As mentioned previously, Sarah Goodridge painted a miniature of Stuart; in fact not just one, but three. Clearly he admired her excellent ability. It has been described that she studied under his tutelage, however; “Stuart never claimed any artist as his student, although nearly every American artist of the next generation credited him or his works in the development of their own.” (Barratt and Miles p 291). Sarah opened her studio in Boston in 1820 and adapted Stuart’s oil-paintinging techniques to watercolor, the result of which was a range of stunningly saturated and controlled works. Ibid.
From the letter:
“Lizzie looked surpassingly lovely in her wedding dress and long blonde-lace veil; her face literally covered with blushes and dimples. She behaved remarkably well, too; any quantity of compliments were paid to her. I heard one of her bridesmaids express to Mr. Webster her surprise at Lizzie consenting to give up her belleship, with all the delights of her position, and retire to a quiet Virginia home. ‘Ah,’ said he,
*Love rules the court, the camp, the grove,
(Portrait painter Chester Harding also spent time with Stuart in the mid 1820s…. becoming such a skilled imitator that he picked up clientel of Stuart’s after his death. Ibid.)
Grace Fletcher Webster died at age 47. Two years later Webster, absolutely determined to find a suitable marriageable candidate and after a whirlwind one month courtship, married Caroline Le Roy from a wealthy New York family. It seems to have been a marriage of convenience; she had money and connections, he could offer her respite from spinsterhood (Caroline was 32 and unmarried, Webster was 47) and he received a pile of money as a dowry. There was some talk of divorce, especially when Sarah came to visit him in DC and Caroline left town to visit friends and family in New York. But the marriage survived, and Caroline outlived Daniel by 30 years.
~~Sarah (detail) Self portrait ca 1825, watercolor on ivory 3 1/8 x 2 5/8 in.