PreviewDescription
ArtistNotes
Portrait Of A Gentleman (5)

by Moses B. Russell

1842
watercolor on ivory
2 1/2 x 2 1/8 in. (6.4 x 5.3 cm) oval

Smithsonian American Art Museum

Washington, D.C.

Russell, Moses B.notes
Moses B. Russell faithfully recorded the high cheekbones, huge gray eyes, and thick, wavy hair of this unidentified young man. As was the case of miniatures painted in this period, the painter gave all his effort to capturing the likeness of his sitter, subordinating the background and costume to the romanticized face.
Portrait Of A Gentleman (6)

by Moses B. Russell

1847
watercolor on ivory
image (oval): 2 3/16 x 1 13/16 in. (5.6 x 4.7 cm)

Smithsonian American Art Museum

Washington, D.C.

Russell, Moses B.notes
Moses B. Russells sitter adopts a casual pose, rather than appearing to be bolt upright, as is the case in so many miniature portraits. The young mans face is equally relaxed, conveying a sense of confidence and ease. The painter subtly emphasized the assertive character of his subject by revealing a boldly striped vest beneath a somber black coat.
Portrait Of A Gentleman With Initials G. D.

by Raphaelle Peale

ca. 1805
watercolor on ivory
sight 2 1/2 x 2 in. (6.4 x 5.2 cm) oval

Smithsonian American Art Museum

Washington, D.C.

Peale, Raphaellenotes
The intertwined initials “GD” on the back of this locket are the only clue to the gentleman’s identity. His hair reflects the change at the end of the eighteenth century, when many younger men rejected wigs in favor of natural hair. The short top and curled sides of this sitter’s hair were styled to accommodate a top hat.
Portrait Of A Gentleman With Initials J. B.

by Benjamin Trott

ca. 1795
watercolor on ivory
sight 2 1/2 x 2 in. (6.5 x 5.0 cm) oval

Smithsonian American Art Museum

Washington, D.C.

Trott, Benjaminnotes
On the back of this miniature the initials JB are monogrammed in gold over hairwork, offering the only clue we have to the identity of the sitter. This piece was originally attributed to Raphaelle Peale, of the Philadelphia family of painters, but was later determined to have been the work of Benjamin Trott.
Portrait of a Girl (Henry Wolf: Copy after Edmund C. Tarbell)

by Edmund Charles Tarbell

1905
wood engraving on paper
7 3/4 x 4 in. (19.6 x 10.2 cm)

Smithsonian American Art Museum

Washington, D.C.

Tarbell, Edmund Charles 
Portrait Of A Huguenot Gentleman Of The Time Of Charles Ix

by John O'Brien Inman

oil on wood
12 x 10 in. (30.6 x 25.3 cm.)

Smithsonian American Art Museum

Washington, D.C.

Inman, John O'Brien 
Portrait of a Lady

by Thomas Wilmer Dewing

ca. 1895
oil on canvas
24 x 20 in. (60.9 x 50.8 cm)

Smithsonian American Art Museum

Washington, D.C.

Dewing, Thomas Wilmer 
Portrait Of A Lady

by George Harrison Hite

1851
watercolor on ivory mounted on paper
2 5/8 x 2 1/8 in. (6.7 x 5.4 cm)

Smithsonian American Art Museum

Washington, D.C.

Hite, George Harrisonnotes
The artist painted the background of this miniature in a vignette, so that the color fades into the background. When the ivory is viewed without its frame, the smudgy edges of the paint are revealed.
Portrait Of A Lady

by William M. S. Doyle

1810
Watercolor on ivory
sight 3 x 2 1/2 in. (7.5 x 6.3 cm) oval

Smithsonian American Art Museum

Washington, D.C.

Doyle, William M. S.notes
This young lady appears to have been a prominent member of Boston society in the early nineteenth century. She wears an evening gown of pale, delicate material, with a shawl wrapped around her arms for warmth.
Portrait Of A Lady

by John Alexander McDougall

1839
watercolor on ivory
sight 2 5/8 x 2 1/8 in. (6.8 x 5.4 cm) oval

Smithsonian American Art Museum

Washington, D.C.

McDougall, John Alexandernotes
John Alexander McDougall painted these sitters, possibly a husband and wife, while he was in New Orleans in 1839. The artist used different backgrounds for each painting. The plain background of the gentlemans portrait complements the blue of his eyes, while the dark trees surrounding the lady emphasize her pale complexion. Conservation of these...
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