Illustrations

Frank, Robin Jaffee

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Illustrations

Robin Jaffee Frank

Love and Loss: American Portrait and Mourning Miniatures

Illustrations

Author

Robin Jaffee Frank

PublisherYale University Art Gallery

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00078.013

Stable URL: https://aaeportal.com/?id=-19059

Illustrations

All works are in the collection of the Yale University Art Gallery unless otherwise noted. Dimensions are given in inches, followed by centimeters; height precedes width. Miniatures are frequently unsigned. Unsigned works are assigned to artists largely on the basis of style.

1. Unidentified artist
Elizabeth Eggington, 1664
Oil on canvas, 36¼ × 29½ (92.1 × 74.9)
Wadsworth Atheneum, Hartford, Conn., Gift of Mrs. Walter H. Clark and her daughter, Mrs. Thomas L. Archibald

2. Mary Roberts (d. 1761)
Woman of the Gibbes or Shoolbred Family, 1740–50
Watercolor on ivory, 1 5/16 × 1⅛ (3.4 × 2.8)
Carolina Art Association, Gibbes Museum of Art, Charleston, S.C., Bequest of Amelia Josephine Emanuel

3. John Watson (Scotland, 1685–1768)
David Lyell (England, 1670–1725), c. 1715–25
Graphite pencil and watercolor on vellum, 3 × 2⅜ (7.6 × 6.0)
Reverse inscribed “Mr. Lyell”
Lelia A. and John Hill Morgan Collection, 1942.210

4. Charles Willson Peale (1741–1827)
James Peale Painting a Miniature, c. 1795
Oil on canvas, 30⅛ × 25⅛ (76.5 × 63.8)
Mead Art Museum, Amherst College, Amherst, Mass., Bequest of Herbert L. Pratt, Class of 1895

5. Robert Field (England, c. 1769–1819)
Benjamin Frederick Augustus Dashiell (1763–1820), 1803
Watercolor on ivory, 2 11/16 × 2 11/16 (6.8 × 5.6)
Signed l.r.: “RF/1803”
Reverse of locket: cobalt-glass surround over magenta-toned embossed foil, inner gold-over-copper rim and inset oval compartment containing opal glass over magentatoned embossed foil with brown hair clasped with pearls and decorated with gold wire

Lelia A. and John Hill Morgan Collection, 1940.499

6. Bevel-edged cobalt-glass surround over ray-patterned embossed foil, inner rim of prong-set pearls and inset oval compartment containing bright-cut gold initial “W” and design on brown hair plaid on reverse of Attributed to William Lovett (1773-1801), Lucretia Tuckerman Wier, c. 1797 Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.5

7. Unidentified artist
Landscape on the reverse of Lady, c. 1775
Watercolor and chopped hair on ivory, 1 5/16 × 1 ¼ (3.3 × 3.2)
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.10

8. Unidentified artist, probably with the initials G.K. Memorial on the reverse of Gentleman, c. 1820-25
Watercolor and natural and chopped hair on ivory, 1 ⅞ × 1 7/16 (4.8 × 3.7)
Inscribed on tomb “PTH”; on pyramid “JTH”; and on palette “GK.” Lelia A. and John Hill Morgan Collection, 1940.540

9. Miniaturist’s Sample Case, c. 1825
Mahogany box containing samples of braided hair and designs worked in hair on ivory, 6 ¾ × 14 × 9 (17.1 × 35.6 × 22.9)

Courtesy Winterthur Museum, Winterthur, Del.

10. John Closterman (1660-1711)
Daniel Parke (1669-1710), c. 1705
Oil on canvas, 56 × 47 (142.4 × 119.4)
Courtesy of the Virginia Historical Society, Richmond

11. Johann Zoffany (1733-1810)
Queen Charlotte (1744-1818), 1771
Oil on canvas
The Royal Collection © 2000 Her Majesty Queen Elizabeth II

12. Charles Willson Peale (1741-1827)
Walter Stewart (Ireland, c. 1756-96), 1781
Oil on canvas, 50 ⅛ × 40 ⅛ (127.3 × 101.9)
Gift of Robert L. McNeil, Jr., 1991.125.1

13. Charles Willson Peale (1741-1827)
Mrs. Walter Stewart (Deborah McClenachan) (1763-1823), 1782
Oil on canvas, 50 ⅛ × 40 ⅛ (127.3 × 101.9)
Gift of Robert L. McNeil, Jr., 1991.125.2

14. The Beardsley Limner (active c. 1785-c. 1800)
Dr. Heykiah Beardsley (1748-90), between 1788 and 1790
Oil on canvas, 45 × 43 (114.3 × 109.2)
Gift of Gwendolen Jones Giddings, 1952.46.1

15. The Beardsley Limner (active c. 1785-c. 1800)
Mrs. Heykiah Beardsley (Elizabeth Davis) (1748 or 1749-1790), between 1788 and 1790
Oil on canvas, 45 × 43 (114.3 × 109.2)
Gift of Gwendolen Jones Giddings, 1952.46.2

16. Philip Mercier (1689?-1760)
A Woman in Love (also known as Peg Woffington), c. 1735
Oil on canvas, 28 × 36 (71.1 × 91.4)
The Garrick Club, London. Photograph courtesy of the Paul Mellon Centre for Studies in British Art, London

17. Unidentified artist
Romance Allegory, c. 1795
Watercolor and chopped hair on ivory,
1 ⅜ × ¾ (3.5 × 1.9)
Reverse engraved “C J C”
Provenance unknown, 1994.1.18

18. Unidentified artist
Friendship or Romance Allegory, c. 1785-90
Dissolved hair on ivory, 1 5/16 × ½ (2.4 × 1.3)

Lelia A. and John Hill Morgan Collection, 1951-44.1

19. Unidentified artist
Memorial on the reverse of Gentleman, c. 1810
Watercolor on ivory; reverse-glass painting, 1 15/16 × 1 ⅝ (4.9 × 4.1) sight Inscribed on plinth “WERTER”
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.44

20. Charles Willson Peale (1741-1827)
Miss Mary Tilghman (Mrs. Edward Roberts) (1753-1819), 1790
Oil on canvas, 35 ⅛ × 26 (87.8 × 65)
Signed and dated l.r.: “C.WPeale 1790”
The Maryland Historical Society, Baltimore, Bequest of Miss Agnes Riddle Owen Tilghman, Descendant, 1973

21. Aldridge (or Oldridge)
Sarah Bell, c. 1808
Pastel on paper, 23 × 18¾ (58.4 × 47.6)
Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Va.

22. Unidentified artist
Lady, probably with the initials E. P., 1792
Watercolor on ivory, 1 15/16 × 1 9/16 (4.9 × 4.0) Inscribed on urn “EP.”; and on plinth “OB/Decr./29/1792/AE/28/yrs”
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.87

23. Unidentified artist Memorial for E. P., 1792
Reverse of Lady, probably with the initials E. P. (fig. 22)
Watercolor on ivory, ⅞ × 9/16 (2.2 × 1.7) sight, in inset oval compartment surrounded by bright-cut scalloped engraving, hair plaid, and bright-cut scalloped fillet

24. Benjamin West (1738-1820)
Self-Portrait, 1758 or 1759
Watercolor on ivory, 2 ½ × 113/16 (6.4 × 4.6)

Lelia A. and John Hill Morgan Collection, 1940.529

25. Reverse of West, Self-Portrait (fig. 24)
Engraved in calligraphic script “Benjn.
West./Aged 18./Painted by himself/in the year 1756./& presented to Miss Steele./of Philadelphia.”

26. Benjamin West (1738-1820)
The Artist’s Family, 1772
Oil on canvas, 20 ½ × 26 ¼ (52.1 × 66.7)
Yale Center for British Art, New Haven, Conn., Paul Mellon Collection

27. Benjamin West (1738-1820)
Self-Portrait Miniature/Miniature of a Woman, c. 1755-60
Pencil on paper, 6 ½ × 3⅞ (16.5 × 9-8)
The Historical Society of Pennsylvania (HSP), Philadelphia, AM/.186 (25a)

28. Charles Willson Peale (1741-1827)
Matthias and Thomas Bordley (1757-1828; 1755-71), between 1767 and 1769
Watercolor over graphite pencil on ivory, 3 5/16 × 4 (8.4 × 10.2)
Acquired in honor of Jules David Prown, Paul Mellon Professor of the History of Art; Leonard C. Hanna, Jr., B.A. 1913, Fund, 1998.40.1

29. Charles Willson Peale (1741-1827)
Matthias and Thomas Bordley, 1767
Watercolor on ivory, 3⅝ × 4 ¼ (9.0 × 10.8)
National Museum of American Art, Smithsonian Institution, Washington, D.C., Museum purchase and gift of Mr. and Mrs. Murray Lloyd Goldsborough, Jr.

30. Charles Willson Peale (1741-1827)
George Walton (1749 or 1750-1804), c. 1781
Watercolor on ivory, 1⅜ × 1 1/16 (3.5 × 2.7)
Mabel Brady Garvan Collection, 1944.74

31. John Singleton Copley (1737-1815)
Andrew Oliver (1706-74), c. 1758
Oil on ivory, 2 × 1¾ (5.1 × 4.4)
Mabel Brady Garvan Fund, 1955.5.5

32. John Singleton Copley (1737-1815)
Mrs. Andrew Oliver (Mary Sanford) (1731-73), c. 1758
Oil on gold-leafed copper blank, 1¾ × 1⅜ (4.4 × 3.5)
Mabel Brady Garvan Fund, 1955.5.12

33. John Singleton Copley (1737-1815)
Mrs. Samuel C. Waldo (Grizzel Oliver) (1737-61), probably 1760
Oil on gold-leafed copper, 3 ⅜ × 2 ⅝ (8.6 × 6.7)
Mabel Brady Garvan Fund, 1955.5.6

34. John Singleton Copley (1737-1815)
Peter Oliver (1713-91), c. 1760
Oil on gold-leafed copper, 5 ⅜ × 4⅝ (13.6 × 11.7)
Collection of Andrew Oliver, Jr., Daniel Oliver, and Ruth Morley Oliver

35. John Singleton Copley (1737-1815)
Reverend Samuel Fayerweather (1725-81), probably 1760 or 1761
Oil on gold-leafed copper, 3 × 2 ½ (7.6 × 6.4)

Mabel Brady Garvan Collection, 1948.69

36. John Singleton Copley (1737-1815)
Portrait of the Artist, 1769
Pastel on paper mounted on canvas, 23 ⅛ 17 ½ (58.7 × 44.5)
Courtesy Winterthur Museum, Winterthur, Del.

37. John Singleton Copley (1737-1815) Self-Portrait, 1769)
Watercolor on ivory, 1 5/16 × 1 1/16 (3.3 × 2.7) Signed and dated l.r.: “ISC 1769”
Gloria Manney Collection

38. Joseph Dunkerley
(active in U.S. before 1784-88)
Ebenezer Storer II (1730-1807), c. 1785
After a pastel portrait by John Singleton Copley, c. 1767-69
Watercolor on ivory, 1 3/16 × 1 1/16 (3.0 × 2.7), set in gold, rolled-edge bezel with bracelet clasps attached to c. 1850 end caps and hairwork bracelet Signed c.r.: “I:D”
John Hill Morgan, B.A. 1893, Fund, 1949.96

39. Joseph Dunkerley
(active in U.S. before 1784-88)
Mrs. Ebenezer Storer II (Elizabeth Green) (1734-74), c. 1785
After a pastel portrait by John Singleton Copley, c. 1767-69
Watercolor on ivory, 13/16 × 1 1/16 (3.0 × 2.7), set in gold, rolled-edge bezel with bracelet clasps attached to c. 1850 end caps and hairwork bracelet Signed c.r.: “ID”
John Hill Morgan, B.A. 1893, Fund, 1949.97

40. Nathaniel Hancock (active 1792-1809)
Self-Portrait, c. 1792
Watercolor on ivory, 1 ¾ × 1 ¼ (4.4 × 3.2) Mabel Brady Garvan Collection, 1946.303

41. Nathaniel Hancock (active 1792-1809)
Jedidiah Morse (1761-1826), c. 1795
Watercolor on ivory, 11 1/16 × 1 1/16 (4.3 × 3.0)

Mabel Brady Garvan Collection, 1935.255

42. Nathaniel Hancock (active 1792-1809)
Geographer Discoursing to a Group of Ladies, c. 1795
Reverse of Hancock, Jedidiah Morse (fig. 41)

Watercolor on ivory, 1 ¼ × 15/16 (3.2 × 2.4), in inset oval compartment surrounded by engraved and punched gold border

43. John Ramage (Ireland, c. 1748-1802)
New York Dandy, c. 1785
Watercolor on ivory, 1 ½ × 15/16 (3.8 × 2.4)
Lelia A. and John Hill Morgan Collection, 1940.517

44. John Ramage’s work desk and tools, 1775-95

Mahogany slant-top desk with drawers, probably New York, 42 ¾ × 27 ¾ × 21 ½ (108.6 × 70.5 × 54.6)
Collection of The New-York Historical Society, New York; Gift of an anonymous donor

45. John Ramage’s sample card, “Mourning, Love, and Fancy,” 1775-95
Watercolor, gold, and hair on ivory, 2 ¾ × 3 ½ (7.0 × 8.9)
Collection of The New-York Historical Society, New York; Gift of an anonymous donor

46. John Ramage (Ireland, c. 1748-1802)
Romantic Allegory, c. 1785
Watercolor on ivory, 1 7/16 × ¾ (3.7 × 1.9)

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE 1999.3.20

47. John Ramage (Ireland, c. 1748-1802)
Anthony Rutgers, probably 1790

Watercolor on ivory, 1 ⅞ × 1 ½(4.8 × 3.8) Reverse engraved “Cornelia M Rutgers” Lelia A. and John Hill Morgan Collection, 1940.515

48. Brown hair plaid on reverse of Henri, Mrs. Alexander Rose (Margaret Smith) (fig. 49)

49. Pierre Henri (c. 1760-1822)
Mrs. Alexander Rose (Margaret Smith) (b. 1747), between 1790 and 1793 (formerly attributed to John Ramage)

Watercolor over graphite pencil on ivory, 2 × 1 9/16 (5.1 × 4.0)
Lelia A. and John Hill Morgan Collection, 1940.516

50. James Peale (1749-1831)
George Washington (1732-99), LL.D. 1781, c. 1785
Watercolor on ivory, 1 ⅝ × 1 ⅜ (4.1 × 3.5) Reverse engraved “Geo: Washington/A.D. 1785./Painted by Peal. / Presented by Washington./ to/→ Anna Constable. 1785./Anna Pierrepont./→ Theresa Bicknell. 1842/→ Josephine Foster. 1874.”

Gift of Miss Josephine B. Foster, 1951.43.1

51. Marquise Jean-François-René-Almaire de Bréhan (Anne Flore Millet) (France, b. 1752?)
George Washington (1732-99), LL.D. 1781, 1789

Watercolor (grisaille) on ivory, 2 ⅝ × 2⅛ (6.7 × 5.4) Signed in sgraffito l.c.: “Me La Msse.de Bréhan F”; inscribed in opaque white u.l.: “GEORGE”; u.r.: “WASHINGTON”

Mabel Brady Garvan Collection, 1947.220

52. Marquise Jean-François-René-Almaire de Bréhan (Anne Flore Millet) (France, b. 1752?) Eleanor (Nelly) Parke Custis (Mrs. Lawrence Lewis) (1779-1852), 1789

Reverse of Bréhan, George Washington (fig. 51) Signed in sgraffito l.c.: “Me La Msse.de Bréhan F”

53. Marquise Jean-François-René-Almaire de Bréhan (Anne Flore Millet) (France, b. 1752?) George Washington (1732-99), LL.D. 1781, 1789
Watercolor (grisaille) on ivory, 1 ⅛ × 9/16 (2.9 × 1.4)
Lelia A. and John Hill Morgan Collection, 1940.491

54. Unidentified artist
George Washington (1732-99), LL.D. 1781, between 1796 and 1799

Ink on paper, ⅜ × ¼ (1.0 × 0.6) sight, set in gold and silver foliate brooch with 14 diamonds; linked with gold chain to silver and gold stickpin with pearl head Engraved on reverse of bezel “D.T. LANMAN./69/Water St/N.Y.”
Gift of Mr. and Mrs. Ezra P. Prentice, Jr., 1980.95

55. William Russell Birch (England, 1755-1834)
George Washington (1732-99), LL.D. 1781, c. 1796
Enamel on copper, 2 5/16 × 1⅞ (5.9 × 4.8), set in rectangular gold snuffbox covered with tortoiseshell Signed l.r.: “W B/6”
Gift of Mrs. Edward R. Wardwell for the Lelia A. and John Hill Morgan Collection, 1945.469.2

56. Side view of Birch, George Washington (fig. 55)

57. Attributed to Ruth Henshaw Bascom (1772-1848)
Eliza Jane Fay (1832-99), 1840
Pastel and graphite pencil on laid paper, 17 ¼ × 12 ⅞ (43.8 × 32.7) Inscribed l.c.: “Eliza Jane Fay/Fitzwilliam N.H. Aged 8 years & 4 m. 1840”; and on pendant “In Memy/Geo./Washingt”
New York State Historical Association, Cooperstown

58. Attributed to Samuel Folwell (1764-1813)
Memorial for George Washington (1732-99), LL.D. 1781, c. 1800
Watercolor and chopped hair on ivory, 1 ⅞ × 1 5/16 (4.8 × 3.3)
Lelia A. and John Hill Morgan Collection, 1940.537

59. Robert Field (England, c. 1769-1819)
Mrs. George Washington (Martha Dandridge, Mrs. Daniel Parke Custis) (1732-1802), 1801
Watercolor on ivory, 2 ⅝ × 2 5/16 (6.7 × 5.4)
Signed and dated 1.1.: “RF/1801”
Mabel Brady Garvan Collection, 1947.222

60. Robert Field (England, c. 1769-1819)
JOIN’D BY FRIENDSHIP, CROWN’D BY LOVE, 1801 Reverse of Field, Mrs. George Washington (fig. 59)
Chopped hair and watercolor or dissolved hair on ivory, 1 5/16 × ⅞(3.3 × 2.2) sight, in inset oval compartment surrounded by 67 prong-set full pearls set in rim, cobalt-glass surround over ray-patterned embossed foil, and inner gold-colored rim enameled in pale blue and white with bright-cut leaves

61. Unidentified artist
Mourning Ring for Thomas Clap, 1767
Gold band formed of three scrolls linked by short struts, attached to setting with painted paper skeleton under coffin-shaped crystal, and scalloped reverse; in gold letters with black enamel infilling “T:CLAP: /OB: IEN: 7/1767: AE 63,” Vs (2.2) diameter

Gift of Mrs. Charles Seymour, in memory of Charles Seymour (1885-1963), fifteenth president of Yale and a descendant of Thomas Clap (1703-67), fifth president of Yale, 1964.17

62. Attributed to John Brevoort (1715-75)
Mourning Ring for John Brovort Hicks (c. 1758-61), 1761
Gold band formed of four scrolls linked by struts, attached to setting with square faceted crystal over painted skull; in gold letters with white enamel infilling “JNO : BROVORT /HICKS: OB: 23/MARCH: 1761 ./AE: 2 : Y: 6: M.,” 13/16 (2.1) diameter
Mabel Brady Garvan Collection, 1934.343

63. Attributed to Samuel Folwell (1764-1813)
Memorial for SP, ARP, and SP, c. 1795
Watercolor and chopped hair with applied ivory on ivory, 2 ⅛ × 1 11/16 (5.4 × 4.3)
Inscribed on three urns of raised ivory “SP/ARP/SP” and on plinth “my Parents/and/Sister/I mourn”

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.19

64. Attributed to William Verstille (c. 1755-1803)
Memorial for M. Bull, c. 1786
Reverse of Attributed to Verstille, Mrs. Caleb Bull (Mary Otis) (fig. 65)
Watercolor and chopped hair on ivory Inscribed on plinth “To the / memory/ of M. BULL/OB. May 19th/1786. AE • 36”

65. Attributed to William Verstille (c. 1755-1803) Mrs. Caleb Bull (Mary Otis) (1750-86), c. 1786
Watercolor on ivory, 1 ⅝ × 1 (4.1 × 2.5)
Mabel Brady Garvan Collection, 1935.257

66. William Verstille (c. 1755-1803)
Caleb Bull(1746-97), c. 1790-95
Watercolor on ivory, 1 ⅜ × 1 3/16 (3.5 × 3.0) Signed c.l.: “Verstille”
Mabel Brady Garvan Collection, 1935.256

67. Attributed to John Ramage (Ireland, c. 1748-1802)
Memorial for Hannah Hodges (1780-92), 1792
Watercolor and chopped hair on ivory, 1 ½ × ⅞ (3.8 × 2.2) Inscribed on plinth “NOT/LOST”
Reverse engraved “Hannah Hodges/OB. 9. OCTr 1792 AE 12”
Lelia A. and John Hill Morgan Collection, 1940.539

68. Unidentified artist, possibly Ezra Ames (1768-1836)
Memorial for Henry G. Staats, c. 1802
Watercolor, chopped hair, and graphite pencil on ivory; reverse-glass painting, 2 7/16 × 15/16 (6.2 × 4.9)
Inscribed on plinth “HGS”
Lelia A. and John Hill Morgan Collection, 1940.534

69. Inset oval compartment containing gold cypher “RC” on brown hair plaid with faceted rim on reverse of Unidentified artist, Memorial for Henry G. Staats (fig. 68) Engraved at top “CCS”

70. Unidentified artist
Memorial for Solomon and Joseph Hays, 1801

Watercolor, pearls, gold wire, and beads, and locks of blond and brown hair (natural, chopped, and dissolved) on ivory, 1 ⅞ × 1 13/16 (4.8 × 4.6)
Inscribed on monuments “IN /MEMORY/ of SOLMN/HAYS/IN INFANT/YEARS/1798” and “IN/MEMORY/OF JOSH/HAYS/IN INFANT/YEARS/1801”
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.21

71. Inset round compartment containing gold cypher “H/JS” on blond and brown hair plaid on reverse of Unidentified artist, Memorial for Solomon and Joseph Hays (fig. 70)

72. Thomas Sully (1783-1872)
Memorial to His Mother, Sarah Sully, c. 1801
Watercolor on ivory, 1 ⅜ × 1 ⅜ (3.5 × 3.5)

Inscribed on plinth “SACRED TO THE /MEMORY/ OF/SARAH SULLY” and on urn “ss” Lelia A. and John Hill Morgan Collection, 1940.536

73. Unidentified artist
Memorial for Abigail Rogers (1753-91), 1791
Watercolor, chopped and possibly dissolved hair, applied ivory, pearls, and engraved gold bands on ivory, 1 ½ × ⅞ (3.8 × 2.2) Inscribed on plinth “ABIGAIL/ROGERS/OB. 7 OCTR./...1791...”
Reverse engraved (c. 1842) “Martha Ann/[B.] Lovering/died Aug! 27. 1842/Aged 19 yrs.”
Gift of Walter M. Jeffords, B.A. 1905, 1947.214

74. John Singleton Copley (1737-1815)
Mrs. Daniel Denison Rogers (Abigail Bromfield) (1753-91), c. 1784
Oil on canvas, 50 × 40 (127 × 101.6)
Courtesy of the Fogg Art Museum, Harvard University Art Museums, Cambridge, Mass., Gift of Paul C. Cabot, treasurer of Harvard University, 1943-65, and Mrs. Cabot, 1977.179

75. Unidentified artist, possibly Samuel Folwell (1764-1813)
Maternal Allegory, c. 1795
Watercolor and chopped hair on ivory, 1 5/16 × ¾ (3.3 × 1.9)

Sight Reverse engraved “W: Shaw” Provenance unknown, 1972.140.2

76. Unidentified artist
Memorialfor S. C. Washington, c. 1789
Watercolor, chopped hair, gold wire, pearls, and applied ivory on ivory, 1 1/16 × 11/16 (2.7 × 1.7)
Reverse engraved “S.C. Washington. Ob9th Nov. 1789./Aet: 19.”
On back of ivory, cut paper with remnants of note: “[...] n weeping by [...]/ like the locke [...]/ hood on the w[...]”
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.18

77. P. R. Vallée (France; active in U.S. 1803-15)
Harriet Machie (The Dead Bride) (1788-1804), 1804
Watercolor and graphite pencil on ivory, 2 7/16 × 1 15/16 (6.2 × 4.9)
Signed in graphite pencil 1.1.: “Vallée”
Mabel Brady Garvan Collection, 1936.300

78. Anne-Louis Girodet-Trioson Les Funérailles d’Atala
(The Entombment of Atala), 1808
Oil on canvas, 83 ¾ × 105 (212.7 × 266.7)
Musée du Louvre, Paris

79. P. A. Vafflard
Young et sa fille, 1804
Oil on canvas, 95 ¼ × 76 ⅜ (242 × 194)
Musée des Beaux-Arts, Angoulême

80. Inset oval compartment containing brown hair plaid on reverse of Vallée, Harriet Mackie (fig. 77)

81. Archibald Robertson (Scotland, 1765-1835) Gentleman, c. 1795
Watercolor on ivory, 2 3/16 × 1 11/16 (5.6 × 4.3)

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.73

82. Walter Robertson (Ireland, c. 1750-1801 or 1802)
Gentleman, c. 1795
Watercolor on ivory, 2 ¾ × 2 ¼ (7.0 × 5.7)
Lelia A. and John Hill Morgan Collection, 1940.518

83. Walter Robertson (Ireland, c. 1750-1801 or 1802)
Dr. Alexander Gray (Scotland, 1751-1807), c. 1797
Watercolor on ivory, 2 13/16 × 2 5/16 (7.1 × 5.9)

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.55

84. Benjamin Trott (c. 1770-1843)
Joseph Anthony, Jr. (1762-1814), c. 1794-95
Watercolor over graphite pencil on ivory, 2 15/16 × 2 ⅜ (7.5 × 6.0)
Mabel Brady Garvan Collection, 1936.299

85. Jean Pierre Henri Elouis (France, 1755-1840)
Hore Browse Trist (1775-1804), probably 1798 or 1799
Watercolor on ivory, 3 3/16 × 2 ½ (8.1 × 6.4)

Signed 1.1.: “Elouis” Mabel Brady Garvan Collection, 1936.303

86. Seed-pearl cypher “HBT” on brown hair plaid on reverse of Elouis, Hore Browse Trist (fig. 85)

87. William Dunlap (1766-1839)
Mrs. William Dunlap (Elizabeth Woolsey) (1768-1848), c. 1805
Watercolor on ivory, 2 ⅝ × 2 1/16 (6.7 × 5.2)

Gift from the estate of Geraldine Woolsey Carmalt, 1968.12.2

88. William Dunlap (1766-1839)
Self-Portrait, c. 1805
Watercolor on ivory, 2 9/16 × 2 (6.5 × 5.1)

Lelia A. and John Hill Morgan Collection, 1938-95

89. Edward Greene Malbone’s ivory painting case, c. 1800
Ivory cylinder with 18 palettes, 5 ¼ (13.3) length, 1 ⅝ (4.1) diameter Engraved “EGM”
Gift of Mr. and Mrs. Maxim Karolik, for the M & M Karolik Collection of Eighteenth-Century American Arts, Museum of Fine Arts, Boston

90. Edward Greene Malbone (1777-1807)
Thomas Russell(1740-96), 1796
After a portrait by John Trumbull, between 1789 and 1794
Watercolor on ivory, 2 ⅝ × 2 1/16 (6.7 × 5.2)

Signed and dated in red paint on backing paper “EG Malbone/[?]/July 1796”
Lelia A. and John Hill Morgan Collection, 1948.260

91. Edward Greene Malbone (1777-1807)
Thomas Russell, c. 1797
Watercolor on ivory, 2 ⅛ × 1 ¾ (5.4 × 4.4)

Private Collection, Photograph courtesy the Museum of Fine Arts, Boston

92. Edward Greene Malbone (1777-1807)
Thomas Russell, 1797
Watercolor on ivory, 3 ½ × 2 ¾ (8.9 × 7.0)

Private Collection, Photograph courtesy the Museum of Fine Arts, Boston

93. Edward Greene Malbone (1777-1807)
Thomas Russell, c. 1796
Watercolor on ivory, 2 ¾ × 2 15/16 (7.0 × 7.5)

Cincinnati Art Museum, Gift of the Fleischmann Foundation in memory of Julius Fleischmann

94. John Trumbull (1756-1843)
Hon. Thomas Russell and Mrs. Thomas Russell (Elizabeth Watson), between 1789 and 1794
Oil on canvas, 18 × 10 (45.7 × 25.4)
Location unknown, reproduced from a photograph in the archival files of Theodore Sizer, Yale University Art Gallery

95. Cobalt-glass surround, inner rose-gold-over-copper tooth rim, and inset oval compartment containing lock of hair on card covered with white silk on reverse of Malbone, Thomas Russell (fig. 90)

96. Edward Greene Malbone (1777-1807)
Archibald Taylor (c. 1750-1821), 1802
Watercolor on ivory, 2 15/16 × 2 ¼ (7.5 × 5.7)

Inscribed on back of card used to support hair plaid, a portion of a recipe: “... parts water/6 parts wax/part [?] of tartar/the wax to be shaved and to/be stirred in [?] the water./ Gum mastik to”
Lelia A. and John Hill Morgan Collection, 1940.507

97. Edward Greene Malbone (1777-1807)
Mrs. Richard Sullivan (Sarah Russell) (1786-1831), 1804
Watercolor on ivory, 3 ⅜ × 2 11/16 (8.6 × 6.8)

Lelia A. and John Hill Morgan Collection, 1948.259

98. William M. S. Doyle (1769-1828)
David Bradlee (1786-1814), 1813
Watercolor on ivory, 3 × 2 7/16 (7.6 × 6.2)
Signed and dated l.r.: “Doyle 1813”

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.3

99. Matte gold fillet, rose-gold surround, inner rim of half-pearls, and inset oval compartment containing opal glass over scallop-patterned embossed foil with two hair feathers and half-pearl and gold wire decoration on reverse of Doyle, David Bradlee (fig. 98)

100. William M. S. Doyle (1769-1828)
Young Lady in a Sheer White Dress, c. 1805
Watercolor on ivory, 2 ¾ × 2 15/16 (7.0 × 7.5)

Signed l.r.: “Doyle”

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.2

101. Painting on back of ivory of Doyle, Young Lady in a Sheer White Dress (fig. 100)

102. Mary Way (1769-1833)
Gentleman, c. 1800
Collage-appliqué on fabric, 2 ⅝ × 2 (6.7 × 5.1)
Lelia A. and John Hill Morgan Collection, 1940.532

103. Mary Way (1769-1833)
Child of the Briggs Family, c. 1820
Watercolor on ivory, 1 3/2 × 1 3/16 (3.8 × 3.0)

Gift of Mildred S. Prince, 1969.37.3

104. Mary Way (1769-1833)
Mrs. Charles Briggs (Elizabeth Bassal Meiller), c. 1820
Watercolor on ivory, 2 1/16 (5.2) diameter

Gift of Mildred S. Prince, 1969.37.2

105. Mary Way (1769-1833)
Charles Briggs, c. 1820
Watercolor on ivory, 2 1/16 (5.2) diameter

Gift of Mildred S. Prince, 1969.37.1

106. James Peale (1749-1831)
Rembrandt Peale (1788-1860), 1795
Watercolor on ivory, 2 5/16 × 1 13/16 (5.9 × 4.6)

Signed and dated in red watercolor l.r.: “IP/1795”

Lelia A. and John Hill Morgan Collection, 1940.510

107. Raphaelle Peale (1774-1825)
Robert Kennedy (1770-1849), 1799
Watercolor on ivory, 3 9/16 × 2 15/16 (9.0 × 7.5)

Signed and dated in watercolor c.r.: “RP./99”

Mabel Brady Garvan Collection, 1936.304

108. Raphaelle Peale (1774-1825)
John Frederick Rohr, c. 1805
Watercolor on ivory, 2 ½ × 2 (6.4 × 5.1)

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.12

109. Raphaelle Peale (1774-1825)
Commander Samuel Woodhouse (1784-1843), 1816 or 1817
Watercolor on ivory, 2 7/16 × 2 (6.2 × 5.1)
Reverse engraved “COMR) SAM1: WOODHOUSE/U.S. Navy” with image of upraised forearm branding club and emerging from clouds

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.13

110. Attributed to Thomas Birch (1779-1851)
Captain James Lawrence (1781-1813), c. 1810-13
Watercolor on ivory, 2 12/16 × 2 (6.8 × 5.1)
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.64

111. Anna Claypoole Peale (1791-1878)
Andrew Jackson (1767-1845), 1819
Watercolor on ivory, 3 ⅛ × 2 7/16 (7.9 × 6.2) sight

Signed and dated l.r.: “Anna C./Peale/1819”

Mabel Brady Garvan Collection, 1936.302

112. Charles Willson Peale (1741-1827)
James Peale by Lamplight, 1822
Oil on canvas, 24 ½ × 36 (62.2 × 91.4)
The Detroit Institute of Arts, Founders Society Purchase with Funds from Dexter M. Ferry, Jr.

113. Anna Claypoole Peale (1791-1878)
Rosalba Peale, (1799-1874), 1822
Watercolor on ivory, 3 ⅛ × 2 ¾ (7.9 × 7.0)
The Detroit Institute of Arts, Founders Society Purchase, Gibbs-William Fund

114. Anna Claypoole Peale (1791-1878)
Eleanor Britton (Mrs. William Musgrave), 1821
Watercolor on ivory, 2 7/16 × 1 15/16 (6.2 × 4.9)

Signed 1.1.: “Anna C/Peale/1821”
Lelia A. and John Hill Morgan Collection, 1940.513

115. Anna Claypoole Peale (1791-1878)
Lady with a Shawl, 1821
Watercolor on ivory, 2 15/16 × 2 5/16 (7.5 × 5.9)

Signed and dated 1.1.: “Anna C Peale/1821”
Gift of Mrs. Anthony N. B. Garvan, 1999.32.1

116. Andrew Robertson (England, 1777-1845)
Lieutenant John Trumbull Ray (c. 1792-?), 1814
Watercolor on ivory, 3 3/16 × 2 ½ (8.1 × 6.4)

Gift of Maria Trumbull Dana, 1938.62

117. Anson Dickinson’s trade card found on reverse of Anson Dickinson (1779-1852), Gentleman of the Dunlap Family, 1819
Watercolor on ivory, 2 11/16 × 2 ⅜ (6.8 × 6.0) Trade card inscribed “A. Dickinson/MINIATURE PAINTER /222 Broad Way/New York.”
Lelia A. and John Hill Morgan Collection, 1940.496

118. Anson Dickinson’s paintbox, brushes (called pencils), and reducing glass

The Stamford Historical Society, Stamford, Conn.

119. Anson Dickinson (1779-1852)
General Epaphroditus Champion (1756-1834 or 1835), 1825
Watercolor on ivory, 3 5/16 × 2 11/16 (8.4 × 6.8)

Signed l.r.: “A. Dickinson/1825”
Gift of Francis Bacon Trowbridge, B.A. 1887, LL.B. 1890, 1943.31

120. Anson Dickinson (1779-1852)
Mrs. Epaphroditus Champion (Lucretia Hubbard) (1760-1836), 1825
Watercolor on ivory, 3 5/16 × 2 11/16 (8.4 × 6.8)

Signed c.r.: “A Dickinson/1825”
Gift of Francis Bacon Trowbridge, B.A. 1887, LL.B. 1890, 1943.32

121. Anson Dickinson (1779-1852)
The Honorable Asa Bacon (1771-1857), 1825
Watercolor on ivory, 35/16 × 2 11/16 (8.4 × 6.8)

Signed l.r.: “A. Dickinson/1825”
Gift of Francis Bacon Trowbridge, B.A. 1887, LL.B. 1890, 1943.33

122. Anson Dickinson (1779-1852)
Epaphroditus Champion Bacon (1810-45) B.A. 1833, M.A. 1856, c. 1835
Watercolor on ivory, 3 ⅛ × 2 ½ (7.9 × 6.4)
Gift of Francis Bacon Trowbridge, B.A. 1887, LL.B. 1890, 1943.34

123. Charles Fraser (1782-1860)
Self-Portrait, 1823
Watercolor on ivory, 4 5/16 × 3 9/16 (11.0 × 9.0)
Carolina Art Association, Gibbes Museum of Art, Charleston, S.C., Gift of J. Alwyn Ball

124. Charles Fraser (1782-1860)
H. F. Plowden Weston (1738-1827), 1824
Watercolor on ivory, 3 13/16 × 3 ¼ (9.7 × 8.2) Signed l.r.: “CF”
Carolina Art Association, Gibbes Museum of Art, Charleston, S.C., Purchase, Kammerer Fund, in memory of Helen G. McCormack

125. Charles Fraser (1782-1860)
Young Lady in White, c. 1820-25
Watercolor on ivory, 3 ⅛ × 2 ⅜ (7.9 × 6.0)

Signed in iron gall ink on backing paper 1.1.: “C Fraser”

Provenance unknown, 1972.140.1

126. Charles Fraser (1782-1860)
Mrs. Theodore Gourdin (Elizabeth Gaillard) (1766-1835), 1826
Watercolor on ivory, 2 1/16 × 2 1/16 (5.2 × 5.2)

Lelia A. and John Hill Morgan Collection, 1940.501

127. Unidentified artist, formerly attributed to Fraser
Theodore Gourdin (1764-1826), probably 1813-15
Reverse of Fraser, Mrs. Theodore Gourdin (fig. 126)
Watercolor over graphite pencil on ivory, 2 1/16 × 2 1/16 (5.2 × 5.2)

128. Charles Fraser (1782-1860)
Mrs. John LaBruce (Martha Pawley) (1766-1822), 1828
After a portrait by Samuel F. B. Morse, 1819
Watercolor on ivory, 3 ⅞ × 3 ⅛ (9.8 × 7.9)
Signed and dated in watercolor on reverse of backing card l.c.: “C Fraser, 1828”
Mabel Brady Garvan Collection, 1935.254

129. Samuel F. B. Morse (1791-1872)
Mrs. John LaBruce (Martha Pawley) (1766-1822), c. 1819
Oil on canvas, 30 × 25 (76.2 × 63.5)
Private Collection

130. Sarah Goodridge (1788-1853)
Beauty Revealed (Self-Portrait), 1828
Watercolor on ivory, 2 ⅝ × 3 ⅛ (6.7 × 7.9)
Gloria Manney Collection

131. Unidentified artist, probably British Eye, c. 1805-10
Watercolor on ivory, 11/16 × ¾ (1.7 × 1.9) sight

Lelia A. and John Hill Morgan Collection, 1940.538

132. Henry Inman (1801-46)
William SamuelJohnson (1795-1883), probably 1823-24
Watercolor on ivory, 2 ¾ × 2 ¼ (7.0 × 5.7)
Gift from the estate of Geraldine Woolsey Carmalt, 1968.12.5

133. Henry Inman (1801-46)
Mrs. William Samuel Johnson (Laura Woolsey) (1800-80), probably 1823-24
Watercolor on ivory, 3 ⅛ × 2 ½ (7.9 × 6.4)
Gift from the estate of Geraldine Woolsey Carmalt, 1968.12.6

134. Thomas Seir Cummings (1804-94)
Thomas Cole (1801-48), probably 1828 or 1829
Watercolor on ivory, 3 ¼ × 2 ⅝ (8.3 × 6.7)
Mabel Brady Garvan Collection, 1948.225

135. James Passmore Smith (1803 or 1804-88)
Self-Portrait, c. 1830-35
Watercolor on ivory, 1 ¾ × 1 ⅜ (4.4 × 3.5) sight

Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.16

136. Jacob Eichholtz (1776-1842)
James P. Smith (1803 or 1804-88), c. 1835
Oil on canvas, 29 ¾ × 25 (75.5 × 63.5)
Andrew W. Mellon Collection © 1999 Board of Trustees, National Gallery of Art, Smithsonian Institution, Washington, D.C.

137. Lid of gutta percha Union case containing Mrs. Russell, Child in a Pink Dress (fig. 138)

138. Mrs. Moses B. Russell (Clarissa Peters) (1809-54)
Child in a Pink Dress, c. 1850
Watercolor on ivory, 2 7/16 × 1 ⅞(6.2 × 4.8)
Promised Bequest of Davida Tenenbaum Deutsch and Alvin Deutsch, LL.B. 1958, in honor of Kathleen Luhrs, ILE1999.3.39

139. Closed lid of engraved gold locket containing Unidentified artist, Lady of the Sully Family (fig. 140) Engraved “MAS”

140. Unidentified artist
Lady of the Sully Family, c. 1844
Watercolor on ivory, 1 ⅞ × 1 ½ (4.8 × 3.8)
On inside of locket inscribed c.r.: “Geo W Webb/Balto/1844/25 dolls”; and u.c.: “RW”; printed on card inside locket: “YOUNG CATHOLIC’S /LECTURE /COURSE”

Lelia A. and John Hill Morgan Collection, 1940.521

141. Unidentified artist
Gentleman, c. 1850-52
Hand-tinted daguerreotype, 1 ⅞ × 1 9/16 (4.8 × 4.0) sight, set in gold locket with foliate chased rim, barrel bail, and hanger attached to hairwork watch chain with gold-over-white-metal findings

Private Collection

142. Unidentified artist with the initials J.H.
Anne Sherman, 1896
Opalotype (hand-colored photograph on opal or white glass), 4 ½ × 3 ⅞ (11.4 × 9.8) sight

Signed l.r.: “J.H. 1896”
Provenance unknown, 1988.8.1

143. Albert Sands Southworth (1811-94) and Josiah Johnson Hawes (1808-1901)
Young Girl, Hand on Shoulder
Hand-tinted whole-plate daguerreotype, 6 ½ × 8 ½ (16.5 × 21.6)
Matthew R. Isenburg Collection

144. George Hewitt Cushman (1814-76)
Susan Wetherill (Mrs. George Hewitt Cushman) 1817-57), c. 1843-45
Watercolor on ivory, 3 ¼ × 2 11/16 (8.3 × 6.8)
Gift of Miss Alice Cushman, 1940.45

145. Cushman, Susan Wetherill (fig. 144), showing miniature uncased

146. John Henry Brown (1818-91)
Catherine Bohlen (probably 1830-?), 1850
Watercolor on ivory, 4 7/16 × 3 ⅜ (11.3 × 8.6)

Dated in white opaque watercolor l.c.: “1850”

John Hill Morgan, B.A. 1893, Fund, 1998.21.1

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