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MINIATURE PAINTING
MINIATURE PAINTING

MINIATURE PAINTING

CultureEnglish
Date1813
Dimensions.1: 12 x 10 x 0.7 cm (4 3/4 x 3 15/16 x 1/4 in.) .2: 12 x 10 x 0.7 cm (4 3/4 x 3 15/16 x 1/4 in.)
Object numberHF.2018.41.1-2
DescriptionTwo small portraits of a man (.1) and woman (.2). Each is in a black, rectangular wood frame with an oval center and copper colour hardware for hanging at the top center. The hardware has the likeness of an acorn framed by two oak leaves above it. Attached to the top edge is a small metal circle on .2. .1 the circle has been replaced with a thin, extended metal wire. The man is positioned with his torso to the right and their head turned to look at the viewer. He is wearing a blue jacket with gold buttons and white collared shirt with a white necktie. His hair, eyebrows and eyes are brown. The woman is positioned facing the viewer. She is wearing a brown dress with two wide-set rows of buttons on either side of the chest with a high collar beneath which a white-collar frilled collar shows. She is wearing a white bonnet with floral arrangement at the center front. Her face is framed by brown curls. The background around the woman’s shoulders is a light blue colour.

The back of each frame is covered with paper. Each has ink inscription: .1) “John Trenaman / Aged 21 / Taken in 1813”, .2) “Mary Trenaman / Taken 1813 / Aged 23 / Devonport / England / G.B. / Came to Charlottetown / 1818. Grandpa in 1814”.
Narrative

A well-known Charlottetown clockmaker, John Trenaman was born at Ermington, Devon, England in 1792. He married Mary Collins (1790-1852) in 1813, the same year these miniature portraits were painted. The couple immigrated to Prince Edward Island at some point prior to 1820. Trenaman established himself in Charlottetown selling tall-case clocks, ogee clocks and watches, likely imported from England and America. After Mary died in Charlottetown, John remarried Catherine Mason in 1855. John died in 1868 and was buried in the Protestant Cemetery in Charlottetown, PEI. 

The tradition of portrait miniatures dates to the 16th century and became a popular artform in England during the reign of Henry VIII. In the early 18th century ivory began to replace vellum as artists' support of choice for miniature portraits. As a non-absorbent surface, ivory proved a difficult support on which to paint with watercolour. However, the luminous quality of the ivory surface was found to enhance the finished product. Miniatures remained popular up until the invention and popularization of photography at the end of the 19th century.