Citation
Chicago:
Aimee Marcereau DeGalan, “Gervase Spencer, Portrait of a Man, 1754,” catalogue entry in Aimee Marcereau DeGalan, Blythe Sobol, and Maggie Keenan, The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of the Nelson-Atkins Museum of Art, vol. 3, ed. Aimee Marcereau DeGalan (Kansas City, MO: Nelson-Atkins Museum of Art, 2024), https://doi.org/10.37764/8322.5.1650.
MLA:
Marcereau DeGalan, Aimee. “Gervase Spencer, Portrait of a Man, 1754,” catalogue entry. Aimee Marcereau DeGalan, Blythe Sobol, and Maggie Keenan. The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of the Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, vol. 3, Nelson-Atkins Museum of Art, 2024. doi: 10.37764/8322.5.1650.
Artist's Biography
See the artist’s biography in volume 4.
Catalogue Entry
Gervase Spencer reveled in painting the details of dress. This handsome sitter’s crisp white jacket, with its decorative gold frogging: Ornamental braid or coat fastenings consisting of spindle-shaped buttons and loops., brilliant blue vest with gold facings and a scalloped edge, and intricately patterned lace jabot: An ornamental accessory, typically made of lace or fine linen, which was suspended from the neck of a shirt., display a technical mastery second to none in the difficult medium of enamel: Enamel miniatures originated in France before their introduction to the English court by enamellist Jean Petitot. Enamel was prized for its gloss and brilliant coloring—resembling the sheen and saturation of oil paintings—and its hardiness in contrast to the delicacy of light sensitive, water soluble miniatures painted with watercolor. Enamel miniatures were made by applying individual layers of vitreous pigment, essentially powdered glass, to a metal support, often copper but sometimes gold or silver. Each color required a separate firing in the kiln, beginning with the color that required the highest temperature; the more colors, the greater risk that the miniature would be damaged by the process. The technique was difficult to master, even by skilled practitioners, leading to its increased cost in contrast with watercolor miniatures.. Although it remains unclear precisely where and how Spencer mastered this craft, speculation points to Swiss artist André Rouquet (1701–1758), with whom Spencer shares a similar style.1Graham Reynolds, English Portrait Miniatures, rev. ed. (Cambridge: Cambridge University Press, 1988), 106–8.
Like Rouquet, Spencer painted in a minute stippling: Producing a gradation of light and shade by drawing or painting small points, larger dots, or longer strokes. pattern, tiny dots that blend together to create a smooth surface. Their approach was unlike that of their near-contemporary Christian Friedrich Zincke (ca. 1684–1767), who used a more heavily stippled technique. Among other elements Spencer may have adopted from Roquet were the artist’s plain, monochromatic backgrounds.
Most of Spencer’s enamel miniatures are on copper supports, but some, possibly even this example, are painted on gold.2Paul Caffrey, Treasures to Hold: Irish and English Miniatures, 1650–1850 from the National Gallery of Ireland Collection, exh. cat. (Dublin: National Gallery of Ireland, 2000), 54–55. The top edge and side of the case are probably gold; however, the back and remainder of the case are gilt copper alloy.3As determined by miniature conservator Carol Aiken during her 2017 survey of the Nelson-Atkins Museum of Art collection. Notes in NAMA curatorial files. The enamel itself has a high cabochon: A style of cutting, typically related to gemstones, that results in a shaped and polished, rather than faceted, form. shape with a thick white enamel underlayer. Speckled green and white contra/counter-enamel: The reverse side or “verso” of an enamel miniature. When enameling on metal, both sides are usually coated with enamel to protect the metal sheet and layers of enamel from warping due to the extreme heat applied during firing, which causes the metal and enamel to expand and contract. Artists often (though not always) signed on the contra enamel., inscribed in red with the artist’s name and date of 1754, mark this miniature as one of Spencer’s more mature works. While further information about the gentleman depicted remains elusive, the miniature is set in a bracelet clasp and was likely worn and loved by a close admirer.
Notes
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Graham Reynolds, English Portrait Miniatures, rev. ed. (Cambridge: Cambridge University Press, 1988), 106–8.
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Paul Caffrey, Treasures to Hold: Irish and English Miniatures, 1650–1850 from the National Gallery of Ireland Collection, exh. cat. (Dublin: National Gallery of Ireland, 2000), 54–55.
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As determined by miniature conservator Carol Aiken during her 2017 survey of the Nelson-Atkins Museum of Art collection. Notes in NAMA curatorial files.
Provenance
Mr. John W. (1905–2000) and Mrs. Martha Jane (1906–2011) Starr, Kansas City, MO, by 1958;
Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1958.
Exhibitions
The Starr Foundation Collection of Miniatures, The Royal Ontario Museum, Toronto, December 8, 1972–January 14, 1973, no cat., no. 39, as Unknown Man.
References
Ross E. Taggart, The Starr Collection of Miniatures in the William Rockhill Nelson Gallery (Kansas City, MO: Nelson Gallery-Atkins Museum, 1971), no. 39, p. 18, (repro.), as Unknown Man.
No known related works at this time. If you have additional information on this object, please tell us more.