Edward Greene Malbone, Drayton Hall, and three Drayton Sisters.
An Art History Essay
Introduction
Current society and culture is a multi-coloured confetti, distilled from the lives of those living, and of their ancestors. This essay addresses five pieces of that scattered confetti, to convert them from dim and anonymous, two-dimensional ancestors. into three-dimensional individuals, each with personality and a place in historical society..The research commenced with an Ebay purchase of five miniature portraits, one damaged; all five unidentified, and by unknown artists. The ultimate challenge for an art historian!
The first challenge was to determine, whether the five sitters were American, British, or European? This was when the past experiences of a "buyer's eye" became important. That "buyer's eye" decided they were early 19C American sitters, and worth the risk of acquiring; in order to try to seek out suitable artist attributions. It was not, at all, expected that names might also be found for the identities of the five relevant sitters, nor any sense of how they had fitted into 19C American social history.
American social history raises a minefield of emotions which are not addressed here. Suffice to say, the individual sitters were born after the 1776 Declaration of Independence, lived through the 1812-15 war, and had mostly died before the 1861-65 American Civil War. Their lives, and those of their ancestors, were affected by those tumultuous times, and some of their ancestors had held responsible positions.
Ultimately, it became possible to make artist attributions, and also
identify the five sitters, converting them into three-dimensional
individuals, each with an identity, a history and a place in 19C American society.
That research is made available here, so historians can build a social history involving them..
The research process requires, careful observation, methodical analysis, and deliberative logic; showings art history as a relevant training discipline for any other type of investigation; criminal, scientific, historical, legal, or social. Seeking out all relevant facts, sorting and ordering those facts to get the best fit, and melding them with circumstantial evidence, in order to prove the base proposition.
Drayton Hall
 |
| Drayton Hall |
The Daryton family
were the builders and occupants pf Drayton Hall, Charleston, until the death of the
last surviving family member in 1969, Charlotta Drayton (1884-1969).
Drayton Hall, is currently described as The Oldest Plantation in the
United Sates. This was the stately home of plantation owner John
Drayton, who eventually acquired about 76,000 acres of landholdings,
mostly throughout the South. Drayton Hall's 600-acre property, which
included live oaks and formal gardens, was the centerpiece of his
empire.
Much later, Charles Henry Drayton III (1814-52) died in 1852. His son,
Charles Henry Drayton (1847-1915), inherited Drayton Hall, as a
five-year-old child in 1852. Due to Drayton’s status as a minor, Drayton
Hall was then managed by his uncle, John Drayton, until Charles became an
adult at the end of the Civil War.
Drayton Hall had been spared during
the Civil War – though no one knows for sure why – and after the war John
Drayton contracted with strip miners to mine the river along their
property for phosphates. Phosphate mining was an industry pursued by
many Lowcountry planters after the collapse of rice growing following
the war due to the loss of slave labor.
By 1881 Charles Drayton (1847-1915),had created his own mining company, Charles H. Drayton and Company, and
Drayton Hall was the business site. The company operated until the
beginning of the twentieth century and included a narrow gauge railroad,
housing for employees, and an office. Charles Henry Drayton died in
1915. His town home changed hands over the following years, and though
it has undergone modifications, it retained its original integrity.
In
1919, the Drayton Hall Preservation Trust gathered with the Drayton
family and friends to celebrate the 100th birthday of Charles (Charlie)
H. Drayton (1919-2019) whose lifetime of work towards the
preservation and protection of Drayton Hall remains a cornerstones upon which Drayton Hall has persevered to the
present. Charlie and brother Frank (1923 – 1979) inherited Drayton Hall
upon the death of their aunt Charlotta Drayton in 1969. They were the
seventh generation of Drayton’s to own Drayton Hall and thereafter
aimed to see the internationally significant site preserved as a
historic resource for future generations.
Drayton
House is an historic building in Charleston, and Wikipedia includes an
interesting anecdote about family heirlooms at the home, which may help
explain the discontinuity of family history, and the subsequent scattering of ownership of
the group of five miniature portraits.
Eliza
and Charles Drayton officially moved into the Drayton House by late
1885 with their young daughters: Mary “May” Middleton Drayton
(1874-1899), Eliza “Bessie” Drayton (1878-1918), Charlotta Drayton
(1884-1969). A son, Charles Henry Drayton, Jr. (1887-1941), would
shortly arrive by 1887. The Drayton family retained ownership of the
Drayton House for over eighty years, spending most of the year in the
new waterfront residence, summering in the mountains of Flat Rock, North
Carolina, and escaping for a few months to Drayton Hall on the Ashley
River.
On
September 4, 1969, the dwelling’s final and longest Drayton family
resident died of congestive heart failure at the age of 84. Upon
Charlotta Drayton’s death, several Drayton family heirlooms and antiques
were found in the Drayton House attic. Among many significant pieces of
eighteenth-century furniture were forty-eight watercolors by famed
eighteenth-century artist and naturalist George Edwards (1694-1773),
initially purchased by John Drayton (c. 1715-1779) in 1733. The
paintings are now part of the Drayton Hall Preservation Trust
collection.
The Miniatures
 |
| Four miniatures - ds 1571 |
Detailed
research has been underway into several new arrivals; a cracked miniature
ds 1566, and also ds 1571, which is a group of four early American
miniatures.
The four were described by the vendor,
"Family
group of finely painted early 19th century portrait miniatures. These
were purchased from a Drayton Family descendant (Charleston, SC). One
line of family was in Philadelphia, Pa (Emily Drayton Taylor), so I am
not exactly sure where these were done. These are as found - housed in
later 19th century frame. Portraits themselves have some surface dirt.
Please look to photos for condition."
Although the vendor
advertised they were from 1830, and on "paper", it seemed to this
collector they were more likely on ivory. And that the three ladies
dated to a period, some decades earlier than the young man.
 |
| Cracked miniature - ds 1566 |
In
the 18C white dresses were the norm in wealthy families, with many
servants. This began to change around 1800, wit the rise of the merchant
classes, who began to amass new fortunes based upon the supply of
uniforms, victuals, weapons, and other military equipment to the large
armies and navies involved in the Napoleonic Wars. Initially, with fewer
servants, the prudent wives of these merchants recognised the
limitations of white dresses. Accordingly, there was a gradual change in
fashion to black dresses, such that by the time of the 1812 American
War, white dresses were uncommon.
Knowledge
of this change implied the portraits of the three ladies were likely
painted before 1810. Added to the advertised source of a Drayton family
descendant, this brought a focus on artists working in Charleston
around 1800. Initially, Thomas Sully (1783-1872) seemed a candidate, but
he painted only a few miniatures, and 1800 seemed too early for him.
The most famous artist working in Charleston was Edward Greene Malbone
(1777-1807), who visited the area several times from north-east United
States. Malbone was researched and discussed in detail in,
The Life and Works of Edward Greene Malbone:by Ruel P. Tolman (1909-64), NYHS, 1958
, see;The life and works of Edward Greene Malbone, 1777-1807
In his biography, Tolman presents;
p. 79-82, a List of 100 unconfirmed and/or unlocated works.
p. 83-122, a Facsimile of Malbones' Account Book.
p.125-263, an illustrated Descriptive Catalogue of 471 works.
p.264-273 a Checklist of 62 mis-attributed or doubtful works.
Nothing matching the framed miniatures was found in pages 125-273, suggesting, if painted by Malbone, the framed miniatures, should appear in pages 79-122.
That
there were three women in a single frame, implied a single commission,
and Tolman was searched for multiple commissions painted by Malbone,
c.1800-07, listed in his Account Book, and painted in Charleston. Three such Account Book groups with c.1802
references to
Charleston were found.
Account Book, page
35, "Mrs F Rutledge, 4 in one piece", and "Mrs Gibbs and daughters, 3".
Account Book, page 36, "Mrs T. Hayward, 3", and on the same page, "Miss Maria Hayward".
In
his accounts Malbone had written Mrs Gibbs, but more likely he meant Mrs Gibbes, a lady from a prominent local family. Similarly Malbone had recorded Hayward for
Heyward.
In Tolman, Mrs Rutledge is recorded as item 75 on page 81; Mrs Gibbs as item 38 on page 80, and s confusing reference to multiple unlocated miniatures for Mrs Hayward on page 186. Thus it was deemed necessary to consider the Charleston families of all three, Mrs Rutledge, Mrs Gibbs, and Mrs Hayward, in seeking three sisters or cousins, who might have been painted by Malbone in c.1802.
 |
| Note on page 186 |
In 1802, the three ladies in the miniature portraits look to be
aged around 17 to 30, thus would have been born c.1770-85. Although Mrs
Rutledge, Mrs Gibbs, and Mrs Hayward needed to be researched,
to see if they had commissioned the portraits, a start was
made with the miniatures of the two men.
The Cracked Miniature, and the Miniature of Another Man
Although there remains uncertainty, the cracked and smudged, miniature,
60mm x 45mm is now attributed to Benjamin Trott, and was painted c.1820. Trott painted many miniatures of
men with tousled hair, similar neck-wear, and a largely plain background.
As with two examples below.
 |
| Example 2 |
 |
| Cracked miniature - ds 1566 |
 |
| Example 1 |
After facing difficult economic times in Philadelphia, Trott
traveled south in late 1819 to try his luck with portrait commissions.
He spent time working in Charleston during the winter of 1819–1820. During
this southern tour, fellow painters noted that Trott was working
alongside other notable artists in the city, such as Charles Fraser and
Samuel F.B. Morse. Historical accounts suggest that Trott's work in the
city featured prominently alongside these peers.
If ds 1566 was painted in Charleston in c.1820, it would fit with the
neck-wear in the portrait, and reveal the sitter as a red-headed Charleston man aged 30-35,
who was born c. 1785-95..
 |
| Charles Drayton II (1785-1844) |
When
the miniature was removed from
the dag case, an inscription was found on the inside backing of the
case. Written in pencil on a dark background, requires a raking light to
see it, but it reads as a farewell, "Remember me Mary when I
am goin [gone?] and you dont see me any more." Suggesting his wife, or
sweetheart, was named Mary? Subsequent research showed the name Mary,
fits with Mary
Middleton (Shoolbred) Drayton (1794 - 1855) who married
Charles Drayton II (1785-1844) in 1813.
It
therefore seemed a reasonable base assumption, and one which fits with
more research below, that the cracked miniature is of Charles Drayton II
. The
"farewell" inscription inside the daguerreotype case is then poignant,
as it was written by the sitter, Charles Drayton II. That type of case,
with a fabric liner, and an ornate bezel was only made available for
purchase around 1840-45. Charles Drayton II died
in 1844, so the inscription was made shortly before his death, likely
with knowledge death was imminent. The miniature having been cracked at
some earlier date, and a suitable dag case hurriedly purchased.
The cracked portrait seems to be a man dated to around 1815-20, and
the other man to around 1845-50. Significantly, both men have red hair,
and so, coming from a Drayton estate, could be father and son. Possibly
Benjamin Trott painting the father, and the younger man perhaps painted
by Charles Fraser.
 |
| Charles Henry Drayton III (1814-52) |
 |
| Charles Drayton II (1785-1844) |
The
red-headed pair seem thus to be likely Drayton relations or descendants
of the
red-headed, William Henry Drayton (1742-1779), as shown here In
reviewing Drayron family trees it was noted that a brother of William
Henry Drayton, was Captain Charles Drayton Sr. (1743-1820), the father
of
Henry Drayton
,
Caroline Drayton
,
Henrietta Augusta Drayton
,
Charlotte (Drayton) Manigault
and
Charles Drayton II Also of Maria Henrietta Drayton From family trees, the dates of his six children were;
Henry Drayton (1774-?) (deceased)
Caroline Drayton (1779-?), (deceased).
Henrietta Augusta Drayton (1780-1861) spinster.
Charlotte Drayton Manigault. (1781-1855) (she had 8 children)
Maria Henrietta Drayton (1784-1826) (m. Lewis Ladson Gibbes (1771-1828) in 1809, 3 children?)
Charles
Drayton II (1785-1844) (had 4 sons and 1 daughter; his eldest son was
Charles Henry Drayton III (1814-52) who thus may be the lower
left miniature in the group of four. As shown here, there does seem a
likeness.in the hair, nose, jaw-line, and eyebrows. Charles Drayton II had owned Drayton Hall from 1820 until his death to 1844, when Charles Drayton III inherited.
 |
| Charles Henry Drayton III (1814-52) |
 |
| Charles Henry Drayton (1814-52) |
At
this point, it was deduced that the three ladies and Charles Drayron III
were reframed, as above, around 1845, shortly after the death of Charles
Drayton II. Whether Charles Drayton II had been included in a previous
frame with his sisters, and then sadly cracked during its
removal in unknown.
The Four Miniatures
The group of four miniatures in a
single frame, was acquired from the same Raleigh, NC, vendor as the
cracked miniature, with whom, there was this exchange, before the group
of miniatures arrived;
Hello,
Thank you for accepting my offer. I have collected American
miniatures for many years, and although I do not know which artist
painted these, they are a nice group! Any thing extra, you can tell me
about the source would be much appreciated.
The vendor replied;
They are really great I was hoping someone would be able to identify the
artist, because I never could with any certainly. I actually have a
fair bit of provenance with these. They descended in the family of Emily
Drayton Taylor (1860-1952), who was a miniature artist herself, but
much later than these were done. Based on the grouping, I'm fairly
certain they depict ancestors rather than something she collected. The
family line split off in a few directions so I was never able to
triangulate who the sitters are. The other miniature you bought from me
came through the same family. I suspect they were done in Charleston as
most of the other things I got from the family came through the Drayton
line there. Hope that helps, let me know if you have any other
questions.
Hi ....
Thank
you very much for that extra information, (also for selling me the
cracked miniature, which I hope to have restored) it is all very
helpful. My current inclination is that the three ladies are sisters,
and, so far, the most likely artist may be Thomas Sully or perhaps James
Tooley. It is unusual for American miniatures of women to have "misty
clothing" as the base of the portrait. (John Henry Brown sometimes did,
but I doubt t they are by him.) However, from some Googling, Thomas
Sully seems to have painted several miniatures with a "misty footing". I
tend to feel the three "sisters" were painted at an earlier date, say
pre-1830, than the two "brothers" who were more likely 1840 or later.
Kind regards,
Don
As noted above, initially,
Thomas Sully (1783-1872) had seemed a candidate for the artist painting the three ladies,, but he painted few
miniatures, and c.1800 seemed too early for him. Also Henry Benbridge had painted before 1800.
The most famous artist
working in Charleston c.1800=02 was Edward Greene Malbone (1777-1807), who visited
the area several times from north-east States. Malbone is
researched and discussed in detail in, The Life and Works of Edward Greene Malbone:by
Ruel P. Tolman (1909-64), NYHS, 1958.
 |
| Miniatures of three ladies attributed to Edward Greene Malbone, with a later young man |
Emily Drayton Taylor
As the
vendor had referred to Emily Drayton Taylor, initial research within
Tolman's work on Malbone was directed towards the Drayton and Taylor
families. With the realisation that Heyward also appeared in the name of
Emily Heyward Drayton Taylor, Heyward became significant. The
vendor having advised that all five miniatures came from an estate with
connections to Emily Heyward Drayton Taylor
 |
| Heirlooms in Miniature |
Emily
Heyward Drayton Taylor (1860-1952), an American
miniature painter, born 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. 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.
A breakdown of her immediate lineage includes:Parents: Dr.
Henry Edward Drayton (1823–1862) and Mary Braby Drayton (1835–1910). Her
paternal grandmother was Maria Miles (Heyward) Drayton, which explains
the "Heyward" in her name.
However,
when it was recognised Emily Drayton Taylor resided in Philadelphis,
rather than in Charleston, and as a result of the further research below, it
appeared Emily Drayton Taylor was only remotely connected to the
Charleston miniature portraits, and so of little assistance in
identifying the sitters.
Mrs Gibbs.
As
noted above, a link seemed established to Mrs Gibbs, as Mary Gibbes
(Middleton) Shoolbred 1775-1808). There is a little later, miniature
portrait of Mary
Gibbes Middleton, as shown here in a French style, said to be c.1803,
but likely closer
to 1810, by Jean Francois de la Vallee. Malbone had died by the time
this was
painted by Vsllee, and the portrait is in the Gibbes
Museum of Art in Charleston..
In
seeking a link to Malbone's account book, it was noted that he recorded
miniatures of "Mrs Gibbs & daughters 3, (crossed out) 1802,
Charleston" on his page 35-15. Tolman does include references to the
Gibbs family of New York, and of Newport, but, for Charleston, Malbone
had more likely meant Mrs Gibbes, from the prominent Gibbes family.
Malbone had recorded miniatures of "Mrs Gibbs & daughters 3,
(crossed out) 1802, Charleston" on his Account book, page 35-15;. There is no obvious reference to Mrs Gibbs in Heirlooms in Miniature,
so more research was needed.
Mrs
Gibbs seems thus Mary Gibbes (Middleton) Shoolbred (1775-1808),
a descendant of Robert Gibbes (1732-94); although a match of the apparent ages
of the three women in the miniatures, was not immediately obvious within her
family tree. The possibilities, although not as
daughters, were; Mary Gibbes (Middleton) Shoolbred (1775-1808), herself,
and also, Juliet Georgiana (Gibbes) Elliott (1778-1850). With the
third, possibility being, Ann Morgan Gibbes (1772-1812), the
wife of Thomas Stanyarne Gibbes (1770-1798). Raising a possibility, that
Mrs Gibb[e]s commissioning the 1802 miniatures was widow, Ann Morgan
Gibbes. However, the relationships did not appear close enough.
But,
as noted above, it was then possible the writer of the farewell message
to Mary, was Charles Drayton II (1785-1844), who had married
Mary Middleton (Shoolbred) Drayton (1794-1855). It was next decided to
look for any sisters related to Charles Drayton II. As noted above his
siblings included;
Henry Drayton (1774-?) (deceased)
Caroline Drayton (1779-?), (deceased).
Henrietta Augusta Drayton (1780-1861)
Charlotte Drayton Manigault. (1781-1855)
Maria Henrietta Drayton (1784-1826)
Charles
Drayton II (1785-1844)
It was immediately clear that he had three sisters, all born in 1780-85, possibly the three Drayton ladies in the miniatures.
However, there was an immediate complication. There
is a famous Malbone miniature portrait of Charlotte Drayton Manigault
(1781-1855), where the original now resides within the Smithsonian American Art Museum.
She is there described as Mrs
Joseph Manigault, with a very similar hair-style and
profile, to the sitter in the second miniature in the frame; so much so, that they appear to be the same person.
The
page 267 of Tolman, of Charlotte Drayton thus needs some comment. That
miniature is recorded in the Account book of Malvone at 32-16, as
Feb-Apr 1801, "Mrs J. Manigault, 1." and was likely commissioned by her
husband.
The explanation seems that the image on page 267
was painted by Malbone in 1801, and the likeness was so much admired, that a year later
it was decided to have portraits of all three sisters, as were then painted
by Malbone, in 1802.
There now appear to be two Malbone miniatures of Charlotte Drayton Manigault, one painted in 1801, and a second in 1802.
 |
| Charlotte Drayton Manigault |
The birth-dates of the sisters then fit with the probable ages of the three sitters in the 1802 miniatures:
Henrietta Augusta Drayton (1780-1861) - so in 1802 aged 22
Charlotte Drayton Manigault. (1781-1855) - so in 1802 aged 21
Maria Henrietta Drayton (1784-1826) - so in 1802 aged 18.
At this point it is speculation, but perhaps the three miniatures of ladies in the frame, were inherited by a family
member, together with the cracked miniature of Charles Drayton II. With the
fourth miniature in the panel, of Charles Drayton III, being painted
after the 1844 death of his father Charles Drayton II, and then
incorporated in a mid-19C re-framing of the group portrait..
The mother of the Drayton sisters, Hester Middleton (1754-1789), had died before 1800.Thus, the Malbone entry on page 35-15, "Mrs Gibbs & daughters 3, (crossed out) 1802, Charleston" is now believed to refer to a
relation of Hester Middleton, Mrs Mary Gibbes (Middleton) Shoolbred,
arranging for Malbone to paint miniature portraits of the three sisters
of her son-in-law, Charles Drayton II (1785-1844): i.e. Henrietta Augusta Drayton (1780-1861), Charlotte Drayton Manigault (1781-1855), and Maria Henrietta Drayton (1784-1826)..
In
addition, the "crossed out" by Malbone was likely as he realised the
"daughters" he had written was incorrect, and he should have written
"sisters"..The young sisters were unable to commission Malbone to paint
their portraits, so probably asked Mary Gibbes (Middleton) Shoolbred to make arrangements.
Mrs F Rutledge
Mrs
F Rutledge was an alternative, as. Malbone recorded "Mrs F, Rutledge - 4
in one piece" on his page 35-15. This description seems to fit the "in
one piece" group of miniatures, but it was difficult to find any
potential female candidates for the miniature portraits within her family
tree
Rutledge was the name of a patriot, John Rutledge
(1730-1800). Mrs F Rutledge may thus be Harriott Pinckney (Horry)
Rutledge: who was married at age 26, 11 Oct 1797 in Charleston, South
Carolina, to Frederick Rutledge (1771-1824). There appears to be a
reference to Mrs F Rutledge on pp.150 and 151 of Heirlooms in Miniature, by Anne Hollingsworth Wharton, Philadelphia, J. P.Lippincott, 1898..
In
Charleston, Malbone painted many miniatures; including those of two sisters,
Sarah Alicia and Decima Cecilia Shubrick. The latter was painted in her
bridal dress, with a tiara of pearls in her hair, which was sent to her
from England as a wedding gift by her godmother Mrs. Rutledge. At
nineteen Decima Cecelia Shubrick, married James H. Heyward, of
Charleston, a son of Thomas Heyward, Junior, signer of the Declaration
from South Carolina. Sarah Alicia Shubrick married Mr Paul Trapier of
Charleston.
While
in Charleston, during his first visit and his later residence there,
Malbone painted miniatures of the Pinchneys, Sinklers, Manigaults,
Hugars, Middletons, Rutledges, Poinsetts, Izards, and other South
Carolinians.
According
to Internet sources, Decima Cecelia Shubrick, was related to Mary
Brandford Shubrick (1759-1832). Decima Cecilia Shubrick (1796-1867) was the daughter
of Col. Thomas Shubrick and wife Mary Branford. She married James
Hamilton Heyward.
Via serendipity, Mary Shubrick
features in a miniature portrait elsewhere in this collection, ds 1330,
attributed to Charles Fraser; as Mary Branford Shubrick (1759-1832), the wife of Colonel Thomas Shubrick (1756-1810).
Mrs T Heyward.
Mrs
T Heywars was another possible alternative, as on page 36, Malbone
records, Mrs T. Hayward, 3 miniatures, and on the same page, Miss Maria
Hayward. The Malbone reference to Mrs T. Hayward, was probably Mrs
Thomas Hayward, second wife of Thomas Heyward Jr. (1746-1809) an American Founding Father, lawyer, jurist, and politician.
Heyward was active politically during the Revolutionary Era. As a member
of the Continental Congress representing South Carolina, he signed the
Declaration of Independence and Articles of Confederation. Heyward's
imprisonment in Florida by the British for nearly a year and the loss of
a considerable number of slaves led to his being proclaimed a martyr of
the revolution. At one time, the Heyward family had the largest
slaveholding in the United States.
Thomas Heyward was married
twice, at age 26 and at age 40, and each wife was named Elizabeth. His
first wife, born in 1753, was the daughter of Colonel John and Sarah
Gibbes Mathews and the sister of South Carolina governor John Mathews.
She died in childbirth in 1782 in Philadelphia, where she had gone to be
with Heyward upon his release as a prisoner of war. They had six
children, but only one son, Daniel, survived childhood. His second wife,
Elizabeth Susannah Savage (1769-1833), was daughter of Colonel
Thomas and Mary Elliott Savage of Charleston. They had three children
who lived to adulthood: Thomas, William and Elizabeth, but only one daughter..
It
therefore appears, the three miniatures for Elizabeth Susannah Savage
(Mrs Thomas Heyward), commissioned from Malbone in 1802, were not her
own daughters, and less probably were three sisters or cousins,
commissioned on behalf of a close relative.
A review of the siblings
of Elizabeth Susannah Savage, does not reveal they had female children
born c. 1770-85 who would have been of the appropriate age. Nor, among
her husband's Heyward family are there any obvious siblings comprising
three sisters. Additionally, the Philadelphia reference seems to rule
out Charleston miniatures. Thus a Heyward connection to the three miniatures was discounted.
The Drayton Sisters
The
above research has now indicated Mary Gibbes (Middleton) Shoolbred
1775-1808), as the more likely, and stronger, link to commissioning
Malbone to paint the miniatures of three Drayton sisters, and believed to
be those shown below. The three miniature portraits in ds 1571, each
being 73mm x 57mm, are shown with, for comparison, nine similar
miniatures by Malbone; as illustrated in The Life and Works of Edward Greene Malbone.
A
"clincher" in the identification of the Drayton sisters, is that two
sisters, Henrietta Augusts and Maria Henrietts, have hair falling to
their shoulders, as a sign that, in 1802, they were then unmarried;
whereas Charlotte's raised hair, was a sign she had already married.
Raised hair, as a sign of marriage, is a detail in common to most of the
other nine Malbone miniature portrait examples below.
 |
| Henrietta Augusta Drayton (1780-1861) |
 |
| Charlotte Drayton Manigault. (1781-1855) |
 |
| Maria Henrietta Drayton (1784-1826) |
A
Drayton family tree kindly posted on the Internet by Bill Grimke-Drayton helps show
where the miniatures fit. In the centre is a row showing the eight
children of Hester Middleton (1754-1789). Her four surviving children
are belived represented in the miniature portraits: Henrietts Augusta,
Charlotte, Maria Henrietta, and Charles II. The gil\rls painted by
Malbone in 1802, and Charles II painted by Trott c.1820. The fifth
miniature is Charles III, a son of Charles II, and painted by Charles
Fraser in c.1845.
The above essay helps to illustrate the adage;
"If you don't know where you are coming from, how can you see where you're going?"
--------------------------
Expert comments on this research are welcome.
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:
