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those in the coffin. The matching images and words created a type of bond, allowed surviving family to feel closer to their loved one. A shift in the eighteenth century from mourning death to celebrating life marked a change in the meaning behind tokens carrying morbid inscriptions and images. No longer did the tokens represent the bond between the departed and those left behind, they now represented a grim realization of mortality. The idea of gender also affected the view of mourning tokens; women were viewed as more emotional to carry tokens and society frowned upon men who carried such tokens. If men were to carry a token of a beloved one, an image of life rather than death would prove to be more becoming.
558:. Young soldiers sent to India were often done so under the impression that their tour of duty would elevate their status in society, secure a promotion, and prepare them for marriage upon their return. The climate in British occupied India proved to be harsh on complexion and many in British society regarded the physical change harshly. Young men had their portrait commissioned upon arrival to India for mothers, sisters, and spouses to prove that their health and safety were of no concern. The portraits were commissioned by the soldiers to send back to families, many of the portrait miniatures were created by British artists temporarily in India. One such artist was John Smart. Smart spent 1785-1795 in
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723:(1486-1502) with the Treaty of Medina del Campo in 1489. The promise of marriage commenced in the exchange of gifts including jewels and portrait miniatures of the young couple. The popularity of portrait miniatures to commemorate the promise of marriage began to circulate in each court soon after, especially Spain. The tokens of portrait miniatures to commemorate an alliance through marriage were considered extremely intimate and personal to the betrothed couple as well as their families. In Spain as well as the English courts, portrait miniatures were often adorned in jewels or kept in elaborate lockets that could either be concealed or taken out and admired on a whim.
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German artists adopted copper as a medium further enhancing the images. Over time, only elite could afford the copper, forcing artists to stretched vellum, ivory, or paper. Dutch and German miniatures were painted in oil, and as a rule these are on copper; and there are portraits in the same medium, and often on the same material, attributed to many of the great
Italian artists, notably those of the Bologna school. Samuel Cooper is said to have executed a few paintings in oil on copper. Beginning in the mid-17th century, many watercolors were conducted with vitreous enamel.
873:
483:(1742–1821) is the most famous. His works are of great beauty, and executed with a dash and brilliance which no other artist equalled. His best work was done about 1799. His portraits are generally on ivory, although occasionally he worked on paper or vellum, and he produced a great many full-length pencil drawings on paper, in which he slightly tinted the faces and hands, and these he called "stayned drawings". Cosway's finest miniatures are signed on the back; there is but one genuine signed on the face; very few bear even his initials on the front.
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971:, Department of Costumes and Textiles discovered a series for portrait miniatures from England dating from the 1650s that appear to show the same woman in dress. The woman bore a striking resemblance to English monarch Charles I (1600-1649), who was executed in 1649. The king remained popular with a group of followers after his execution and many found subtle ways to honor the king. This discovery is only a glimpse as to how portrait miniatures could also serve as a way to commemorate loss as well as loyalty.
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Shipment of ivory portrait miniatures were often taxed more heavily because of the higher risk of damage or loss. Due to the importance placed on status and the cost of shipping, many scholars have concluded the portrait miniatures not only point to the new methods of artistry but also the cultural history of the portrait miniature in
Colonial India.
269:–1617) was the pupil of Hilliard. Peter (1594–1647) was the pupil of Isaac. The two men were the earliest to give roundness and form to the faces they painted. They signed their best works in monogram, and painted not only very small miniatures, but larger ones measuring as much as 10 in × 9 in (250 mm × 230 mm). They copied for
240:–1619), whose work was conservative in style but very sensitive to the character of the sitter; his best works are beautifully executed. The colours are opaque, and gold is used to heighten the effect, while the paintings are on card. They are often signed, and have frequently also a Latin motto upon them. Hilliard worked for a while in
98:. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, especially in France. In the 18th century, miniatures were painted with watercolour on ivory, which had now become relatively cheap. As small in size as 40 mm Ă— 30 mm, portrait miniatures were often fitted into
726:
The
Spanish painter Francisco Goya (1746-1828) is known to have painted portrait miniatures for mourning and weddings beginning in 1806. The main medium used by Goya was oil but he was also commissioned for pencil miniatures. Between 1824 and 1825, Goya recorded over 40 miniature commissions on ivory
722:
Portrait miniatures were used in the
Spanish court in the late 15th century, beginning with the political alliance between Henry VII of England (r. 1485-1509) and Ferdinand of Aragon (r. 1479-1519). The alliance celebrated the match between Catherine of Aragon (1485-1536) and Prince Arthur of England
966:
Costume overlays were a technique in which artists were commissioned to paint a subject in costume or altered state of dress to hide the identity. Typically the portrait was commissioned with a thin removable overlay made from mica to conceal the identity of the subject. Concealing the identity of a
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where he was highly sought after by
British soldiers. Portrait miniatures commissioned in Colonial India made from ivory are very different from the ones created with canvas and oil; not only due to the cost of the commission themselves but also due to the fragility and risk of packing and shipment.
915:
was a method created in Italy during the 16th century. There is debate as to whether this method was attributed to
Italian artists or Dutch artists. During the 17th, 18th, and 19th centuries, portrait miniature artist used enamel with a copper support in Germany, Portugal, and Spain. Many Dutch and
164:
France also had a strong tradition of miniatures, centred on the court, although this came to concentrate in the mid-16th century on larger images, about the range of sizes of the modern paperback book, which might not qualify as miniatures in the usual sense. These might be paintings, or finished
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Setting himself up as a miniature painter, he acquired an extensive and fashionable practice, patronized, says John O'Keeffe in his "Recollections", by ladies of the first rank, and making "a power of money by his pencil." From 1765 to 1768 he was living in
Parliament Street, Dublin, then at No. 1
446:
specialized in miniature painting (often 40 mm Ă— 30 mm or approximately 1-1.5 inches, or in many case, oval or round in shape) in the second half of the 18th century and was appointed
Miniature Painter to the Danish Court in 1769. He also worked at several other European courts and won a
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in the mid 18th century. Portrait miniatures honoring the deceased could take many forms, such as rings, brooches, lockets, and small frame pictures. Prior to portrait miniatures, loved ones often received tokens of the deceased in the form of rings or lockets with inscriptions or images matching
413:
rented two rooms at White's to temporarily hold his huge collection of portraits done by
Hilliard, the Olivers, Samuel Cooper, and others. The entire house burned down; the number of paintings destroyed was so large that the ashes were carefully sifted to recover the gold from the incinerated
863:
The first miniature portraits documented in
Colonial America first appeared in the 1750s and may have appeared before then. These portraits were usually commissioned to remember someone who died suddenly from illness at a young age. The family of a twelve year old named Hannah had a locket
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is a very thin mineral that can be shaved to transparent pieces also known at the time as 'talc'. The paper thin material could be painted on with oil and placed over the portrait miniature so that the holder of the portrait miniature could dress up the subject or disguise the portrait.
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commissioned to make her look like she did before she become ill. The locket carried a portrait of the young girl and had angel wings above her with the words "NOT LOST" written on the side. Portraits such as these carried hope and remembrance instead of the stigma of constant sorrow.
337:, and very little is known of his career. His work has a superb breadth and dignity, and has been well called life-size work in little. His portraits of the men of the Puritan epoch are remarkable for their truth to life and strength of handling. He painted upon card, chicken skin and
509:– 1811) was in some respects the greatest of the 18th-century miniaturists. His work was hailed by contemporaries for his excellence in refinement, power and delicacy; its silky texture and elaborate finish, and the artists love for a brown background. Other notable painters were
1767:
Veiga, Alfredina; Mirão, José; Candeias, António J.; Simões Rodrigues, Paulo; Martins Teixeira, Dora; Muralha, Vânia S. F.; Ginja Teixeira, Jorge (2014-08-14). "Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM-EDS".
727:
while most portrait miniature artists dotted color onto the ivory, Goya shaped the lines of miniatures using water. Goya claimed his shaping technique was innovative and far different from the 'accidental' ink wash technique developed in 1800s England by Alexander Cozens.
602:
also painters, created a style of miniature portrait, which consisted of slightly larger portrait miniatures measuring 9 in Ă— 7 in (23 cm Ă— 18 cm). Robertson's style became dominant in Britain by the middle of the nineteenth century.
75:, gave large numbers as diplomatic or political gifts. They were especially likely to be painted when a family member was going to be absent for significant periods, whether a husband or son going to war or emigrating, or a daughter getting married.
815:. Nemoede Casterton used thin sheets of ivory rather than canvas for her paintings, a common practice among miniature portraitists. Around 1900, the United States experienced a revival of miniature portraiture, marked by the 1899 foundation of the
738:
played an important role in Swedish art at the end of the 18th century and beginning of the 19th. He produced around 600 portrait miniatures, and received commissions ranging from members of the lower bourgeoisie to the royal court.
341:, and on two occasions upon thin pieces of mutton bone. The use of ivory was not introduced until long after his time. His work is frequently signed with his initials, generally in gold, and very often with the addition of the date.
967:
miniature would have been necessary if the subject was an unpopular ruler, potentially causing harm if a person was caught carrying the picture. One such example is painting over a portrait in costume to hide the original portrait.
497:
produced some lovely portraits. The brightness of the eyes, wiriness of the hair, exuberance of colour, combined with forced chiaroscuro and often very inaccurate drawing, are characteristics of Andrew Plimer's work.
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He contributed miniatures to the Society of Artists in Dublin from 1765 to 1773. Shortly before his death he moved to Cork Hill, Dublin, and there died on 16 December 1775, aged 36. He was buried on 18 December at
63:, and were popular among 16th-century elites, mainly in England and France, and spread across the rest of Europe from the middle of the 18th century, remaining highly popular until the development of
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and others; but of their work in portraiture we have little trace at the present day, although there are many portraits and a vast number of drawings attributed to them. The seven portraits in the
1088:. Sociedad Hispano-Portuguesa de Estudios Renacentistas Ingleses= Sociedade Hispano-Portuguesa de Estudos Renascentistas Ingleses = Spanish and Portuguese Society for English Renaissance Studies.
1610:
787:, was known for her portraits of New York socialites and European royalty in the last decade of the 19th century. Recipients of her watercolor on ivory portraits included
932:. Many of these artists were either Frenchmen or Swiss, but most of them visited England and worked there for a while. The greatest English enamel portrait painter was
1021:
654:. In the foreground, the artist's pencils, brushes, and tools for painting miniatures can be seen. Watercolour on ivory, 19.1 Ă— 13.5 cm (7.52 Ă— 5.31 in), 1817,
357:
118:, which had been superseded for the purposes of book illustration by techniques such as woodprints and calc printing. The earliest portrait miniaturists were famous
901:
During the 18th century, watercolour on ivory became the standard medium. The use of ivory was first adopted in around 1700, during the latter part of the reign of
543:
Portrait of a Member of the Tayler Family in 1787, by John Smart. Smart painted similar miniatures for British Soldiers in India during the late 18th century.
315:(died 1664) was followed by a son of the same name, who was known to have been living in 1700, since a miniature signed by him and bearing that date is in the
102:, inside watch-covers or pieces of jewellery so that they could be carried on the person. Others were framed with stands or hung on a wall, or fitted into
1708:. Yale University. Art Gallery., Gibbes Museum of Art (Charleston, S.C.), Addison Gallery of American Art. New Haven, Conn.: Yale University Art Gallery.
2017:
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in London carry a vast number of portrait miniatures among their larger portrait collections, many are also accessible to the public for online viewing.
329:(1609–1672) was a nephew and student of the elder Hoskins, and is considered the greatest English portrait miniaturist. He spent much of his time in
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from 1802 of which Beethoven was particularly fond—possibly because it presents him to a more handsome appearance than most other portraits.
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and her sister Betsey created portraits that included "dressed miniatures", with fabric, ribbons, and lace affixed to the images. Miniaturist
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in the mid-19th century. They were usually intimate gifts given within the family, or by hopeful males in courtship, but some rulers, such as
1346:
1618:
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The English style of portrait miniatures was also exported to the American colonies; among the earliest recorded American miniaturists is
1496:. Bray, Xavier,, Mena, Manuela,, Gayford, Thomas,, Goudie, Allison,, Wilson-Bareau, Juliet,, National Gallery (Great Britain). London.
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Throughout the course of history, mourners have carried portraits with them to honor loved ones; this practice made its way to
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of Capel Street, Dublin, where he was employed in colouring the basso-relievo prints of birds and flowers produced by Dixon.
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as Denmark's premier proponent of the special trade of miniature portraits. Among his most known works are a portrait of
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The portrait miniature was also used as a tool for notoriety, respect, and promotion especially for the British in
940:.Enamel stayed a consistent and robust alternative to portrait art miniatures during the 18th and 19th centuries.
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Example of portrait with several costume overlays are available online via the Los Angeles County Museum of Art.
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and his court are exceedingly fine, and perhaps no other Frenchman painted miniatures so well as did Augustin.
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252:(died 1640); his technique was similar to that of his father, but bolder, and his miniatures richer in colour.
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A number of museums display miniature original oil paintings including the Museum of Arts in Boston and the
936:(1755–1839). A great collection of his small enamel reproductions of celebrated paintings is in the British
82:, or (especially in England) on playing cards trimmed to the shape required. The technique was often called
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Juan Pantoja de la Cruz and the Circulation of Gifts Between the English and Spanish Courts in 1604/5
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Vellum or primed calf-skin was considered an easy alternative to copper in the seventeenth century.
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1607–1691 was the greatest worker in this material, and painted his finest portraits in Paris for
1982:
The Eighteenth and Early Nineteenth Century Miniatures in the Collection of Her Majesty the Queen
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348:(died 1660), who painted a series of portraits of the children of the king and queen of Bohemia;
326:
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mostly painted portrait miniatures, and moved to England, where her predecessor as court artist,
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Dame Street, Dublin, at the house of Stock the hosier, and afterwards in College Green, Dublin.
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1963:
The Sixteenth and Seventeenth-Century Miniatures in the Collection of Her Majesty the Queen
1848:"Daniel's Cleopatra and Lady Anne Clifford: From a Jacobean Portrait to Modern Performance"
1822:"An Unknown woman (Portrait miniature with mica overlays) | V&A Search the Collections"
1777:
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803:. One of the most famous miniature painters in American during the eighteenth century was
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family are by many persons grouped as miniatures, and some of the later French artists, as
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156:, self-portrait (1450). The earliest portrait miniature, and possibly the earliest formal
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Costume is the key : seventeenth century miniature portraits with costume overlays
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On 28 April 1733, there was a terrible destruction of portrait miniatures in a fire at
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775:(died 1761), the first American woman to work in the form. In the late 18th century,
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807:. Many of the most prominent examples were produced by women artists, among them
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202:) are assigned to the eider Clouet; and to them may be added a fine work, in the
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2011:
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702:, executed miniature portraits. The popular artists in France, however, were
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924:. His son succeeded him in the same profession. Other artists in enamel were
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273:(1600–1649) on a small scale many of his famous pictures by the old masters.
219:
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1223:
1207:"Sojourning Scots and the Portrait Miniature in Colonial India, 1770s-1780s"
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59:. Portrait miniatures developed out of the techniques of the miniatures in
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As distinct from self-portraits inserted into religious or other scenes.
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The 18th century produced a great number of miniature painters, of whom
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891:, chicken-skin or cardboard, or by Hilliard and others on the backs of
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406:
402:. They drew with exquisite detail and great effect on paper or vellum.
361:
2053:
1439:. Benezit Dictionary of Artists. Oxford University Press. 2011-10-31.
1417:. Benezit Dictionary of Artists. Oxford University Press. 2011-10-31.
1395:. Benezit Dictionary of Artists. Oxford University Press. 2011-10-31.
1282:. Benezit Dictionary of Artists. Oxford University Press. 2011-10-31.
427:
244:, and he is probably identical with the painter alluded to in 1577 as
1789:
521:(c1750–1808), whose best pictures are groups of two or more persons,
1328:
A history of miniature art: with notes on collectors and collections
1120:
895:, and also on very thin vellum closely mounted on to playing cards.
390:, as it was called at that time) must not be overlooked, especially
776:
489:(1750–1829) painted 4,900 miniatures; it is often signed E or G.E.
44:
1766:
380:, the latter two notable in connection with the foundation of the
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in George's Lane, Dublin, and was also an apprentice or pupil of
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48:
19:
1481:
http://www.libraryireland.com/irishartists/gustavus-hamilton.php
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holding a diamond set portrait miniature pendant of his father
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493:(1763–1837) was a pupil of Cosway, and both he and his brother
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241:
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79:
32:
1706:
Love and loss : American portrait and mourning miniatures
1155:
Elizabethan treasures : miniatures by Hilliard and Oliver
78:
The first miniaturists used watercolour to paint on stretched
571:
330:
1846:
Arshad, Yasmin; Hackett, Helen; Whipday, Emma (2015-12-31).
1699:
1697:
1695:
142:
was another Netherlandish miniature painter at the court of
1479:
A Dictionary of Irish Artists. Walter G. Strickland. 1913.
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considerable international reputation. He was succeeded by
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1692:
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Portrait miniatures painted on enamel in oil with copper
2054:
Gornji Milanovac International Biennale of the Miniature
1674:
229:
The first famous native English portrait miniaturist is
2012:
Artists and Ancestors – A Miniature Portrait Collection
811:, who was selected to show her work in the prestigious
678:; but the greatest names active in France are those of
1010:
International Biennial of Miniature Art (since 2000),
1000:
International Biennial of Miniature Art (since 1989),
1581:"The Way Sisters: Miniaturists of the Early Republic"
1321:
1951:
1845:
1741:"Collecting guide: Portrait miniatures | Christie's"
1703:
851:
Portrait Miniatures and Mourning in Colonial America
1109:""Secret" Arts: Elizabethan Miniatures and Sonnets"
299:Other miniaturists at about the same date included
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1047:
1913:
1234:20.500.11820/34da79b4-7089-4d12-99c5-e3ef9be65083
2065:
1960:
1646:. New York City: Hamersly & Co. p. 326.
165:drawings with some colour, and were produced by
2059:G Engleheart Pinxit 1773–1818 A Practical Guide
1979:
1932:
1083:
2044:Collecting and Researching Miniature Portraits
2006:Victoria and Albert Museum, miniatures gallery
843:was simultaneously a portrait miniaturist and
218:. Others whose names might be mentioned were
1886:
690:of Austria. The tiny pictures painted by the
662:In the 18th century we know of miniatures by
27:with 18th-century portrait miniatures at the
1445:10.1093/benz/9780199773787.article.b00153806
1423:10.1093/benz/9780199773787.article.b00170809
1401:10.1093/benz/9780199773787.article.b00043148
1300:
1288:10.1093/benz/9780199773787.article.b00087717
179:The earliest French miniature painters were
1528:) CS1 maint: multiple names: authors list (
867:
831:. This has been reflected more recently by
1532:) CS1 maint: numeric names: authors list (
1524:: CS1 maint: location missing publisher (
1185:: CS1 maint: location missing publisher (
417:
344:Other miniaturists of this period include
114:The portrait miniature developed from the
1984:. Cambridge: Cambridge University Press.
1952:Lounsbery, Elizabeth (January 15, 1917).
1863:
1797:
1608:
1232:
1222:
1325:(1887). "fire at White's Coffee House".
1301:Ashton, John (1898). "fire at White's".
1259:painted a small probable self-portrait,
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887:The earliest miniatures were painted on
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18:
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877:Pedro Afonso, Prince Imperial of Brazil
364:. They are followed by such artists as
2066:
2018:"The Origin of the Portrait Miniature"
1918:. London: Victoria and Albert Museum.
1307:. London: Duckworth & Co. p.
1211:Journal for Eighteenth-Century Studies
817:American Society of Miniature Painters
2049:Copy, Fake, and Decorative Miniatures
1762:
1760:
1735:
1733:
1459:"A History of the Portrait Miniature"
614:(b. 1739, d. 1775) was instructed by
1937:. London: Antique Collectors' Club.
1643:Who's Who in New York City and State
1602:
1200:
1198:
1196:
1148:
1146:
1079:
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1043:
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321:James FitzJames, 1st Duke of Berwick
282:Portrait Miniature of Margaret Roper
248:. Hilliard was succeeded by his son
1656:Fowler, Betty Alice (31 May 2002).
1492:Goya, Francisco, 1746-1828 (2015).
987:in Washington, D.C. as well as the
819:and the success of artists such as
746:Anton Ulrik Berndes, self-portrait.
13:
1757:
1730:
1370:. Art Experts, Inc. Archived from
1331:. Macmillan and Company. pp.
1304:The history of gambling in England
1262:Portrait of a Man (Self Portrait?)
1052:. London: V & A Publications.
983:when it is on public display. The
620:National College of Art and Design
407:White's Chocolate and Coffee House
14:
2090:
1999:
1916:The Portrait Miniature in England
1193:
1143:
1074:
1050:The portrait miniature in England
1038:
594:(b. 1777, d. 1845), his brothers
1965:. London: The Royal Collection.
1935:Miniatures: Dictionary and Guide
969:Los Angeles County Museum of Art
750:
710:(1767–1855). Their portraits of
1880:
1839:
1814:
1667:
1650:
1591:from the original on 2021-07-30
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704:Jean-Baptiste Jacques Augustin
210:. Following these men we find
47:painting, usually executed in
1:
1770:Journal of Raman Spectroscopy
1704:Frank, Robin Jaffee. (2000).
1205:Coltman, Viccy (2017-03-30).
1031:
636:St. Werburgh's Church, Dublin
503:
414:mountings of the miniatures.
384:. The workers in black lead (
290:
263:
234:
184:
170:
126:(self-portrait of 1450), and
1461:. Victoria and Albert Museum
650:Miniature self-portrait, by
196:Manuscript of the Gallic War
190:), his son François Clouet,
176:– 1572), and his followers.
7:
1954:American Miniature Painters
1559:National Archives of Sweden
1557:(in Swedish). Vol. 4.
1554:Svenskt biografiskt lexikon
1153:MacLeod, Catharine (2019).
1107:Fumerton, Patricia (1986).
1048:Coombs, Katherine. (1998).
974:
586:
570:Miniature self-portrait on
262:succeeded Hilliard. Isaac (
16:Miniature portrait painting
10:
2095:
2026:Victoria and Albert Museum
1914:Coombs, Katherine (1998).
1907:
1664:. Retrieved 25 March 2013.
1157:. MacGibbon, Rab. London.
989:Victoria and Albert Museum
930:Johann Melchior Dinglinger
926:Christian Friedrich Zincke
829:Cornelia Ellis Hildebrandt
821:Virginia Richmond Reynolds
797:Czar Nicholas II of Russia
606:
580:Victoria and Albert Museum
474:
422:
204:Pierpont Morgan collection
1961:Reynolds, Graham (1999).
1662:Resource Library Magazine
1494:Goya : the portraits
985:National Portrait Gallery
730:
641:
434:'s miniature portrait of
319:collection, representing
212:Simon Renard de St. André
138:painted some miniatures.
2022:Paintings & Drawings
1980:Walker, Richard (1992).
1933:Foskett, Daphne (1987).
1640:Leonard, John W (1908).
1611:"Amalia Kussner Coudert"
1609:McCormick, Mike (1997).
1267:National Gallery, London
1084:Ungerer, Gustav (1998).
981:Astolat Dollhouse Castle
868:Materials and techniques
717:
688:Friedrich Heinrich FĂĽger
287:Hans Holbein the Younger
136:Hans Holbein the Younger
1224:10.1111/1754-0208.12467
1022:Royal Miniature Society
839:. Contemporary realist
418:Peak period, by country
358:Charles Beale the Elder
61:illuminated manuscripts
1615:Wabash Valley Profiles
1585:Lyman Allen Art Museum
1368:"Ludwig Van Beethoven"
963:
884:
781:Amalia KĂĽssner Coudert
768:
747:
664:Nicolas de Largillière
659:
583:
544:
471:
439:
296:
200:Bibliothèque Nationale
161:
116:illuminated manuscript
36:
1865:10.12745/et.18.2.2548
1549:"Anton Ulric Berndes"
1323:Propert, John Lumsden
1269:) that is dated 1433.
961:
875:
809:Eda Nemoede Casterton
758:
745:
652:Louis-Marie Autissier
649:
569:
542:
461:
430:
279:
152:
22:
833:contemporary realist
785:Terre Haute, Indiana
708:Jean-Baptiste Isabey
696:Pierre-Paul Prud'hon
676:Jean-Germain Drouais
453:Ludwig van Beethoven
436:Ludwig van Beethoven
411:Sir Andrew Fountaine
400:John Faber the Elder
271:Charles I of England
1826:V and A Collections
1782:2014JRSp...45..947V
1547:Asplund, K (1924).
922:Louis XIV of France
847:of printed matter.
736:Anton Ulrik Berndes
208:Marschal de Brissac
206:, representing the
120:manuscript painters
90:'s treatise on the
2074:Miniature painting
1887:Ackerman, Evelyn.
1658:"An Art in Living"
1280:Hilliard, Nicholas
964:
885:
783:(1863–1932), from
769:
748:
660:
584:
545:
472:
464:Duke of Wellington
449:Christian Horneman
440:
432:Christian Horneman
311:and her brothers.
297:
162:
96:painting in little
73:James I of England
41:portrait miniature
37:
1991:978-0-52130-781-9
1972:978-1-90216-345-1
1745:www.christies.com
1715:978-0-89467-086-2
1503:978-1-85709-573-9
1437:Robertson, Andrew
1347:"Cornelius Høyer"
1164:978-1-85514-702-7
761:George Washington
672:Jean-Marc Nattier
612:Gustavus Hamilton
487:George Engleheart
396:William Faithorne
356:(1615–1690); and
350:David des Granges
301:Balthazar Gerbier
250:Lawrence Hilliard
246:Nicholas Belliart
231:Nicholas Hilliard
222:(1637–1710), and
214:(1613–1677), and
130:, whose daughter
2086:
2040:
2038:
2037:
2028:. Archived from
1995:
1976:
1957:
1948:
1929:
1901:
1900:
1884:
1878:
1877:
1867:
1843:
1837:
1836:
1834:
1833:
1818:
1812:
1811:
1801:
1790:10.1002/jrs.4570
1764:
1755:
1754:
1752:
1751:
1737:
1728:
1727:
1701:
1690:
1689:
1687:
1685:
1675:"Ann Mikolowski"
1671:
1665:
1654:
1648:
1647:
1637:
1631:
1630:
1628:
1626:
1617:. Archived from
1606:
1600:
1599:
1597:
1596:
1577:
1571:
1570:
1568:
1566:
1544:
1538:
1537:
1523:
1515:
1489:
1483:
1477:
1471:
1470:
1468:
1466:
1455:
1449:
1448:
1433:
1427:
1426:
1411:
1405:
1404:
1389:
1383:
1382:
1380:
1379:
1364:
1358:
1357:
1355:
1354:
1343:
1337:
1336:
1319:
1313:
1312:
1298:
1292:
1291:
1276:
1270:
1253:
1247:
1246:
1236:
1226:
1202:
1191:
1190:
1184:
1176:
1150:
1141:
1140:
1104:
1098:
1097:
1081:
1072:
1071:
1045:
1002:Gornji Milanovac
954:Costume Overlays
938:Royal Collection
928:(died 1767) and
881:Emperor Pedro II
857:Colonial America
835:artists such as
825:Lucy May Stanton
706:(1759–1832) and
680:Peter Adolf Hall
668:François Boucher
592:Andrew Robertson
576:Andrew Robertson
508:
505:
495:Nathaniel Plimer
370:Bernard Lens III
346:Alexander Cooper
295:
292:
268:
265:
239:
236:
224:Rosalba Carriera
189:
186:
175:
172:
94:of c. 1600), or
88:Nicolas Hilliard
2094:
2093:
2089:
2088:
2087:
2085:
2084:
2083:
2064:
2063:
2035:
2033:
2016:
2002:
1992:
1973:
1945:
1926:
1910:
1905:
1904:
1885:
1881:
1844:
1840:
1831:
1829:
1820:
1819:
1815:
1776:(10): 947–957.
1765:
1758:
1749:
1747:
1739:
1738:
1731:
1716:
1702:
1693:
1683:
1681:
1673:
1672:
1668:
1655:
1651:
1638:
1634:
1624:
1622:
1621:on 19 July 2011
1607:
1603:
1594:
1592:
1579:
1578:
1574:
1564:
1562:
1545:
1541:
1517:
1516:
1504:
1490:
1486:
1478:
1474:
1464:
1462:
1457:
1456:
1452:
1435:
1434:
1430:
1413:
1412:
1408:
1393:Cosway, Richard
1391:
1390:
1386:
1377:
1375:
1366:
1365:
1361:
1352:
1350:
1345:
1344:
1340:
1320:
1316:
1299:
1295:
1278:
1277:
1273:
1254:
1250:
1203:
1194:
1178:
1177:
1165:
1151:
1144:
1121:10.2307/2928392
1113:Representations
1105:
1101:
1082:
1075:
1060:
1046:
1039:
1034:
997:
977:
870:
793:King Edward VII
753:
733:
720:
700:Constance Mayer
686:of France, and
684:François Dumont
644:
609:
589:
550:
536:
506:
477:
444:Cornelius Høyer
425:
420:
366:Gervase Spencer
317:Pierpont Morgan
305:George Jamesone
293:
266:
237:
187:
173:
167:François Clouet
140:Lucas Horenbout
132:Levina Teerlinc
112:
43:is a miniature
29:National Museum
17:
12:
11:
5:
2092:
2082:
2081:
2076:
2062:
2061:
2056:
2051:
2046:
2041:
2014:
2009:
2001:
2000:External links
1998:
1997:
1996:
1990:
1977:
1971:
1958:
1949:
1943:
1930:
1924:
1909:
1906:
1903:
1902:
1879:
1838:
1813:
1756:
1729:
1714:
1691:
1679:Ann Mikolowski
1666:
1649:
1632:
1601:
1572:
1539:
1502:
1484:
1472:
1450:
1428:
1406:
1384:
1359:
1338:
1314:
1293:
1271:
1248:
1217:(3): 421–441.
1192:
1163:
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1099:
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996:
993:
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869:
866:
841:Ann Mikolowski
789:Caroline Astor
752:
749:
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729:
719:
716:
656:Nationalmuseum
643:
640:
608:
605:
588:
585:
556:Colonial India
549:Colonial India
548:
519:Samuel Shelley
511:Richard Crosse
481:Richard Cosway
476:
473:
468:Richard Cosway
424:
421:
419:
416:
378:Jeremiah Meyer
374:Nathaniel Hone
354:Richard Gibson
309:Penelope Cleyn
294: 1535–36
111:
108:
92:Art of Limming
65:daguerreotypes
15:
9:
6:
4:
3:
2:
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2077:
2075:
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2052:
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2047:
2045:
2042:
2032:on 2007-09-29
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2019:
2015:
2013:
2010:
2007:
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2003:
1993:
1987:
1983:
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1968:
1964:
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1956:. The Mentor.
1955:
1950:
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1944:1-85149-063-9
1940:
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1927:
1925:1-85177-207-3
1921:
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1374:on 2010-12-06
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1115:(15): 57–97.
1114:
1110:
1103:
1095:
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1087:
1080:
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1059:1-85177-206-5
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893:playing cards
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759:Miniature of
757:
751:United States
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561:
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552:
551:
541:
537:
534:
532:
528:
525:(1769–1821),
524:
523:Henry Edridge
520:
517:(1742–1810),
516:
515:Ozias Humphry
513:(1742–1810),
512:
501:
496:
492:
491:Andrew Plimer
488:
484:
482:
469:
465:
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412:
408:
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397:
393:
389:
388:
383:
382:Royal Academy
379:
375:
371:
368:(died 1763),
367:
363:
359:
355:
352:(1611–1675);
351:
347:
342:
340:
336:
332:
328:
327:Samuel Cooper
324:
322:
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227:
226:(1675–1757).
225:
221:
220:Joseph Werner
217:
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159:
158:self-portrait
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58:
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50:
46:
42:
34:
30:
26:
21:
2079:Portrait art
2034:. Retrieved
2030:the original
2021:
1981:
1962:
1953:
1934:
1915:
1888:
1882:
1855:
1851:
1841:
1830:. Retrieved
1828:. 2020-05-02
1825:
1816:
1773:
1769:
1748:. Retrieved
1744:
1705:
1682:. Retrieved
1678:
1669:
1661:
1652:
1642:
1635:
1623:. Retrieved
1619:the original
1614:
1604:
1593:. Retrieved
1584:
1575:
1563:. Retrieved
1552:
1542:
1493:
1487:
1475:
1463:. Retrieved
1453:
1436:
1431:
1414:
1409:
1392:
1387:
1376:. Retrieved
1372:the original
1362:
1351:. Retrieved
1341:
1327:
1317:
1303:
1296:
1279:
1274:
1260:
1257:Jan van Eyck
1251:
1214:
1210:
1154:
1112:
1102:
1085:
1049:
1024:Exhibition,
978:
965:
953:
952:
943:
942:
918:Jean Petitot
908:
907:
900:
897:
886:
862:
854:
850:
849:
837:Dina Brodsky
805:Robert Field
801:Cecil Rhodes
773:Mary Roberts
770:
765:Robert Field
734:
725:
721:
692:Blarenberghe
661:
632:
628:
624:Samuel Dixon
610:
590:
553:
547:
546:
535:
531:Edward Dayes
485:
478:
466:in 1808, by
442:In Denmark,
441:
404:
392:David Loggan
385:
343:
325:
313:John Hoskins
298:
280:
260:Peter Oliver
258:and his son
256:Isaac Oliver
254:
245:
228:
216:Jean Cotelle
195:
192:Jean Perréal
178:
163:
154:Jean Fouquet
128:Simon Bening
124:Jean Fouquet
113:
110:Early period
95:
91:
83:
77:
40:
38:
25:display case
1799:10174/11455
1684:16 February
1561:. p. 9
1415:Smart, John
1349:. Gyldendal
1012:Częstochowa
995:Exhibitions
903:William III
845:illustrator
813:Paris Salon
682:of Sweden,
616:Robert West
507: 1740
462:The future
267: 1560
238: 1537
188: 1540
181:Jean Clouet
174: 1510
69:photography
2068:Categories
2036:2007-08-21
2008:(archived)
1832:2020-05-02
1750:2020-05-02
1595:2021-07-30
1465:9 November
1378:2010-08-02
1353:2010-09-29
1173:1048934990
1032:References
1026:London, UK
934:Henry Bone
527:John Bogle
500:John Smart
362:Mary Beale
144:Henry VIII
53:watercolor
1897:938827788
1874:2293-7609
1808:0377-0486
1520:cite book
1512:909251478
1243:1754-0194
1181:cite book
1129:0734-6018
1094:800674221
600:Archibald
596:Alexander
104:snuff box
1724:43977811
1625:10 March
1589:Archived
1565:10 March
1068:39803970
975:Displays
777:Mary Way
712:Napoleon
587:Scotland
578:, 1811.
438:(1802).
387:plumbago
106:covers.
45:portrait
1908:Sources
1778:Bibcode
1137:2928392
1020:Annual
913:support
909:Enamel:
618:at the
607:Ireland
475:England
423:Denmark
335:Holland
100:lockets
86:(as in
84:limning
49:gouache
1988:
1969:
1941:
1922:
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1056:
1016:Poland
1006:Serbia
889:vellum
883:, 1850
827:, and
767:(1800)
731:Sweden
674:, and
642:France
560:Madras
529:, and
339:vellum
242:France
183:(died
80:vellum
57:enamel
33:Warsaw
1858:(2).
1133:JSTOR
944:Mica:
718:Spain
572:ivory
331:Paris
122:like
55:, or
1986:ISBN
1967:ISBN
1939:ISBN
1920:ISBN
1893:OCLC
1870:ISSN
1804:ISSN
1720:OCLC
1710:ISBN
1686:2020
1627:2011
1567:2024
1534:link
1530:link
1526:link
1508:OCLC
1498:ISBN
1467:2015
1335:–79.
1239:ISSN
1187:link
1169:OCLC
1159:ISBN
1125:ISSN
1090:OCLC
1064:OCLC
1054:ISBN
947:Mica
799:and
698:and
598:and
398:and
376:and
360:and
333:and
67:and
1860:doi
1794:hdl
1786:doi
1441:doi
1419:doi
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574:by
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1753:.
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502:(
470:.
233:(
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169:(
160:.
35:.
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