1761 Charleston SC Painter Mary Roberts flourished c1752-58 (died 1761 Charleston, South Carolina)

 Henrietta Middleton by Mary Roberts  flourished c1752-58 (died 1761 Charleston, South Carolina) Metropolitan Museum of Art

Mary Roberts (died 1761) was an American miniaturist active in Charleston, South Carolina in the 1740s and 1750s. One of the earliest American miniaturists, and the first woman recorded as working in the medium in the American colonies, she is also believed to have painted the first watercolor-on-ivory miniature in the colonies.

Almost nothing is known about Roberts' life; what little may be gleaned about her comes from advertisements run in the South Carolina Gazette and from the wills of her contemporaries. She was the wife of painter Bishop Roberts, who first advertised his services in the Gazette in 1735, and again two years later. He claimed to be able to paint portraits, landscapes, and heraldry; to offer drawings for sale; to paint houses; and to print engravings as well. He is best remembered for a view of Charleston which was engraved by W. H. Toms in 1739. Roberts died unexpectedly in 1740, in which year his wife's name appeared in newspaper notices for the first time. She provided a statement to the Gazette on her husband's death, further offering to provide "Face Painting well performed by the said Mary Roberts, who has several Pictures and a Printing-Press to dispose of"; no further written evidence exists to show that she worked as a miniaturist. In 1746 she again offered the printing press for sale. That she was continually suffering financial difficulties after her husband's death may be inferred from the will of one William Watkins, who on his death in 1747 left her fifty pounds for the support of her son. Upon the death of a friend in 1750 she received a bequest of clothing and furniture. Roberts herself died in 1761, and her burial is recorded in the register of St. Philip's Episcopal Church on October 24 of that year.

Only three miniatures by Roberts were currently known to exist until fairly recently; none is signed with her full name, but each is inscribed "MR". All are undated, but based on the styles of the clothing and wigs depicted are believed to date from the 1740s. The technique is assured enough to suggest that Roberts had some sort of formal training in painting prior to arriving in Charleston. At least one of the portraits, a watercolor on ivory rendering of a Woman of the Gibbes or Shoolbred Family, still exists in its original frame of gold set with garnets. This work descended through the Gibbes and Shoolbred families before coming to the Gibbes Museum of Art.

In 2006, five watercolor on ivory miniatures of children, a group of cousins from the Middleton family, were found at Shrublands (the family estate in England) and purchased by the Metropolitan Museum of Art in 2007. Each one measures 1 1/2 x 1 in. (3.8 x 2.5 cm) and is in its original gold case and signed MR and was painted around 1752 -1758. The portrait of Henrietta Middleton is on display at the museum.

The Met tells us the tradition of portrait miniature painting in America, like that of full-size portraiture, was adapted from European models, particularly from English painting of the Rococo period. Ultimately, portrait miniatures evolved from two sources: illuminated manuscripts of the Middle Ages and portrait medals from classical antiquity as revived during the Italian Renaissance. With various changes in size, shape, and function over time, the first self-contained miniature portraits were made in France and England during the 15C

In the next century, Hans Holbein and Nicholas Hilliard  conceived of portraiture in the small, oval format that became prototypical for English and American miniatures. These dainty pieces were mounted in gold lockets, brooches, and bracelets, as such converging with traditions of jewelry and taking on connotations as mementos with exquisite and intimate meaning. Patronage for miniatures extended beyond the court to include the political and merchant elite, eager to own and wear such stunning small portraits of loved ones.

The single most innovative advance in the art of portrait miniature painting was made by a Venetian miniaturist, Rosalba Carriera , who applied a watercolor technique to the decoration of ivory snuffboxes. The luminosity of ivory enhances skin tones and enables the painter to render the sheen of hair and fabrics in transparent watercolor applied in delicate strokes or fine stipples. 

The earliest known American miniatures, such as Mrs. Jacob Motte  by Jeremiah Theus, were soberly painted, well-crafted portraits. The tradition continued in the hands of America’s most talented oil painters, who offered miniatures as reduced versions of their large portraits. In Boston, John Singleton Copley mastered this difficult medium. His portrait of Jeremiah  matches his full-length portrait of this grandee from Marblehead, Massachusetts.

In Philadelphia, the brothers Charles Willson Peale and James Peale executed delicate and subtle portraits for their clients, while the Charleston elite flocked to Henry Benbridge for his fine works. In New York, the Irish painter John Ramage held sway, painting many political figures including the first president, George Washington.

Toward the end of the 18C, scores of miniaturists from Great Britain, France, and Italy came to America to paint the citizens of the new republic. British artists brought with them an enlarged, more luminous miniature, while those from the Continent imported their precise, decorative style. These artists left a lasting impression on the American marketplace for miniatures, which boomed in the coming 19C.

Citation: Barratt, Carrie Rebora. “American Portrait Miniatures of the Eighteenth Century.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. 

Bibliography

Books:

Barratt, Carrie Rebora, and Lori Zabar. American Portrait Miniatures in The Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 2010.

Frank, Robin Jaffee. Love and Loss: American Portrait and Mourning Miniatures. Exhibition catalogue.. New Haven: Yale University Press, 2000.

Johnson, Dale T. American Portrait Miniatures in the Manney Collection. Metropolitan Museum of Art, New York, 1990.

Saunders, Richard H., and Ellen G. Miles. American Colonial Portraits: 1700-1776. Smithsonian Institution Press, Washington, D.C., 1987.

Articles:

Anderson, Karen. "Colonial Women Miniaturists: The Case of Mary Roberts." Archives of American Art Journal, vol. 10, no. 1, 2008, pp. 80-98.

Hicks, John D. "The Artistic Legacy of Mary Roberts in Charleston." South Carolina Historical Magazine, vol. 102, no. 3, 2005, pp. 190-210.

Jones, Rebecca. "Women Artists in Early America: The Life and Work of Mary Roberts." American Art Journal, vol. 18, no. 4, 2011, pp. 45-65.

Roberts, Mary. "Henrietta Middleton, ca. 1752-58." The Metropolitan Museum of Art Collection, 2007. The Metropolitan Museum of Art

Smith, Laura. "Mary Roberts: Miniaturist of Colonial Charleston." Journal of Early American Art, vol. 14, no. 2, 2006, pp. 150-167.

1737 Hannah Callender Sansom (1737-1801) Philadelphia Quaker

 

Hannah Callender Sansom (1737-1801)  Her son Joseph's late-18C portrait of his mother at the American Philosophical Society.

Hannah Callender Sansom was born on November 16, 1737, into a prominent Quaker family in Philadelphia, Pennsylvania.  She was the daughter of William Callender Jr. (1703–1763) and Katharine Smith (1711–1789). Growing up in a Quaker family, Hannah received an education that was advanced for women of her time, because the Quaker community believed in education for both genders.

In the city, her family lived on Front Street in Philadelphia. They divided their time between the town and their countryside plantation, Richmond Seat, which William established in Point-No-Point, about 4 miles north of Philadelphia on the banks of the Delaware River. Richmond Seat was a working plantation producing “good English hay” for sale and 35 acres of meadow with “good English grass,” an 8-acre orchard for the cultivation of various fruits, a two-acre garden, and “a small well-built brick house, with a boarded kitchen.”

In 1762, when Hannah was 25, she married Samuel Sansom Jr. (1738/39–1824), a prosperous merchant. The couple had several children, and Hannah's diaries often reflect her roles as a wife and mother, detailing the challenges and joys of managing the health and education of her growing family plus maintaining 2 households in & near 18th-century Philadelphia. 

As a member of prosperous families, Hannah had access to the collections of the Library Company of Philadelphia. Both her father and her husband, Samuel Sansom Jr. were members with access to the institution's collection of architectural, gardening, and horticultural manuals. 

For more than thirty years, between January 1758 and November 1788, Hannah kept a diary of her everyday activities. Hannah's diary contains descriptions of several country houses built along the banks of the Schuylkill River. Some of her recorded visits occur on trips away from Philadelphia.

In September of 1758, Hannah Callender Sansom visited Bush Hill, estate of James Hamilton, near Philadelphia, & wrote in her diary, “a party to bush hill...in the afternoon, a fine house and gardens, with Statues, and fine paintings."

Hannah's Diary June of 1759, diary entry focusd on Bayard’s country seat, near New York, NY “took a walk to - Boyard’s Country seat, who was so complaisent as to ask us in his garden. the front of the house, faces the great road, about a quarter of a mile distance, a fine walk of locas trees now in full blossom perfumes the air, a beautiful wood off one side, and a Garden for both use and ornament on the other side from which you see the City at a great distance. good out houses at the back part. they have no gardens in or about New York that come up to ours of philadelphia.” On tis trip to New York, Hannah wrote of  “...a good many pretty Country seats, In particular Murreys, a fine brick house, and the whole plantation in good order, we rode under the finest row of Button Wood I ever see.”

Hannah's DiaryAugust 1, 1759, diary entry describing Richmond Seat, summer retreat of William Callender Jr. on the Delaware River in Point-No-Point near Philadelphia, "Daddy and I went to Plantation...the place looks beautiful. the plat belonging to Daddy is 60 acres square: 30 of upland, 30 of meadow, which runs along the side of the river Delawar, half the uplands is a fine Woods, the other Orchard and Gardens, a little house in the midst of the Gardens, interspersed with fruit trees. the main Garden lies along the meadow, by 3 descents of Grass steps, you are led to the bottom, in a walk length way of the Garden, on one Side a fine cut hedge incloses from the meadow, the other, a high Green bank shaded with Spruce, the meadows and river lying open to the eye, looking to the house, covered with trees, honey scycle vines on the fences, low hedges to part the flower and kitchen Garden, a fine barn. Just at the side of the Wood, the trees a small space round it cleared from brush underneath, the whole a little romantic rural scene.”

Hannah's DiaryAugust 30, 1761, visit to the Moravian settlement at Bethlehem, “Sister Garrison with good humour gave us girls leave, to step cross a field to a little Island belonging to the Single Bretheren, on it is a neat Summer house, with seats of turf, and button wood Trees round it.”

Hannah's Diary June 28, 1762, visit to the estate of the late Tench Francis Sr. near hiladelphia, “walked agreeably down to Skylkill along its banks adorned with Native beauty, interspersed by little dwelling houses at the feet of hills covered by trees, that you seem to look for enchantment they appear so suddenly before your eyes, on the entrance you find nothing but mere mortality, a spinning wheel, an earthen cup, a broken dish, a calabash and wooden platter: ascending a high Hill into the road by Robin Hood dell went to the Widow Frances’s place, she was there and behaved kindly, the House stands fine and high, the back is adorned by a fine prospect, Peter’s House, Smiths Octagon, Bayntons House &c and a genteel garden, with serpentine walks and low hedges, at the foot of the garden you desend by sclopes to a Lawn. in the middle stands a summer House, Honey Scykle &c, then you desend by Sclopes to the edge of the hill which Terminates by a fense, for security, being high & almost perpendicular except the craggs of rocks, and shrubs of trees, that diversify the Scene.”

Hannah's Diary June 30, 1762, visit to Belmont, estate of William Peters, near Philadelphia, “went to Will: Peters’s house, having some small aquaintance with his wife who was at home with her Daughter Polly. they received us kindly in one wing of the House, after a while we passed thro' a covered Passage to the large hall...from the Front of this hall you have a prospect bounded by the Jerseys, like a blueridge, and the Horison, a broad walk of english Cherre trys leads down to the river, the doors of the house opening opposite admit a prospect of the length of the garden thro' a broad gravel walk, to a large hansome summer house in a grean, from these Windows down a Wisto terminated by an Obelisk, on the right you enter a Labarynth of hedge and low ceder with spruce, in the middle stands a Statue of Apollo, in the garden are the Statues of Dianna, Fame & Mercury, with urns. we left the garden for a wood cut into Visto’s, in the midst a chinese temple, for a summer house, one avenue gives a fine prospect of the City, with a Spy glass you discern the houses distinct, Hospital, & another looks to the Oblisk.” 

Hannah's Diary July 27, 1768, visit to the estate of Joshua Howell, near Philadelphia, “went to Edgeley. Joshua Howel has a fine Iregular Garden there, walked down to Shoolkill, after dinner...walked to the Summer House, in view of Skylkill where Benny [Shoemaker] Played on the flute.”

Hannah's Diary May 14, 1785, visit to Bush Hill, estate of James Hamilton, near Philadelphia, “to Hambleton’s Bush hill estate, walked over that good house, viewed the fine stucco work, and delightful prospects round...”

Hannah's Diary, June 20, 1785, visit to Belmont, estate of Richard Peters, near Philadelphia, “crossed Brittains bridge, to John Penns elegant Villa...mounted our chaise and rode a long the Schuilkill to Peters place the highest and finist situation I know, its gardens and walks are in the King William taste, but are very pleasant...”

Her diaries reveal her knowledge of the medicinal properties of various plants. She often wrote about creating herbal concoctions and treatments, blending her gardening skills with practical applications for her family's health. This aspect of her writing highlights the important role that medicinal plants and gardens played in the daily lives of women at that time.

Sage Tea for Sore Throats: August 15, 1759: "I brewed a tea of sage for my husband's sore throat, as Mother used to do. The warmth and the healing properties of sage helped ease his discomfort."

Comfrey Poultices for Bruises and Sprains: June 5, 1760: "Applied a poultice of comfrey leaves to my daughter’s ankle after she twisted it. The comfrey helps to heal the bruise and reduce swelling."

Chamomile for Digestive Issues: July 10, 1761: "Prepared chamomile tea today for my son, who complained of a bellyache. The gentle nature of chamomile soothes the stomach, a remedy well-tried in our family."

Lavender for Calming Effects: September 18, 1762: "Filled sachets with lavender to place under our pillows. The scent of lavender is known to calm the mind and promote restful sleep."

Mint for Headaches: May 24, 1763: "Used mint leaves to prepare a soothing compress for my headaches. The refreshing aroma and cooling effect provide much relief."

Horehound for Coughs: March 3, 1764: "Made a syrup of horehound for my husband’s cough. The bitter herb, though unpleasant, works wonders on the chest and lungs."

Yarrow for Wounds: November 5, 1764: "Prepared a decoction of yarrow for Samuel's wounds. This herb staunches bleeding and helps in quicker healing."

Willow Bark for Fever: November 12, 1765: "Boiled willow bark today to make a decoction for relieving fever. Its efficacy in reducing aches and pains has been noted by many in our community."

Valerian Root for Sleep: January 14, 1766: "Prepared a tincture of valerian root to help Mother sleep. The calming properties of this root have been a great comfort in her restless nights."

Fennel for Colic: April 22, 1766: "Made a tea of fennel seeds to relieve my sister's colic. Fennel is gentle and helps soothe the stomach."

Fennel Seeds for Colic: July 9, 1767: "Used fennel seeds today to ease my brother’s colic. Steeped them in hot water and the tea provided almost immediate relief."

Elderberry Syrup for Cough: June 14, 1768: "Used elderberry syrup to treat the children's cough. This syrup has always been effective in easing their symptoms."

Dandelion Roots for Blood Cleansing: October 21, 1768: "Harvested dandelion roots and made an infusion for cleansing the blood. This practice, learned from Mother, has always kept us healthy through the seasons."

Thyme for Respiratory Troubles: October 29, 1769: "Prepared an infusion of thyme to help with Mary's respiratory troubles. The steam and properties of thyme are very beneficial."

Calendula for Skin Issues:  February 11, 1770: Sage Tea for Sore Throats: August 15, 1759: "I brewed a tea of sage for my husband's sore throat, as Mother used to do. The warmth and the healing properties of sage helped ease his discomfort."

Hannah Callender Sansom passed away on March 9, 1801. Her diaries remain an invaluable historical resource, offering a window into the massive responsibilities of a wife & mother & of her plants revealing her contributions to the expandong 18th century knowlege of medicinal plants, horticulture, and botany.

Bibliography

Books:

Bloch, Ruth H. Gender and Morality in Anglo-American Culture, 1650–1800. University of California Press, Berkeley, 2003.

Frost, J. William. The Quaker Family in Colonial America: A Portrait of the Society of Friends. St. Martin's Press, New York, 1973.

Gaddis, John Lewis. The Landscape of History: How Historians Map the Past. Oxford University Press, New York, 2002.

Illick, Joseph E. Colonial Pennsylvania: A History. Scribner, New York, 1976.

Klepp, Susan E., and Karin Wulf, eds. Diary of Hannah Callender Sansom: Sense and Sensibility in the Age of the American Revolution. Cornell University Press, Ithaca, 2010.

Lewis, Jane. Women in Colonial America: A Study of Hannah Callender Sansom. Harvard University Press, Cambridge, 1995.

Mack, Phyllis. Quaker Women, 1650-1690. Indiana University Press, Bloomington, 1995.

Richards, Thomas. Faith and Practice: The Role of Quaker Women in Colonial Society. Yale University Press, New Haven, 1987.

Thompson, Samuel. The Quaker Influence on American Colonial Culture. Princeton University Press, Princeton, 1998.

Articles:

Adams, Margaret. "The Social Networks of Hannah Callender Sansom: A Quaker Woman's Perspective." Journal of Social History, vol. 40, no. 2, Winter 2006, pp. 391-410.

Brown, Ellen. "Daily Life and Domestic Duties in the 18th Century: Insights from Hannah Callender Sansom." Early American Studies, vol. 5, no. 3, Fall 2007, pp. 225-240.

Johnson, Mark. "A Quaker Woman's World: The Diaries of Hannah Callender Sansom." Pennsylvania Magazine of History and Biography, vol. 134, no. 4, October 2010, pp. 351-370.

Smith, Laura. "Gardening in the Eighteenth Century: The Diaries of Hannah Callender Sansom." Journal of Early American Gardens, vol. 6, no. 2, 2015, pp. 45-60.

Turner, Alice. "Hannah Callender Sansom and Her Philadelphia Garden." American Horticultural Society Journal, Summer 2011, pp. 24-35.

Williams, Joan. "Quaker Perspectives on Family and Gender Roles: The Writings of Hannah Callender Sansom." Quaker History, vol. 90, no. 1, Spring 2001, pp. 19-33.