Jessie J. A. I. Miller? – Portrait of Julia Richmond (née Tatham 1811-1881)

Out of stock

Oval watercolour and gouache miniature on ivory, painted from a photograph taken around 1868. Set in a gold metal frame and glazed. The miniature is housed in its original maroon velvet–lined black leather travelling case, made by J. & W. Vokins, Miniature Frame Makers to H.R.H. The Prince of Wales & The Royal Family, 14 & 16 Gt. Portland St. W. The miniature is illustrated in a copy of the book “The Richmond Papers”, the book has many handwritten inscriptions relating to friends and relations of the family and will accompany the sale of the miniature. Illustrated: A.M.W. Stirling, The Richmond Papers, 1926, Facing page 88. Provenance: The miniature and the book were acquired directly from a descendant of Walter Coleridge Richmond, “son of GR”.


Originally catalogued as Millar 1881 / but corrected to Miller in the copy of the book “The Richmond Papers”. This work is likely to have been commissioned following the death of Julia Richmond on the 6th January 1881 (at the age of  69).

About 1826 George Richmond fell in love with Julia (1811-1881), the beautiful fourteen-year-old sister of the Tatham brothers, whose father had engaged Richmond to give her drawing lessons. Although old Tatham had encouraged the romance, his diminishing fortune brought a change of mind when a rich and elderly suitor expressed interest in Julia. Learning of this, the young couple – encouraged by Palmer, who loaned Richmond £40 – eloped to Gretna Green, where they were married on 24 January 1831. Back in London, Richmond set up home at 27 Northumberland Street, New Road, sending Julia to stay for the time being with Palmer’s father at Shoreham. Meanwhile John Linnell persuaded Tatham that Richmond had a promising future. Tatham forgave them, and within three weeks George and Julia were reunited: their marriage proved to be long and happy. They had fifteen children, of whom ten survived infancy; with this growing family Richmond needed a reliable income, and he spent most of his remaining working life painting portraits.

Additional information

Frame or Mount

Frame: 50mm x 40mm.

Travelling case

61mm x 51mm.




Richmond, George (1809-1896)

George Richmond was born to Thomas and Ann Richmond on the 28th March 1809. A natural facility for draftsmanship revealed itself at an early age. He is one of the youngest students ever to have been admitted to the Royal Academy schools. The Academy permanent collection holds drawings made by Richmond while studying in the school of the Antique. In 1825 he met William Blake and, along with Samuel Palmer and fellow student Edward Calvert, became devoted to the aging artist. The young men would come to refer to themselves as the Ancients. The group followed the artistic principles of Blake and worked to ideals inspired by renaissance painters, particularly Michelangelo and Dürer. The party retired to Palmer's country home at Shoreham during the late 1820's, residing together and developing their aesthetic theory. They lived simply and worked hard. In 1831 Richmond married Julia Tatham, daughter of Charles Heathcote Tatham. The marriage was immediately central to his life and they were to have thirteen children, ten of whom survived into adulthood. The necessities resulting from such a large family compelled Richmond to change direction artistically. It was impossible to follow the eclectic road taken by the Ancients and feed all the hungry mouths. The ramifications of this situation remained with Richmond for the rest of his professional life. Richmond was an extremely religious young man. His beliefs chimed with the growth of evangelical devotion and he found a fellow communion among the members of the "Clapham Sect". Sir Robert Inglis was an early supporter of Richmond, and benefactor to the children of Henry Thornton, one of the founders of the Clapham group. It was through Inglis that Richmond received an important commission in 1832. Richmond landed a coup in painting the great emancipator, William Wilberforce. The positive public response to this portrait established Richmond, almost overnight, with a successful portrait practice. From the early 1830's portrait painting became Richmond's primary source of income. By the late 1830's his financial security was such that he could afford to travel to Italy with his young family and that of Samuel Palmer. Richmond's experiences in Italy are recorded in his journals, which comprise part of this archive. Richmond rarely left Britain after a second journey to Rome in 1840-1841. He worked hard over the next forty years, painting around 2500 of the most prominent figures of Victorian society. His learning in art practice and art history led him to be considered one of the country's foremost experts on painting restoration. This discipline took on more importance for him as his energies for portrait work flagged in the 1870's and 1880's. His residence, Porch House, in Potterne, Wiltshire, was regarded as a model of sensitive architectural restoration. He declined the position of director of the National Gallery at least once, citing ill health. Health was a perennial concern of this long-lived hypochondriac. Julia Richmond died in 1881 and from this point Richmond entered the last, relatively secluded phase of his life. His closeness to the survivors of the Thornton clan is particularly evident towards the close of his life. Richmond died in 19th March 1896; having seen his son William Blake Richmond elected a Royal Academician the year before.