Mrs. Gabriel Manigault (Margaret Izard)

Executed in 1795, this portrait is rendered in watercolor on ivory, a refined miniature-painting technique favored in late eighteenth-century America for its luminous, enamel-like surface and capacity to render delicate flesh tones. The support of ivory provides a smooth, slightly translucent ground that allows the watercolor washes to achieve a soft, glowing finish characteristic of the format. The work is held in the collection of the Metropolitan Museum of Art's American Wing and measures 7.1 by 5.9 centimeters, a scale consistent with portrait miniatures intended for intimate, handheld viewing.

Stylistically, the handling reflects the conventions of the miniature genre, with careful attention to fine details such as the sitter's lace chemise and pearl ornament, executed through precise, controlled brushwork suited to the small format.

Mrs. Gabriel Manigault (Margaret Izard) was created by Walter Robertson in 1795, executed in watercolor on ivory as a portrait miniature. The work entered the collection of the Metropolitan Museum of Art, where it is classified under The American Wing. Its documented inception year aligns with the late eighteenth-century period of Robertson's active career as a miniaturist working in Charleston and Philadelphia.

The sitter is identified as Margaret Izard, who later became Mrs. Gabriel Manigault, and the portrait is held in the museum's holdings as a record of her likeness.

This miniature portrait, created around 1795 by Walter Robertson, depicts Margaret Izard (1768–1824), a prominent figure from Charleston. Rendered in watercolor on ivory, the small-scale work captures her likeness, reflecting a popular artistic trend among the American gentry of the late 18th century. It offers a glimpse into the personal portraiture valued for its intimate size and luminous quality, serving as a portable memento of the sitter.

During the late 18th century, miniature portraits on ivory were highly sought after by the American elite, valued for their intimate scale and precious materials. Robertson, often distinguished as the "Irish Robertson," capitalized on this demand, frequently translating the stylistic innovations of his contemporary, Gilbert Stuart, into the miniature format. These small portraits served as significant personal objects, exchanged among family members or carried as tokens of affection.