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enterprise" who are on intimate terms. They occupy comparable amount of spaces and portions of the picture plane, while Eliza touches John and leans into his shoulder. Both are standing and the wife's stature matches her husband's, whereas the era's double portraits had tended to portray women as seated or otherwise below their husbands. According to art historian
140:, serving in the Province of South Carolina's first congress in January and June 1775. In February he married Eliza Anne Pritchard, daughter of Charleston's sheriff. In June, he was commissioned captain of a ranger company of the 3rd South Carolina Regiment. The couple's portrait was commissioned to mark both occasions. Purves fought at
174:, the figures' comparable representation and intimate attitudes "suggest the popularity of love matches and a new acceptability of visible demonstrations of private affection," documenting the late eighteenth century's turn toward "companionate marriage," wherein spouses formed a more coequal and loving partnership.
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Double portraits of husband and wife in the same frame, with no children or others present, are "surprisingly rare" in
American colonial-era art. Even during the late eighteenth century, "few sitters are portrayed as equally as the Purveses are." The couple is portrayed as "equal partners on a joint
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Handed down through the
Purveses' descendants to Eliza McKellar, this "vigorously painted double portrait" depicts the husband and wife in 1775 on the occasion of their marriage. In the portrait, Purves wears his regimental uniform: a blue coat with red facings, silver buttons, and one silver
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and ended the war as lieutenant colonel of the Lower Ninety-Six
District Regiment of Militia. After the war, he became a state legislator and owned extensive properties. He died in 1792.
161:, with whom Benbridge studied in London in 1769. The figures' poses echo those in English portraits, and the woman's fashionable dress is typical among the period's Charleston elite.
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epaulet. Elegantly dressed, Pritchard leans on her husband's shoulder, "looking rather anxiously at his face." The portrait's style reflects the influence of
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American
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413:"Reading Eighteenth-Century American Family Portraits: Social Images and Self-Images"
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Art in a Season of
Revolution: Painters, Artisans, and Patrons in Early America
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As
Various As Their Land: The Everyday Lives of Eighteenth-Century Americans
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83 cm × 67.3 cm (33 in × 26.5 in)
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341:. Washington, D.C.: National Gallery of Art. pp. 113–114.
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An
American Vision: Henry Francis du Pont's Winterthur Museum
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Collection of the
Winterthur Museum, Gallery and Library
192:"Captain John Purves and His Wife, Eliza Anne Pritchard"
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was a well-born
Scottish immigrant who settled outside
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Captain John Purves and His Wife, Eliza Anne
Pritchard
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Captain John Purves and His Wife, Eliza Anne Pritchard
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Information about the painting from Winterthur Museum
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222:American Art: History and Culture
370:Wolf, Stephanie Grauman (1993).
302:University of Pennsylvania Press
104:(1743–1812). It was painted in
411:Lovell, Margaretta M. (1987).
292:Lovell, Margaretta M. (2005).
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517:Portraits by American artists
400:– via Internet Archive.
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250:Richardson, Edgar P. (1986).
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196:Winterthur Museum Collection
16:Painting by Henry Benbridge
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138:American Revolutionary War
333:Cooper, Wendy A. (2002).
134:Edgefield, South Carolina
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527:Oil on canvas paintings
492:18th-century portraits
218:Craven, Wayne (1994).
507:Paintings in Delaware
114:Henry Francis du Pont
512:Paintings of couples
418:Winterthur Portfolio
304:. pp. 146–149.
172:Margaretta M. Lovell
497:American paintings
457:– via JSTOR.
389:978-0-06-016799-8
348:978-0-85331-859-0
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481:Categories
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71:Dimensions
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