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Woman in Black Neck Ribbon, Signed by Thomas Hull, Circa 1790A very attractive British portrait miniature of a lady with brown eyes and powdered light brown hair, wearing a black neck ribbon and a white dress with a brown sash. The painting is signed at the lower left: Hull, and is set in the original gold locket frame, the reverse with plaited brown hair. The portrait is held in a red leather traveling case. Thomas Hull (active 1775-1827), a talented artist, worked in London and Leeds, and exhibited at the Royal Academy from 1775 to 1827. In 1795 Hull married Frideswide Wells, and had at least one daughter, Sophia, who grew up to marry William Francis Barraud, a clerk in the Custom House. Two of their children, William and Henry Barraud, went on to become accomplished artists. Hull’s portrait miniature of the Honourable John Monckton is at the Victoria and Albert Museum. Hull’s miniatures on the whole are consistently well-painted and charming, and are relatively scarce. Material: Watercolor on ivory.
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Woman Wearing a Miniature, by Thomas Peat, Circa 1815An English portrait miniature of a woman with green eyes and brown hair upswept with a black bandeau and pearl clasp, wearing ruby and pearl earrings, a portrait miniature on a blue silk cord around her neck, and a white dress trimmed with blue ribbon. The painting is set in the original gilt metal locket frame, the reverse with a lock of brown hair dressed with seed pearls and set on opalescent glass. Thomas Peat (active 1791-1831), exhibited at the Royal Academy from 1791 to 1805, and worked in London, Bath, Leamington, and Bristol. He painted miniatures in watercolor and enamel, and portraits in oil. Examples of Peat’s work are at the Victoria and Albert Museum, the London Museum, the Holburne Museum, Bath, the Cognacq-Jay Museum, and the Louvre. Material: Watercolor on ivory.
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Gentleman in Blue, by Christian Friedrich Zincke, Circa 1730A fine Anglo-German enamel miniature of a gentleman with brown eyes, wearing a wig, and dressed in a blue coat, white shirt and white neckcloth. The portrait is housed in the original gilt locket frame with a solid reverse. Christian Friedrich Zincke (1683/4-1767) was born to a goldsmith father in Dresden. Zincke apprenticed as a goldsmith while also training in painting, and in 1706 emigrated to England, where he studied under Charles Boit. He lived for many years in Covent Garden, and obtained the patronage of Royalty, as well as many distinguished clients. Among his pupils were Jeremiah Meyer and William Prewett. Foskett says: “He was undoubtedly one of the greatest enamellists of the seventeenth century.” Material: Enamel on copper.
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Mrs. G. S. Bedford, Signed by Mrs. Barou, Circa 1800A very fine English portrait miniature by a rare artist, of Mrs. G. S. Bedford, with blue eyes and light brown hair, wearing a white turban and blue dress trimmed with a ruffled white collar. The painting is signed on the backing paper: Mrs. Barou/ St. Albans St./ Pall Mall/ No. 33, and set in the original gold locket case with plaited light brown hair on the reverse. Little is known of Mrs. Barou (active 1796-1801), who was of London. Mrs. Barou exhibited at the Royal Academy from 1797 to 1801, and though she practiced only briefly as a miniaturist, she exhibited significant talent. See plates 43D and 44G in Daphne Foskett’s Miniature Dictionary and Guide for two other examples of her work, both of which are signed on the backing paper in the same manner as this one. Mrs. Barou’s miniatures are extremely rare. Material: Watercolor on ivory.
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Lady in Blue, by Richard Cosway, R.A., Circa 1790A delightful British portrait miniature of a young woman with blue eyes and blonde hair, wearing a blue sprigged dress, a gold cross around her neck, and a blue ribbon in her hair. The painting is set on a plaited blonde hair background with an inner gold bezel, and housed in the original gold locket frame with a watchtop bale, the reverse with foiled cobalt glass. Held inside the case are a cut-down trade card inscribed: “…L. Hart/ Gold Chaser & Engra…/late Apprentice & Successor to Mr. Hart…/No. 25 Noel St…” and another cut-down card inscribed somewhat illegibly: “Capt. Barnes [?]/ 26th Regt. [?]/ Orbonnes Hoter [?]/ Adelph…” It is likely that this portrait was painted for Captain Barnes. One of the most important miniaturists in English history, if not the most influential, Richard Cosway, R.A. (1740-1821), was born in Devon to a family that owned a prosperous woolen business. Cosway was sent to London at age twelve, where he studied with Thomas Hudson, and attended William Shipley’s drawing school and the Royal Academy Schools. Cosway exhibited at the Society of Artists, the Free Society of Artists, and the Royal Academy, and was elected to the Academy in 1771. In 1781 he married the Anglo-Italian artist Maria Hadfield, and in 1789 their only child, Louisa Paolina Angelica, was born. Cosway dearly loved his daughter, and after her sudden death at age seven, his somewhat eccentric behavior became more erratic. Cosway's tremendous talent won him such famous clients and friends as the Prince of Wales, and he and Maria moved in the most fashionable Georgian circles, known for their salons and exquisite art and antique collections. Thomas Jefferson said of them that they possessed: “….good sense, good humour, honest hearts, honest manners, and eminence in a lovely art.” 1 Cosway’s works may be seen in the Victoria and Albert Museum, the Wallace Collection, the Fitzwilliam Museum, the British Museum, and the private collection of Her Majesty the Queen, as well as many other public and private collections. Material: Watercolor on ivory.
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Young Girl in Pink, English School, Circa 1805A beautiful portrait miniature of a young girl with brown eyes and brown hair, wearing a pink dress. The painting is set in the original gold locket frame, the reverse with a plaited brown hair panel. Material: Watercolor on ivory.
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An Actor, by George Place, Circa 1790An Anglo-Irish portrait miniature of an actor with brown eyes and dark hair, wearing a black cape and white collar, a red curtain in the background. The painting is set in a gold locket frame with an inner gold mat, the reverse with plaited hair. Note the strong resemblance between the sitter in this miniature and the one by George Place of Alexander Gordon, 4th Duke of Gordon, 1796, in the Victoria and Albert Museum (see The English Miniature, by John Murdoch, plate 200, page 192.) George Place (d. 1805), was one of the very talented late 18th century English miniaturists who, in the wake of Meyer and Cosway’s pioneer work, went on to develop highly individual styles, and flourished in the artistic atmosphere of the time. The son of a Dublin draper, Place entered the Dublin Society Schools in December 1775, where he studied under F.R. West. Place practiced for a time in Dublin, painting in miniature and in oil, and then went to London, where he exhibited at the Royal Academy from 1791 to 1797. In 1798 he received permission to go to Bengal with his wife, and subsequently worked in Lucknow, where he painted portraits of Nawab and members of his court. It is likely that many of Place's paintings painted in Lucknow perished during the Mutiny. Examples of his work may be found at the Victoria and Albert Museum, the Ashmolean Museum and the British Museum. Material: Watercolor on ivory.
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Woman with White Scarf, by Charles Robertson, Circa 1785A serenely beautiful Irish portrait miniature of a woman with blue eyes, wearing a white scarf around her hair, a white dress, and a black shawl. The painting is set in the original gold locket frame, the reverse with beveled cobalt glass backed with foil, an inset glazed aperture decorated with eglomise holding brown plaited hair. Charles Robertson (c. 1760-1821), was arguably a more talented and less mannered artist than his older brother Walter Robertson, who served as his instructor when they lived together in Dublin. Robertson exhibited at the Royal Academy from 1790 to 1810, and in Dublin until 1821. He served as Secretary and Vice President of the Hibernian Society of Artists. A miniature of one of his daughters, Maria, and another of his brother Walter, are held in the National Gallery of Dublin, and other examples of his work may be seen at the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, and the Metropolitan Museum of Art. Material: Watercolor on ivory.
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Lady in Elaborately Plumed Cap, by Thomas Hull, Circa 1790A charming British portrait miniature of a woman with blue eyes and powdered brown hair, wearing a white dress, a black ribbon around her neck, and an elaborately plumed cap. The painting is set in a gold locket frame, the reverse with a sheaf of hair set with seed pearls on opalescent glass, backed with foil. Thomas Hull (active 1775-1827), a talented artist, worked in London and Leeds, and exhibited at the Royal Academy from 1775 to 1827. In 1795 Hull married Frideswide Wells, and had at least one daughter, Sophia, who grew up to marry William Francis Barraud, a clerk in the Custom House. Two of their children, William and Henry Barraud, went on to become accomplished artists. Hull’s portrait miniature of the Honourable John Monckton is at the Victoria and Albert Museum. Hull’s miniatures on the whole are consistently well-painted and charming, and are scarce. Material: Watercolor on ivory.
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Gentleman in a Red Coat, Signed by James Nixon A.R.A., Circa 1790A striking British portrait miniature of a gentleman with green eyes and blond hair, wearing a red coat, cream waistcoat and cravat. The painting is signed at the lower right: N, and holds a cut-down calling card with the name: Miss Duff. The portrait is set in the original gold locket frame, the reverse with plaited brown hair and a lock of lighter brown hair. It is likely that this portrait was painted for Miss Duff. It is interesting to note how the vivid coloring of the clouds in the background and the reddish shading on the face hold their own against the bright red of the coat, while the muted cream of the hair and waistcoat provide a quiet level of contrast to the drama of the overall portrait. James Nixon (1741-1812), A.R.A., worked primarily in London, and briefly in Edinburgh, executing miniatures, portraits in watercolor and oil, historical subjects, and book illustrations. His best portraits are incisive interpretations of character, beautifully executed and original in approach. He attended the Royal Academy Schools, where, like Shelley, he was influenced by Sir Joshua Reynolds, and he became a member of the Society of Artists. He exhibited at the Royal Academy from 1772 to 1807, at the Society of Artists from 1765 to 1771, and at the British Institute. Nixon was appointed limner to the Prince Regent, and miniature-painter to the Duchess of York. Many of Nixon’s miniatures were of actresses in character, and his distinguished clientele included the Duchess of Devonshire, the Duchess of Rutland, and Joseph Farington. In spite of his professional success, he did not fare well financially. Examples of his work may be found at the Victoria and Albert Museum, the National Portrait Gallery, the Liverpool Museum, the National Museum, Stockholm and the Metropolitan Museum of Art. Material: Watercolor on ivory.
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Woman with Blue Hair Ribbon, By Nathaniel Freese, Circa 1795An enchanting British portrait miniature of a young woman with large brown eyes and powdered brown hair, wearing a white dress with a blue sash and a blue ribbon in her hair. The painting is set in the original gold locket case, the reverse containing a cobalt glass surround and a central panel of plaited brown hair. This is a particularly fine example of this artist’s distinctive work. Nathaniel Freese (active 1794-1814), about whom little is known, practiced in London, exhibiting portraits, landscapes, and at least one miniature at the Royal Academy. He is thought to have joined the Artists' Volunteer Corp in 1803. In 1814 he exhibited a portrait of Lieutenant G. F. Freese, who died at Salamanca. According to Basil Long, a J. Freese worked for the Duke of Cambridge and exhibited a portrait at the Royal Academy in 1811 may have been Nathaniel’s son. Examples of Freese’s work may be found at the Fitzwilliam Museum in Cambridge, and the Cincinnati Art Museum. Material: Watercolor on ivory.
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Lady with Brown Eyes, by John Barry, Circa 1790An English portrait miniature of a woman with brown eyes and powdered brown hair, wearing a gray dress with a white fichu. The painting is set in the original rose-gold frame with beaded and engraved decoration, the reverse with a gold monogram set on plaited brown hair. John Barry (active 1784-1827), of London, exhibited at the Royal Academy. His works included portraits of the Reverend John Wesley, Miss De Camp, and others. Foskett says: “Little is known about this artist who painted some excellent miniatures, and whose work has not always had the attention which it deserves.” Works by Barry may be seen at the Nottingham Art Museum and the Victoria and Albert Museum. Material: Watercolor on ivory.
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The primary references used for the artist biographies
on the listings are: Miniatures Dictionary and Guide by
Daphne Foskett,
American Portrait Miniatures in The Manney Collection,
by Dale Johnson and The Miniature in Europe, by Leo Schidlof.
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