Remembering Martha

Martha Barrett, pictured here wearing a traditional Quaker’s cap, was the half-sister of Elizabeth, the wife of the artist Thomas Pole. Martha had already passed away so the silhouette was painted from memory, most likely at the request of Elizabeth as a memorial. The profile is set within an octagonal watercolour border surrounded by finely painted foliage with a church, houses and classical folly in the background and personal items associated with Martha in the foreground including books, a needlework basket, a drawing book, a paint palette and brushes. It is signed in tiny script ‘T. Pole M.D. delin. 9 mo. 1822’.

The silhouette is presented in the original gilt wood frame with an inner pie crust border and floral corner rosettes. The frame has darkened with age and the bottom two rosettes have old loss with partial old restoration to one. The silhouette itself has light dust soiling.

Born in 1749, Martha was the daughter of William & Sarah Barrett of Cheltenham. Upon the death of her mother, her father re-married and a son and second daughter were added to the family. Martha married a fellow Quaker Richard Burlingham, a glover in Worcester, in 1781. Martha died in 1815, aged 65

Remembered primarily as a physician and a Quaker minister, Thomas Pole was also a talented artist and draughtsman who enjoyed painting silhouettes of his friends and family. His ancestors came from Wiveliscombe in Somerset. His father, John Pole, was a tailor but financial difficulties prompted him to emigrate to Philadelphia where he established a new business and married. Born in 1753, Thomas was their youngest child. His father died when he was just one year old, his mother when he was six. As a child he aspired to be a carpenter but his intense interest in Quakerism prompted him to travel to England at the age of 19 where he later studied and practised medicine. Pole was a talented draughtsman and always had his drawing materials to hand using them not only to illustrate his lectures but also to draw portraits of family and personal friends. His preferred medium of portraiture was the silhouette: its plainness suited the Quaker rejection of personal vanity.