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190:. Engleheart started on his own account in 1773, and worked mainly in London for the whole of his career. He regularly exhibited at the Royal Academy from 1773 to 1822. He kept a detailed fee book from 1775 to 1813, which included detailed sketches of his miniatures. The book remains in the possession of his family to this day. Engleheart was a prolific artist: during the period of 39 years covered by the fee book, no less than 4,853 miniatures are recorded as having been executed by him.
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watercolour to its greasy surface. Hence, they found it difficult to paint large areas of ivory, and tended to keep the miniatures small. It was still fashionable for ladies to wear portrait miniatures on bracelets around their wrists, and small miniatures helped facilitate this. Engleheart's portraits of this era are sometimes signed 'G.E.' The flesh tones are coloured by reddish tints over a pale ground, with the facial features accentuated using a bluish-grey tone.
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easily recognisable: he often portrays his sitters with deep eyes under strong eyebrows, together with a slightly lengthened nose, and the flesh colour of the face is painted using a brownish yellow tone. The corners of the mouth are drawn with diagonal grey strokes. Engleheart imbues his sitters with a sense of gentleness, elegance and serenity; even his military officers look more at home in the
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The third and final period of
Engleheart's career is circa 1795–1813. His painting style does not really change from that developed in the preceding years, but his ivories are now large, measuring around 3 to 3½ inches in height. The clothes of his sitters are much simpler, following the simple style
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During the period circa 1780–1795, Engleheart developed his very distinctive style, with his draughtsmanship and use of colour becoming consistent and high quality. He still sometimes paints small sized miniatures, but he more frequently paints on ivories of around 2½ inches in height. His works are
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His initial paintings were small in size. It was common for artists of the period circa 1775 to paint on small ivories of approximately 1½ to 2 inches in height. Miniaturists at this time were still learning to exploit the full potential of ivory, and were struggling to find ways of adhering the
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twenty-five times, and had a very extensive circle of patrons, comprising nearly all the important persons connected with the court. He made careful copies in miniature of many of the famous paintings executed by Sir Joshua
Reynolds, and in some cases these constitute the only information we possess
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worn over long hair pulled back into a ponytail which was tied with a black ribbon. Engleheart did not always sign his work during this period, but towards the end of this phase he began signing with a cursive 'E' placed in the bottom corner of the obverse, and he continued with this style of
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126:, Surrey, on 26 October 1750. His father was Francis Englehart (died 1773), a German plaster modeller who emigrated to England as a child; his mother was Anne Dawney. He had seven brothers. The family name was changed to Engleheart after his father died.
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and Thomas
Richmond, in how to paint miniatures. As this final phase of his career progressed, Engleheart reverted to signing his work with a 'G.E.', in either cursive form or block capitals.
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than the battlefield. He often used opaque white to pick out the details of the pale coloured dresses worn by his female subjects, and their hair is often worn high and/or powdered, as was the
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respecting portraits by Sir Joshua that are now missing. His fee-book, colours, appliances and a large collection of his miniatures still remain in the possession of his descendants.
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of 1 guinea per annum on those individuals wishing to wear hair powder or powdered wigs; the tax being introduced to part finance the war with France (it was during the
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George
Engleheart - Portrait of Unknown Man – circa 1800 – Signed with cursive 'E' on obverse - Victoria & Albert Museum
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Portrait of John Dyer
Collier, circa 1785, by George Engleheart; watercolour on ivory; V&A Museum no. P.76-1910 Victoria and Albert Museum, London
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George
Engleheart - Portrait of Unknown Woman – circa 1780 – Frame with bracelet fitting - Victoria & Albert Museum
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George
Engleheart - Portrait of Colonel Cuppage - Dated 1806 – Signed with cursive 'E' on obverse - Victoria & Albert Museum
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137:, London. He married his second wife, Ursula Sarah Browne in 1785; and the couple had four children: George, Nathaniel, Harry and Emma.
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His fees ranged from 3 guineas in 1775, up to 25 guineas by 1811. His professional income for many years exceeded £1,200 per annum.
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George
Engleheart - Portrait of Unknown Woman - Signed with cursive 'E' and dated 1804 on obverse - Victoria & Albert Museum
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signature for quite a number of years. In addition, he also started to sign and date his portraits in full on their reverse.
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George
Engleheart - Portrait of Unknown Woman – circa 1775 – Victoria & Albert Museum
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Engleheart mainly painted watercolour on ivory, and his work can be categorised into three distinct periods.
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He married his first wife, Elizabeth Brown, in 1776; and the couple set up house in Prince's Street,
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the poet, artist and visionary; Jeremiah Meyer, a fellow portrait miniaturist; and
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which came into fashion in France from 1789 onwards, as a result of the
563:. Vol. 9 (11th ed.). Cambridge University Press. p. 455.
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This article incorporates text from a publication now in the
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Engleheart died in
Blackheath on 21 March 1829, and was buried at
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In 1813, Engleheart retired full-time to his country house in
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212:. The men wear their hair powdered 'en queue', i.e. powdered
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Engleheart is generally thought to have been born in
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509:G ENGLEHEART PINXIT 1773-1818: A practical guide
580:G Engleheart Pinxit 1773-1818 A Practical Guide
575:Victoria and Albert Museum, miniatures gallery
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71:Learn how and when to remove this message
34:This article includes a list of general
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281:His friends included such notables as
182:on 3 November 1769. He was a pupil of
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492:. London: Antique Collectors' Club.
444:Nisinger, Connie (31 October 2001).
178:Engleheart entered the newly formed
40:it lacks sufficient corresponding
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645:18th-century English male artists
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490:Miniatures: Dictionary and Guide
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297:Examples of Engleheart's work
411:"Portrait John Dyer Collier"
263:John Cox Dillman Engleheart
237:. Men tended to dress like
164:John Cox Dillman Engleheart
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547:Williamson, George Charles
419:Victoria and Albert Museum
231:French Revolutionary Wars
488:Foskett, Daphne (1987).
415:Paintings & Drawings
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560:Encyclopædia Britannica
379:Encyclopædia Britannica
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446:"George Engleheart"
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397:References
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