Henrietta Johnston -- Charleston Portraitist

. 1711 Henrietta Johnston (1674-1729) Henriette Charlotte de Chastaigner (Mrs Nathaniel Broughton)

Early in the 18th century, many of the portraits of colonial gentle ladies posted on this blog were done by Henrietta Johnston (1675-1729). She was the first identified pastelist & female portrait painter in the American colonies.

1705 Henrietta Johnston (1674-1729). Young Irish Girl.

At the age of 10 or 12, Henrietta de Beaulieu, fled with her Huguenot family to England from France to avoid persecution. In 1694, she married Robert Dering (1669-1702-4),the fifth son of Sir Edward Dering, and moved to Ireland. Their marriage application dated March 23, 1694, describes Henrietta as a maiden, about twenty, of the Parish of St. Martin-in-the-Fields.

1705 Henrietta Johnston (1674-1729). Unknown Dublin Lady in Grey Dress.

When she was in Ireland, two Irish artists were doing pastel portraits, Edmund Ashfield (d. 1700) & Edward Luttrell, who flourished from 1699 to 1720. Pastels were a relatively new medium at the time. It is possible that she met or even learned from these men, who may have trained in France where the pastels originated. Typical of portraits of the period, her paintings resemble in pose & format, but not medium, the work of Sir Godfrey Kneller.

1708-09 Henrietta Johnston (1674-1729). Unknown Lady.

Her earliest identified extant works are from about 1704 Ireland. She was a single mother at this time, for she remarried the following year. When her first husband Dering died, she became a widow with two daughters, one of whom, Mary, later became a lady in waiting for the daughters of George II. The pastel portraits she painted during this period were mostly of members of deceased husband’s extended family, which included the Earl of Barrymore & Sir John Percival, Earl of Egmont.

1708-10 Henrietta Johnston (1674-1729). Marianne Fleur Du Gue (Mrs Pierre Bacot)

In 1705, she wed the Reverend Mr. Gideon Johnston (1668-1716), a graduate of Trinity College, Dublin, who was the widowed vicar at Castlemore & who was to become rector appointed by the Bishop of London, of St. Philip’s Church in Charles Town, South Carolina, in 1708.

Charleston was a fledgling town at this time scrambling to become become the most affluent & largest city in the South, the leading port & trading center for the southern colonies. Many French Protestant Huguenots, seeking religious freedom, were moving to Charleston, where they began building fine townhouses along the harbor's edge & wanted portraits to grace their hallways & establish their family's presence as a power.

1708 Henrietta Johnston (1674-1729). Mary DuBose (Mrs Samuel Wragg)

Henrietta, her new husband, & 3 children from their combined family set sail for his assignment in Charleston. The story goes that on a ship stopover in the Madeira Islands, the groom went ashore, returning after the ship had already sailed for Charleston. Henrietta landed with her children in tow only to discover that the parishioners had appointed their own rector while waiting for the Bishop's appointee. There was no pulpit or parsonage for the new family.

1710 Henrietta Johnston (1674-1729). Catherine LeNoble (Mrs Robert Taylor)

When Johnston finally arrived in Charleston 12 days later, he had to oust the elected rector from his pulpit. This was not a popular move, & Gideon Johnston became bogged down in church politics. He wrote in September, 1708, that he "never repented so much of anything, my Sins only excepted, as my coming to this Place."

1710 Henrietta Johnston (1674-1729). Susanne LeNoble (Mrs Alexander de Chastaigner) (Mrs Rene Louis Ravenel).

In Charleston, the artist added to the family's coffers by drawing 9" by 12" portraits of many of Charleston’s French Huguenot residents and members of St. Philip’s Church. Frustrated by debt & problems, probably of his own making, once he arrived in South Carolina, Gideon Johnston wrote the Bishop in 1709: “Were it not for the Assistance my wife gives me by drawing of Pictures…I shou’d not have been able to live.”

1715 Henrietta Johnston (1674-1729). Mary Magdalen Gendron (Mrs Samuel Prioleu) 1691-1765

Henrietta's popularity as a portraitist grew, as his declined. She kept painting, making friends, raising his children, keeping house, & acting as his secretary. By the spring of 1711, she'd run out of art supplies, just as her husband's congregation wanted to send some important messages back to the Bishop in London by personal carrier.

1717-18 Henrietta Johnston (1674-1729). Mary Griffith (Mrs Robert Brewton) (Mrs William Loughton) 1698-1761.

Afraid that their indebted, unpopular clergyman might skip out on his local debts, the church sent Henrietta to London with the missives for the church hierarchy. The little jaunt to London took 3 years. Enough time for her to restock her art supplies with French pastels. Throughout her career she typically used 9 x 12-inch sheets of paper in simple wooden frames, which she often signed & dated on the back.

1719 Henrietta Johnston (1674-1729). Judith DuBose (Mrs Joseph Wragg) 1698-1769

On her return voyage, she was involved with some frightening pirates; and shortly after her return, the good clergyman drowned in a boating accident. She remained in Charleston, when her sons later returned to England. She & her work remained popular, even taking her to New York to paint portraits request there.

1720 Henrietta Johnston (1674-1729). Anne Broughton (Mrs John Gibbes)

Johnston’s work is usually divided into 3 periods by art historians. 1. The Irish period, when she was a widow lasted from about 1704 to 1705. 2. The period in Charleston prior to Gideon’s death (1708-1715), when she had to supplement her seemingly inept husband's ventures. 3. And the period between his death in 1716, and Henrietta’s own passing in 1729, during which she continued working in Charleston & briefly in New York in 1725.

1722 Henrietta Johnston (1674-1729). Anne DuBose (Mrs Job Rothmahler)

Nearly 40 works attributed to Johnston survive, many of these in original frames with backboards signed & dated by the artist. In addition, many of the artist’s sitters have been identified, some through original backboard inscriptions, including the fourth Earl of Barrymore, whose portrait Johnston completed in Dublin in 1704.

1725 Henrietta Johnston (1674-1729). Elizabeth Colden Mrs Peter DeLancey (1719-1784)

The extant Irish works are all waist-length portraits & show the most attention to detail of all her portraits, with well-defined facial features, lively & expressive eyes, attention to clothing, & dramatic background shading.

Henrietta Johnston (1674-1729) Anna Cuyler (Mrs. Anthony) Van Schaick, ca. 1725

Several of her Charleston portraits retain careful characteristics of her early Irish works, but most are bust-length with less detailing of clothing & facial details. Strong shadows relieved by bright touches of white suggest the sheen of satin & other fine cloth worn by her subjects. She seldom painted the hands of her sitters.

1725 Henrietta Johnston (1674-1729). Frances Moore Bayard.

In the colonies, her female subjects usually wore delicate chemises, while the male sitters were dressed in everyday clothes or, occasionally, in military armor. Her adult female colonial sitters are posed facing slightly left or right and are draped in either white or a soft gold, with white, slightly ruffled borders forming a V-shaped neckline. Their hair is generally depicted as swept up, with ringlets falling over one shoulder.

Johnston’s portraits became almost dull in the period immediately after her rector husband’s death. Her subjects’ faces lack the lively expression of her earlier works, clothing details are hazy, & colors are less saturated, suggesting that the artist was either running low on supplies, was trying to complete the portraits quickly, or was growing weary.

In the final period, Johnston’s portraits vary in the quality of detail; while some of the later works exhibit a return to her earlier skillfully executed facial & clothing details, at least one reflects the ethereal quality seen immediately after her clergyman husband’s death. Her New York portraits include the only known portraits of small children, both of which are close to 3/4 length and include the children’s arms & hands.

The only landscapes attributed to Johnston are those seen as backgrounds in these to portraits of children. Landscapes would remain in the background of American art until the end of the 18th century.

For more information, see:

Forsyth Alexander, ed. “Henrietta Johnston: Who Greatly helped…by drawing pictures.” Winston-Salem, N.C.: Museum of Early Southern Decorative Arts, 1991.

Middleton, Margaret Simons. Henrietta Johnston of Charles Town, South Carolina: America’s First Pastellist. Columbia, S.C.: University of South Carolina Press, 1966.

Severens, Martha R. “Who was Henrietta Johnston?” The Magazine Antiques. (November 1995): 704-709.
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American Artist John MacKay or M'Kay flourished 1788-1791

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John Mackay or M'Kay, Hannah Ackley Bush (1767-1807) of New York, 1791

These late 18th-century paintings are something of a puzzle. Several things seem apparent. The artist does not seem to feel at ease portraying hands, but he has absolutely no problem with rather daring color schemes. I don't usually include portraits of men, but here is an exception; because Mr. Bush was reported to be a rather unusual character. He was known to cut quite a figure, and he had 3 wives.

The portraits of the Bushes are clearly signed with both the name MacKay and the name M'Kay, but the identity of the artist has remained elusive.

A John MacKay/M’Kay listed himself as a glazier and ornamental painter, an artist who could have painted portraits, in New York City directories in 1790, but there seem to be no ads in newspapers for his business.

John Mackay or M'Kay, John Bush (1755-1816) of New York, 1791

1791 John MacKay or M’Kay, Catherine Brower Mrs Stephen Hyde of New York (1783-1865) 1791

John MacKay or M’Kay, Ruth Stanley Mrs John Mix of Connecticut 1788
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Houses of Worship in 18th-Century South Carolina

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Artist Charles Fraser (1782-1760) painted a series of watercolors of churches & meeting houses in South Carolina. He depicts broad swipes of landscapes allowing the viewer to see the buildings in the ground planned around them. These images are from the Carolina Art Association Gibbes Museum of Art, Charleston, South Carolina.

Charles Fraser (1782-1860) A VIEW IN ST. THOMAS’ PARISH POMPION HILL CHAPEL.

The 1765 church was called "Punkin Hill" locally. The Parish of St. Thomas & St. Dennis was made from the union of the Huguenot Church St. Denis & the Parish of St. Thomas which had been laid off by the Church Act of 1706. In Day on Cooper River it says: “on a high bluff, raising abruptly from the bed of the river, stands the Parish Chapel, commonly known as Pompion Hill Chapel, taking its name from the hill on which it stands.”

Charles Fraser (1782-1860) THE CHURCH IN ST. ANDREW’S PARISH, APRIL 1800.

Established on the west bank of the Ashley River in 1706, by 1722 the original church had became too small for the parishioners. The church was enlarged in the form of a cross, with a gallery at the west end designated for “people of colour.” Destroyed by fire, it was rebuilt by subscription in 1764, and it covered a great territory. It maintained a Chapel of Ease on James’ Island, which was attended by many Presbyterians on the Island; but, after 1787, the Reverend Thomas Mills states that “the inhabitants of James Island, who were nearly all Presbyterians, or Independents, had procured a minister and organized a Church of their own. After this period, in conformity with the injunctions of the Vestry, my Pastoral duties were generally confined to St. Andrew’s on the main.”


Charles Fraser (1782-1860). CHURCH IN ST. JAMES’ PARISH, GOOSE CREEK.

St. James’ Parish, Goose Creek, was laid off in 1706, and the church was completed in 1719. “So numerous was the congregation of this church that its capacity was found in a few years wholly insufficient”, and a Chapel of Ease was erected about 7 miles from the original church structure.

Charles Fraser (1782-1860) CHURCH ON JOHN’S ISLAND.

This was St. John’s Colleton, which had been a part of St. Paul’s but was separated from it in 1734, and served “John’s Island, Wadmalaw Island, Edisto Island, and the other adjacent Islands to the seaward.”

Charles Fraser (1782-1860) MEETING-HOUSE IN PRINCE WILLIAM’S PARISH.

The Stony Creek Presbyterian Church built in Indian Land on Stony Creek near Pocotaligo in 1743. Fraser notes in his Reminiscences, even during his boyhood, the Presbyterian "dissenters" never called their places of worship churches.


Charles Fraser (1782-1860)A MEETING-HOUSE NEAR JACKSONBOROUGH, 1799.

This is the meeting-house of Bethel Congregation of Pon Pon organized in St. Bartholomew’s Parish in 1728 and first ministered to by the Reverend Archibald Stobo, the Father of Presbyterianism in South Carolina. One historian told of Reverend Robert Baron, sent out to St. Bartholomew’s Parish by the Society for the Propagation of the gospel in 1753: “He arrived at Charles Town June 1st and entered on the duties of his cure on the 7th of that month. Mr. Baron was soon after taken ill, and had a severe seasoning, as it is usually called. His Parishioners were scattered over a great extent of country, and were an orderly and well behaved people. The Presbyterians were numerous, but they all lived together in mutual friendship and Christian charity.”


Charles Fraser (1782-1860) REMAINS OF THE CHURCH IN PRINCE WILLIAM’S PARISH.

This parish was often called Sheldon Church because of its proximity to the Bull plantation of that name. “An instance of the hospitality of Carolina, connected with the history of Sheldon Church, has been stated to us b y those who knew the fact. Stephen Bull who live in its vicinity, usually invited as his guests, on the Sabbath, the more respectable part of the Congregation who attended divine service; while his overseer, by his direction, and at his expense, liberally entertained the rest. At that time, seldom less than 60 or 70 carriages, of various descriptions were seen at the Church on the Lord’s Day. It was burnt in 1780 by the British under General Prevost, on their march from Savannah to the siege of CharlesTown.” It was rebuilt on its original lines after the Revolution.

Charles Fraser (1782-1860) THE CHURCH IN ST. BARTHOLOMEW’S PARISH, 1796.

“This part of Colleton County was made a Parish, by an act passed Dec. 18, 1708.” The first missionary, sent by the Society for the Propagation of the Gospel in Foreign Parts was a Reverend Mister Osborn, who arrived in 1713. “His cure was very extensive, and his duty laborious. It was 40 miles long, and 30 wide…He officiated at five different places for the accommodations of his parishioners…Mr. Osborn was greatly esteemed and the Church flourished under his care. This prosperity, however, was soon interrupted. In 1715 the Indian War [Yemassee] broke out and the savages destroyed all the plantations in the Parish…The Missionary with difficulty escaped to Charles Town." By 1760 two brick Chapels of Ease had been built. The Church in this sketch was the Chapel of Pon Pon, which was burnt to the birck walls by the British during the Revolution but rebuilt after the war. The locals then called it "the Burnt Church."


Charles Fraser (1782-1860) A VIEW OF ST. JAMES’ CHURCH, GOOSE CREEK, FROM THE PARSONAGE.

The parsonage stood on a slight hill and its lane led dircectly to the church door. In the woods is a small 1759 vestry building, where Parish business could be transacted and where coachmen & grooms might take shelter.
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American Women & Children by the Beardsley Limner (active between 1785-1805)

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The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Boy with Dog

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Harmony Child Mrs Oliver Wright

The Beardsley Limner, an American painter active 1785-1805, was an itinerant artist who executed several naive portraits along the old Boston Post Road, in Connecticut & Massachusetts, from about 1785 to 1805. This name is derived from portraits this artist made of Elizabeth & Hezekiah Beardsley. The Beardsley Limner may actually be a Connecticut pastelist Sarah Perkins. Some stylistic similarities exist between the two, but there are sufficient differences to raise questions about a definitive identification. Works shown here are attributed to the Beardsley Limner.

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831)

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Elizabeth Davis Mrs Hezekiah Beardsley 1789

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Child Posing with Cat 1790s

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Boy in a Windsor Chair

The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Girl In a Pink Dress 1790
The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831)
The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Charles Adams Wheeler, c. 1790
The Beardsley Limner (American painter, active 1785-1805 possibly Sarah Bushnell Perkins 1771-1831) Girl in Lace Cap 1790s
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Late 18th-Century Maryland Artist Lambert ? Bouche

.1799 Artist Lambert ? Bouche. Ann Ogle (Mrs. John Tayloe III) and daughters Rebecca and Henrietta. Maryland Historical Society.

When I worked at the Maryland Historical Society, one of the artists little was known about was a man named Bouche, who at the time had only one painting on display there. Since then, another painting by the same artist has been acquired. His name "Bouche" appears in an advertisement in the "Maryland Journal" for November 5, 1795, in which Bouche proposes a drawing school at his home on Harrison Street in Baltimore Town. A gentleman name Lambert Bouchu was taxed for property in Baltimore in 1800. His partner in the venture, M. de Valdenuit, had also worked with St. Memin, a portrait engraver who worked in Baltimore for a time. The art school that Bouche & de Valdenuit ran offered drawing & painting classes with flowers, landscape, & figures as subject. A Frenchwoman also offered embroidery instruction for students at the school. One of Bouche's portraits was of two sisters, Sally Scott & Anna Maria Murray, who were friends of John Hesselius' daughter. John Hesselius was an artist who also lived & worked in Baltimore.

1785 Artist Lambert ? Bouche. Mrs. Philip Barton Key. Maryland Historical Society..

Early American Women by American Gilbert Stuart

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1775 Gilbert Stuart (1755-1828). Sarah Rivera (Mrs Aaron Lopez) and son Joshua.Gilbert Stuart was born in Rhode Island in 1755, and died in Boston, Massachusettes in 1828. He fled the colonies to escape the American Revolution, and he eventually fled the British Isles to escape creditors. After nearly 20 years in England and Ireland, he returned to the United States to become the leading portraitist of the Federal period.
1780 Gilbert Stuart (1755-1828). Christian Stelle Banister & Son John.

Stuart's parents, Jacobite Scot snuff grinders Gilbert Stuart and his wife Elizabeth Anthony, ran a shop in Newport, Rhode Island. When he was reportedly only 10, Stuart painted a very successful depiction of a local Scot physician's hounds.1794 Gilbert Stuart (1755-1828). Matilda Stoughton de Jaudenes y Nebot.The doctor introduced the young boy to fellow Jacobite Scot portrait painter Cosmo Alexander (1724-1772) in 1769. Stuart traveled with the artist to Philadelphia, Delaware, Virginia, and Edinburgh, learning the art of the portrait along the way, until his tutor died in 1772.
1796 Gilbert Stuart (1755-1828). Elizabeth Parke Custis Law

Stuart made his way back to Rhode Island, where he painted several portraits of women; before his loyalist father moved the family to Nova Scotia in 1775, and Stuart headed for London. In 1777, he went to work there for Pennsylvania ex-patriot Benjamin West. As Stuart told artist Matthew Jouett (1787–1827), he was "allowd half a guinea a week for paint(ing) draperies & finishing up Wests portraits."
1796 Gilbert Stuart (1755-1828). Mrs. Robert Morris.

In 1777, Stuart exhibited a portrait at the Royal Academy of Arts in London. Stuart helped West complete his heroic history paintings until 1782, while he personally continued to paint portraits of prominent English gentry, married, had 12 children, and ran up heavy indebtedness. His daughter Jane later explained, "the manner in which he lived should not be called extravagant, as his employment warranted the outlay; his distinction as an artist entitled him to it; the class of persons he painted for required it."1796 Gilbert Stuart (1755-1828). Mrs. Thomas Lea.

To allude persistant creditors, Stuart fled London in 1787, heading for Ireland, where his debts piled up again. Leaving unfinished portraits and ever mounting debts behind in Ireland, Stuart moved his family to New York in 1793. Once established in Philadelphia the following year, he wrote to his uncle Joseph Anthony (1738–1798) in Newport, "The object of my journey is only to secure a picture of the President & finish yours." He did not mention his debts across the Atlantic, and he was successful in securing a sitting with the president in Philadelphia in 1795, completing a portrait which he would recopy and sell at least 12 twelve times.1796 Gilbert Stuart (1755-1828). Martha Washington.

Martha Washington commissioned of 2 new portraits of herself & her husband, so the president allowed Stuart another sitting in 1796. However, Martha Washington would never receive her portrait or her husband's, now known as the "Athenaeum" portraits; because Stuart until his death, made more copies of the new sitting for sale. Martha fretted to her husband and to visitors about never receiving her portraits.
1797 Gilbert Stuart (1755-1828). Anne Willing Bingham.Stuart was notorious for not completing his portraits. Mary Tyler Peabody (1804-94) wrote in 1825, "At Stewart's room I saw a portrait of Webster, Mr. Quincy, President Adams and lady, Bishop Griswold, Mr. Taylor, &c. They were all unfinished."1797 Gilbert Stuart (1755-1828). Mary Willing ClymerTwenty years after sitting for Stuart, Thomas Jefferson was still attempting to obtain his portrait from the artist. In response to an inquiry about Stuart from artist Mather Brown (1761–1831), Catherine Byles wrote, "We are told he is one of the best painters in the world & excels in his likeness; he has taken a number of portraits, his price is a hundred dollars; he is indeed very excentrick, he loves a cheerful bottle and does no work in the afternoon; he is very dilatory in finishing his pictures."1798 Gilbert Stuart (1755-1828). Elizabeth Corbin Griffin Gatliff & Daughter Elizabeth.

But the people who sat for Stuart and did receive their portraits held him in high regard. Female poet Sarah Wentworth Morton was painted by Stuart and wrote in the Philadelphia journal The Port Folio on June 18, 1803,
To Mr. Stuart, On His Portrait of Mrs. M
STUART, thy portraits speak, with skill divine;
Round the bright Graces flows the waving line.
Expression in its finest utterance lives,
And a new language to creation gives.
Each varying trait the gifted artist shews,
Wisdom majestic in the bending brows;
The warrior's open front, his eyes of fire,
Or when the charms of bashful youth retire;
Or patient plodding, and with wealth content,The man of commerce counts his cent per cent.
Gilbert Stuart (1755-1828).

Gilbert Stuart died in debt in Boston in 1828. Less than 2 months after his death, the Boston Athenaeum presented memorial exhibition of his portraits for the benefit of his widow and 4 daughters. Almost 250 Stuart portraits, many of Bostonians, were loaned for the highly successful benefit exhibition. His wife would move to Newport, where she would live until 1845.. 1800-02 Gilbert Stuart (1755-1828) The Poet Sarah Wentworth Apthorp Morton.

1800 Gilbert Stuart (1755-1828). Arabella Maria Smith (Mrs. Alexander James Dallas)
1800 Gilbert Stuart (1755-1828). Abigail Smith (Mrs. John Adams).
1800 Gilbert Stuart (1755-1828). Henrietta Marchant (Mrs. Robert Liston).

1800s Gilbert Stuart (1755-1828). Portrait of a Lady.
1800s Gilbert Stuart (1755-1828). Marcia Burnes Van Ness.
1800s Gilbert Stuart (1755-1828). Mrs Barney Smith.
Gilbert Stuart (1755-1828) Eliza Judah Myers 1808.

1800s Gilbert Stuart (1755-1828). Sarah Homes Tappan.

1802 Gilbert Stuart (1755-1828) Mrs Edward Stow

1804 Gilbert Stuart (1755-1828). Elizabeth-Beltzhoove (Mrs John Thomson Mason).

1804 Gilbert Stuart (1755-1828). Anna Payne Cutts. White House Collection.1804 Gilbert Stuart (1755-1828). Sarah McKean, Marquesa de Casa Yrujo.

1804 Gilbert Stuart (1755-1828). Anna Powell Mason.

1804 Gilbert Stuart (1755-1828). Dolley Payne Todd Madison.

1804 Gilbert Stuart (1755-1828) Elizabeth Patterson Bonaparte

1805 Gilbert Stuart (1755-1828). Ann Penington.

1806 Gilbert Stuart (1755-1828). Hepzibah Clarke Swan.

1808 Gilbert Stuart (1755-1828) Lydia Smith

1809 Gilbert Stuart (1755-1828). Mrs. Harrison Gray Otis.

1810 Gilbert Stuart (1755-1828). Elizabeth Tuckerman

Gilbert Stuart Mercy Shiverick Hatch, c.1810

1811 Gilbert Stuart (1755-1828). Mrs Polly Hooper.

1815 Gilbert Stuart (1755-1828). Mrs. Nathan Bond.

1817 Gilbert Stuart (1755-1828). Mrs. James Smith Colburn.

1819 Gilbert Stuart (1755-1828). Mrs. Joseph Story.

1820 Gilbert Stuart (1755-1828). Mrs. Andrew Sigourney.
1823 Gilbert Stuart (1755-1828). Elizabeth Porter Wheeler.

1824 Gilbert Stuart (1755-1828) Ann Woodward Haven.
1824 Gilbert Stuart (1755-1828). Miss Clementina Beach.

1824 Gilbert Stuart (1755-1828). Lydia Pickering Williams.