The late eighteenth and early nineteenth centuries represent a zenith in British art, particularly in the intimate and demanding field of portrait miniature painting. This era, often termed the "Golden Age" of the British miniature, saw a flourishing of talent catering to a society eager for portable likenesses, tokens of affection, and mementos. Among the most distinctive and prolific artists of this period stands Andrew Plimer (1763-1837), a painter whose vibrant style and compelling life story secured him a significant place alongside contemporaries like Richard Cosway and George Engleheart. His work, primarily executed in watercolour on ivory, captures the faces of Georgian society with a characteristic flair that, while influenced by his training, ultimately became uniquely his own.
Early Life and Unconventional Beginnings
Andrew Plimer was born in Wellington, Shropshire (though some sources state Wellington, Somerset, the consensus often leans towards Shropshire or nearby areas like Wiltshire, as mentioned in some initial summaries), in 1763. He was the son of Nathaniel Plimer, a clockmaker. Andrew and his elder brother, Nathaniel Plimer (1757-1822), were initially expected to follow their father into the trade of horology. However, neither brother harboured any passion for the intricate mechanics of clocks and watches. Their artistic inclinations led them down a far less conventional path.
Dissatisfied with the prospect of a life spent at the clockmaker's bench, the Plimer brothers took the dramatic step of running away from home. According to accounts passed down, likely embellished over time but containing a kernel of truth about their adventurous spirit, they fell in with a band of Romani people, commonly referred to as gypsies. They reportedly travelled with this group for some time, an experience that, while difficult to verify in detail, is often cited as a formative period where they may have honed observational skills or simply embraced a life outside societal norms, fostering independence.
Eventually, the brothers made their way to London, the bustling heart of the British art world, determined to pursue careers as artists. Their early days in the capital were marked by financial hardship. They arrived with few resources, and establishing themselves in the competitive artistic scene was a significant challenge. It's recorded that they relied on financial assistance from their family back in Wellington to survive during these initial, difficult years before their artistic talents began to provide a sustainable income. This period underscores their determination to succeed in their chosen field despite the obstacles.
Apprenticeship and the Shadow of Cosway
Upon arriving in London, Andrew Plimer's path led him to the studio of Richard Cosway (1742-1821), arguably the most fashionable and celebrated miniature painter of the day. Cosway, known for his elegant, often flattering portraits of the aristocracy and royalty, including the Prince Regent (later George IV), maintained a highly successful practice. Initially, Andrew served Cosway as a studio assistant or servant, a common entry point for aspiring artists. His talent must have been apparent, as he eventually became a formal pupil or apprentice.
Working under Cosway provided Plimer with invaluable training in the techniques of miniature painting, particularly the delicate art of applying watercolour to ivory. He learned the preparation of the ivory surface, the mixing of pigments, and the application of fine brushstrokes necessary for capturing likeness and detail on a small scale. Cosway's influence is certainly visible in Plimer's earlier works, particularly in the general composition and fashionable presentation of sitters. Plimer absorbed the prevailing aesthetic favoured by Cosway's elite clientele.
However, the relationship was complex. While Plimer learned much from Cosway, he also began to develop his own artistic personality. As his skills grew, he transitioned from student to, inevitably, a rival. The London art market, while large, saw miniaturists competing for commissions from the same pool of wealthy patrons. It is documented that some families who had previously sat for Cosway began commissioning portraits from the increasingly popular Plimer, indicating a direct competition between master and former pupil. This rivalry, though perhaps professionally challenging, likely spurred both artists creatively.
Adding another layer to their interaction was Cosway's talented and well-connected wife, the artist Maria Cosway (1760-1838). Maria, herself an accomplished painter and musician who ran a celebrated salon, reportedly took an interest in the young Andrew Plimer. She is said to have invited him into her cultural circle, suggesting a degree of social acceptance and perhaps recognizing his burgeoning talent. This connection provided Plimer with further exposure to the artistic and social elite of London.
Developing a Distinctive Style
While Andrew Plimer's early work shows the clear imprint of Richard Cosway, he rapidly forged a style that was recognisably his own, setting him apart from his master and other contemporaries like John Smart (1741-1811) or Ozias Humphry (1742-1810). Plimer's miniatures possess an energy and boldness that contrast with the often more ethereal and delicate touch of Cosway. Several key characteristics define his mature artistic style.
Perhaps the most striking feature of a Plimer miniature is the treatment of the eyes. They are typically large, dark, and intensely luminous, often appearing slightly exaggerated in size relative to the face. These prominent eyes gaze directly at the viewer, lending the portraits a sense of immediacy and psychological presence. While Cosway also emphasized the eyes, Plimer's rendering is generally bolder and less idealized, conveying a vivid, alert expression.
Plimer also excelled in the depiction of hair. He rendered curls and strands with meticulous detail, often giving the hair a soft, almost fluffy appearance, yet with each lock clearly defined. This contrasts with the smoother, more generalized treatment of hair seen in the work of some other miniaturists. His ability to capture the texture and volume of fashionable hairstyles contributed significantly to the lifelike quality of his portraits.
His use of colour was characteristically rich and vibrant. He employed a strong palette, favouring deep blues, warm flesh tones, and clear, bright highlights. Furthermore, Plimer made distinctive use of shadow and light, employing a form of chiaroscuro. He often used dense cross-hatching, particularly in the shadows of the face and neck, creating strong contrasts that added volume and drama to the likeness. This technique, while effective in modelling form, was sometimes criticized by connoisseurs for being overly harsh or forced compared to the smoother transitions favoured by Cosway or George Engleheart (1750-1829).
Regarding his drawing, Plimer's work has occasionally been described as less accurate or refined than that of Cosway. Some critics point to occasional anatomical inconsistencies or a certain stylization, particularly in female portraits which sometimes share similar features like relatively long noses and large eyes. This might reflect Plimer's adherence to contemporary ideals of beauty or simply his personal artistic mannerisms, prioritizing expressive effect over strict anatomical precision. His miniatures project confidence and character, even if they sometimes depart from photographic exactitude.
He typically painted in watercolour on thin sheets of ivory, the standard medium for high-quality miniatures of the period. The inherent luminosity of the ivory base contributed to the brilliance of the finished work. These delicate paintings were usually housed in ornate gold or gilt-metal lockets or frames, often incorporating plaited hair or initials on the reverse, serving as intimate keepsakes for their owners. Early in his career, Plimer sometimes signed his work with the initials "A.P.", often dated. However, after the 1790s, he largely ceased signing his miniatures, requiring attribution based on stylistic analysis.
Career, Recognition, and Major Works
Andrew Plimer established his own studio in London and quickly built a successful practice. His talent gained recognition through regular exhibitions at the prestigious Royal Academy of Arts. Records show that he exhibited there consistently over a long period, from 1786 until 1830. This participation was crucial for visibility, attracting patrons and establishing his reputation among fellow artists and the public. His clientele included members of the gentry, military officers, fashionable ladies, and their children.
His style, with its vibrant colours and expressive features, proved highly popular during the late Georgian and Regency periods. He produced a large body of work throughout his active years, suggesting a steady stream of commissions. While many of his works are portraits of individuals whose identities are now lost, several notable pieces and groups stand out, showcasing his skill, particularly with complex compositions involving multiple sitters.
Among his most celebrated achievements are his group miniatures, which were technically challenging to compose and execute successfully on a small scale. He is particularly renowned for a set depicting three sisters, often referred to generically as "The Three Sisters" or associated with specific families when identified. One famous example is the large triple miniature portraying the daughters of Sir Edmund Affleck. Another significant work is the group portrait of the three daughters of John Simpson of Bradley Hall. These multi-figure compositions demonstrate Plimer's ability to handle complex arrangements, capture individual likenesses within a group, and maintain a harmonious overall effect.
The demand for Plimer's work placed him firmly among the leading miniaturists of his generation. While perhaps not reaching the same level of royal favour as Richard Cosway or the sheer prolific output of George Engleheart, Plimer carved out a significant niche. His portraits offered a distinct alternative, appealing to patrons who appreciated their vibrancy and directness. His success allowed him to operate independently for decades, a testament to both his artistic merit and his ability to navigate the London art market, competing alongside not only other miniaturists like Samuel Shelley (c.1750/56–1808) but also the great large-scale portraitists of the era such as Sir Thomas Lawrence (1769-1830), Sir Henry Raeburn (1756-1823), and George Romney (1734-1802), who collectively defined the visual culture of the time.
The Plimer Brothers: Nathaniel
Andrew Plimer's artistic journey was closely intertwined with that of his elder brother, Nathaniel Plimer. As previously mentioned, they shared the same background, the same aversion to clockmaking, the same adventurous escape, and the same early struggles in London. They both found their way into the world of miniature painting, and both are believed to have received some training or influence from Richard Cosway, although Andrew's connection is generally considered stronger and better documented.
In the early stages of their careers in London, Nathaniel is thought to have worked for a time as Andrew's assistant. This collaboration would have been mutually beneficial during their initial efforts to establish themselves. However, Nathaniel eventually pursued his own independent career as a miniaturist. He also exhibited at the Royal Academy, though less frequently than Andrew.
While both brothers worked in the same medium and were influenced by the prevailing styles of the time, their artistic personalities diverged. Nathaniel's style is often characterized as somewhat harder and less fluid than Andrew's. His drawing can appear tighter, and his colouring, while competent, may lack the characteristic vibrancy and bold contrasts found in Andrew's best work. Nevertheless, Nathaniel was a skilled miniaturist in his own right, and his works are also collected and studied today. Distinguishing between the unsigned works of the two brothers can sometimes be challenging for experts. Their shared background and artistic milieu make them an interesting case study of sibling artists working contemporaneously in a specialized field.
Later Life, Marriage, and Legacy
Andrew Plimer enjoyed a long and productive career. Unlike the information sometimes mistakenly repeated (possibly confusing him with his brother or based on incomplete early records), Andrew Plimer did marry. In 1801, he married Joanna Louisa Knight (sometimes spelled Knighte). The couple had several children, ensuring the continuation of his family line, although none appear to have followed him into the arts. His family life provides a counterpoint to the narrative of the solitary, struggling artist.
As he grew older, his artistic output naturally began to decline. The intricate demands of miniature painting, requiring sharp eyesight and a steady hand, become more challenging with age. Fashion also began to change in the early 19th century, with miniature painting gradually evolving under the influence of artists like Andrew Robertson (1777-1845), who favoured larger formats and broader watercolour techniques, moving away from the delicate stippling of the Cosway era. Furthermore, the advent of photography later in the century would eventually lead to the decline of miniature painting as the primary means of obtaining small, portable portraits.
In his later years, Andrew Plimer moved from the bustle of London to the coastal town of Brighton, which had become a fashionable resort. He lived there until his death on 29 January 1837, at the advanced age of 74. He was buried in Brighton. Contrary to some accounts suggesting financial difficulty later in life, Plimer appears to have managed his affairs well. He left behind a considerable estate valued at several thousand pounds, including property and presumably a collection of his own works and perhaps those of others. This inheritance passed to his widow, Joanna Louisa, and their children.
Andrew Plimer's legacy resides in the numerous miniatures he created, which survive today in museums and private collections worldwide. He is firmly established as one of the key figures of the British miniature's "Golden Age." His distinctive style – characterized by large, expressive eyes, detailed hair, vibrant colour, and bold chiaroscuro – makes his work instantly recognizable to connoisseurs. While sometimes overshadowed by the fame of Richard Cosway, Plimer's artistic merits are undeniable. The fact that his works were, and sometimes still are, occasionally misattributed to Cosway speaks volumes about the high quality he achieved.
His influence extended beyond his immediate circle. His style contributed to the overall richness and diversity of British portraiture during his lifetime. Later artists, including those working in the nascent American school of miniature painting, such as Edward Greene Malbone (1777-1807), studied and absorbed the techniques of leading British miniaturists, including Plimer. His work continues to be appreciated for its artistic skill, its historical value as a record of Georgian faces and fashions, and its enduring charm as intimate works of art. Andrew Plimer remains a significant and engaging figure in the history of British art.
