Portrait Miniatures of the 19th Century in the Tansey Collection

The first catalogue with miniatures from the Tansey Collection was successfully presented in 2000; now the second volume has been published. Whereas the first publication displayed works from different epochs with its focus on the 18th century, the second one puts its emphasis on the portrait miniatures of the 19th century.

The gradually increasing demand for miniature portraits in the second half of the 18th century led to an unparalleled productivity throughout Europe during the Empire and “Biedermeier“ period. More and more artists specialized on miniature portrait painting and refined their techniques. Apart from a few exceptions the miniatures were painted on thin ivory sheets, which made an excellent support for reproducing the sitters’ hands and faces. Their patrons’ demand for large-scale portraits painted in the miniature technique made the artists develop ingenious methods which enabled them to paint the flesh parts on the ivory sheets despite their restricted format.

Since painting a miniature showing not only the sitter’s bust but half of his/her body including an extravagant wardrobe, a rich interior or a romantic landscape in the background was a very time-consuming task, lavishly framed high quality miniatures remained a luxury item.

Although the patrons basically wished their appearance to be eternalised by a possibly exact reproduction, many sitters preferred embellishment to authenticity. Since the visualization of the sitter’s social rank played an important role they were often portrayed with precious accessories or before a Baroque curtain. Whereas most miniaturists of the 18th century wished to convey spiritual values by painting their models in fantastic environments, artists working in the 19th century employed an earthly and rather materially orientated imagery which often showed a certain theatrical sense. However, today’s observers of 19th century miniatures are mainly attracted by the immediate representation of the sitters.

The Tanseys have always preferred choosing their items according to their personal taste and high standard of quality to a systematic way of collecting. Therefore their collection shows a certain preference of continental, especially French and Austrian, objects and contains only a few English works as the broad style and bright colour of English miniature painting does not fully correspond to their taste.

In the following the focal subjects and highlights of their presentation of works from the 19th century are to be introduced.

Apart from works by Hargreaves and Newton Linnell’s portrait of George Pocock Bart, the inventor of a coach pulled by flying kites, and a masterpiece by Cruickshank are especially remarkable among the above-mentioned rare English miniatures.

From France comes a great number of works created in the post-revolutionary period, e.g. typical pieces by the great masters Augustin and Isabey. The publishers are especially proud to present a newly identified self-portrait by Isabey’s student Mansion for the first time. Aubry’s picture of the lady with fan as well as Singry’s splendid portrait of the singer Fodor-Mainvielle are also very impressive.

The works by Huet-Villiers are particularly interesting because they were created on the threshold to a new century which was to bring a new conception of miniature painting.

Guérin’s portrait of a dark-haired lady in a white dress from 1805 still shows the spirit of the late 18th century and follows the “old” conception by rather focusing on the purity and naturalness of the lady's emotional expression than on the representation of wealth through wardrobe or accessories.

The Tanseys also possess a sensitive portrait of a lady in white Empire gown by the Italian artist Quaglia, who lived in Paris and was the favourite miniaturist of Empress Joséphine.

Austrian miniature portrait painting is mainly represented by a choice of masterly pictures by Daffinger and among the few works from Germany Mayr’s portrait of the later Empress Marie-Louise is a piece of great historical value.

The second catalogue is the first publication which is wholly dedicated to the portrait miniatures of the 19th century; we hope you will enjoy entering this fascinating era of miniature painting as much as we did.

Bernd Pappe