Portrait Miniatures

Highlights from the Latter-Schlesinger Collection at the New Orleans Museum of Art

By New Orleans Museum of Art

Mel Buchanan, Curator of Decorative Arts, New Orleans Museum of Art

Portrait of Two Women (c. 1795) by James NixonNew Orleans Museum of Art

PORTRAIT MINIATURES

Cradled in the palm of a hand or worn close to the heart, portrait
miniatures functioned as intimate tokens of love, loyalty, or memorial.
Though tiny, these portraits capture remarkable details of human expression and lavish costume, all
executed by artists who sometimes used a single hair as a brush. The New Orleans Museum of Art's Latter-Schlesinger Collection has more than 250 miniatures dating from the
sixteenth through nineteenth centuries. The collection was given to the museum in 1974 by
Shirley Latter Kaufmann in honor of her parents, the collectors Harry and Anna Latter of New Orleans.

This gallery of highlighted works from NOMA's collection focuses on masterful British examples by the major artists working in portrait miniatures.

Worn or carried closely to the body, portrait miniatures functioned differently than traditional painting. Not meant for public consumption, miniatures were intimate tokens representing personal loyalty and love.

Ulrich von Hutten (c. 1520) by Hans Holbein the Younger (school of)New Orleans Museum of Art

School of Hans Holbein, The Younger

Ulrich von Hutten, c. 1520

This miniature portrait of German scholar Ulrich von Hutten is the earliest in NOMA’s collection, dating to the early 1500s.

Evolving from illustrated religious texts (illuminated manuscripts), portrait miniatures in this era served as essential communication and political tools in European royal courts.

Though the artist of this work is unknown, it is similar to work by Hans Holbein the Younger.

Manuscript Illumination with Saint Lawrence in an Initial C, from a Gradual, Don Simone Camaldolese, ca. 1380–90, From the collection of: The Metropolitan Museum of Art
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Illustrated medieval texts ("Illuminated manuscripts") like this were the precursor to the portrait miniature form.

Ulrich von Hutten, Hans Holbein the Younger (school of), c. 1520, From the collection of: New Orleans Museum of Art
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Portrait of an Elizabethan Court Lady (formerly thought to be Elizabeth I) (c. 1590) by Nicholas HilliardNew Orleans Museum of Art

Nicholas Hilliard

Portrait of an Elizabethan Court Lady, c. 1590

Nicholas Hilliard was the first notable English portrait miniature artist, and is responsible for some of the greatest artworks produced in the British Isles.

Hilliard was appointed official portrait painter to Queen Elizabeth I (1533–1603). The politically fraught Elizabethan years saw the Queen’s wealthy subjects wearing miniatures of her image as a sign of loyalty.

Nicholas Hilliard trained as a goldsmith and developed special metallic techniques for painting elaborate court jewels like the magnificent necklaces worn by this Elizabethan Court Lady.

Elizabeth I (1533-1603), koningin van Engeland, Hilliard, Nicholas, 1557 - 1619, From the collection of: Rijksmuseum
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This miniature, also by Nicholas Hilliard, depicts Elizabeth I in all her glory. The Queen is dressed in a more elaborate collar and jewelry than the courtly woman in NOMA's example.

Portrait of an Elizabethan Court Lady (formerly thought to be Elizabeth I), Nicholas Hilliard, c. 1590, From the collection of: New Orleans Museum of Art
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James I of England James I of England (1609-1614) by Nicholas HilliardNew Orleans Museum of Art

Nicholas Hilliard

James I of England, 1609–1614

At the death of Queen Elizabeth I, her Scottish cousin ascended to the English throne as James I (1566–1625). This smooth transition of power in 1603 united England, Scotland, and Ireland for the first time.

King James retained Elizabeth’s court painter, Nicholas Hilliard, and commissioned numerous portraits of his wife, Queen Anne of Denmark, and their royal children.

James I saw the power of image for political purposes, using miniatures as gifts during peace negotiations with Spain in 1604, and as a tool for the strategic marriage of his daughter, Princess Elizabeth (future Queen of Bohemia.)

James VI and I, de Critz, John the elder, c.1606, From the collection of: Dulwich Picture Gallery
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This full scale portrait of James I shows the King formally posed among sumptuous textiles.

James I of England James I of England, Nicholas Hilliard, 1609-1614, From the collection of: New Orleans Museum of Art
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James I of England, From the collection of: New Orleans Museum of Art
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The case housing this watercolor miniature has pierced gold scrollwork with colorful enamel.

Elizabeth, Electress Palatine and Queen of Bohemia (c. 1630) by Peter OliverNew Orleans Museum of Art

Peter Oliver

Elizabeth, Electress Palatine and Queen of Bohemia, c. 1630

This miniature depicts King James I’s eldest daughter, Elizabeth Stuart (1596–1662), remembered as the English princess forced into ruinous exile.

Here the middle-aged Elizabeth wears a formal ruff collar and ornate jewelry.

Elizabeth married Frederick V of The Palatinate (in today’s Germany) in 1613. The couple accepted the fraught throne of Bohemia, but were soon ousted in the Thirty Years War. Exiled to The Hague, she was known as the “Winter Queen” for the single season of her reign.

Princess Elizabeth (1596–1662), Later Queen of Bohemia, Robert Peake the Elder, ca. 1606, From the collection of: The Metropolitan Museum of Art
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This formal portrait shows the English Princess as a young teenager, before her marriage.

Elizabeth, Electress Palatine and Queen of Bohemia, Peter Oliver, c. 1630, From the collection of: New Orleans Museum of Art
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Sir Thomas Wentworth, First Earl of Strafford (c. 1640) by John Hoskins, the ElderNew Orleans Museum of Art

John Hoskins, the Elder

Sir Thomas Wentworth, First Earl of Strafford, c. 1640

Thomas Wentworth served as advisor to King Charles I (1600–1649) and a key figure leading up to the English Civil War. Wentworth worked to consolidate royal authority against Parliament, and for this was executed in 1641.

This elegantly framed portrait shows the continuation of Elizabethan-era (16th century) styles into the 17th century. Though these conventions would soon evolve, here Hoskins places his precisely-drawn subject in front of a solid background and a jewel-like case.

Henriëtte Maria van Frankrijk (1609-1669). Echtgenote van Karel I van Engeland, Hoskins, John, 1620 - 1664, From the collection of: Rijksmuseum
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This Hoskins miniature also shows the formal conventions of the era, with a formal dress and a solid or textile backdrop.

Sir Thomas Wentworth, First Earl of Strafford, John Hoskins, the Elder, c. 1640, From the collection of: New Orleans Museum of Art
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Frances Russell, née Cromwell (1654) by Samuel CooperNew Orleans Museum of Art

Samuel Cooper

Frances Russell, née Cromwell, 1654

Cooper is regarded as the top miniaturist of the seventeenth century. His portrait of Frances, Oliver Cromwell’s daughter, shows a dramatic shift in artistic and court dress from the Elizabethan era (1500s).

Gone is the Elizabethan stiff collar and ornate jewelry. Instead, Frances shows the influence of King Charles I’s wife, Henrietta Maria of France, with her single strand of pearls, exposed skin, and cascading hair ringlets.

In place of stiff curtains or solid background, Samuel Cooper paints Frances with a reference to the landscape. This reflects the new style of naturalism ushered in with the 1632 arrival of the new court painter, Anthony van Dyck.

Queen Henrietta Maria, van Dyck, Sir Anthony, After 1632, From the collection of: Dulwich Picture Gallery
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This van Dyck portrait of the French-born English Queen Henrietta Maria shows the new artistic convention ushered in during the 1630s by the artist and queen. It shows a more relaxed dress and natural influence.

Frances Russell, née Cromwell, Samuel Cooper, 1654, From the collection of: New Orleans Museum of Art
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Portrait of a Woman in a Blue Dress (c. 1725) by Bernard Lens IIINew Orleans Museum of Art

Bernard Lens III

Portrait of a Woman in a Blue Dress, c. 1725

Shortly after 1700, the preferred medium for portrait miniatures changed from watercolor on card or vellum (animal skin) to slices of ivory, like on this miniature of an unknown woman wearing a blue dress.

Ivory offered luminosity behind translucent watercolors, but had an oily and non-absorbent surface, so it took decades for artists to refine miniature painting techniques.

Bernard Lens III was the first British artist to begin working on ivory. He adopted a stippling technique to help the watercolor pool and adhere to the unforgiving slippery surface.

The thinly painted face and skin of this unknown woman shows his stippling (dots) technique, letting the luminous ivory shine through.

Thicker, opaque paint covers the clothing, hair, and background. The artist's initials are visible in gold.

Henrietta Ponsonby, Countess of Bessborough (c. 1795) by Anne MeeNew Orleans Museum of Art

Anne Mee

Henrietta Ponsonby, Countess of Bessborough, c. 1795

Said to be delicate and lovely, history tells that Henrietta Ponsonby (1761–1821) lived a life of lust, excitement, and personal intrigue.

Younger sister to the infamous Georgiana Cavendish, Duchess of Devonshire, Henrietta’s life similarly included a series of extramarital lovers, excessive gambling, and controversial political involvement.

The Countess is captured here on ivory by woman artist, Anne Mee.

Mee used her immense talent to turn the genteel art of miniature painting into a means of financial support for her widowed mother and siblings.

William Pitt the Younger, English Prime Minister (c. 1785) by Richard CoswayNew Orleans Museum of Art

Richard Cosway

William Pitt the Younger, English Prime Minister, c. 1785

Richard Cosway was the most fashionable miniature painter in England from the 1780s into the early 1800s.

The artists was at the center of London's fashionable society, entertaining lavishly including with the Prince of Wales. His wife was the Italian-born painter Maria Hadfield Cosway, a close friend of Thomas Jefferson.

Cosway guaranteed his successful career by flattering his subjects, and through his innovative technique of using transparent pigments so the natural luminosity of ivory shines through.

Here, Cosway depicts William Pitt the Younger, a prominent British statesman who became the youngest UK Prime Minister in 1783, at the age of 24.

Self-Portrait, Richard Cosway, ca. 1770–75, From the collection of: The Metropolitan Museum of Art
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This self-portrait shows Cosway's penchant for flamboyant dress.

Mrs. Edward Brown (1785) by Horace HoneNew Orleans Museum of Art

Horace Hone

Mrs. Edward Brown, 1785

Horace Hone learned the art of miniatures in London from his father. At the invitation of a patron, he went to Ireland in 1782, and soon attracted a large and fashionable clientele in Dublin.

Hone frequently situated Dublin’s high-society women against this signature olive-brown background. The date 1785 is visible here.

Hone ornamented women's hair and dress with strands of pearls.

All his female sitters were painted with distinctively large, dark eyes and sweet rosy cheeks.

Portrait of a young woman, Horace Hone, 1784 - 1784, From the collection of: Palazzo Madama
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Horace Hone's signature look (large eyes, adorned hair) is evident in this portrait miniature of a woman wearing a miniature.

Mrs. Edward Brown, Horace Hone, 1785, From the collection of: New Orleans Museum of Art
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Dodda Vira Raja (or, Vira Rajendra Wodeyar), Ruler of Coorg 1780-1809 (c. 1787) by Ozias Humphry (attributed to)New Orleans Museum of Art

Attributed to Ozias Humphry

Dodda Vira Raja, c. 1787

This English-style miniature was made in India, picturing Dodda Vira Raja (or, Vira Rajendra Wodeyar), the Ruler of Coorg in Southwest India from 1780 to 1809.

Artist Ozias Humphry traveled to India from 1785 to 1787, confident that the community of British expatriates and wealthy Indian princes would provide him with fame and fortune.

Humphrey’s venture abroad turned disastrous when many of his clients refused to pay their bills, leading the artist back to England in a financial crisis.

Captain George K. H. Coussmaker (c. 1790) by Samuel ShelleyNew Orleans Museum of Art

Samuel Shelley, after Sir Joshua Reynolds

Captain George K. H. Coussmaker, c. 1790

In this miniature, Samuel Shelley captures a detail from a well-known full portrait by one of the great eighteenth-century artists, Sir Joshua Reynolds.

This detail emphasizes the steely face...

...and formal military uniform of the young Captain Coussmaker.

Captain George K. H. Coussmaker (1759–1801) (1782) by Sir Joshua ReynoldsThe Metropolitan Museum of Art

This masterpiece by Sir Joshua Reynolds required twenty-one modeling appointments for Coussmaker—and at least two more for the horse—in the winter of 1782.

Captain George K. H. Coussmaker, Samuel Shelley, c. 1790, From the collection of: New Orleans Museum of Art
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Credits: Story

The New Orleans Museum of Art’s 2019 installation of the Latter-Schlesinger Collection of Portrait Miniatures was made possible with the support of the Milton H. Latter Educational and Charitable Foundation. Presented with research thanks to Elle Shushan.

1
James Nixon (British, c. 1741-1812), Portrait of Two Women, c. 1795. Watercolor on ivory. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.414

2
School of Hans Holbein, The Younger (German, 1497/8–1543), Ulrich von Hutten, c. 1520. Watercolor on parchment. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.345

3
Nicholas Hilliard (English, 1547–1619), Portrait of an Elizabethan Court Lady, c. 1590. Watercolor on parchment. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.337

4
Nicholas Hilliard (English, 1547–1619), James I of England, 1609–1614. Watercolor on vellum. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.343

5
Peter Oliver (English, c. 1589–1647), Elizabeth, Electress Palatine and Queen of Bohemia, c. 1630. Gouache on parchment. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.338

6
John Hoskins, the Elder (English, c.1590–1665), Sir Thomas Wentworth, First Earl of Strafford, c. 1640. Watercolor on parchment, frame with gold, enamel and pearls. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.344

7
Samuel Cooper (English, 1609–1672), Frances Russell, née Cromwell, 1654. Watercolor on vellum. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.349

8
Bernard Lens III (English, 1682–1740), Portrait of a Woman in a Blue Dress, c. 1725. Watercolor on ivory. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.360

9
Anne Mee (British, c. 1770-1851), Henrietta Ponsonby, Countess of Bessborough, c. 1795. Watercolor on ivory, frame with pearls. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.654

10
Richard Cosway (British, 1742–1821), William Pitt the Younger, English Prime Minister, c. 1785. Wash on card. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.385

11
Horace Hone (British, 1754–1825), Mrs. Edward Brown, 1785. Watercolor on ivory. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.458

12
Attributed to Ozias Humphry (British, 1742–1810), Dodda Vira Raja (or, Vira Rajendra Wodeyar), Ruler of Coorg 1780-1809, c. 1787. Watercolor on ivory. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.649

13
Samuel Shelley (British, 1756–1808), after Sir Joshua Reynolds (British, 1723–1792), Captain George K. H. Coussmaker, c. 1790. Watercolor on ivory. Gift of Shirley Latter Kaufmann in memory of Harry and Anna Latter, 74.379

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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