Double portrait of two children dressed identically (siblings or twins?). They wear tartan dresses with little collars.One standing and one sitting. Hand coloured.

Arthur (James) Lewis (1824-1901), husband of Kate Terry, and grandfather of John Gielgud. It appears he was also a painter and a musician, with a connection to J M Whistler. Arthur James Lewis was a London landscape and portrait painter, and illustrator. Between 1848 and 1893 Lewis was active as an exhibitor in London at the Royal Academy, British Institution, Grosvenor Gallery and New Gallery, as well as at the Walker Gallery in Liverpool and Manchester City Art Gallery. A typical work is his 'Far Away on the Hills - Scene in Arran', exhibited at the Royal Academy in 1881. Lewis and Whistler were members of the Burlington Fine Arts Club in the 1860s. In 1861 both Lewis and Whistler contributed etchings to 'Passages from Modern English Poets' (London: Day & Son, 1862). Lewis contributed A Spring Morning, Spring in the Meadows, The Mountain Stream, The Cornfield and The Path through the Forest (Plates 20, 20, 23, 36 and 39 respectively). Arthur Lewis is listed as a founding member of the Arts Club from 1863 to 1901. However, his dates are given as 1828-1901, with his date of birth given as 1828, not 1824. He is described as a promoter of the Junior Etching Club of which Whistler was an early member. See: Wood, Christopher, Dictionary of Victorian Painters, Woodbridge, 1971; Johnson, J., and A. Gruetzner, Dictionary of British Artists 1880-1940, Woodbridge, 198; Records of The Arts Club, London. His wife, Kate Terry (21 April 1844 – 6 January 1924) was an English actress. Elder sister of the actress Ellen Terry, she was born into a theatrical family, made her debut when still a child, became a leading lady in her own right, and left the stage in 1867 to marry. In retirement she commented that she was 20 years on the stage, yet left it when she was only 23.[1] Her grandson was Sir John Gielgud. After her farewell performances, she left the stage to marry the wealthy haberdasher and silk merchant Arthur James Lewis (of the firm Lewis & Allenby). The couple had four daughters, the eldest of whom was also named Kate (the mother of Gielgud). The youngest, Mabel Terry-Lewis, became an actress. Terry made two later appearances on stage: first in 1898, in Stuart Ogilvie's The Master, with John Hare and her daughter Mabel, and in June 1906 she played Ursula in a scene from Much Ado About Nothing at the gala stage celebration of her sister Ellen's jubilee. Terry and her husband lived in considerable style in Moray Lodge in Kensington, London, where he hosted the Moray Minstrels, until Lewis lost all his money. After that, in Gielgud's words, "my grandmother lived very simply and rather resentfully in an ugly little house in West Cromwell Road, and she had no grand clothes and did not give parties any more. She played bridge and had paying guests. This was a sad ending to her career but she never grumbled or groused. She must have hated being out of the picture, even though many people still recognized her and paid court to her.

A small oval daguerreotype in its original case. This might have been intended to be set into a piece of jewelry or this may always have been its final presentation.

Catherine M Wiseman had six children. This image is one of three plates, seemingly identical, presumably for different children. They were probably taken as three successive exposures. All three are included in case anyone wishes to study multiple daguerreotype images.

Half length portrait of a seated elderly woman with hair dressed in ringlets hanging from a band and ribbons. She is dressed in black with a white lace collar pinned with a brooch.Hand colored. The painted backdrop is of sky and clouds