1. See Lawrence Stone, The Family, Sex and Marriage in England, 1500–1800 (New York: Harper and Row, 1977), 20, 270–74, 283–87, 320–21;and Margaretta Lovell, “Reading Eighteenth-Century American Family Portraits: Social Images and Self-Images,” Winterthur Portfolio 22 (Winter 1987): 243–64.
2. Many scholars have noted the influence of daguerreotypy and photography on oil portraiture. See Van Deren Coke, The Painter and the Photograph: From Delacroix to Warhol (Albuquerque: University of New Mexico Press, 1972), 25, 83, 85.
3. Monroe H. Fabian, Mr. Sully, Portrait Painter: The Words of Thomas Sully (1783–1872) (Washington, DC: National Portrait Gallery, 1983) 119
4. Robert Torchia, John Neagle: Philadelphia Portrait Painter (Philadelphia: Historical Society of Pennsylvania, 1989) 70–71.
5. Dale T. Johnson, American Portrait Miniatures in the Manney Collection (New York: Metropolian Museum of Art, 1990), 24–25.