had run out of drawing materials and suffered "a long and tedious Sickness". Johnston made one return trip to England, in 1711–1712; her husband, too, returned there once, from 1713 to 1715. He died in a boating accident in 1716, not long after returning to Charleston. Little is known of Johnston's later life in the colonies. She is known to have traveled at some point to New York City, as four portraits dated 1725 exist depicting members of a family from that city. She returned to Charleston at some time before her death in 1729. Johnston and her second husband are buried together in the cemetery of St. Michael's Episcopal Church in Charleston. One of her daughters by her first marriage, Mary Dering, later became lady-in-waiting to the daughters of George II. A suggestion has been made that Johnston was related to the painter and dancing master William Dering, who migrated to Charleston from Williamsburg, Virginia in 1749, but this is not generally accepted. Style It is unknown whether or not Johnston studied painting and drawing; however, given the sophistication of her work, it is likely that she did indeed receive some form of training. Similarities between her pastels and the works of Irish artist Edmund Ashfield and of Edward Luttrell indicate that she may have studied with them at some point. In pose and coloring, many of Johnston's portraits strongly resemble those of Sir Godfrey Kneller, which at the time were greatly in fashion in the United Kingdom and the colonies. Her pastels from Ireland are drawn in deep earth tones, while those from her time in South Carolina are generally lighter and smaller, due likely to the precious nature of her materials, which had to be imported. The Irish works, which show the most attention to detail of all her works, depict sitters at three-quarter length, as do the earliest of her Carolina pastels. Johnston's American female subjects are usually shown wearing chemises, while the male subjects are drawn mostly in street clothes; some of the latter are depicted wearing armor. Each subject is shown sitting erect, with the head frequently turned at a slight angle from the body and towards the viewer. The faces are typically dominated by large oval eyes. Works dating to after her second husband's death are less finished; details of clothing are less well-defined and colors are less saturated, suggesting either that the