Mitchell, J. S. (McKechnie Section 2)
See also Sections Six and Seven (Mitchell and Trewinnard) and entries on Trewinnard in Sections One, Three and Four
These two artists worked for several years at the same address, using a joint trade label. Although the main information about Trewinnard is given here, that about Mitchell is given in the entry in Section Seven since his one attributable profile shows the sitter's costume in colour.
Trewinnard has been recorded by Jackson (Dictionary). Information about his life is scanty, and is complicated by his practice of working in partnership with other artists and using trade labels jointly with them. Two of these artists were miniaturists (Mrs A. Trewinnard, probably his wife, and.). T. Mitchell); the third (Mrs Edward Smith, q.v.) was a silhouette artist.
The earliest information about Trewinnard is a marginal note in the rate books for the parish of St Martins-in-the-Fields which tells us that he moved into 40 Strand, London, at midsummer 1804. This house (where he was to work for a number of years) was ten doors east of Villiers Street. Trewinnard's name first appears in the Post Office Directory in 1806, when he is described as a watchmaker. This seems to have been the family occupation.
To 1806 must be assigned the earlier of two trade labels on which his name is combined with that of Mrs A. Trewinnard, a painter of portrait miniatures, recorded by Foskett. It is probable, though not certain, that she was Joshua's wife. Foskett states that Mrs Trewinnard exhibited at the Royal Academy 1797-1806. She appears to have been a miniaturist of repute. There is in the Victoria and Albert Museum, London, a miniature of a lady, painted c. 1795, signed in faded ink on the back 'Mrs. Trewinnard, 108, St. Martin's Lane'. This may have been an earlier address of Joshua. Matters are complicated by the 'Miss Anna Trevingard' recorded by Samuel Redgrave (A Dictionary of Artists of the English Schools) under the heading 'Trewinnard, Mrs or Miss A.' Foskett suggests that there may have been a mother and daughter, both of whom were miniaturists. The mention of Mrs A. Trewinnard on the trade label (unaccompanied by any mention of a Miss Trewinnard) suggests confusion in contemporary records, where all references (whether to Mrs Trewinnard or to Miss Trewinnard) may indicate only the former; possibly the latter did not exist.
Although Joshua Trewinnard was listed only as a watch-maker in contemporary directories up to 1812. I own a profile, bearing this first joint label, which appears to have been taken between 1806 and 1812. It was not until 1814, in Kent's London Directory (in which Trewinnard was listed as a watchmaker in 1812) that he is described for the first time as a profilist (the address given is still 40 Strand), and from then onwards he is thus described in some directory entries.
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Behind the profile mentioned above there is a watch-maker's trade label, used as a 'fill-in', which gives the name Trewinnard and an address at 49 Strand. Either this was an earlier address of Joshua Trewinnard, or it was the address of another member of the family. The label is signed at the foot, 'Sylvester Sculpt').
Directory entries for 40 Strand for 1816-19 include the names of Joshua Trewinnard, J. T. Mitchell, and W. Cowdrey (a brush-maker and turner). Jackson (Dictionary) records a profile bearing a joint Trewinnard-Mitchell trade label (see Section Six).
Another silhouette which bears the Trewinnard-Mitchell label is in the Patton collection. The sitter is Sir Narborough D'Aeth. I think this silhouette must be by Mitchell
(q.v., Section Seven).
Joshua Trewinnard's name continues to appear regularly in London directories in entries for 40 Strand until 1825. He is described either as 'profilist' or, confusingly, as 'miniature painter'.
From 1826 until 1829 the business at 40 Strand is listed in the directories as being that of 'Trewinnard and Smith'. Occasionally Trewinnard's name is prefixed by 'James' or 'Joseph'. Either these names were given in error, or, like many other artists, Joshua Trewinnard had a son with the same initial who worked in a similar field. The rate books tell us that 'Smith' refers to one Edward Smith and his wife (who was the profilist Mrs Edward Smith). It is interesting that there is a note in the rate collector's books (referring to 1830) that, although it was Trewinnard who was the ratepayer, it was Mrs Smith who actually handed over the money. No joint Trewinnard/Mrs Smith trade label is known. Not long afterwards Trewinnard presumably either died or retired, since directories for 1832 do not mention his name in connection with 40 Strand, and Edward Smith is given as the sole occupier.
To summarize our scanty and in some respects misleading information about Trewinnard's career, one may surmise that, as a profilist, he first worked with Mrs A. Trewinnard, possibly from as early as 1806; from 1816 until 1819, he worked with J. T. Mitchell; later, from c. 1819 until 1825, he worked on his own; and finally, from 1826 until 1829 he worked with Mrs Edward Smith.
Since Trewinnard says on Trade Label No. 1 that he produced profiles in every style, but only examples painted on card have come to light and the style of painting on these has little in common, unsigned or unlabelled examples might be hard to identify. One of the illustrated examples appears to be a copy of a profile painted during the mid-1790s at the studio of John Miers, and is therefore of little relevance to a discussion of Trewinnard's style.
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A common feature of the two other illustrated profiles is the use of thin gum arabic only where the point of deepest shadow has to be shown. On the earlier of the two (the silhouette of a woman, c. 1806-12) this point is between the sleeve and bodice of the sitter's dress. On the other silhouette (of a man) this place is the black stock affected at this time (c. 1819) by sporting young men.
The profile of the woman is painted in shades of thinned pigment, without body colour or Chinese white. The profile of the man is painted in black water-colour pigment mixed with what appears to be Naples yellow; the combination gives a curious finish, falling short of the bronzed effect so popular at the time.
I have mentioned that during the period 1816-19 one W. Cowdrey, a brush-maker and turner, worked at 40 Strand, as well as Trewinnard and Mitchell. Cowdrey may have supplied the artists with their brushes, but, what is more interesting, may also have supplied them with oval pearwood frames, which, though used at least as late as c. 1819, had in general been superseded by papier mâché frames by this date.
The only known trade labels are the two already mentioned, which Trewinnard shared with Mrs A. Trewinnard (No. 1, used c. 1806 - c. 1815) and J. T. Mitchell (No. 2, used 1816-19). The text of No. 1 is as follows:
PROFILES Of every description Taken in the most correct manner on Ivory, Glass Composition, or Card, and cut out by J. TREWINNARD No. 40, STRAND.
Those on ivory are in the most approved stile ever yet offered to the Public, as the Features and Complexion are obtained, as well as a correct Outline
Miniatures painted by MRS. A. TREWINNARD Warranted Likenesses, and finished in the first Stile From Three to Five Guineas. Cheap and elegant Frames and Glasses.
A. Neil, Printer, 448, Strand, London.
Trade Label No. 2 (seen on the reverse of the silhouette of Sir Narborough D'Aeth, mentioned above) reads thus:
PROFILES
of every description
Taken in the most correct Manner, on Ivory, Glass
Composition, or card, and cut out, by
J. TREWINNARD
No. 40, Strand
Those on ivory are in the most approved Style ever yet offered to the Public... the Features and Complexion are obtained as well as a correct Outline
Miniatures Painted BY J. T. MITCHELL Warranted Likenesses, and finished in the first Style from Three to Five Guineas
Cheap and elegant Frames and Glasses.
T. Collins, Printer, Harvey's Buildings, Strand, London.
Another trade label, headed by the name Trewinnard (without an initial) appears, from the wording, to refer to the work of Mrs Trewinnard. It has been seen on the back of a portrait miniature (probably c. 1804) of a man wearing an à la Titus hair-style and a striped waistcoat. This was sold by Christie, Manson and Woods, London, on 7 May 1974. The text is as follows:
Trewinnard, Portrait Painter in Miniature and Crayon, Exhibitor at the Royal Academy, No. 40, Near the Adelphi, Strand, London. Paints the most impressive and animated Likenesses, for Three Guineas and upwards, finished in a Stile of Excellence. She at the same time assures those who may honor her with their Commands that from a peculiar Method of preparing her own Colours, they will not fade in any Climate. Hours of attendance from Ten in the Morning till Four in the Afternoon. Time of Sitting Half an Hour: and one Guinea to be paid in advance, first time of Sitting.
Presumably this label was in use after midsummer 1804, when the Trewinnards moved to 40 Strand, and before Joshua Trewinnard began work as a profile-painter. I have given these details, and quoted the text of the label, to obviate the risk of it being confused with labels used by Joshua Trewinnard.
Ills. 931-936