Portraits in miniature: Anna Claypoole Peale and Caroline Schetky

Magazine Antiques, Feb, 2002 by Anne Sue Hirshorn

(18.) Anne Sue Hirshom, "Anna Claypoole, Margaretta, and Sarah Miriam Peale: Modes of Accomplishment and Fortune," in The Peale Family Creation of a Legacy 1770-1870, ed. Lillian B. Miller (Abbeville Press, New York, 1996), p. 231.

(19.) Charles Wilson Peale, Georgetown, D.C., Rembrandt Peale, January 15, 1819 (Charles Wilson Peale letterbooks, American Philosophical Society).

(20.) Anna Claypoole Peale to Titian Ramsay Peale, April 7, 1819, B P31.50 (Peale-Sellers papers, American Philosophical Society).

(21.) For similar theories discussed in women's fiction, see Nina Baym, Women's Fiction: A Guide to Novels By and About Women in America (1820-1870) (University of Illinois Press, Urbana, 1993), pp. xxxvii-xxxviii

(22.) Boston Daily Advertiser, May 3, 7, 10, 14, 17, 26, 28, 31, and June 5, 7, and 12. She probably remained in Boston until about June 21, when Rembrandt Peale closed his exhibition of The Court of Death.

(23.) Both the miniature shown in Pl. II and a miniature of Nathaniel Heywood by Sarah Goodridge (1788-1853) are illustrated in The Magazine ANTIQUES, vol. 37, no. 3 (March 1940), p. 125, Figs. 8 and 9.

(24.) Edmund Burke's remark in his essay on "The Sublime and the Beautiful" (1757) that "the most beautiful object in nature [is] the neck of a lovely and innocent female" is cited in "On Sitting for One's Portrait," an article from Table Talk that is grouped with clippings for 1821 in Neagle's Scrap Book (see n. 16).

(25.) The miniature may have been painted in Boston, since a Jonathan Bates is listed as a cordwainer in the Boston directory published in 1822.

(26.) Brantz Mayer, Memoir of Jared Sparks, L.L.D. (Baltimore, 1867), p. 27.