11 July 2026 -At the end of this post. there is a long analysis of several miniatures recently acquired, snd, as a result of detailed research, they are now attributed to Edward Green Malbone.
N.B. For easier reference, a revised and corrected version has now been loaded to the home page as;
Edward Greene Malbone, Drayton Hall, and three Drayton sisters - 2026
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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;
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
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| 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 ...
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| 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;
- Mary Eliza (Loring) MacNeal (29 May 1802 - 25 Dec 1861) m. George MacNeal (abt 1793 - 23 Feb 1861) on 26 Dec 1821.
- Hector MacNeal (10 Jul 1822 - 02 Oct 1905) m. Constance Glencairn Campbell (16 Jul 1839 - 02 Jan 1912) on 27 Mar 1862.
- 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
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| 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.
L'art de tourner, ou de faire en perfection toutes sortes ...
Published in 1701 by Louis XIV, Plumier’s book would stand as the sole comprehensive treatise on the subject for over 80 years. The importance of the book cannot be overstated. Recognizing this, Peter the Great had it translated into Dutch and Russian. Charles Plumier’s passion was to educate, and The Plumier Foundation shares that passion and has taken up the charge in the 21st century. See;
Plumier: Home
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.
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| Met Museum - George Catlin |
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| 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.
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| 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).
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| 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.
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).
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| Bathsheba Smith (1770-1835) |
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| 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.
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| Ellen Amelia Tracy (1841-1924). |
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| 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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Edward Greene Malbone and the three Drayton Sisters
Drayton Hall
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| Drayton Hall |
The Daryton family were the builders and occupants pf Drayton Hall, 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.
Charles Henry Drayton (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 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 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
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 one of the most significant cornerstones upon which Drayton Hall 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 house, which may help explain the discontinuity of family history, and the subsequent scattering of ownership of the group of 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
Detailed research has been underway into some 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.
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.
The life and works of Edward Greene Malbone, 1777-1807
That there were three women in the same frame, implied a single commission, and so Tolman was searched for multiple commissions painted by Malbone, c.1800-07 and in Charleston. Three groups were found; with c.1802 references to Charleston.
Page 35, Mrs F Rutledge, 4 in one piece, and Mrs Gibbs and daughters, 3. Page 36, Mrs T. Hayward, 3, and on the same page, Miss Maria Hayward.
In his accounts Malbone wrote Mrs Gibbs, but likely he meant Mrs Gibbes, from a prominent local family. Similarly Malbone recorded Hayward for Heyward. 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. Mrs Rutlege, Mrs Gibbs, and Mrs Hwayward therefore needed to be researched, to see if they had commissioned the ladies portraits, but a start was made with the miniatures of two men.
The Cracked Miniature and Another Man
Although there remains some uncertainty, the cracked and smudged, miniature, 60mm x 45mm is now attributed to Benjamin Trott, and 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.
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| Example 2 |
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| Cracked miniature |
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| 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.1820-25, it would fit wit the neck-wear in the portrait, and reveal the sitter as a red-headed Charleston man aged 25-35, who was born c. 1786-95..
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| 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.
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| Charles Henry Drayton III (1814-52) |
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| Charles Drayton II (1785-1844) |
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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 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?)
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| Charles Henry Drayton III (1814-52) |
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| Charles Henry Drayton (1814-52) |
At this point, it seemed 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 unfortunately cracked during its removal in unknown.
The Four Miniatures
As noted above, initially, Thomas Sully (1783-1872) seemed a candidate, but he painted 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. 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
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| 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 a 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
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| 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 realsied Emily Drayton Taylor resided in Philadelphis, rather than in Charleston, and as a result of the research below, it appeared Emily Drayton Taylor was only remotely connected to the Charleston miniature portraits, and so of little assistnce 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,, 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)
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 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 miniatuires of Charlotte Drayton Manigault, one painted in 1801, and one in 1802.
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| 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 may be that the three miniatures of ladies in the frame, were inherited by a family member, together with the cracked miniature of Charles Drayton II. 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 wrote was not correct, 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 the 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 candidates for the miniature portraits within her family tree
Rutledge was the name of a patriot, John Rutledge (1730-1800). Mrs F Rutledge may well 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..
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.
Via serendipity, Mary Shubrick features in a miniature portrait elsewhere in this collection, ds 1330, attributed to Charles Fraser; as Mary Branford Shubrick (1759-Aug 1832), the wife of Colonel Thomas Shubrick (27 Dec 1756-4 Mar 1810).
Mrs T Heyward.
Mrs T Heywars was another possible alternative. 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. (July 28, 1746 – March 6, 1809) an American Founding Father, lawyer, jurist, and politician. Heyward was active politically during the Revolutionary Era. As a member of the Continental Congress representing South Carolina, he signed the Declaration of Independence and Articles of Confederation. Heyward's imprisonment in Florida by the British for nearly a year and the loss of a considerable number of slaves led to his being proclaimed a martyr of the revolution. At one time, the Heyward family had the largest slaveholding in the United States.
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 the daughter of Colonel Thomas and Mary Elliott Savage of Charleston. They had three children who lived to adulthood: Thomas, William and Elizabeth.
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, commissuioned 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.
The Drayton Sisters
The above research has now indicated Mary Gibbes (Middleton) Shoolbred 1775-1808), as the more likely, and stronger, link to commssioning Malbone to paint the miniatures of three Drayton sisters, believed to be those shown below. The three miniature portraits in ds 1571, each being 73mm x 57mm, and 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 portraits below.
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| Henrietta Augusta Drayton (1780-1861) |
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| Charlotte Drayton Manigault. (1781-1855) |
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| Maria Henrietta Drayton (1784-1826) |
A Drayton family tree kindly prepard 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.
Expert comments on the above research are welcome.
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