Gentleman Wearing a Miniature, by Elkanah Tisdale, Circa 1805

An American portrait miniature of a gentleman with brown curly hair and brown eyes, wearing a dark blue coat, a white vest, and a white cravat, against a pale background. A portrait miniature is tucked beneath his vest, with the hairwork side out, to preserve the privacy of the sitter. The painting is set in a gold pendant frame, the reverse with a glazed aperture holding a gold monogram set on plaited brown hair.

Elkanah Tisdale (1771-after 1834), was born in Lebanon, Connecticut, and is believed to have initially trained as a carriage painter. He moved to New York City in 1794 and practiced as an engraver for several years, before settling down as a miniature painter. He became friends with Benjamin Trott, and divided his time between New York City and Connecticut, before moving to Boston from 1813 to 1818, and then to Hartford. It is thought that he gave some instruction to fellow artist Sarah Goodridge in Hartford. Tisdale exhibited two miniatures at the American Academy of the Fine Arts in New York City in 1818. A miniature by him is in the collection of the Metropolitan Museum of Art, and portraits of his parents are held at the Detroit Institute of Art. Tisdale's miniatures are very rare.

Dimensions: 3 ¼ x 2 ¾ inches.

Officer in Hussar Uniform, Signed by Jean Pierre Henri Elouis, Circa 1800

A rare South American portrait miniature of an officer with brown hair and brown eyes, wearing a red Spanish Hussar regimental jacket with silver frogging and a white cravat, against a sky background. The painting is signed at the lower right: Elouis, and is set in a gold pendant frame with a solid reverse.

Jean Pierre Henri Elouis (1755-1840), was born in Caen, France, but had an international career, and is most strongly identified as an American miniaturist. He studied with Robert Lefevre before moving to London, where he attended the Royal Academy Schools. He exhibited miniatures at the Royal Academy from 1785 to 1787, when he then moved to America. There he practiced in Baltimore, Annapolis, Alexandria, and Philadelphia, where he opened a drawing school, and painted miniatures of President and Mrs. Washington. By 1799 he had left Philadelphia and traveled through Mexico and South America as a draftsman on the German scientist Baron Alexander von Humboldt's expedition, where this portrait is presumed to have been painted. Elouis moved to France in 1807, and there exhibited at the Salon de Paris. Examples of his work may be seen at the Smithsonian American Art Museum and the Cincinnati Art Museum. No other examples from his trip through South America are presently known.

Dimensions: 3 ¼ x 2 ¾ inches.

Gentleman in Red and Blue Coat, by Henry Spicer, Circa 1790

A British portrait miniature in enamel of a gentleman with brown eyes and powdered hair, wearing a blue coat with a red collar and yellow buttonholes, and a white frilled shirt, against an olive and blue background. The painting is set in the original gold locket frame, with a solid reverse.

Henry Spicer, F.S.A. (1743-1804), studied with Gervase Spencer and exhibited at the Society of Artists from 1765-1783, and the Royal Academy 1774-1804. He went to Dublin in 1776 and painted prominent people there, returning to London in 1782, where he was appointed as Painter in Enamel to His Royal Highness, the Prince of Wales. His clients included Charlotte Augusta, Princess of Wales, Sir Joshua Reynolds and Lord Nelson. He had two daughters, Miss J. Spicer, and Miss M.A. Spicer, who also became miniaturists.

Dimensions: 1 7/16 x 1 1/8 inches.

Gentleman and Watch Fob, Signed by John Brewster, Jr., Circa 1805

An American portrait miniature of a gentleman with brown eyes and brown hair, wearing a navy blue coat with brass buttons, against a light blue background. The painting is signed at the lower right: Brewster, and is set in the original gold pendant frame, the reverse with brightwork surrounding an aperture holding glazed brown silk. The miniature is held in a red leather traveling case, and is accompanied by a gold watch fob holding a lock of brown hair, also set in a leather traveling case.

One of America's most important folk artists, John Brewster, Jr. (1766-1854), was born in Hampton, Connecticut, a seventh-generation descendant of Mayflower voyager and Plymouth Colony elder William Brewster, and the third son of Dr. John and Mary Brewster. Born a deaf-mute, he studied with Reverend Joseph Steward, a Connecticut artist, and in 1796 moved to Buxton, Maine, to live with his brother, Dr. Royal Brewster. Using his brother's home as a base, Brewster traveled throughout Maine, New York, Massachusetts, and Connecticut, painting portraits both large and small. Several important commissions came from wealthy Maine and Massachusetts families, notably the Cuttses and Princes. In 1817, at the age of 51, Brewster enrolled in the first class at the Connecticut Asylum for the Education and Instruction of Deaf and Dumb Persons (now the American School for the Deaf) in Hartford, Connecticut, becoming among the first in the nation to learn American Sign Language. He continued painting, and lived until the age of 88. Signed portrait miniatures by Brewster are extremely rare, and portraits both large and small by him are coveted. In 1988 Sotheby's sold "Comfort Starr Mygatt and Daughter Lucy," for $852,500, the world auction record for a Brewster portrait. Works by him may be found at the Museum of Fine Arts, Boston, the American Folk Art Museum, the Abby Aldrich Rockefeller Folk Art Center, the Peabody Essex Museum, the Florence Griswald Museum, and the Fenimore Art Museum. Further information on him may be found in A Deaf Artist in Early America: The Worlds of John Brewster Jr. (Beacon Press, 2004) by Harlan Lane.

Dimensions: 2 ½ x 2 1/8 inches.

Gentleman in Embroidered Coat, by Perpete Evrard, Circa 1725

A Belgian portrait miniature, on vellum, of a gentleman with green eyes, wearing a long powdered wig, a tobacco-colored coat embroidered with flowers, a white shirt and a white cravat, against a sky background. The painting is set in the original octagon shagreen case with a decorated front.

Perpete Evrard (Eurard) (1662-1727), was born in Dinant, Belgium. He executed portraits in oil on canvas and in miniature, and worked at the Madrid and Vienna royal courts. He died in The Hague in 1727. Schidlof says of him: "He was a good miniaturist who sometimes worked in the style of Benjamin Arlaud."

Dimensions: 2 ½ x 2 inches.

Quaker Gentleman Joel White, by Abraham Parsell, Circa 1830

An American portrait miniature of Joel White, with black hair and brown eyes, dressed in a black coat, yellow vest, and white shirt, against an atmospheric brown background. The painting is set in the original gilt pendant case with a foliate rim, the reverse with a glazed aperture containing a plait of brown hair, and is accompanied by a gilt chain of engraved links on which the miniature was worn.

According to a family note, (not included), the portrait is of "Joel White who went to New Orleans where he owned a vessel and was never heard of again…went down in a diving bell when first invented." The miniature was part of the New Jersey/Philadelphia Quaker Bassett family archive, and descended to the previous owner through the family. The White family is listed throughout the archive. Joel White was one of ten children born to William White and his second wife, Anne Paul, of Paulsboro, New Jersey, outside of Philadelphia. In The History and Genealogy of Fenwick's Colony, New Jersey, by Thomas Shourds, 1876, pages 325 to 328, it says: "John and Joel White, sons of William, settled in one of the Southern States. The family have not heard from them for a number of years." Further information on this family network is held in An Inventory of the Bassett Family Papers, 1676-1846 at the Swarthmore Friends Historical Library.

Abraham Parsell (1792-after 1856) a popular American folk miniature painter, was born in Neshanic, New Jersey on June 17, 1791, the second of six children of Oliver Parsell and Lucretia Williamson Parsell. Abraham married Mary Richards in Essex County, New Jersey, on March 23, 1819, and is recorded in New York City directories as living in Manhattan from 1820 to 1856. A John H. Parsell is also recorded at the same address, and working also as a miniaturist, and is assumed to be their son. Abraham's grave may be found at the French-Richards Burying Ground, Springfield, New Jersey. Examples of Abraham Parsell's work are in the collection of the Abby Aldrich Rockefeller Folk Art Museum and the New Jersey Historical Society. An article "Abraham Parsell: Miniature Painter" by Vincent DiCicco and Howard P. Fertig appeared in a recent issue of the magazine Antiques and Fine Art. The online link is: http://bit.ly/8YrJlX.

Dimensions: 2 ¼ x 1 15/16 inches.

Gentleman with Brown Eyes, by Andrew Plimer, Circa 1790

A British portrait miniature of a gentleman with brown eyes, wearing a powdered wig, a brown coat, a cream vest and a white stock, against a sky background. The portrait is set in the original gold frame, the reverse with cobalt glass, and a glazed aperture holding a hairwork and the gold monogram MWM.

Andrew Plimer (1763-1837), one of England's most famous miniaturists, was brother to Nathaniel Plimer, another well-known miniaturist. As adolescents, Andrew and Nathaniel ran away from home, and after various adventures came to London in 1781. Andrew took employment as a man-servant to the miniaturist Richard Cosway, who recognized his artistic talent and arranged lessons for him. In 1785 Andrew left Cosway's home and, setting up in practice on his own, launched one of the most memorable careers in the history of miniature painting. Plimer painted on vellum, card, ivory and paper, and executed portraits in oil as well as miniatures. His works can be found in most collections, including those of the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, the Ashmolean Museum, and Oxford. For further information regarding this artist, see the book Andrew and Nathaniel Plimer, by Dr. G. C. Williamson.

Dimensions: 2 7/8 x 2 7/16 inches.

The Reverend J. Preston, by George Place, Circa 1790

A British portrait miniature of the Reverend J. Preston, Clerk, with blue eyes and brown hair, wearing a wig, black coat, and white shirt, against a dark green background. The painting is set in the original gold metal frame, the reverse engraved: The Rev.d J. Preston Clk / Ob. 23rd Sep. 1806/ At 68.

There were several branches of Prestons in County Meath, around Dublin, during the 18th century.

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.

Dimensions: 3 x 2 ½ inches.

Gentleman with Grey Eyes, Signed by Henry Williams, Circa 1825

An American portrait miniature of a young man with brown hair and grey eyes, wearing a black coat with brass buttons, a white vest, a white shirt, and a white cravat, against a soft gray background. The painting is signed at the lower right: Williams, and is set in a gilt pendant frame with a caste foliate rim, the reverse, with a glazed aperture holding plaited brown hair.

Henry Williams (1787-1830) , born in Boston, appeared to be have been an ambitious artist, executing works in pastels, oil, wax, watercolor and creating engravings and profiles. By age 16 he was advertising his talents in Maine, and soon he became a leading miniaturist on the East coast. Williams continued to pursue ambitious avenues, producing a book called Elements of Drawing, and joining forces with fellow miniaturist William M. S. Doyle in a partnership that lasted several years. Williams seemed to have a fondness for painting elfin ears on his sitters, since this sitter and at least one other sitter, Mr. Bennett of Revere Street, in the Smithsonian, are depicted with them. Works by Williams may be found in the Metropolitan Museum of Art, the Boston Museum of Fine Art, the Yale Art Gallery, and the Smithsonian American Art Museum.

Dimensions: 2 5/8 x 2 ¼ inches.

Gentleman in Brown Coat, by Ebenezer Mack, Circa 1795

An American portrait miniature of a gentleman with brown hair and brown eyes, wearing a brown coat, white vest and white shirt with a ruffled front, against a pale sky. The painting is set in the original gilt pendant frame, with a solid reverse.

Ebenezer Mack (active 1785-1808) has been an artist of some mystery. Research has found a headstone for that name in Hillside Cemetery, Antwerp, Jefferson County, New York (outside of Philadelphia). If this is the same Mack, he was born January 26, 1766 to William Wormann Mack and Ruth Gee in Lyme, Connecticut, and died October 11, 1831, in Antwerp, New York. In 1787 he married Polly Huntley Harvey (1765-1838), and had three children: Polly Mack Rider (1790-1833), Charmis Mack (1795-1866), and Charles Chabris Mack (1797-1886.) See: http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=26867082.

Professionally, Mack was first placed in Boston in 1780, with a brief mention in John Smibert: Colonial America’s First Portrait Painter: “Trumbull rented [Smibert's Boston] studio in 1779 and made use of whatever remained of Smibert’s library…[and]…over the course of the next sixteen years at least six more artists–-Mather Brown (1780), Ebenezer Mack (1780), Joseph Dunkerly [sic] (1780), Samuel King (c 1780-1785), John Mason Furnass (1785) and John Johnston (1795) held sway in the studio.” ¹ It is interesting to note that Dunkerley and Mack were recorded as using Smibert’s studio in the same year. It's possible that this led to them becoming acquaintances, or studying together.

It's also interesting to note that another miniaturist at the time, William Verstille, was active in Philadelphia and New York in the 1780s, and his work at times bears a resemblance to Mack’s portraits.  The Mack miniature of  Jasper Ely Cropsey, circa 1794, in the Metropolitan Museum of Art,  has a similar look to some miniatures by Verstille.  Additionally, the gold frame for the Mack miniature by Cropsey looks similar to several frames on Verstille’s miniatures. Verstille was a goldsmith as well as a miniaturist, and may possibly have created some frames for Mack’s miniatures, much as Paul Revere did for Dunkerley’s miniatures, although it should be noted that this style of miniature frame was popular in the East during this time period.

Mack advertised as a miniature painter in Philadelphia in 1785 and 1788, and was thereafter recorded in New York City directories from 1791 to 1800, and again from 1806 to 1808. In 1809 and 1810 Mack was again listed at the same address, 271 Water Street , but this time as a physician. ² A book by a Doctor Ebenezer Mack, published in 1824 in New York with the title page stating "Sold at 350 Water-Street," was entitled: The Cat-Fight; A Mock Heroic Poem, Supported with Copious Extracts from Ancient and Modern Classic Authors. The title page states that he was also the author of Anatomy in Rhyme, Etc.

Works by Ebenezer Mack may be found in the collections of the Metropolitan Museum of Art, The New York Historical Society, the Smithsonian American Art Museum, the Columbus Museum in Georgia and the Cheekwood Museum of Art in Tennessee. Mack's portrait miniatures are very rare.

1. Richard H. Saunders, John Smibert: Colonial America’s First Portrait Painter, Yale University Press, p. 125.
2. Carrie Rebora Barratt and Lori Zabar, American Portrait Miniatures In the Metropolitan Museum of Art, Yale University Press, 2010, p. 62.

Dimensions: 2 x 1 ½ inches.