Nathaniel Plimer (1757-1822) stands as a notable figure in the golden age of British miniature painting. Though perhaps sometimes overshadowed by his equally talented brother, Andrew, Nathaniel carved out his own distinct niche, producing works admired for their sensitivity, delicate execution, and insightful character portrayal. His life, marked by an adventurous youth and a dedicated artistic career, offers a fascinating glimpse into the world of late 18th and early 19th-century English art.
Early Life and Unconventional Beginnings
Born in Wellington, Somerset (though some earlier sources incorrectly state Wellington, Wiltshire, or misspell it as "Wellcontown"), in 1757, Nathaniel Plimer was the son of a clockmaker. Along with his younger brother, Andrew (born 1763), he was initially expected to follow in his father's trade. However, the intricate mechanics of horology held little appeal for the Plimer brothers, who yearned for a life of greater freedom and artistic expression.
This dissatisfaction culminated in a bold decision. Around 1774, when Nathaniel was approximately seventeen years old and Andrew merely eleven, the two brothers absconded from their family home. Their flight from convention led them to an extraordinary interlude: they joined a band of Gypsies. For two years, they roamed the countryside, living a nomadic existence that must have been a stark contrast to the structured life of a provincial tradesman's family. This period, though sparsely documented, undoubtedly shaped their perspectives and perhaps instilled in them a resilience and observational acuity that would later serve their artistic careers.
Eventually, the allure of a more settled life, or perhaps the burgeoning desire to pursue art more formally, led them to part ways with their Gypsy companions. They made their way towards London, the vibrant heart of the British art world, and initially settled in Brompton.
Artistic Apprenticeship and Influences
Nathaniel Plimer's formal artistic training began in earnest in London. He found a position as an assistant to Henry Bone (1755-1834), a highly respected artist who would later become renowned for his exquisite enamel miniatures and be appointed Enamel Painter to three successive monarchs. Working under Bone would have provided Nathaniel with a solid grounding in drawing, composition, and the meticulous techniques required for miniature work. Bone's own style, characterized by its strength, accuracy, and often rich colouring, likely left an impression on the young artist.
A pivotal moment in Nathaniel's development came when he entered the orbit of Richard Cosway (1742-1821), the most fashionable and celebrated miniaturist of the era. Sources suggest Nathaniel served in Cosway's household, possibly as a studio assistant or even a general servant, while simultaneously absorbing the artistic atmosphere and, crucially, learning the art of miniature painting. Cosway's studio was a hub of artistic activity, frequented by the elite of society. His style was characterized by a dazzling elegance, a flattering idealization of his sitters, large, expressive eyes, and a distinctive, somewhat ethereal quality, often set against a cloudy sky background.
The influence of Cosway is discernible in Nathaniel Plimer's work, particularly in the sensitivity of expression and the fashionable presentation of his subjects. However, Nathaniel did not merely imitate his master. He developed his own stylistic traits, often marked by a more direct and less overtly flamboyant approach than Cosway's.
A Career in Miniature Painting
By 1786, Nathaniel Plimer felt confident enough to begin exhibiting his work independently. He started showing his miniatures at the Royal Academy of Arts, the most prestigious venue for artists in Britain. His submissions to the Royal Academy continued fairly regularly until 1815, showcasing his growing skill and establishing his reputation among patrons and fellow artists. Over his exhibiting career, he is recorded as having shown a total of twenty-six works at the Academy.
Plimer's miniatures were primarily portraits, the bread and butter of miniaturists who catered to a demand for intimate, portable likenesses. These small-scale works, typically painted in watercolour on ivory, were cherished as keepsakes, love tokens, or mementos of family members. The medium required immense precision and a delicate touch, as ivory provided a luminous ground but was unforgiving of errors.
His style is often described as possessing a certain delicacy and vivacity. While perhaps not achieving the sheer brilliance or dazzling flair of his brother Andrew, or the high-society polish of Cosway, Nathaniel's work is praised for its fine drawing, careful modelling, and the lifelike quality he imparted to his sitters. He was particularly adept at rendering the subtleties of facial features, the texture of hair, and the depth and expressiveness of eyes. His colour palette, though sometimes more subdued than Andrew's, was capable of achieving both harmony and vibrancy.
Notable Works and Artistic Characteristics
Identifying specific, universally acknowledged "masterpieces" by Nathaniel Plimer can be challenging, as is often the case with miniaturists whose output consisted of many individual commissions rather than large-scale public works. However, several characteristics and types of work stand out.
Among his known oeuvre are several self-portraits. One such rare self-portrait is described as depicting him in a pale yellow outer garment, a white waistcoat, and with distinctively "pinkish" or powdered hair, a fashion of the period. Another description of a self-portrait mentions a white cravat, a grey coat, and his hair tied with a black ribbon. These self-portraits offer valuable insights into the artist's own appearance and how he chose to present himself.
His portraits of men often convey a sense of character and quiet dignity. He painted officers in their uniforms, gentlemen in fashionable attire, capturing their likenesses with a straightforward yet sensitive approach. His depiction of male sitters often shows a strong, well-defined facial structure.
Portraits of women and children by Nathaniel Plimer are particularly admired for their charm and delicacy. He captured the fashionable hairstyles and attire of the period, from high-waisted dresses to elaborate coiffures. His female sitters often possess a gentle, contemplative expression, and he excelled at rendering the softness of their features and the intricate details of their lace and fabrics. His child portraits convey a sense of innocence and liveliness. Many of these smaller portraits are considered "extremely beautiful" by critics and collectors.
Technically, Plimer often employed a stippling technique, using fine dots or short strokes of colour to build up tones and create subtle gradations, particularly in the flesh tones. His drawing was generally precise, with clear outlines defining the forms. He paid considerable attention to the rendering of hair, often depicting it with a sense of volume and life, with individual strands carefully delineated. The backgrounds of his miniatures are typically simple, often a muted wash or the characteristic sky background popularized by Cosway, ensuring that the sitter remains the primary focus.
The Plimer Brothers: A Shared Artistic Path
Nathaniel's artistic journey was inextricably linked with that of his younger brother, Andrew Plimer. Having shared the unconventional experience of running away and living with Gypsies, they both pursued careers as miniaturists in London. They likely learned from similar sources, including their time in proximity to Richard Cosway, and their works are sometimes compared and contrasted.
Andrew Plimer (1763-1837) also became a highly successful miniaturist, known for his vibrant colouring, confident brushwork, and often more flamboyant style than Nathaniel's. Andrew's miniatures frequently feature sitters with strikingly large, dark eyes and a very fashionable, almost "windswept" appearance to the hair, traits that became hallmarks of his work. While Nathaniel's work is often seen as more delicate and perhaps more introspective, Andrew's is typically characterized by greater dash and brilliance.
Despite these stylistic differences, the brothers' careers ran parallel, and they were part of the same artistic milieu. It is not uncommon for their works to be discussed in conjunction, and attribution can sometimes be a point of discussion for experts, particularly for unsigned pieces from their earlier periods. The familial connection and shared profession make their story unique within the annals of British miniature painting.
Contemporaries in the Golden Age of Miniatures
Nathaniel Plimer worked during a period often referred to as the "golden age" of English miniature painting. This era, spanning roughly from the mid-18th century to the early 19th century, saw an extraordinary flourishing of talent in this specialized art form. Plimer was one of many skilled practitioners, and his work should be seen in the context of his distinguished contemporaries.
Richard Cosway (1742-1821) was undoubtedly the leading figure. His influence on both Plimer brothers was significant. Cosway's fashionable portraits, often imbued with a Rococo elegance and charm, set the standard for many.
George Engleheart (1750-1829) was another prolific and highly successful miniaturist, a friendly rival to Cosway. Engleheart's style was known for its meticulous detail, fine draughtsmanship, and a slightly more sober and less idealized portrayal of his sitters compared to Cosway. He kept meticulous fee books, which provide invaluable records of his sitters and output.
John Smart (1741-1811) was a contemporary whose career included a significant period working in India. Smart's miniatures are characterized by their precise, almost enamel-like finish, strong characterization, and often vibrant colours. His style was distinct and highly accomplished.
Ozias Humphry (1742-1810) was another prominent artist who, like Smart, spent time in India. His work varied throughout his career, but he was capable of producing miniatures of great sensitivity and refinement. He also worked in pastels and oils.
Samuel Shelley (c.1750/56-1808) was known for his graceful and often sentimental miniatures, particularly his group portraits and "fancy pictures" depicting literary or allegorical scenes in miniature form. His style was delicate and charming.
Jeremiah Meyer (1735-1789), German-born but active in England, was a key figure in the earlier part of this golden age. He was a founding member of the Royal Academy and was appointed Miniature Painter to Queen Charlotte and Painter in Enamel to King George III. His work was highly finished and elegant.
Andrew Robertson (1777-1845), a Scottish miniaturist who came to prominence slightly later, advocated for a more robust, painterly approach to miniature painting, seeking to give it the gravitas of larger oil portraits. His work marks a transition towards the later styles of the 19th century.
William Wood (1769-1810) was a highly skilled miniaturist and also the author of a manuscript treatise on miniature painting, "An Essay on National and Sepulchral Monuments" (which also discussed painting techniques). His work is noted for its technical proficiency and delicate modelling.
Anne Mee (née Foldsone) (1765-1851) was one of the most successful female miniaturists of the period. She enjoyed the patronage of Queen Charlotte and the Prince Regent (later George IV), painting many members of the aristocracy. Her style was elegant and fashionable.
Henry Bone (1755-1834), Nathaniel's early master, excelled in creating highly durable and brilliantly coloured enamel miniatures, often copying Old Master paintings or larger contemporary portraits. His technical skill in this demanding medium was unparalleled.
Other notable miniaturists of the time included Richard Crosse (1742-1810), a deaf-mute artist known for his sensitive and unpretentious portraits, and Samuel Cotes (1734-1818), who produced delicate and charming works. This rich tapestry of talent formed the backdrop against which Nathaniel Plimer practiced his art.
Later Years and Unresolved Questions
Nathaniel Plimer's exhibiting career at the Royal Academy appears to have concluded around 1815. After this date, information about his activities becomes scarcer. While some sources suggest he continued to work and live until 1822, he seems to have withdrawn from the public eye of the London art scene. The reasons for this "disappearance" are not clearly documented. It could be due to declining health, changing fashions in portraiture, or simply a desire for a more private life.
The precise date and circumstances of his death are recorded as 1822, in Edinburgh. Why he was in Scotland at the time of his death is another detail that remains somewhat obscure, adding a touch of mystery to the end of his life story.
Attribution of works to Nathaniel Plimer, as with many miniaturists who did not consistently sign their pieces, can sometimes be a subject of scholarly debate. The close working relationship and stylistic similarities, particularly in their earlier careers, between Nathaniel and Andrew can occasionally lead to confusion. For instance, a work once thought to be a self-portrait by Nathaniel was later reattributed by some experts to Andrew. Such re-evaluations are part of the ongoing study of artists from this period.
Legacy and Market Reception
Despite the unresolved questions surrounding his later life, Nathaniel Plimer left behind a body of work that continues to be appreciated by collectors and art historians. His miniatures are held in various public and private collections, including the Victoria and Albert Museum in London, which has a significant collection of British miniatures.
In the art market, works by Nathaniel Plimer regularly appear at auction. Prices can vary depending on the quality, condition, subject, and provenance of the miniature. Generally, his works command respectable sums, often ranging from several hundred to several thousand pounds. Well-preserved examples depicting attractive sitters, or those with interesting historical connections, can achieve higher prices, sometimes exceeding auction estimates, indicating a steady demand from collectors of British portrait miniatures.
His legacy lies in his contribution to the rich tradition of British miniature painting. He was a skilled and sensitive artist who, within the intimate confines of the miniature, captured the likenesses and personalities of his contemporaries. While he may not have achieved the widespread fame of a Cosway, his work possesses an enduring charm and technical proficiency that secures his place as a significant practitioner of this delicate art form.
Conclusion
Nathaniel Plimer's life was one of quiet dedication to his art, following an unusually adventurous start. From his early rebellion against a conventional career path and his time with Gypsies, he emerged as a refined painter of miniatures, navigating the competitive London art world of the late Georgian era. He absorbed the influences of masters like Henry Bone and Richard Cosway, yet forged a style that was recognizably his own – characterized by its delicacy, thoughtful portrayal, and skilled execution.
Working alongside his brother Andrew, and amidst a constellation of talented contemporaries, Nathaniel Plimer contributed to the vibrancy and excellence of British miniature painting during its zenith. His works remain as intimate windows into the society of his time, valued for their artistic merit and the subtle human connection they convey across the centuries. Though aspects of his life remain enigmatic, his art speaks with a clear and gentle voice, securing his enduring, if modest, place in the history of British art.
