Chester Harding
Elizabeth Tuckerman Salisbury
(Mrs. Stephen Salisbury I ), 1829

Description
Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I) is a slightly more than half-length view of a woman who is seated upright in a scroll-backed chair made of a yellowish wood and upholstered in a rose-colored, floral-patterned material. Her head and body are turned slightly toward the viewer’s left, but her eyes look at the viewer. The background is green-gray and varies in shade.

The sitter’s wavy brown hair is loosely pulled back from her face and piled on her head. She wears a white bonnet consisting of a sheer material and a lace trim that is tied beneath the chin. There is a hint of a shadow under her heavy-lidded hazel eyes. Tiny creased lines at the corners of her mouth, on her nose, eyes, and around her chin suggest wrinkles. Her skin is pale, but there is color in her cheeks and her pursed lips. In her proper left ear is an earring with a circle of tiny black stones around a circle of gold that appears to surround a smaller center circle. Her black dress has long sleeves and a fitted waist. Tucked into the dress is a kerchief made of a gauzy white material. A rectangular brooch bordered with tiny black stones is fastened at the center of the dress collar. A broadly painted orangy-red shawl is draped over her proper left shoulder and covers her proper left arm. The shawl does not cover her proper right shoulder but is draped across her lap. It has a loosely painted ornamental border, suggestive of paisley, and a fringe trim.

Harding’s palette is mainly limited to black, white, red, and gray-green. A source of light enters from the upper right and in front of the sitter, which creates a shadow to the left of her nose and below the ribbons of her bonnet.

Biography
The earlier part of the sitter’s life is covered in the biography portion of the catalogue entry on Gilbert Stuart’s Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I). After her husband’s death, on May 11, 1829, Elizabeth continued living in his Georgian-style mansion at the north end of Worcester’s Main Street.1 Domestic improvements and purchases (including furniture, a carriage, and portraits) continued being made under her direction.2 She helped rear her only grandson, Stephen Salisbury III (1835–1905), whose mother, Rebekah, had died in 1843. At times the task was vexing. For example, in 1846 while Stephen Salisbury II, then a state senator, was in Boston attending a meeting of the legislature, she confided to her diary about her work with the boy on his spelling: "[I]t is very unpleasant to him & he tries me not a little. the last week especially he has been very refractory & difficult to manage."3 This trying grandson founded the Worcester Art Museum in 1896. He would bequeath more than forty-five portraits and miniatures representing four generations of family members to the collection. Stephen Salisbury III also gave the museum numerous other paintings, as well as sculpture, furniture, silver, jewelry, and even articles of clothing—such as his grandmother’s shoes—that had belonged to the family. Elizabeth Tuckerman Salisbury died in Boston on October 19, 1851. Her funeral was held three days later at Worcester’s Central Church; she was buried in the Salisbury family plot in Rural Cemetery.4

Analysis
Elizabeth Salisbury first heard of Chester Harding six years before he painted her portrait. In an April 1823 letter, her sister-in-law Jane Tuckerman wrote:

I think you will feel gratified to see the likenesses of my Brother and Sister Henry taken by Harding—I like them much; my husband thinks them excellent, but that Stuart would have made them handsomer pictures—Sister Sophia and Hannah have also had theirs taken but I have not seen them. I wish Stephen would consent to sit for his likeness—do try to persuade him—there is still time before Harding leaves here and his pictures are generally I believe thought very highly of.5

Elizabeth’s brother Henry Harris Tuckerman (1783–1860) also was full of praise for Harding; several months earlier, he, too, had encouraged her to have Stephen sit to the artist. However, neither Elizabeth (who at the time did not approve of having her son’s likeness painted) nor Stephen acted on such suggestions before Harding left for England in August 1823. The artist stayed abroad for three years, returning to Boston in the fall of 1826.6

In 1829, Elizabeth, who had already been the subject of at least one miniature and two portraits by other artists, agreed to sit to Harding when he visited Worcester during the third week of August—ostensibly only to paint Stephen II’s likeness. Why she decided to do so is not documented, but a review of the circumstances of the moment and of family precedent points to several probable reasons.

Stephen was scheduled to depart on a Grand Tour of Europe in early October. He was likely to be gone several years and knew that a portrait would serve as a remembrance in his absence. With that in mind, he urgently sought an artist to paint his likeness before he left. He kept his mother informed about this effort, including his decision to have Harding do the job.7

None of Stephen’s letters or Elizabeth’s replies indicates an interest on her part in sitting for a portrait along with him.8 Likewise, when Elizabeth’s brother Henry wrote her to say that he was "particularly pleased" Stephen had commissioned Harding, he did not so much as hint that she might consider posing for the artist, too. Henry’s words of high praise for the artist, however, might have stirred such thoughts in her:

Harding has the advantage over all his contemporarys in this place ([Washington] Allston alone excepted), of study & observation in Europe. he has but recently returned & with increased claims upon his countrymen, & but for fashion or caprice; (call it which you will,) would undoubtedly stand foremost in his Profession among his young and presuming rivals.9

It appears that Elizabeth Salisbury decided to sit for her portrait after Harding agreed to come to Worcester; Christopher Columbus Baldwin (1800–1835), librarian of Worcester’s American Antiquarian Society and a family friend, noted in his diary on August 19 that the artist had come to town "to take the portraits of Mrs. Salisbury and her son Stephen Salisbury, Esq."10

Although companion portraits of husbands and wives, or of siblings, were far more common than those of mothers and sons, there was a direct family precedent for such a pairing: Christian Gullager had painted the widowed Martha Saunders Salisbury (Mrs. Nicholas Salisbury) and her then unmarried son, Stephen Salisbury I, in 1789. Perhaps the thought of maintaining this kind of continuity prompted Elizabeth to sit to Harding in tandem with her sole surviving offspring. She possibly also viewed a mother-and-son portrait pair as an ideal means of underscoring Stephen II’s responsibility to her now that her husband was gone. She did not hesitate to remind her son of his duties in her numerous letters to him while he was abroad. "[T]hese money concerns," she complained in October 1830, "I wish you would come home & take care of them—they are very burdensome to me."11 Mrs. Salisbury recognized that Stephen might marry someday but wanted him close at hand for as long as possible. "I would tell you what would please me," she wrote, "it is that you would be married, and live with me, till you could at your leisure build & furnish such a house as you would like."12

Figure 1. Chester Harding, Stephen Salisbury II, 1829, oil on canvas, 30 1/4 x 25 1/4 in. (76.8 x 64 cm), Worcester Art Museum, Bequest of Stephen Salisbury III, 1907.109.
Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I) and Stephen Salisbury II (fig. 1) function as pendants, with the former intended be hung on the right and the latter on the left. Both are half-length portraits whose dimensions match almost exactly. The subjects’ seated bodies are turned toward each other, and so, to a lesser degree, are their faces. They look at the viewer. Red drapery—on the left in Stephen’s portrait and on the right in his mother’s—serves as a framing device for the pair. Both Elizabeth’s dress and Stephen’s coat are black; this dominant color is offset in her portrait by a white kerchief and, in his, by a white shirt and cravat. Also complementary is the gray-green background in both pictures, although those tones are slightly darker in Stephen Salisbury II. Harding’s one striking departure from this limited palette is the orangy-red of Elizabeth’s shawl. Both sitters wear serious expressions, but Elizabeth’s eyes reflect her age and an unmistakable sadness—probably owing to the recent loss of her husband—while Stephen’s large and wide-open eyes suggest his confidence and strength, evoking his new role as head of the family.

Although Harding painted the two portraits in Worcester, they are formal, studiolike images, their tone echoing that of most of his works. The column and drapery in Stephen Salisbury II and Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I) are conventional features of English Grand Manner portraiture.13 The rose-colored, floral-patterned upholstered chair in Elizabeth’s portrait is found in quite a few of Harding’s portraits of women.14

On August 24, Stephen paid Harding $200 for the portraits plus $31.50 for two frames; he returned home the next day.15 The artist left the completed canvases with Elizabeth and Stephen in Worcester. Back in Boston, Harding arranged for frames to be made, evidently giving the order to John Doggett (1780–1857), a carver and gilder who produced cabinets, looking-glasses, and frames and also sold pictures.16 On September 9, Stephen wrote his mother that he would that day stop by Doggett’s shop, while she wrote him about showing the canvases to two of her nieces.17

Stephen sailed for England, the first stop on his Grand Tour, on October 1. Two weeks later, Mrs. Salisbury wrote him that she had determined where to hang the portraits, with help from her brother William.18

A corollary advantage of sitting to the popular Harding, Elizabeth Salisbury had probably realized, was that through the portrait she could present herself as a fashionably attired widow.19 Mrs. Salisbury’s black mourning dress was not an ordinary one: much care and time were spent ordering such attire, and it was expensive.20 She enlisted the aid of her Boston grandniece Elizabeth in selecting it.21 The dress she had made could be the one seen in Harding’s portrait.

Figure 2. Chester Harding, Sarah Stanton Blake (Mrs. Joshua Blake), about 1827, oil on canvas, 30 7/8 x 25 3/8 in. (78.4 x 64.5 cm), Worceser Art Museum, Gift of Mr. David Richardson, 1992.44.
Accenting the dress in the portrait is an orangy-red shawl with a paisley-pattern border and fringe. Shawls were a stylish yet costly accessory in the 1820s and 1830s. As early as the winter of 1821–22, Elizabeth Salisbury had expressed the desire to have an "Indian Shawl" and asked her niece Abby Salisbury and sister-in-law Sophia Tuckerman to buy one for her.22 After careful examination of the shawls then available in Boston, the purchase was postponed. She did buy a shawl, however, the same month her husband died—perhaps the one she wears in the Harding portrait.23 Shawls appear in a number of the painter’s likenesses of Boston women. The red shawl draped over the sitter’s proper right arm in Mrs. Daniel Webster (1827, Massachusetts Historical Society, Boston) has a similar cursorily painted blue-and-yellow border, as does the cursorily rendered white shawl in Emily Marshall (1826, private collection).24 Furthermore, combining a black dress and a red shawl appears to have been a popular choice at the time, as reflected in Stuart’s Phebe Lord Upham (about 1825, Bowdoin College Museum of Art, Brunswick, Maine) and in Harding’s own Sarah Stanton Blake (fig. 2).25

Even more than the black dress, the mourning brooch and earring in the portrait signal Elizabeth Salisbury’s new widowhood. This jewelry is similar to a gold-and-jet brooch with matching earrings that were set with locks of Stephen I’s hair and inscribed with his initials, age, and date of death (Worcester Art Museum).26 The Salisbury Family Papers (American Antiquarian Society, Worcester) contain references to the purchase of such mourning jewelry. On June 15, 1829, Stephen Salisbury II bought sixteen mourning brooches and a ring from the Boston jeweler John B. Jones that Elizabeth, her son, and other family members wore as remembrances.27 By December, she had given away the last of the brooches and wrote Stephen in Europe that she was

not able to find one that I consider’d rich enough for myself—nor do I think we shall find one here, & I have thought lately, that I would ask you to have one prepared for me, either in France or England, that is in Paris or in London, and shall enclose in this a lock of your dear Fathers hair to be inserted. I should like something rather large, if it is proper—do you remember the one that Elizabeth S. wore? perhaps the size of that, tho richer & handsomer. no matter for the expence & also a pair of earrings to match—now me thinks you will open your eyes, & think, my Mother is surely going to dress no, no, not improperly I trust, but what very few ornaments I wear, ought to be handsome you know. I know it will give you pleasure to execute any little commissions for me.28

Figure 3. Unidentified artist, American, Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I), about 1843, oil on canvas, 30 x 24 7/8 in. (76.2 x 63.2 cm), Worceser Art Museum, Bequest of Stephen Salisbury III, 1907.164.
Like a dutiful son, Stephen followed her instructions. His mother was pleased with the beautiful and expensive brooch—made of pearl, onyx, and gold—that he obtained for her.29 It is prominently featured in her next portrait, painted around 1843 by an unidentified artist (fig. 3).

It is probable that Elizabeth decided to sit again for her portrait, some fourteen years later, because she had never gotten over her dissatisfaction with the Harding picture. Certainly, the Salisburys had expected the artist to render their likenesses faithfully—but that alone was not enough. As Stephen Salisbury II put it in a letter to the artist Samuel F. B. Morse shortly after he arrived in England, "[I]f my portrait were to be taken I should desire that in preserving the likeness the beautification should not be neglected for who knows but I might at some other time look more beautiful than at the moment the picture is taken."30 A little idealization and flattery were expected. On September 9, 1829, soon after the Harding portraits were finished but before they were hung, two of Elizabeth Salisbury’s nieces, "the Miss Waldos," came to see the images. They agreed with her sister-in-law Sophia Tuckerman and neighbor Dr. William Paine in liking Stephen’s portrait—but not hers. The problem, Elizabeth explained in an October letter to her son, was that "tho’ it was like me, [the portrait was] not a favourable likeness."31 In December she reiterated to him that nobody liked her portrait, adding, "I am more & more sorry that I sat for it."32

The sixty-one-year-old Elizabeth was stung by another aspect of the portrait, too. As she complained to her son in November 1829, "Miss Waldo remark’d the other day that since my late cold, as she called it, I was getting nearer the age of my Portrait, which is thought to look ten years older than I do."33

Although it is not known whether the Salisburys were aware of it, Harding was not inclined to idealize his sitters, however important they might be. His American likenesses, especially, are distinguished by their frankness. This trait is clearly evident, for example, in President James Madison (National Portrait Gallery, Washington, D.C.), which he painted in Richmond two months after completing the Salisbury portraits. Harding rendered Madison, then nearing eighty, replete with his wrinkles, sagging skin, moles, and tired eyes.

It is possible that Elizabeth Salisbury wanted Harding to alter her portrait and that she discussed it with her son. Although there is no record of her having made such a request, Stephen wrote her from Paris in January 1830 about "the expediency of asking Mr. Harding to make some slight alterations in your picture & I hope it will be practicable. I cannot think that it is totally unlike you but I am aware that the expression is bad and does not do you justice."34

Elizabeth was not the first Harding sitter to be displeased with her likeness. "Many whom I had painted previously wanted their pictures altered," he wrote after returning from England, "either because the dress was out of fashion, or the expression did not please them, &c."35 Whether or not the Salisburys approached Harding, it is unlikely that he made any changes. Typically, he refused to alter portraits but would instead offer to paint another likeness and deduct the cost of the first portrait from the price of the second one.

Figure 4. Pamelia E. Hill, Elizabeth Tuckerman Salisbury (Mrs. Stephen Salisbury I), 1843, watercolor on ivory, 4 1/2 x 3 3/8 in. rectangle (11.4 x 8.6 cm), Worceser Art Museum, Gift of Stephen Salisbury III, 1901.49.
If the Harding portrait did not present Elizabeth as she wanted to be seen, she could commission other images that would. Undoubtedly, she told Pamelia E. Hill (1803–1860), who produced the portrait (fig. 3) and miniature (fig. 4) she sat for in 1843 to make her look younger than Harding had, fourteen years earlier. Hill, who painted the miniature early in the year, had at the same time been hired to produce miniatures of Stephen II’s son, wife, sister-in-law, and mother-in-law, Phyla Walker Dean (all Worcester Art Museum).36 Although Elizabeth, then in her mid-seventies, was five years older than Phyla Dean, the Hill miniature makes her look much younger: Mrs. Dean has a puckered, toothless mouth and heavy eyelids, whereas Elizabeth Salisbury’s skin is shown as strikingly smooth and wrinkle-free. Not long after the miniatures were finished, Stephen Salisbury’s sister-in-law Catherine Dean Flint wrote him that she and her husband had been to see the artist, noting that "the pictures remain apparently in the state in which you saw them. . . . Dr. Flint . . . thought your mother’s very excellent."37 No doubt Elizabeth Salisbury agreed, because another portrait, painted by an unidentified artist shortly thereafter, is practically identical to the miniature. The only difference is that the portrait shows her wearing the prized mourning brooch Stephen II purchased for her while on his Grand Tour of Europe.

Notes
1. For the Salisbury Mansion, today owned and maintained by the Worcester Historical Museum, see Sawyer and Dresser 1946 and Henderson 1982–83.

2. For examples of her domestic improvements and purchases, see Edward Tuckerman, Boston, to Elizabeth Tuckerman Salisbury, Worcester, October 26, 1829, Salisbury Family Papers, American Antiquarian Society, Worcester (hereafter cited as SFP, AAS), box 23, folder 6, and Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, Paris, April 6, 1830, SFP, AAS, box 23, folder 9.

3. See Elizabeth Tuckerman Salisbury diary, March 16, 1846, SFP, AAS, box 63, vol. 6.

4. Elizabeth Tuckerman Salisbury did not attend the same church as her husband and son (Second Parish Church, which was later renamed the First Unitarian Church), instead joining the Calvinist Church and Society. Her husband purchased a pew for her in the "Calvinist Society’s Meeting House" in October 1823. See receipt, May 5, 1825, SFP, AAS, box 55, folder 2.

5. Jane Francis Tuckerman, Boston, to Elizabeth Tuckerman Salisbury, Worcester, April 10, 1823, SFP, AAS box 21, folder 1. Harding’s Henry Harris Tuckerman, Ruth Keating Tuckerman, Hannah Tuckerman, and Sophia May Tuckerman have not been located. Lipton 1985, 183.

6. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, Boston, January 14, 1823, SFP, AAS, box 21, folder 1.

7. Stephen Salisbury II, Boston, to Elizabeth Tuckerman Salisbury, Worcester, August 13, 1829, SFP, AAS, box 23, folder 4, AAS.

8. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, Boston, August 14, 1829, SFP, AAS, box 23, folder 4. Stephen Salisbury II, Boston, to Elizabeth Tuckerman Salisbury, Worcester, August 14, 1829, SFP, AAS, box 23, folder 4.

9. Henry Harris Tuckerman, Boston, to Elizabeth Tuckerman Salisbury, Worcester, August 16, 1829, SFP, AAS, box 23, folder 4.

10. Baldwin Diary, 31.

11. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, October 25, 1830, SFP, AAS, box 24, folder 3.

12. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, May 11, 1830, SFP, AAS, box 24, folder 1.

13. The column on the left side of Elizabeth’s portrait is found in other Harding portrait pairs. See, for instance, William Lorman and Mrs. William Lorman (about 1828, Pennsylvania Academy of the Fine Arts, Philadelphia) and Edward Hutchinson Robbins and Mrs. Edward Hutchinson Robbins (1827, Museum of Fine Arts, Boston). The first Harding portrait to include a column is Alexander Hamilton Douglas, 10th Duke of Hamilton, painted in Scotland in 1825 (private collection).

14. A very similar chair appears in Harding’s Emily Marshall (1826, private collection), Mrs. John Woodbridge (1821, Ross County Historical Society, Chillicothe, Ohio), Mrs. Chester Harding (1818, private collection), and Mrs. Daniel Webster (1827, Massachusetts Historical Society, Boston).

15. The receipt, which records payment "for his and his Mother’s portraits," is made out to Stephen. Chester Harding receipt to Stephen Salisbury II, August 24, 1829, SFP, AAS, box 55, folder 3.

16. Doggett 1894, 437, 439; Swan 1929. See also John Doggett Records, Joseph Downs Manuscript Collection, Henry Francis duPont Winterthur Museum, Winterthur, Delaware.

17. Stephen wrote, "I called at Mr. Hardings and find that he is about on a journey to the coast. I am now going to Doggetts." Stephen Salisbury II, Boston, to Elizabeth Tuckerman Salisbury, Worcester, September 9, 1829, SFP, AAS, box 23, folder 5. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, Boston, September 9, 1829, SFP, AAS, box 23, folder 5. These two letters make it clear that Harding had completed both portraits during his brief stay in Worcester and left them with the Salisburys.

18. "I have had them put up and they look well as they are plac’d. bro William told me how to place them." Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, October 14, 1829, SFP, AAS, box 23, folder 6. Perhaps William also assisted his sister by arranging for the completed frames to be delivered from Boston, but he does not appear to have been in Worcester on October 3, when they were hung. Thomas Eaton appears to have done the actual hanging for her. See Elizabeth Tuckerman Salisbury’s account with Thomas B. Eaton, October 3, 1829, SFP, AAS, box 55, folder 3.

19. Elizabeth was wearing mourning apparel after Stephen’s death. In June 1829, three weeks after he had died, she wrote Stephen about wanting her Boston friends to find some gingham for her, "tho’ at the present I wear black." Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, Boston, June 4, 1829, SFP, AAS, box 23, folder 3.

20. When Elizabeth Salisbury’s nephew Josiah Salisbury died in 1826, her sister-in-law mailed her swatches of black silk from Boston and added that the shopkeeper thought "a fine bombazeen trimmed with silk & gauze would be the handsomest article for you." Jane Tuckerman, Boston, to Elizabeth Tuckerman Salisbury, Worcester, February 14, 1826, SFP, AAS, box 22, folder 1, AAS.

21. "I have attended to the little commissions with which you entrusted me," the widow’s namesake wrote her great-aunt, "and I hope the articles will meet your approbation." The letter continued with a description of the purchases, which also included jet-black creophane for a veil and a suitable parasol. Elizabeth S. Salisbury, Boston, to Elizabeth Tuckerman Salisbury, Worcester, May 28, 1829, SFP, AAS, box 23, folder 2.

22. Abby Breese Salisbury, Boston, to Elizabeth Tuckerman Salisbury, Worcester, December 27, 1821, SFP, AAS, box 20, folder 5; Stephen Salisbury I, Worcester, to Josiah Salisbury, Boston, December 31, 1821, SFP, AAS, box 20, folder 5; Sophia Tuckerman, Boston, to Elizabeth Tuckerman Salisbury, Worcester, January 7, 1822, SFP, AAS, box 20, folder 7.

23. Elizabeth’s grandniece described the shawl in the same letter in which she described the mourning attire she sent. Elizabeth S. Salisbury to Elizabeth Tuckerman Salisbury, Worcester, May 28, 1829.

24. For other Harding portraits of American women featuring shawls, see Mrs. John Woodbridge (1821, Ross County Historical Society, Chillicothe, Ohio); Hannah Adams, (about 1827, Boston Athenaeum); Rebecca Atkins (about 1827, private collection); Mrs. Joshua Blake (about 1830, Worcester Art Museum); and Mrs. Russell Sturgis (about 1827–28, private collection).

25. Black was a popular dress color at the time and did not always mean that one was mourning. McClellan 1910, 114. Elizabeth Salisbury also wore a black dress and a red shawl for a portrait and a miniature painted some years later (discussed below).

26. See the brooch (1907.409) and earrings (1907.404), items from the collection of family jewelry that Stephen Salisbury III presented to the museum. He also donated other brooches and pieces of jewelry inscribed in memory of Stephen Salisbury I.

27. John B. Jones receipt to Stephen Salisbury II, June 15, 1829, SFP, AAS, box 55, folder 3.

28. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, December 21, 1829, SFP, AAS, box 23, folder 7.

29. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, May 10, 1831, SFP, AAS, box 24, folder 7. The brooch is in the Worcester Art Museum (1907.260).

30. Stephen Salisbury II, London, to Samuel F. B. Morse, London, October 11, 1831, SFP, AAS, box 25, folder 2.

31. Elizabeth Tuckerman Salisbury to Stephen Salisbury II, September 9, 1829; Elizabeth Tuckerman Salisbury to Stephen Salisbury II, October 14, 1829.

32. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, December 5, 1829, SFP, AAS, box 23, folder 7.

33. Elizabeth Tuckerman Salisbury, Worcester, to Stephen Salisbury II, November 19–23, 1829, SFP, AAS, box 23, folder 6; Elizabeth Tuckerman Salisbury to Stephen Salisbury II, October 14, 1829.

34. Stephen Salisbury II, Paris, to Elizabeth Tuckerman Salisbury, Worcester, January 24, 1830, SFP, AAS, box 23, folder 8. Neither a draft of Stephen II’s letter to Harding or any further references to altering his mother’s portrait have been found in the Salisbury Family Papers.

35. Harding 1866, 136–37.

36. For more on Hill’s 1843 miniatures, see Strickler 1989, 70–78.

37. Catherine Dean Flint, Boston, to Stephen Salisbury II, Worcester, February 28, 1843, SFP, AAS, box 29, folder 4.