Hannah (Dart) Roper

Artist/Maker
Theus, Jeremiah
Place Made
Charleston South Carolina United States of America
Date Made
1765-1770
Medium
oil on canvas
Dimensions
HOA: 30″; WOA: 25″
Accession Number
4087
Description
SITTER: Hannah Dart (1756-1827) was the daughter of Benjamin Dart (d.1782), a merchant and one of the two treasurers of the colony of South Carolina in 1771. Her mother was Amelia (Hext) Dart (1733-1803). Hannah married her first cousin, William Roper, an attorney, on May 5, 1771. The Ropers lived at “Cornhill” on the Ashley River and at two locations on East Bay at different times. There were nine children born of this marriage but only three survived to maturity. Roper died in the early 1780s and Hannah received a life estate in his personal property which was considerable. She died in 1827.

The painting’s attribution to Jeremiah Theus is based on stylistic details. Note for example the high brow, the tight hairstyle and the nosegay perched on top of the head. Also characteristic of Theus’ work are the prominent nose and pursed lips, the latter carried to a greater extreme in other works. Theus also painted other family members, including her brother John Dart (1750-1782) in the collection of the Metropolitan Museum of Art (MMA acc. 67.268.1). John married Henrietta Sommers (1750-1783), whose portrait is also in the collection of the Metropolitan Museum of Art (MMA acc. 67.268.2). Henrietta Sommers was the daughter of Humphrey Sommers, whose portrait by Theus is in the MESDA collection (MESDA acc. 3974).

ARTIST: Jeremiah Theus (1716-1774) was born in Switzerland and immigrated to South Carolina with his family came to South Carolina when he was nineteen. His father, Simon Theus received a land grant for 250 acres on the Edisto River in Orangeburg, South Carolina.

Jeremiah Theus was in Charleston and working as an artist by 1740 when he placed an advertisement in the South Carolina Gazette. He wrote that “all Gentlemen and Ladies may have their Pictures drawn, likewise Landskips of all sizes, Crests and Coats of Arms for Coaches and Chaises. Likewise for the Conveniency of those who live in the Country, he is willing to wait on them at their respective Plantations.” Over the next three decades Theus would establish himself as the painter of choice for the Lowcountry elite. It is estimated that more than 170 portraits by Theus survive.

Like most eighteenth-century artists, Theus sometimes relied on English mezzotints to inspire the poses and costume of his sitters. There are a number of works, for example, that use a variation of the dress worn by Maria the Countess of Coventry in a mezzotint by Richard Houston after a painting by Francis Cotes. An example of this print is in the National Portrait Gallery of the United Kingdom. (NPG UK acc. D34175). However, these same mezzotints were also an important mechanism by which London fashion was transmitted to Charleston. The refinement of dress and pose in Theus’s sitters was a reflection of their status in the larger 18th century material world.

RELATED WORKS: A sampler in the MESDA collection dated 1743 was worked by Hannah’s aunt, Elizabeth Hext (MESDA acc. 5517).

MESDA has five portraits by Theus: Sarah Proctor (Daniell) Willson (MESDA acc. 2024.52); Elias Ball III (MESDA acc. 2739); Humphrey Sommers” (MESDA acc. 3974); Hannah Dart” (MESDA acc. 4087); and Ann (Theus) Lee, the artist’s daughter (MESDA acc. 1179).

REFERENCES: Margaret Simons Middleton, “Jeremiah Theus: Colonial Artist of Charles Town” (Columbia, South Carolina: University of South Carolina Press, 1991)

Carolyn J. Weekley, “Painters and Paintings of the Early American South” (Williamsburg, Virginia: Colonial Williamsburg and the Yale University Press, 2013)

DESCRIPTION: Three-quarter length portrait of young woman, three quarter view. The sitter wears a blue silk dress with lace ruffles at the neck and lace trimmed sleeves. She also wears a sprig of flowers on her head, with her hair pulled tightly back, and a double row of pearls around her neck, with a blue bow at the nape. She holds a pink rose in her left hand.

Artist Biography
ARTIST: Jeremiah Theus (c. 1719-1774) was arguably the most popular painter of his generation in colonial South Carolina. There are over 170 known works painted by Theus between about 1739 and 1774. Probably born in Canton Grison, Switzerland, Theus came to America with his parents and family about 1735 and settled in the Orangeburg Township of South Carolina. By 1740 he had moved to Charleston, where he advertised as a limner who would draw portraits, landscapes, as well as coats of arms for coaches.
Like other colonial artists, Theus used English mezzotints for both costume and pose in his portraits. There are a number of works, for example, that use a variation of the dress worn by Frances Cotes in the mezzotint of Richard Houston’s painting. Although his style portrays a stiffness of pose, his popularity may have relied on his depiction of sumptuous attire. As Flexner notes, “He was a painter without dash and inspiration or any natural ability, except as a colorist, but he had learned his lessons in the Old World well enough to turn out portraits that made a handsome show of elegance.”
Artist Working Dates
1739-1774
Credit Line
MESDA Purchase Fund