physiognotrace is an instrument, designed to trace a person's physiognomy to make semi-automated portrait aquatints. Invented in France in 1783–1784, it was popular for some decades. The sitter climbed into a wooden frame (1.75m high x 0.65m wide), sat and turned to the side to pose. A pantograph connected to a pencil produced within a few minutes a "grand trait", a contour line on a piece of paper. With the help of a second scaling-down pantograph, the basic features of the portrait were transferred from the sheet in the form of dotted lines to a copper plate, which had previously been prepared with a ground for etching. One week later, the sitter received an etched plate and twelve little prints. The device but also the aquatint prints are called physiognotraces. 

In 1783–1784, the Frenchman Gilles-Louis Chrétien invented the "physionotrace" to aid in the production of silhouette portraits, which became popular during the reign of Louis XVI. The life-size drawing was completed by an artist. Chrétien's device used the mechanics of the pantograph to transmit the tracing (via an eyepiece) of the subject's profile silhouette to an engraving needle. Thus, it enabled the production of multiple portrait copies. Chrétien's first partner, Edme Quenedey, made a drawing of the instrument in 1788 that is now in the Bibliothèque Nationale de France. When Quenedey started his own business in Germany, Chrétien cooperated with the artist Jean-Baptiste Fouquet, and Jean Simon Fournier. Chrétien's workshop was taken over by Edme Bouchardy. 

The inscription is hard to see, but appears to read; "dess p. Fournier grx. Chrétien inv du physionotrace  rue honore vis-a-vis Corotoire [corridor between?] No's 45 et 133 a Paris." Thus, they were first drawn by Fournier, and then were engraved by Chrétien. 

The shaded area, outlining the round portraits, 78mm x 66mm, has been printed into a slight rectangular recess in the surrounding paper. Taken with the brief biographical details on the reverse, it is therefore believed they are both original engravings, rather than being later reproductions.

 

 There are very brief details of the sitters on the reverse.

 

 

 

 The reverse warrants a better transcription than I can make, but seems to read';

1. Demoiselle Cheron de Vauroulin    [Demoiselle = Miss]

(Louise Victoire Angelique)

Dame Simon

Naitre Bonnetable (Sarthe ) 12 fenrier 1784

Dedese a' Bonnetable J fevrier 1839

Jilleule Mr. Gonez.

2.  Cheron de Vauroulin

(Nicolas Alexandre, Thene)

Naitre Montire (Loireu, Cher) 13 Jillee 175.

Decede a' Bonnetable (Sarthe) le 13 Mear, 183.

 (ami de Mr Gonez.)

 Hopefully, some kind visitor may provide a better transcription.

Note. Bonnétable (French pronunciation: [bɔnetabl]) is a commune in the Sarthe department in the region of Pays de la Loire, northwestern France.

American Examples

The Chretien physionotrace portraits were acquired for this collection, to provide background to some American examples, as the process quickly became fashionable in America. For an interesting paper on the subject see Precursors of photography: Early Visual Media - Physionotrace ... Thus it is interesting to compare Chretien with American examples;

1. This miniature portrait was merely described at auction as, "Miniature Etching Of Distinguished Gentleman 19th Cent". Hence it was inexpensive.

However, it seemed obvious as a Saint Memin portrait, being inscribed at the foot, "Drawn and Engr. by St. Memin, Philad." see Charles Balthazar Julien Févret de Saint-Mémin - Wikipedia ...

With such engraved portraits it is usually possible to identify the sitter by reference to the excellent book by Ellen G Miles which lists hundreds of examples with their images, see Saint-Mémin and the neoclassical profile portrait in America

One of the joys of collecting miniature portraits, although rarely possible, is to take an unidentified sitter and so to speak "bring them back to life". 

This one took a while to work through from the A's in Ellen G Miles's book (thankfully his name was not Wyatt!), before being matched with a portrait of William Poyntell, who died in 1811 and was an eminent merchant and publisher. 

2. This other example was advertised on eBay at a modest Buy It Now price;

Offered for sale is this interesting miniature c1700s plate engraving. Piece was acquired form a Berks County, Pennsylvania estate. This shows a 1700s gentleman, in that era's attire. Looks to be of political genre. We have been unable to determine who this is. There is a description of gentleman under the engraving. However due to age and fade we are unable to fully read what it states. We also have found there to be a pencil signed name on back. But again it is extremely faded and very hard to see with the naked eye.

My initial reaction was that it was a St Memin portrait engraving, similar to one of Christopher Grant Champlin which was acquired several years ago, see View 

On arrival, the rear of the portrait was searched for the name, but could only make out that the second name might start Shipper..., perhaps Shipperton or Shipperman, but it could also start Chipper...

From a cursory glance the very faint engraved name under the portrait appeared to be St Memin, so I searched for the portrait in the excellent catalogue of St Memin's work by Ellen Miles. 

However, that was unsuccessful, so I wrote to the Smithsonian National Portrait Gallery to see if the portrait was known.

I received a very kind reply which identified the sitter, but provided an unexpected answer in respect of the artist!
The portrait engraving you have is actually the work of Saint-Memin's Philadelphia student/partner Louis Lemet. The sitter is Col. Joseph Shippen (1732-1810). I don't have any biographical information on him, but no doubt he is a Philadelphian, since the Shippens were a prominent Philadelphia family.

The original drawing for the portrait is owned by the American Philosophical Society in Philadelphia. They may also own an example of the engraving. I have been told that the Worcester (Massachusetts) Art Museum also has an engraving, but I can't tell from my notes if I have actually seen it! The engraving appears to be inscribed: Drawn & engrd. By L LeMet. Philada. The letters "d" of engrd and "a" at the end of Philada are both raised. There is some information on Lemet in the Saint-Memin book.

Whereas St Memin is well documented, I had never heard of Louis Lemet (1779-1832) so interesting to find out a little about him. 

 

Around 1799 St Memin took Lemet, a French emigre as his assistant, before beginning an itinerant life. However, Lemet remained in Philadelphia until 1805, when he moved to Albany where he advertised;

Physiognotrace Likenesses Engraved. L Lemet, respectfully informs the ladies and gentlemen of Albany that he takes likenesses in crayon as large as life, and engraves them of a reduced size in a new and elegant style. The price of the large likenesses, with an engraved plate and twelve impressions, is $25 for gentlemen, and $35 for ladies, or $8 for the drawing only. For further particulars apply at his room at Capt. Lockwood's, the corner of Dock and State street, where a great number of portraits of distinguished characters may be seen.

 

St Memin Chief of the Little Osages - small ds 1518

3. Chief of the Little Osages by St Memin

Far rarer than the American engraved portraits in this collection, is this St. Memin portrait in chalk on paper. The portrait is a little larger than most miniatures in this collection, but is believed genuine, and a very rare work. St Memin must have copied it, as a reduced image, from the larger physiognotrace depicted in Miles's catalogue

It was acquired on Ebay from a reputable London UK art dealer who described it, "This picture was purchased from a folder of prints and drawing at my local Sunday antique market recently, this is the only provenance I have for the piece  therefore I am offering the drawing as after St Memin." 

Ellen Miles book has detailed references to the Osages portraits and so it was possible to determine this Saint Memin portrait is of an Osages Chief, who was a member of The First Delegation which arrived in Washington City in 1804. 

It is interesting that the portrait was purchased from London, and a potential provenance suggests it fits the description of, "one of at least five small watercolors commissioned from Saint-Mémin by a British diplomat, Sir Augustus John Foster, who was in Washington from 1804 to 1807. 

All were copies of portraits Saint-Mémin had previously drawn with the aid of a physiognotrace." See, https://lewis-clark.org/native-nations/siouan-peoples/osages/osage-delegations. 

Also popular, as profile portraits, especially in America, were painted, or cut-out, paper silhouettes. 

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 A recently added portrait, by a well-recorded artist, is this signed miniature by Etienne Bouchardy.(1797-1849).  The detail on her dress is cleverly painted.

 

There is a portrait by Etienne Bouchardy on page 163 of the Met catalogue of European Miniatures. And, another by Bouchardy on page 55 of the Louvre catalogue. Schidlof writes, "Bouchardy was a good artist who can be put in the same class a Pierre d'Aubigny with who he has some resemblance."

Elsewhere in this Artists and Ancestors collection, is this miniature portrait signed "Bouchardy", possibly for the artist of that name who was active in Paris from 1770-1799. He was noted at the time for his use of the physionotrace, see Precursors of photography: Early Visual Media - Physionotrace ... 

Or, the miniature may have been by his son, the better known artist Etienne Bouchardy (1797-1849).

The sitter is unknown, but it is interesting that he was demonstrating his loyalty to the revolution by wearing a tricolor neck scarf.

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Schidlof also writes of the next artist, Italian Carlo Errani (1804-1860); "Was a skilled miniaturist, whose works are well drawn and have colour."

Carlo Errani (Erani) was born in 1804 in Faenza, Italy and died in 1860 in Lille, France. He obtained his first lessons from A.Ricciardelli. Then went on to study at the Scuola di Disegno Faenza under Giuseppe Zauli, spent two years (in about 1830) in Rome, and thereafter, two years in Florence (where he took lessons from Raphaël Morghen). Finally, he moved to Paris, took lessons from Lizinska de Mirbel, and later settled in Lille. Between 1834 and 1838. Errani participated in several French Salons. Nathalie Lemoine-Bouchard writes: "He was a talented artist whose known miniatures are still few and far from numerous". 

The portrait is signed Carlo Errani, and is a little above average size, at 110mm x 85mm. His miniatures of young ladies, are more highly collected, but his skill is evident here.

 

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For the most part, portraits on porcelain, especially copies, are outside the ambit of this collection. However, there are rare exceptions; one such exception is this miniature painted on porcelain; ds 1544.

The miniature is 80mm x 60mm, and dated at centre-right, G B 1862, although it is difficult to read. From a scan of Blattel, that may refer to the Austrian painter, Georg Binder, who was active in Vienna c.1854-64. and who painted on porcelain in colour.

 

The portrait depicts the 18C author Françoise de Graffigny (née Françoise d'Issembourg du Buisson d'Happoncourt; 1695-1758), better known as Madame de Graffigny, a French novelist, playwright and salon hostess. Initially famous as the author of Lettres d'une Péruvienne, a novel published in 1747, she became the world's best-known living woman writer after the success of her sentimental comedy Cénie in 1750. Her reputation as a dramatist suffered when her second play at the Comédie-Française, La Fille d'Aristide, was a flop in 1758, and even her novel fell out of favor after 1830. 

From then until the last third of the twentieth century, she was almost forgotten, but thanks to new scholarship and the interest in women writers generated by the feminist movement, Françoise de Graffigny is now regarded as a significant French writer of the eighteenth century. 

The miniature appears to be is a reversed image, copy, of an 1835 painting by Victorine-Angélique-Amélie Rumilly, which is housed at Versailles. Such image reversal is usually the sign of a portrait copied from an engraved image or lithographic source. Hence this porcelain portrait was probably copied between 1835 and 1862, from the lithographed image below. However, as the colours do match, it seems the artist probably also had some access to the colours in the original painting

 

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More miniatures to be added.

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