the demand. To the present time, admiration for the small watercolor portraits on ivory is evident from the frequency with which they are worn as decorative pieces by collectors of American folk art. It is hoped that this report on the little-known miniatures of some well-known folk painters will bring more general recognition to these small, charming, and significant examples of early American folk att. * Arthur and Sybil Kern are researchers, writers, and lecturers on early Americanfolk art. This is theirfourteenth published magazine article. Their work has appeared in Folk Art, The Clarion, The Magazine Antiques,and Antiques World. They also served as guest lecturersfor the exhibition "Painters ofRecord: William Murray and His School" at the Museum ofAmerican Folk Art and the Albany Institute ofHistory and Art. NOTES 1 Susan E. Strickler, American Portrait Miniatures: The Worcester Art Museum Collection (Worcester, Mass.: Worcester Art Museum, 1989), pp. 13-19. 2 Dale T. Johnson,American Portrait Miniatures in the Marutey Collection(New York: The Metropolitan Museum of Art, Harry N. Abrams,Inc., 1990), pp. 13-25. 3 Arthur Kern and Sybil Kern,"James Guild: Quintessential Itinerant Portrait Painter," The Clarion,Summer 1992, vol. 17, no. 2, p. 53. 4 Credit for most of the historical data regarding miniatures must be given to the Strickler and Johnson articles. 5 Nathaniel Hawthorne, The House of the Seven Gables(Boston: HoUghton Mifflin Company, 1964), p. 81. 6 Rembrandt Peale,"Portraiture," in The Crayon 4(1857), p. 44; cited by Johnson, p. 55. 7 Harry B. Wehle,American Miniatures, 1730-1850(Garden City, N. Y.: Doubleday,Page & Company, 1927), p. 69. 8 Mary Childs Black and Stuart P. Feld, "Drawn by I. Bradley From Great Britton," The Magazine Antiques, October 1966, pp. 502-508. 9 Jean Lipman,American Primitive Painting (London, New York, Toronto: Oxford University Press, 1942), p. 150. 10 Jean Lipman,"I. J. H. Bradley, Portrait Painter," Art in America, vol. 33, July 1945, pp. 154-166. 11 Beatrix T. Rumford, ed., American Folk Portraits, The Abby Aldrich Rockefeller Folk Art Center Series I(Boston: A New York Graphic Society Book in Association with the Colonial Williamsburg Foundation, 1981), p. 61. This work cites six additional portraits by Bradley; four more have been reported in various other publications. 12 In addition to the two miniatures and the thirty-two large oilon-canvas signed portraits by Bradley, we know of one small watercolor, 10 by 13/ 1 2inches, in a private collection. It is a double portrait of Caroline and Georgiana Smith, who,according to descendants, had lived in New York City. 13 Ruth Garbisch Manchester,"John Bradley" in Deborah Chotner, American Naive Paintings(Washington: National Gallery of Art, Cambridge University Press, 1992), p. 27. 14 Unreliability of the spelling of names in a census is demonstrated by the fact that in the United States Census of 1820 and of 1830, Asher's last name is spelled "Androvat," in 1840 "Androvett," and in 1850 "Androvatte." It has elsewhere been spelled "Androvette."
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15 Black and Feld,"Drawn by I. Bradley From Great Britton," p. 508. 16 Ruth Garbisch Manchester,"The Irish Connection: Music and Mrs. Crawford," Monmouth County Historical Association Newsletter, vol. 12, Fall 1983, p. 1. Our review of passenger immigration lists disclosed seven other I. or J. or John Bradleys who arrived in New York City from Great Britain between 1822 and 1824. 17 Manchester, in American Naive Paintings, p. 27. 18 Helen Kellogg,"Found: Two Lost American Painters," Antiques World, December 1978, pp. 37-47. 19 A fourth small watercolor on paper, circular and with a diameter of2/ 1 2inches, is pictured in George Harding,"Painted Faces: The Portraits of R.W. and S.A. Shute," New England Antiques Journal, July 19,1987, p. 26. 20 Bert Savage and Gail Savage,"Mrs. R. W.and S. A. Shute," Maine Antiques Digest, August 1978, p. 2B. 21 The third miniature to which the Savages refer has not been found. We suspect that they made the same error as Helen Kellogg in calling the small watercolor on paper Woman in a White Bonnet a miniature. Bert Savage,in a recent conversation, agreed that this is probably what happened. 22 Edmund Wheeler, The History ofNewport, New Hampshire, From 1766 to 1878, with a Genealogical Register(Concord, N.H.: Republican Press Association, 1879), pp. 175,176,374,375. 23 Frank H. Whitcomb, Vital Statistics of the Town ofKeene, New Hampshire (Keene, N.H.: Sentinel Printing Company, 1905), p. 118. 24 S.G. Griffin, A History ofthe Town ofKeene(Keene, N.H.: Sentinel Printing Company, 1904), pp. 609,610. 25 C. Kurt Dewhurst, Betty MacDowell, and Marsha MacDowell,Artists in Aprons: Folk Art by American Women (New York: E.P. Dutton, in association with the Museum of American Folk Art, 1979), p. 90. 26 Agnes Halsey Jones, Rediscovered Painters of Upstate New York 1700-1875(Utica, N.Y.: Winchester Printing Inc., 1958), pp. 73-75. 27 The catalogs for these two exhibitions were the sources for most of the biographical material concerning Henry Walton. They are Leigh Rehner, Henry Walton: 19th Century American Artist (Ithaca, N.Y.: Ithaca College Museum of Art, Cayuga Press,Inc., 1968); and Leigh Rehner Jones, Artist ofIthaca: Henry Walton and His Odyssey, Herbert F. Johnson Museum of Art, Cornell University, 1988. 28 These watercolor-on-ivory portraits are all pictured in Artist of Ithaca: Henry Walton and His Odyssey as items 16 and 38-43. 29 Tanunis Kane Groft, The Folk Spirit ofAlbany: Folk Artfrom the Upper Hudson Valley in the Collection ofthe Albany Institute ofHistory and Art(Albany, N.Y.: Albany Institute of History and Art, 1978), p. 18. 30 Paul S. D'Ambrosio and Charlotte M.Emans,Folk Art's Many Faces: Portraits in the New York State Historical Association (Cooperstown, N.Y.: New York State Historical Association, 1987), pp. 150,151. 31 Ibid., p. 152. 32 Leigh Rehner Jones, Artist ofIthaca, p. 29. 33 Ibid., p. 21.
Fig. 2 UNIDENTIFIED SEATED MAN Attributed to Henry Walton c. 1840 Watercolor on ivory 2/ 1 2 2" Private collection Photo: Stanley Summer
Fig. 3 MAN IN A TIGER-MAPLE CHAIR Attributed to Henry Walton c. 1840 Watercolor on paper 6/ 3 4c CA" Collection of the Shelburne Museum, Shelburne, Vermont