Miers, John

Introduction:

Regarded by many as Britain's finest profile artist of the 18th century, JOHN MIERS (1758-1821) is also one of the most well-known with a considerable body of his compositions surviving to this day.

He initially painted on card in thinned black paint. These works are rare, as he swiftly found painting on plaster a more satisfying medium, one which he used for the rest of his career and as far as is known, Miers was the originator of profile work on plaster.

Miers' father was a Leeds coach painter who he originally assisted before marrying in January 1781. Miers' wife Sarah Rothery would give birth to 11 children between 1781-98. By April 1781 he advertised himself in the LEEDS MERCURY as John Miers junior, Painter, Gilder, Seller of Paints & Picture Frames & Profile Artist.

Between 1783 and 1788, offering likenesses and occasionally drawing lessons, he toured various Northern towns including Newcastle, Manchester and Liverpool. Visiting Edinburgh in 1786 and 1787-88, he continually honed his skills which, by the time he permanently settled in London in the winter of 1788, had become THE benchmark of quality.

It was generally accepted Miers ceased painting likenesses himself ca. 1801 to concentrate on his business affairs, and that all works bearing Trade Labels 1 to 10 were by his hand alone. HOWEVER, 2022 research discovered an advertisement in the CALEDONIAN MERCURY of July 1791, announcing Samuel Houghton's arrival in Edinburgh, in which he stated he was "...long a pupil..." of Miers.

As Houghton's profiles are virtually indistinguishable from Miers' own, it strongly suggests an unquantifiable percentage of Miers' profiles prior to his move to 111 Strand (London), in May 1791, are by Houghton. Miers' recorded jewellery work on ivory prior to 1791 could also well be by Houghton, who was known to paint on ivory for jewellery settings (see Houghton: Recent Research 2022). As early as November 1784, Miers claimed to have painted over 3000 likenesses in Leeds alone and "...an immense number elsewhere...". Even allowing for hyperbole, demand was high, would continue to rise, obviously requiring assistants of talent to help with commissions.

After Houghton's departure, according to McKechnie, Miers was assisted in London from May 1791 by an artist she termed as 'X'. However today it is apparent, when comparing profiles like for like, that 'X' was THOMAS LOVELL (dec.1806). Lovell's own trade label (fl.1802-1806) states he had worked for Miers and though McKechnie suggests dates of 1799-1801 as the dates of Lovell's tenure at Miers' workshop, it now appears he was employed there between 1791-1796, after which it is known that John Field (1772-1848) became Miers' sole studio profilist.

John Field spent nearly 40 years at Miers' studio, though for reasons unknown in 1809 he worked independently from 25 Strand, and a printed trade label from that address states he was "Late 14 years sole profile painter for Mr. Miers of 111 Strand". As Field's 1809 Royal Academy exhibit is addressed from 25 Strand and former and subsequent entries were from Miers' Strand address, it appears that Field's initial independent venture lasted barely a year, and more importantly that he was Miers' sole profile painter from 1796.

Whether Field worked for Miers in tandem with others at an earlier date is, as McKechnie speculates, open to conjecture, but their working relationship developed into a profitable association, for Miers at least. Field's output from Miers' studio was huge. His bronze-highlighted profiles (which Miers never painted) are rightly regarded as the most accomplished of their type. Miers himself appears to be the most financially successful profilist by some margin, as he died possessed of £1.5 million in 2021 terms.

Revised 7 September 2022 (Brian Wellings)

 

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