This catalogue is composed of entries on nearly three hundred portrait miniatures and related objects made between about 1500 and 1845 in the collection of the Nelson-Atkins Museum of Art. The majority of the collection was given by Martha Jane Phillips Starr (1906–2011) and John W. Starr (1905–2000) in the 1950s and 1960s, with a gift of six from their grandson, James Philip Starr, in 2018.
The catalogue is arranged geographically. Within each geographic section, the miniatures are arranged in chronological eras and then in alphabetical order by artist’s surname, when known. Multiple works by the same artist appear in chronological order. In instances in which miniatures are closely related or were created as a pair or series, they are discussed in a single entry.
Each miniature has a curatorial entry interpreting the subject and/or iconography, analyzing the artist’s technique, and contextualizing the work within the artist’s career, when known. The artist for each miniature, when known, also has a brief biography, including information on major life events, training, style, technique, and patronage. The biographies and the curatorial essays both acknowledge the authors; the curatorial entries are signed and dated according to their moment of production.
Detailed provenance, related works, exhibition history, and bibliographic references appear at the bottom of each entry page. A supplemental volume to this catalogue includes miniatures known to have belonged to the Starrs outside of the Nelson-Atkins collection.
Object Information
Each entry is preceded by object information arranged as follows:
| Artist’s name, followed by nationality and life dates in parentheses; instances in which an artist is typically identified as one nationality but was born elsewhere are noted |
| Primary title |
| Alternative titles (if applicable) |
| Object date |
| Medium and support, followed on the next line by a case or frame description |
| Dimensions of the picture visible within the frame or case (“sight”) followed by framed dimensions (“framed”); height precedes width precedes depth. Framed dimensions do not include hangers, jump rings or other case attachments. |
| Signature and inscription (if applicable) |
| Credit line and accession number |
Spelling of artists’ names and constituent names typically follow the Getty Research Institute’s Union List of Artist Names (ULAN). Unless a definitive authority (such as birth certificate) dictates otherwise, first names of French people born before 1789 are not hyphenated, except for names derived from saints (e.g., Jean-Baptiste). First names of French individuals born during or after 1789 are hyphenated.
Former titles of artworks are noted when they vary significantly from the current title. Former and alternate titles may derive from sales catalogues, exhibition catalogues, or from Ross E. Taggart, The Starr Collection of Miniatures in the William Rockhill Nelson Gallery (Kansas City, MO: Nelson Gallery-Atkins Museum, 1971).
Single dates given with a “ca.” (circa) indicate that the miniature was probably executed within a span of five years preceding or following the date. A span of dates accompanied by “ca.” indicates that the miniature was executed sometime within those years. For consistency, broad dates are formatted as “19th century” instead of “1800s.” A slash ( / ) in the signature or inscription transcription indicates a line break.
Artist Attribution
In cases of uncertain authorship, the following terms are used:
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“Attributed to”: probably a work by the artist in whole or in part.
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“Studio of” or “Workshop of”: a work executed in the studio or workshop of the artist, possibly under the artist’s supervision.
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“Style of”: a work executed in the artist’s style but of a later date and therefore not by the artist.
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“After”: a copy (made at any date) of an original work or after another copy by the artist.
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“Signed” or “Dated” or “Inscribed”: the work has been signed, dated, and/or inscribed by the artist. It is noted if the inscription is erroneous or in a later hand.
Use of the terms British/English in nationalities
For delineating nationality in art, we opt for specific terms including “English,” “Scottish,” and “Irish” instead of the broader term, “British.” This choice offers a more accurate representation of the diverse artistic traditions within the United Kingdom and acknowledges distinct cultural and historical contexts. These specific designations honor the individuality of each nation’s artistic legacy, fostering a precise appreciation of regional nuances and influences.
Historically, the term “British” broadly encompassed the collective identity of the United Kingdom, including England, Scotland, and Ireland, particularly during the height of the British Empire. The term emphasized imperial connections within the Commonwealth, a union of sovereign states. While “British” historically unified the United Kingdom, contemporary discussions prioritize specific designations like “English,” “Scottish,” and “Irish” to celebrate each constituent nation’s unique contributions.
Provenance
The Nelson-Atkins Museum of Art uses a variation of the provenance format suggested by The American Alliance of Museums Guide to Provenance Research (Washington, DC: American Alliance of Museums, 2001). Provenance is listed in chronological order, beginning with the earliest known owner. Methods of transaction and the relationship between owners, if known, are indicated at the beginning of each line. If the mode of transaction is not known, the line begins with the constituent’s name; if the next constituent is a dealer, the line begins with the word “with” to denote their commercial status. Life dates in parentheses are given for non-dealer constituents. The city in which each constituent owned the artwork is also listed, when known. Collectors active during the World War II era (1933–1945) are an exception, in which case all cities where they lived are listed. The French word “née” indicates someone’s maiden name. When an agent acts as a representative of a buyer for a financial transaction, their name is preceded by the wording “through” or “on behalf of.” Dates of a constituent’s ownership, when known, are indicated at the end of each line. Uncertain information is preceded by the terms “possibly” or “probably.” Footnotes are used to document or clarify information.
Related Works
Related works include the following:
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Related Works (including pendants, commissioned series or suites, and variants of the same subject)
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Reproductions (including reproductive prints from the same general period as the artwork)
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Preparatory Work (including painted and drawn studies that show demonstrable similarities)
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Copies (including painted and drawn works)
Exhibitions
Exhibitions are listed chronologically from earliest to latest. When no catalogue can be found or one does not exist, the term “no cat.” is used.
Bibliographic References
Bibliographic references are cited using the “Notes and Bibliography” format of the Chicago Manual of Style and are organized chronologically from earliest to latest.
If it is possible but unconfirmed that a text cites a painting, the word “possibly” precedes the bibliographic reference. If a publication has more than three primary authors or editors, only the first author is listed, followed by “et al.” When a reference has been reprinted, the abbreviation “repr.” appears in the citation. Numbers listed at the end of a bibliographic reference indicate the page(s) on which the artwork is reproduced or discussed. Page numbers in journal supplements are preceded by the letter s. Citations of catalogues raisonnés include “no.” and “p.” or “pp.,” which indicate the catalogue number and page number(s), respectively. For a citation from two or more volumes in a multivolume edition, the volume numbers plus a colon and the appropriate page numbers are listed (i.e., 2:194, 4:41). The term “(repro.)” indicates that the artwork is reproduced in the publication. The term “[sic]” indicates that the word or phrase before it is quoted exactly as it stands in the original. Miniatures with no known exhibition or publication history are described as such.
On the Spelling and Formatting of Names
Spellings varied widely until a concerted effort to standardize spelling began in the nineteenth century. The spelling of names varied in official records even in artists’ own lifetimes (for example, John Hoskins’s surname was alternately spelled Hoskins or Hoskens; Samuel Cooper’s surname is spelled Cowper in various documents). With that in mind, we have adhered to family records and common usage whenever possible.
Citations and Digital Object Identifiers (DOIs)
A suggested bibliographic citation in Chicago Manual of Style is found at the beginning of each entry. A Digital Object Identifier (DOI), which is a persistent identifier or handle used to identify articles or books uniquely, has been assigned to each catalogue page. For more information about DOIs: https://www.doi.org/hb.html.
Revision History
Any revisions or corrections made to this publication after the first edition date will be listed on the “About” page. For a more detailed version history, please contact us at StarrMiniatures[at]nelson-atkins.org. The data in the catalogue is not certified or warrantied by the Nelson-Atkins Museum of Art, its curatorial staff, or its research affiliates. Any derivative representations or conclusions are drawn by the reader at their sole responsibility.
Tell Us More
The Nelson-Atkins welcomes any information that might help to clarify the provenance, identification, or interpretation of artwork in its collection. For inquiries and questions, please contact the museum at StarrMiniatures[at]nelson-atkins.org, send us a message at https://nelson-atkins.org/contact-starr-portrait-miniatures-catalogue-team, or write to us at European Arts Department, Nelson-Atkins Museum of Art, 4525 Oak Street, Kansas City, MO 64111.
The curatorial departments maintain object files for all objects in the museum’s collection. These files are open for qualified researchers. Please contact us at StarrMiniatures[at]nelson-atkins.org to arrange an appointment to view them.
doi: 10.37764/8322.6.100