Tuesday

Carlyle, T- portrait of man, possibly Thomas Carlyle

This miniature is possibly an early portrait of the fam0us Scottish writer Thomas Carlyle (1795-1881). For much more about him see Thomas Carlyle

Carlyle's books and articles are believed to have inspired social commentators like Charles Dickens and John Ruskin.

The portrait is apparently unsigned, although not removed from its frame. There is glass on the reverse, covering an inscription on the reverse reading "T Carlyle 1816" together with a Latin inscription. In 1816 Carlyle was a young teacher aged 21. The dress and hairstyle fit this date, as does the age of the sitter.

There was also an artist named T Carlyle active around 1816, so it could also be the artist's signature on the reverse.

Unfortunately I can only remember "hic, haec, hoc" from my Latin study, so I cannot translate it, but it appears to read "I.M. biges. Am. quartoque. mens. Atat. su." Any informed suggestions of the correct translation will be gratefully received.

The previous owner suggested that the miniature might possibly be painted by Adam Hope and stated there was a reference by Carlyle, saying his book in "Reminiscences" that he had had his portrait painted in 1816 by a friend, but to date that reference has not been located.

However, a search has been made for other comparable portraits of Carlyle in an effort to compare them with the sitter. Three have been found and there are certainly some similarities. The full face bust portrait of Carlyle at age 46 (in 1841) is the frontispiece in his 1903 book "New Letters and Memorials of Jane Welsh Carlyle". The portrait seems to have the same piercing eyes as the miniature.

The other two portraits are of Carlyle at a youngish age, although none seem to be as early as 1816, as they both appear to show sideburns. Sideburns were not fashionable for men in 1816 and it was really after 1820 that they became fashionable. White neck wear as in the miniature was fashionable up to around 1820, with black neck ties as shown in the other portraits, becoming the dominant colour by around 1830.

Thus to date, there is no confirmation of the sitter. 1222

Sunday

Ballard, Thomas - portrait of Joseph Baylis

This miniature portrait is in pen and ink, but is unsigned. The lower front right, on his sleeve, bears the inscription "AE 81" for 81 years. The sitter is named on the reverse as Joseph Baylis (1764-1853). These dates do not match a period of 81 years, but it probably means that the portrait was drawn in 1845 when he was aged 81.

He is most likely to be the Joseph Baylis recorded in both the 1841 and 1851 English census, living with his unmarried sister Maria, at 156 Homend(?) St, Ledbury, Hereford. In 1851 he was aged 87 and thus born in 1764, a retired carrier.

Since writing the above, a kind visitor called Patt, has left some very helpful comments and corrections. Including the name of the artist and that Joseph was the son of Stephen Baylis and Ann Brown. Also that Joseph was a retired currier, not a carrier (I had misread the census return).

A currier was one who prepared tanned hides for use. This is from the Latin word corium for leather, but also seems to be linked to the word cure, as in curing hides.

Apparently there were father and son artists both named Thomas Ballard in Herefordshire and Patt thinks this portrait is more likely by the elder of the two. I gather from Patt's comments that the elder Thomas Ballard was the nephew of Joseph Baylis. 606

Unknown - portrait of the Chevalier d'Eon

Collecting miniature portraits is sometimes like a lucky dip as one never knows quite what will come up next. Although this portrait is a little larger than a miniature, 140mm x 110mm, and drawn in pencil, the sitter was a controversial historical figure.

The portrait is dated 1868 on the reverse, but the seller did not know the sitter, so it was sold as an unidentified sitter.

But I had recently been researching the famous surgeon, Sir Anthony Carlisle and, by chance, had seen the identical image in connection with Sir Anthony Carlisle, as he had performed an autopsy on the sitter's death, to settle major differences of public opinion as to whether the sitter was male or female.

Thus I recognised the sitter as the Chevalier d'Eon, a real historical character, who has given rise to an adult cartoon character of the same name who apparently even features in books and films, and on television, as shown below. Even a London play in 1999 by Mark Brownell.

Of all the ambassadors or diplomatists who ever served a sovereign, the most extraordinary, perhaps, was the Chevalier d'Eon, who occupied a large space in the public mind at certain periods; extraordinary, not for his political abilities or services, but for his personal history.

The story of Chevalier d'Eon commences on 5 October 1728, in a French town of Tonnerre, when Charles-Genevieve Louis-Auguste-Andre-Timothee was born. His father was an advocate in the high court of justice, Louis d'Eon de Beaumont and his mother was lady Francoise de Chavanson.

There was no doubt about his gender when he was born. The doctor, midwife, and other people present in the household when d'Eon was born confirmed he was male. He grew up in a normal schoolboy style, although his mother was said to sometimes dress him in his sister's clothes. This was not unusual in even in the 19C and early 20C ,as many young boys appear in miniatures dressed as girls. As a young man he reputedly had a slight, small body and delicate formed limbs, with a slender waist and small hands and feet. d'Eon completed his education in College Mazarin in Paris and became successively a doctor in civil law, a doctor in canon law, and an advocate before the tribunals of Paris. He wrote several books which attracted attention and became secretary to Monsieur de Sauvigny, the fiscal administrator in Paris.

In 1756 d'Éon joined the secret network of spies called Le Secret du Roi which worked for King Louis XV. Louis XV wanted to reconcile with Russia at that time. He sent two ambassadors to discuss the issue with Russia Empress Elisabeth but failed because the men were banned to the court. In order to penetrate into the court and successfully discuss the issue with Empress Elisabeth, he needed to send a woman, but a woman could not handle the dangerous mission. Louis XV, always liking a bit of spicy intrigue to brighten his day, and believing that a French woman (who were renowned everywhere for their charm, diplomacy and guile but not for their intelligence) might get through Elizabeth's door where a male diplomat could not; he hit on the idea of sending a 'lady' diplomat - an intelligent and gifted man in the guise of a woman - to Russia. His gaze fell on the fresh faced d'Eon who also had all the other qualities he needed - and Charles was 'persuaded' to go to Russia as "Lia de Beaumont'', his own "sister'', in robes of the latest Parisian fashion, with suitably forged documents proving "her" parentage and patronage.
The ruse worked brilliantly. "Lia" was able to spend many hours in the company of Empress Elizabeth and persuaded her to write to Louis and invite a new ambassador to Moscow,. "Lia" took a very strong liking to this highly pampered feminine lifestyle, but was soon back in Paris to report his success. Unbelievably he was re-despatched to Moscow by Louis XV in his male role - as an embassy secretary.

But d'Eon proceeded to be both Charles at the embassy and "'Lia" at the Russian Court, carving (for those few important people in the know in France) an enviable reputation as a spy in the process! After a few years - when it was believed in Paris his double life was about to be exposed - he was withdrawn.

d'Eon became known in England in 1761, the year after George III ascended the throne. England and France, after many years of war, were making overtures of conciliation and the Duke de Nivernois was sent by Louis XV as ambassador to negotiate the terms of peace. Chevalier d'Eon, who accompanied him as secretary, won general favour at court; he was of prepossessing appearance, managed the duties of his position with much ability, and displayed a wide range of accomplishments.

While in London, d'Eon continued his dual role as a top spy; both Charles and "Lia" became an accepted part of the English Court and of the social scene around London. They were, of course, never seen together! One strange manifestation of this - and one that was very popular as a diversion with the public - was that of "Lia" d'Eon, the lady fencer, challenging the best swordsmen in or visiting the City!

When the duke had completed the terms of peace, d'Eon had the honour of communicating the fact from the one sovereign to the other. The court-journal of 1763 announced:

"Monsieur d'Eon de Beaumont, secretary to the embassy from France, returned this day to London, and was received by the Duke de Nivernois as Knight of the Royal Military Order of St. Louis: his Most Christian Majesty having invested him with that order, when he presented to him the ratification of the definitive treaty of peace with England."


Madame de Pompadour, who held an influential position at the court of Versailles, wrote about the same time to the Duke de Nivernois, mentioning d'Eon in the following terms: 'This M. d'Eon is, I am told, a very good sort of man, who has served the king in more countries than one: and the English have been very polite in giving him the treaty to bring. This, I doubt not, will be of some advantage to him.'

When the Duke de Nivernois returned to France on completion of his mission, he strongly recommended d'Eon as the temporary representative of France in England, until a permanent ambassador could be appointed. So well had d'Eon conducted himself, that both monarchs assented to this and in 1763 d'Éon became plenipotentiary minister in London. Soon afterwards three distinguished Frenchmen, Lalande, La Condamine, and Camus, were introduced to George III by d'Eon. d'Eon used his position to spy for the king and collect information for a potential invasion. He formed connections with English nobility by sending them the produce of his vineyard. This was the only short brilliant period of d'Eon's life and was followed by disgrace.

Louis XV then appointed the Count de Guercy his permanent ambassador in England, and directed d'Eon to resume his former position as secretary of the embassy, with aome additional honours as a reward for his service.

When he was about to lose the post of plenipotentiary, he complained, and eventually decided to disobey orders to return to France. In his letter to the king, he claimed that the new ambassador had tried to drug him. In an effort to save his station in London, he published most of the secret diplomatic correspondence about his recall under the title "Lettres, mémoires, et négociations" in 1764, including an accusation against the Count de Guercy. The count brought an action against d'Eon in the Court of King's Bench for libel. d'Eon made neither an appearance nor a defence, and the verdict was given against him.

As a result, the French authorities were anxious to arrest him, and even sanctioned a forcible entry into a house in Scotland Yard, where he was supposed to be residing; but d'Eon eluded them. Towards the close of 1764, d'Eon charged the Count de Guercy of conspiracy to murder or injure him, In response, the count, instead of rebutting the charge, claimed his privileges as a foreign ambassador, thus the public formed the opinion that the conspiracy charge was perhaps justified.

To resolve the issue without further diplomatic incident, in 1766, Louis XV granted d'Eon a 12,000 livre annuity, provided be became a woman and continued to work as a spy, and lived in political exile in London.

After some speculation, in July 1777, an action was brought to the Courts seeking to determine the sex of d'Eon. Despite the fact that d'Éon wore his dragoon's uniform all the time, there were rumors that he was actually a woman and a betting pool was eventually started on the London Stock Exchange regarding the truth of his gender. The enormous sum of £70,000O was mentioned in connection with the pool. One man, on evidence which seemed to him convincing, had made a wager that d'Eon was a woman, and brought an action to recover the amount of the bet.

D'Eon was invited to give evidence to resolve the claim, but declined, saying that an examination would be dishonouring, whatever gender was discovered. After a year without progress, the wager was abandoned. From that time d'Eon became regarded as Madame d'Eon, and assumed female attire. In 1774, after the death of Louis XV, d'Éon tried to negotiate his return from exile. The French government's side of the negotiations were handled by the writer Pierre de Beaumarchais. D'Éon claimed that physically he was not a man, but a woman, and demanded that the government recognize him as a woman. King Louis XVI and his court complied but demanded that he dress appropriately and wear women's clothing. D'Éon agreed, especially when the king granted him funds for a new wardrobe. In 1777 d'Éon returned to France, and afterwards lived as a woman.

In 1779 d'Éon published his memoirs "La Vie Militaire, politique, et privée de Mademoiselle d'Eon". They were ghostwritten by a friend named La Fortelle, and are probably embellished. In them it was claimed d'Eon was born at Tonnerre, as female but, for the purpose of advancing his prospects in life was treated as a boy.

D'Éon returned to England in 1785, having lost his pension after the French Revolution. In 1792 he sent a letter to the French National Assembly, offering to lead a division of women soldiers against the Habsburgs, but the offer was rebuffed. He participated in fencing tournaments until he was seriously wounded in 1796. In 1805 he signed a contract for an autobiography, but the book was never published and he spent his last years with a widow, Mrs. Cole.

At length, on 22 May 1810, the news-papers announced that the 'celebrated Chevalier d'Eon' had died at the Millman Street Foundling Hospital. Sir Anthony Carlisle performed the autopsy. Thus it became decisively known that d'Eon was really a man but, for reasons known to himself, had passed himself off as a woman. 1364

Unknown - portrait of a naval officer


Neither the artist or sitter are known. 199

Thursday

Buck, Frederick - portrait of Hester Osborn


This miniature portrait is unsigned, but is painted in the distinctive style of Frederick Buck (1771-1840), an Irish artist who was born in Cork and also worked in Dublin. He painted many portraits of emigrants and their families. It has been said that he kept a supply of miniatures, especially of soldiers, completed apart from the head and then when army regiments were due to sail, he thus was able to complete and sell many miniatures in the short time before a ship sailed.

The sitter in this portrait has a strong American connection. According to the inscription on the reverse, the portrait was painted around 1820, she is the mother of Ann Osborne and was born in Ireland. Ann Osborne is described as marrying Benjamin Trott, becoming the mother of James Payson Trott, and the grandmother of Clifford Clarence Trott. This information has enabled the identification of the sitter as Hester Osborn (1800-?).

Research has shown that Ann Osborn (1828-?) married Benjamin Payson Trott (1815-?) on 21 Sep 1848 in Springfield, Essex, NJ, and then became respectively the mother of James Payson Trott (1852-), and the grandmother of Clifford Clarence Trott (4 Nov 1883-Sep 1965). The Internet contains family trees containing all these names.

By looking at immigration records and knowing that Ann's mother was born in Ireland, it has been possible to determine the probable family group that arrived in the United States, and thus the first name of this sitter, as an Ann Osborn (also recorded as Anna Osborn) arrived in New York from Bristol at age 5 on Aug 7 1833 on the ship "Woodman". The family included; Ann aged 5, Hannah 9, Hester 33, James 12, Jenny (possibly Jeremy) 7, Joseph 1, and William 3. Hester Osborn's husband does not seem to have accompanied her on this voyage, but an Osborn of unknown first name did arrive in New York on Jul 3 1832 on the "Prince Leboo", and so her husband may have preceded her.

Some records which appear to relate to Hester's other children can be found, although it is difficult to be sure. In the 1870 census Joseph Osborn then aged 38 and born in Ireland was living in Philadelphia.

Smith, Joachim - portrait of John Smart



These two identical bronze medals are of the miniature painter John Smart. The reverse is blank in both cases. In her book about John Smart, Daphne Foskett comments on the medal as follows.

"A medal bearing his portrait, modelled by Joachim Smith and cut by John Kirk, of which there are several versions, was struck in 1777, no doubt to celebrate the year he became Vice-President. At least two silver medals are known to exist, one engraved on the back "September 22, 1798". Several were struck in bronze, one in my own collection having "Sarah Neale" engraved on the reverse, and at least one has come to my attention made of a siver alloy." 681

Monday

Andras, Catherine - portrait of King George III


This miniature portrait is in wax and is signed below the bust "C Andras A D 1820". Catherine Andras (1775-1860) was a wax modeller who worked in London. This wax model of George III is recorded in Pyke's Dictionary. On the rear of the frame there is a typed note recording "Inside the back of this frame is the origimal receipt made out as follows :- Portrait of / His Late Majesty George the Third/ Modelled by Catherine Andras / Modeller in Wax to His Late Majesty / Published (?) as his aide directed July 4th 1821 / No. 30 Pall Mall / 2 Guineas". 1093

Friday

Harding, George - portrait of John Maynard


This miniature portrait is signed "G P Harding del 1811" for George Perfect Harding" (1780-1853). The portrait is inscribed "To John Maynard Kt". This appears to be a copy of the portrait of Sir John Maynard (1602-1690) by John Riley (1646-1691) that hangs in the NPG London. 175

Unknown - portrait of a man


This unsigned miniature portrait is oil on copper. Although included under British, it may be European. 328

A kind visitor has since left a comment wondering if it is by Cornelius Troost (1697-1750). Troost has been called "the Hogarth Hollandais" and the Watteau Hollandais", and of him the following has been written;
Cornelis Troost, the son of a goldsmith, first chose a profession as an actor, performing at the Amsterdam Theatre, c. 1717-24. His wife's family were theatre people, while his own family were artists. One of Troost's earliest works was his infamous drawing of 'Prince Eugene of Savoy in the brothel of Madame Teresa on Prinsengracht.' The prince was Austrian governor of the The Netherlands at the time. (‘Prins Eugenius van Savoye in het etablissement van Madame Traese op de Prinsengracht te Amsterdam,' Cornelis Troost (ca. 1720) Rijksmuseum, Amsterdam.)


Beginning in 1723 Troost studied under the eminent portrait painter, Arnold Boonen (1669-1729) and was, himself, initially predominately a portraitist. Finding quick success, by 1724, he received a commission for a life-size group portrait of 'The Inspectors of Collegium Medicum,' now in the Rijksmuseum, Amsterdam. The success of this work led to many other large works, though few survive intact. (Ref. 'Dutch Painting, 1600-1800,' Prof. Seymour Slive, The Yale University Press)


Troost never abandoned his thespian connections. From 1732, he produced a number of acclaimed depictions of theatrical scenes, as well as painting a number of stage sets for his old theatre, though none of the latter are known to survive. (Ref. J.W. Niemeijer, Cornelis Troost 1696-1750, Assen, 1973.) His study for Molière's 'Le Malade Imaginaire' was auctioned by Christie's in 2004, bringing £43,020 ($78,985).


Troost was also lauded for his conversation pieces and genre scenes. His best known work, his 'NELRI' series (1739-40), exhibited at Mauritshuis, The Hague, portrays a group of young bachelors at a reunion, beginning with a quiet evening, eventually ending with a scene long after midnight, in which the young men are all very drunk: a humorous work skillfully showing the emotional and physiological stages of inebriation. Sometimes Troost is referred to as the Dutch Hogarth, though his work never moralizes, emphasizing instead the humor of situations.


Fuchs describes Troost as "by far the most original and versatile artist of his age" (Fuchs, RH, 'Dutch painting,' 1978, Thames and Hudson, London, p. 144). A luscious self portrait by Troost may be seen by Googling 'Troost Self Rijksmuseum.' While there, take a look at his other works at that museum. Others may be seen in The Royal Picture Gallery at the Mauritshuis in Den Haag. 

Examples of miniatures by Troost appear to be uncommon, although he is listed in Blattel.

Thursday

Donaldson, John - portrait of William Pitt the Younger

Although unsigned, this miniature portrait has been attributed to John Donaldson (1737-1801), a Scottish artist who also worked in London.

One of the bracelet clips at the rear is engraved "Rt Hon'ble William Pitt" for William Pitt (28 May 1759 – 23 January 1806) the famous British Prime Minister of the late 18C. He was the son of William Pitt the Elder (1708-1778), who was Prime Minister of Great Britain (1766-1768).

William Pitt the Younger became the youngest ever Prime Minister of Great Britain between (1783-1801) and again between (1804-1806).

It appears from the clothing and wig style that Donaldson painted the portrait in the mid 1780's and has slightly emphasized Pitt's youth, as he has given him softer features than the 1787 Gainsborough portrait of Pitt.


Comparison can be made with three other large oil portraits of William Pitt the Younger, all painted around the period 1785-1790 which are illustrated here. The one on the right, painted by Thomas Gainsborough c1787, appears in William Hague's biography of William Pitt.

Thus the miniature was probably painted in 1784 or 1785, shortly after the time Pitt became Prime Minister in 1783.

Pitt never married and it seems possible that the miniature was painted at the request on his mother, who must have hoped he would marry.

In 1783 he was reputedly offered as a wife, the seventeen year old daughter of the fabulously rich French politician Jacques Necker, and much later in 1796 there was some expectation that he would marry Lady Eleanor Eden, the attractive daughter of Lord Eden.

The miniature is believed to be genuine, although it is difficult to be 100% sure. However, it should theoretically be possible to confirm or disprove the identity of William Pitt as the sitter, by taking a DNA sample from the lock of hair contained in the reverse of the locket.

The locket case with the hair back is similar to, but less elaborate than one of similar date on page 325 of Foskett. The engraved bracelet clips on this miniature appear to have been added slightly later. This was not uncommon and there are various miniatures in this collection that had bracelet clips or brooch pins added after the date of the original miniature.

For much more about William Pitt, see William Pitt the Younger - Wikipedia, the free encyclopedia

For a second miniature of William Pitt in this collection see View 1135

Wednesday

Thomson, William J - portrait of John Gloag


This miniature is signed and dated 1814 on the reverse. The artist is William John Thomson (1771-1845). He was born in Savannah in the United States, but for much of life he worked in Edinburgh, Scotland. The sitter is identified as John Gloag. 931

Unknown - portrait of Sir Walter Scott



This miniature portrait is by an unknown artist, but the sitter is Sir Walter Scott, the famous Scottish author. 985

Tuesday

Stevenson, William - portrait of Seth William Stevenson

The painter of this miniature portrait is not known for sure. However, if the sitter is aged 36 or less in the miniature, and with the help of a kind visitor as noted further below, it is most likely painted by his father, William Stevenson. Thus for the purpose of this description, he is considered to be aged 36!

It it is inscribed on the reverse "celebrated numismatologist. Stevenson, Norwich. Father of Adelaide who married John Deighton of Cambridge." Thus the sitter is identified as Seth William Stevenson (1785 – 1853) who wrote a 929 page book entitled "Dictionary of Roman Coins". This was published in 1889 after his death and remained in print for about another 100 years.

In the 1851 census, Seth William Stevenson was a widower, his wife being Mary (1801- <1851). He was then aged 63 and is recorded as the co-proprietor and editor of the Norfolk Chronicle weekly journal. In 1851 he lived at 173 Surrey Street Norwich, along with his daughter Adelaide, then aged 21 and his son Henry aged 18 who later assisted completion of the book after his father's death. 1061.

A kind visitor has provided the following extra information;
"Did you know that Seth William Stevenson’s father was a miniature painter ? Apparently he trained at the Royal Academy and was a pupil of Rubens. William Stevenson lived from 1749 to 1821 He was also a publisher and author and Sheriff of Norwich in 1799. He was Co-proprietor of the Norfolk Chronicle. There is a substantial monumental inscription to William and his wife in St Stephen’s church in Norwich.

His son Seth William Stevenson (1785 – 1853) succeeded his father as proprietor and virtual editor of the Chronicle. He also served in the office of Sheriff of Norwich in 1828, and as Mayor in 1832.

Upon Seth’s death his son Henry Stevenson (1832/3) succeeded him as Proprietor of the Chronicle and served as Sheriff of Norwich in 1875. He retired before his death in 1888 and died a chronic alcoholic. Henry Stevenson was widowed from his first wife and then married my great aunt, Ann Emilia Self.

In family documents there are references to the Stevenson family silver, much of which is owned by descendants within my family in New Zealand. By all accounts they were wealthy. My great grandmother also writes of ‘exquisite miniatures, & family portraits’ in the Stevenson estate."

Dixon, Annie - portrait of a youg girl


This miniature portrait is inscribed on the reverse, "by Miss Dixon Horncastle and No. 5 Fitz Roy House(?), Fitz Roy Square". The name of the sitter is also shown, but unfortunately a previous owner has crossed this out so it is illegible. This probably happened when it was sold out of the family. 302

Dixon, Annie - portrait of young girl


This miniature portrait is signed on the reverse, "Portrait painted by Miss A Dixon, Horncastle". This is for Annie Dixon (1817-1901). The sitter is unknown. 303

Macleay, Kenneth - portrait of a lady


This miniature portrait is signed 'K MLeay 1834" for Kenneth Macleay (1802 -1878) . The sitter is unidentified. 301

Tayler, Charles Foot - portrait of old lady




Both these miniature portraits are signed "C F Tayler 1820" for Charles Foot Tayler (1800 - 1853). He came from the Isle of Wight, but painted in Bath for many years. The portraits are interesting, as they would have been painted at the same time, but for different members of the sitter's family. One came from California and one from Kent, England, so it was nice to reunite them.

The sitter is unknown, but one of them has an inscription on the rear "Princess of Stacia. Painted by C F Taylor 1820". However, this name has not yet been traced. 1106, 1187

Tayler, Charles Foot - portrait of a young man


This miniature portrait is signed "C F Tayler 1821" for Charles Foot Tayler (1800-1853). The sitter is unknown. 24

Durham, Cornelius Bevis - portrait of a young man


This miniature portrait is signed by Cornelius Bevis Durham (7 Jun 1809-1884) and active (1825-1865). He was born in St Clements Dane, Middlesex and died in Christchurch, Hampshire in June 1884.

Durham can be tracked quite readily through the census records but a decline in his income due to competition from photography seems to become apparent. In 1841 he lives in Marylebone with his wife, Mary, three son, one also named Cornelius aged 4, the others being Edmund, 3 and Francis, 1 and there are also two female servants.

In 1851 he is an artist living in Marylebone with his first wife Mary, but only one son George aged 3 and one servant. However, he also seems to have various relatives or lodgers living with him, including a bazaar keeper and a newspaper seller.

In the 1861 and 1871 census records Durham describes himself as an artist and is now living near Brighton Pavilion in a large household, headed by his cousin Martha Phillips, who is a wealthy tea merchant. Mary his wife is there in 1861, but in 1871 he is a widower.

Durham can also be found in the 1881 census, but is now living in New Barnet with his son George and he gives his occupation as miniature painter. This is the only time he has used the occupation of miniature painter in the census records, all other times stating it as artist. He is then aged 71. His place of birth was St Clement Danes, Middlesex. He has remarried, this time to Mary Ann Upfill in 1872. He died in 1884.

The sitter is unknown. 87

Hamlet, T - portrait of a man


This miniature profile portrait is by T Hamlet. On the reverse there is most of his trade label. It is headed by the Royal Coat of Arms and under that reads;
"Hamlet, Miniature and Profile Painter to Her Majesty and the Royal Family, No 2 Old Bond Streeet Bath, takes the most striking likenesses on glass, paper, or ivory. A sitting of only one minute required. Large Shades reduced to any size. Profiles in Black from 2s 6d to L 1. 1s. Coloured from 10s 6d to L3. 3s. Prepared ivories for miniature painting and miniature Frames for sale. Ladies and Gentlemen waited on. Wood & Co. City Printing Office Bath."
The sitter is unknown. 295

Hancock, Robert - portrait of a lady


This miniature profile portrait is inscribed on the reverse, "Painted 28th Sept 1824 by R Hancock - very like". This is probably the Robert Hancock who lived in Bristol. It seems likely that the unidentified sitter is a sister or other close relative of the adjacent portrait. 552

Hancock, Robert - portrait of a lady


This miniature profile portrait is inscribed on the reverse "Painted 29 Sept 1824. Very like". As the adjacent portrait is signed Robert Hancock in the same hand writing, this portrait must also be by him. The two sitters are most likely sisters, but their identities are unknown. 554

Unknown - portrait of a lady


The artist and sitter are unknown, but this miniature portrait may be by Richard Crosse. 139

Various - portraits of Kingsley family


This group of miniature portraits are contained within a single frame. The sitters are all identified by very old notes inside the frame. The sitters include two ancestors of the famous writer Charles Kingsley who wrote "The Water Babies" and other books. Depicted are his father (bottom right) and his grandmother (top left). The other three images are believed to be related by marriage.

The man in the centre is James Wills and the following notes about him and his descendants are included in case they are of any interest to genealogists.

"James Wills who died 1731 married Martha Curtis and left 2 sons. (1) Godfrey, his heir - Lt Col Roscommon Militia (2) Robert of Annalee Co Carlow, and two daughters of whom one married Mr Lennox (?) a banker.

(Col) Godfrey Wills married (first) Sarah Montgomery of Ballinlongious (?) Co Monaghan - their children were (sons); (1) Thomas, his heir (2) Robert married Miss Dowely (?) (3) Caspar married Mr Carter's daughter. Daughters (1) Elizabeth married Thomas Mitchell of Castle Strange (?) Co Roscommon (2) Martha married Charles Wood of Larkfield Co Sligo (3) Sarah married Sir Ralph Fetherstone of Ardagh (4) Catherine married Ralph Owens (?) of Longford. (5) Susan married William Fetherstone of Carrick.

Col (Godfrey) Wills married secondly Charlotte Elizabeth, daughter of Luke Stirling of Mount Dutton Co Meath & had by her (4) (ie a fourth son) James Wills of Plas Bellin, who married Miss Kingsley. (5) Charles (6) Ann married William Berry of Eglish (?) Castle Kings Co.

Col Wills was succeeded by his eldest son, Thomas Wills of Willsgrove (?) who married in 1765 Jane Talbot - their children were (1) William Robert born 1779. (2) Sarah married Rev William McLoughlin (2) Elizabeth died unmarried (3) Ann married W D Burleigh, their son afterwards married the daughter of James Wills of Plas Bellin. (4) Jane died unmarried.

Godfrey the second of William & Susan Fetherstone, married in 1824 Matilda daughter of Rev Stephen Radcliff & his (her?) youngest sister Elizabeth married as her second husband, Rev Stephen Ratcliffe. Painewick (?) 30th July 1914.

The rear of the frame has a note saying "For my nephew Cecil Burleigh in New Zealand". 18

Unknown - portrait of James Wills

This unsigned miniature portrait is painted in enamel on copper. As it was painted around 1715-1725, the most likely artist was originally thought to be Christian Friederick Zincke (1683/4-1767), as there were very few painters in England painting enamel miniatures at this time. However, a kind and knowledgeable visitor to the website, advises it is not by Zincke, thus the artist is currently unknown.

The sitter is identified as "Jas Wills, grandfather of Jas Wills of Plas Bellin, died 1730". He is either the father or the grandfather of the James Wills in the portrait below which is signed Collins".
A marriage record has been found for him as James Wills (1675-1731) who married Martha Curtis of Dublin before 1723. In fact their marriage was probably closer to 1700, as their elder son Godfrey Wills married first, Sarah Montgomery on 6 Sep 1731. Godfrey Wills then married, second, Charlotte Elizabeth Stirling of Dublin on 6 Jun 1771. Godfrey and Sarah had a son called James Wills, who married Lucretia Ann Kingsley on 23 Nov 1801. Lucretia was the aunt of the author Charles Kinglsey.
There is a reference to a huge Elizabethan country house called Plas Bellin that is now a family refuge centre, see BBC - Beyond the Broadcast - Changing Places , but James Wills has not yet been confirmed as the owner in the 18C. 18a

Later June 2016
Further to my comment below, Tom, a very kind visitor has also sent me a chart of the relationship from James Wills to Christopher Plummer. Tom adds; As you can see, he is actually well connected - The Sarah Montgomery goes back to brother of the American Rev. War General. The Orme goes back to a minor titled family. The Swift - Christopher is 1st cousin 7 times removed to Jonathan Swift. And Isabella Abbott was grand-daughter of a Canadian Prime Minister. So the Wills family is in good company, one might say...

Collins, Samuel - portrait of James Wills


This miniature portrait is signed "Collins" for Samuel Collins (1735-1768). The sitter is identified on several notes within the overall frame, as James Wills. However, there are conflicts within the notes, as one describes him as the son of the James Wills who died in 1731 and another describes him as a grandson. Judging upon his age and costume, it would seem more likely he is a son of the earlier James Wills. The notes mentioning him read as follows.

"James Wills, son of above and father of Robert, Godfrey, Lucretia E (Burleigh) and Charlotte Wills. Died 1854 age 83."

"James Wills 2 married Lucretia Anne Kingsley, had issue Robert Wills, Godfrey Wills, Lucretia m W Burleigh, Charlotte. He died 1854 aged 83."

If he died on 1854 at age 83, he would have been born in 1771, but the artist Samuel Collins died in 1768 and the costume of the sitter is from around 1765. Thus it seems more likely that the sitter is a generation older than the notes suggest. It seems more likely that he is Godfrey Wills, the son of the James Wills who died in 1731 and the father of the younger James Wills. Godfrey Wills married second, Charlotte Elizabeth Stirling on 6 Jun 1771.

Another alternative that could fit the chronology associated with his age and costume, is that he is the Charles Kingsley (1743-1786) who married Elizabeth Ann Westney (1747-?), the sitter in the next portrait, on 24 Nov 1778. This would make him the grandfather of the author, Charles Kingsley. 18b

Crosse, Richard - portrait of Elizabeth Kingsley


This miniature portrait is unsigned, but it has been attributed to Richard Crosse (1742-1810). The sitter is identified by several notes inside the rear of the group frame.

"Elizabeth Westney, wife of Charles Kingsley Esq of Lymington, Hants, mother of the Rev C Kingsley of Chelsea and of Lucretia A Wills, wife of James Wills of Plus Bellin, Wales."

"Elizabeth Kingsley nee Westney married Charles Kinglsey of Lymington, mother of Rev C Kinglsey of Chelsea & Lucretia Ann Wills, wife of James Wills."

Her marriage record has been located for 24 Nov 1778, at St Anne Soho. Lomdon. Her son Charles Kingsley (1781-1860) was born on 23 Oct 1781. He was the father of the author Charles Kingsley, thus Elizabeth was the author's grandmother. 18c

Unknown - portrait of Major Stirling


This miniature portrait is unsigned. The sitter is idneitfied on notes inside the group frame as Major Stirling.

"Major Stirling, uncle of James Mills of Plas Bellin."

"Major Stirling, uncle of James Wills (2) of Plas Bellin Northop Wales."

It seems that he must have been a brother of the Charlotte Elizabeth Stirling who married Godfrey Wills on 6 Jun 1771.

There was a Major Stirling with the 42nd Highland Regiment, the Black Watch, who acted heroically in Egypt during the Nile Campaign, but it is not known if this is the same Major Stirling. 18d

Unknown - portrait of Rev Charles Kingsley


This miniature portrait is unsigned. The sitter is identified by notes inside the group frame as Rev Charles Kingsley.

"Rev C Kingsley of Bottomsby (?) and Chelsea. Brother of Lucretia A Wills and father of Rev C Kingsley, of George and Henry and George Kingsley."

"Rev Charles Kingsley of Chelsea, father of Canon Charles Kingsley, rector of Eversley and brother of Lucretia A Wills (nee Kinglsey) - uncle of Robert, Godfrey, Lucretia and Charlotte Wills. Lucretia E Wills married William Burleigh of St Catherines Carrickfergus."

The Rev Charles Kingsley (1781-1860) married Mary Lucas (1782-1873) in 1808 at Christchurch Parish in Barbados. They had five sons and a daughter. The author Charles Kingsley (1819-1875) was the eldest of their sons. For more about him see Charles Kingsley 18e

Unknown - portrait of a lady


Although neither the artist who painted this miniature portrait, nor the sitter are known, it is of very high quality for a profile portrait. On the reverse of the frame the date 1824 has been scratched and that seems a likely date. It is most probably British, but could possibly be American. 598

Uwins, Thomas - portrait of Lady Collins


This miniature portrait is by Thomas Uwins (1782-1857). On the reverse is is inscribed "Lady Collins. Painted by Thos Uwins Oct 1816". 341

Thompson, Thomas - portrait of a man


This miniature portrait is signed with the initials "T T ", and it has been attributed to Thomas Clement Thompson (1778-1857). The initials of the sitter "R A C" are on the reverse in gold filigree. 400

Buck, Frederick - portrait of a man

Although this miniature is unsigned, it appears to be painted in the distinctive style of Frederick Buck (1771-1840) of, Cork, Ireland.

Daphne Foskett comments; "During the Peninuslar War, when Cork was a busy port of embarkation, his services were in great demand to paint portraits of officers. In order to keep pace with demand, he kept a supply of painted ivories to which he added the heads and regimental facings as required."

and "His work is not as good as his brother Adam Buck and the features are often badly drawn and modelled; he used a rather hot colouring which looks hard and reflects the haste with which he so often painted. He sometimes painted cloudy sky backgrounds on the reverse of the ivory which he left blank on the front."

The design of the reverse of the case, is often found on Irish miniatures and this form of case design made its way across the Atlantic with Irish artists who emigrated to the United States.

However, a kind visitor has also suggested that another potential artist for the miniature may instead be by Henry Kirchhoffer (1781-1860) who was also from Ireland and painted in a somewhat similar style, although he was a little more original than the "cookie-cutter" style of Frederick Buck.

In the meantime, both names are offered for any further comment.

The reverse has the initials of the sitter "E J" in filigree gold, but otherwise the sitter is unknown. 644