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Walter Francis Tiffin (c.1820-1880) miniature portrait on ivory of a lady in a blue dress with lace trim, 10 x 7cm, inscribed verso ‘W F Tiffin, Salisbury and 434 West Strand, London', glazed papier-mâché frame

English School (circa 1830), portrait miniature on ivory - lady with blue dress and lace bonnet, 12.5 x 9cm, glazed gilt frame

English School, early 19th century - portrait miniature on ivory of Thomas Goble, Naval Officer and Secretary to Nelson, inscribed to label verso 'Lieut. Thomas Goble, H.M.S. Victory, Trafalgar, 1805' oval, 4 x 3.5cm, glazed turned wood frame. NB: Thomas Goble was initially responsible for recording signals during the famous battle, however when Nelson's secretary John Scott was killed, Goble was promoted to the position of Secretary to Nelson, a position he held for approximately one hour until Nelson was shot and killed. John Goble survived the action and lived until the age of 89.

Attributed to William Fowler (1796-1880), portrait miniature on ivory of Queen Victoria, signed and dated 1840, oval, 13 x 10cm, glazed gilt metal frame

English School, circa 1830, miniature portrait on ivory of a lady with white dress and scarlet sash, 8.5 x 7cm, glazed papier-mâché frame

Early 20th century miniature portrait on ivory of Admiral Lord De Saumarez, tondo, 3.5cm diameter, glazed ebonised frame, together with two related books

After George Romney (1734-1802) portrait miniature on ivory of the Duchess of Rutland, oval 5.5 x 4.5cm, glazed folding cloth frame, together with bill of sale from William Wordley Limited 129 Cannon Street, dated 1917

English School. Circa 1835, portrait miniature on ivory of a lady in white dress, 11 x 8cm, folding cloth bound case

English School, circa 1840, miniature portrait on ivory of a lady, possibly an actress, pictured half-length seated before a theatre bill poster, arched, 15 x 11cm, glazed folding leather frame

English School, circa 1800, portrait miniature on ivory of a lady in black dress, oval 7 x 5cm, glazed folding leather frame

English School, circa 1850, portrait miniature on ivory of a lady with black dress and patterned shawl, 10 x 8cm, glazed folding case

George Marshall Mather (19th century), portrait miniature on ivory of a lady with lace bonnet, inscribed verso 'Painting by G Marshall Mather, 63 Berners St., Edinburgh', 9 x 7cm, glazed papier-mâché frame

English School, circa 1820, miniature portrait on ivory of a lady with black dress and ringlets, 8 x 7cm, glazed folding leather case

Continental School portrait miniature on ivory, depicting a lady in 18th century attire, pink dress and pearls, indistinctly signed N Gardelli, oval. 7 x 6cm, glazed papier-mâché frame

19th century English School, portrait miniature on ivory of a lady with blue dress and lace ruff, named verso as Sophia Day aged 18 years, 19 North Street Portsea, oval, 6 x 5cm, glazed gilt metal frame, in red leather carrying case

19th century English School portrait miniature on ivory of a lady named as Hon. Elizabeth Vaughan, Hursley Manor, Hants, oval, 6 x 5cm, papier-mâché frame

English School, mid-19th century portrait miniature on ivory of a lady wearing white dress and blue bow, oval, 6 x 4cm, glazed gilt frame

English School, early 19th century portrait miniature on ivory of a gentleman, wearing black coat and neckerchief, oval 4.5 x 3.5cm, glazed gilt frame

F. Cruickshank (1796-1868) miniature portrait on ivory, depicting a young lady seated before a landscape, holding a fan, 21 x 15cm, in good ormolu frame

Marianne Graham (early 20th century), portrait miniature of woman wearing mediaeval attire, with a lute, signed, 15 x 11cm, glazed frame

English School, circa 1825, portrait miniature on ivory of a lady named verso as Eliza Brooks, oval, 10 x 8cm, glazed frame

Edwardian portrait miniature of a young child, oval, in pierced silvered frame, 12cm x 8cm, together with 19th century religious portrait miniature in unmarked silver frame with brooch attachment (2)

Two framed miniature portrait paintings of aristocrats

Two framed miniature portrait paintings of aristocrats

Jenny Savy, bust length portrait miniature of a lady with a pearl necklace, signed, probably on ivory, 78mm diameter. 

A 19TH CENTURY MINIATURE PORTRAIT PAINTING, of a young woman in Regency dress, oval 7.5cm x 6cm in a plain brass frame with suspension ring

A 19TH CENTURY MINIATURE PORTRAIT PAINTING, study of a young woman in white dress, her bonnet tied with a large blue ribbon, 9cm x 7.5cm, within an ebonised frame, oval mounted with decorative brass suspension ring

A 19TH CENTURY MINIATURE PORTRAIT PAINTING, "Frederick the Great", circular mounted 7.5cm diameter, within an ebonised frame, with decorative brass acorn & oak leaf suspension ring mount

A 19TH CENTURY OVAL PORTRAIT MINIATURE PAINTING, a young woman wearing a feather and blue ribbon trimmed bonnet, 8cm x 6cm in a decorative brass easel frame, together with one other portrait miniature in an ebonised frame (2)

An Indian Mutiny Medal officially impressed to Captn A H Paterson, Kumaon Levy, together with medal miniature and portrait, the former bearing Delhi and Lucknow clasps, an old note accompanying the lot reads "***Adrian Hugh Paterson was born in 1825 *** [joined] the Honourable East India Company in 1842, served with the 6th Regt of Native Infantry, served in the Sutlej Campaign 1845-46 & the Battle of Sobraon [against the Sikh Khalsa Army]. He served in the Indian Mutiny Campaign as an Ensign in the 68 Regt Native Infantry 1857-58, including the defense of Kumaon & operations in Rohikund. He entered the Bengal Staff Corps after the Mutiny & at the time of retirement in 1878 was Inspector General of Police in Bengal . He died at Weston-super-Mare on 24 Nov 1899 aged 74 years"

A George III brooched miniature portrait silhouette of Naval Captain James Alms (1728 - 1791) officer of the Royal Navy, painted on ivory and preserved under an oval glass locket in yellow-metal frame, with closed back, miniature 17 mm x 13 mm, (22 x 18 mm total), 3.4g (tests as gold), together with two notes of provenance, including a small sectional piece of tissue paper with manuscript inscription 'Profile of Capt. Alms of the Monmouth', and the first page of a letter dated Sunday Dec 18th 1922 and addressed to 'My dearest Edward' in which the writer makes reference to the brooch; "...A very happy bright, peaceful Christmas to you all, my dearest brother - do give dear Lily my best love and very loving good wishes. I know she will understand and forgive my not writing separately to her! I am sending you something that I feel sure you will like to have. Viz this quaint little old brooch, or stock fastener with the profile of our great-grandfather Captain James Alms in his naval cocked hat and pigtail, on ivory. Perhaps "Betsy" wore it in his memory! Dear father gave it to me many years ago - I think it came through Gen. J E D Hill as well as I can recall, and I think it's his writing on the paper attached to the brooch. Anyway it is an interesting family relic." [James Alms (1728 - 1791) officer of the Royal Navy, served during the War of the Austrian Succession, the Carnatic and Seven Years' War, and the American War of Independence, rising to the rank of post-captain. See other lots in this sale pertaining to Alms and his family] [Sir John Hill (1774-1855) was an officer in the Royal Navy who served during the American War of Independence and the French Revolutionary and Napoleonic Wars.]

A miniature portrait of a lady - cased, and a naive silhouette of a child

A hand painted 19th century miniature portrait on porcelain (chip to edge) in a decorative 19th century ivory frame.

NO RESERVE India.- Indian School (probably early 20th century) Five miniature paintings, including a hunting scene, portrait of a figure on horseback, and others, opaque pigments on various prepared papers, from c. 220 x 145 mm. (8 5/8 x 5 3/4 in) to 245 x 340 mm. (9 1/2 x 13 1/2 in), some handling creases, scuffs and areas of rubbing to pigment, surface dirt, unframed, [probably early 20th century] (5).

Fore-edge painting on a miniature book.- Terentius Afer (Publius) [Comoediae], engraved portrait frontispiece and additional title, small wood-engraved vignette to verso of dedication, with a fore-edge painting of Sadler's Wells beneath the gilt, contemporary green calf, richly gilt spine in compartments and with red leather label, g.e., [Bondy p.88; Spielmann 476], (82 x 44mm.), Pickering, 1823.⁂ One of the Diamond Classic series.

NO RESERVE Portraits.- English School (18th century) Profile portrait of a gentleman, once thought to be Samuel Johnson (1709-1784), coloured chalks on delicate purple-coloured laid paper, sheet 275 x 220 mm. (10 7/8 8 3/4 in), some areas of loss, splits and tears, unframed, [18th century] § Archer (Attributed to James, 1824-1904) Portrait of a Young Man, oil on board, 355 x 300 mm. (14 x 11 3/4 in), old attributions and labels on reverse, browning to varnish, some areas of abrasion, craquelure and surface dirt, unframed; together with a further group of 33 watercolour portraits by various hands, including a fine portrait miniature of a young man by Henry Hoppner Meyer (1782-1847), and others, watercolours, pencil, chalks, various sizes, all unframed, 19th century (35)

NO RESERVE India.- Indian School (probably early 20th century) Four miniature paintings presented on matching mounts, including a portrait of an artist at work, a mother nursing, a mythological scene with two men fighting, and a profile portrait of a nobleman, opaque pigments on paper mounted onto prepared mounts with ruled ink borders, some heightened with gold, each full sheet approx. 360 x 240 mm. (14 1/4 x 9 1/2 in), some Persian text on versos, some spotting, browning and surface dirt, each with tissue guard, unframed, [probably early 20th century] (4).

Antique Portrait Miniature Mounted in white metal frame with coral cabochon and marcasite ribbon and posy scroll border with pin bar fastening to back. Set with large oval polychrome portrait miniature depicting a female in the fashionable dress of the 1780's with powdered wig, silk gown and candy stripe bow to her décolleté. Indistinct signature to lower left, approx 6 x 5 cm. Please see accompanying image.

Early 20th Century Portrait Miniature On Vellum Signed B Shear Depicting a distinguished lady in evening dress and jet beads, signed 'B Shear' to lower left. Framed in gilt metal reeded and ribbon border strutback frame, complete with original silk and velvet lined tooled leather travel case, 3 x 4 inches. Please see accompanying image

Antique Period Fine Quality Silver and Enamel Circular Miniature Photo / Portrait Frame, Within a Superb Quality Portable Handmade Leather Display Case with Back Strut. 5.25 x 4.25 Inches - Leather Case Size. Excellent Condition In All Aspects.

English School (19th century) - various silhouettes and portrait miniatures including one depicting William Seaton Bradburne, standing full length, black ink and some gilding 10.25" x 4.5" (at fault); also two further silhouettes, a gentleman and an oval miniature of Richard Sutton, surgeon in the 72nd regiment and great uncle of W S Bradburne, various sizes (4)

English School (19th century) - Portrait miniature of a lady seated wearing a black dress and holding a letter with her left hand, inscribed on a later label Lady A.M. Dawson, etc etc, watercolour, 6" x 4.75" - **The picture is contained within an old veneered wooden frame

[Jane Austen]. Portrait Miniature of Francis William Digweed, by George Jackson (active 1810-1820s), 1811, watercolour, gouache, and bodycolour on ivory, oval head and shoulders half-profile portrait to left of a fair-haired gentleman with side whiskers, wearing a dark blue coat and white stock, signed and dated lower left, fabric tape on verso with early 20th century pencilled inscription 'Francis W. Digweed Esqr. Steventon Manor', 67 x 50 mm (2.5 x 2 ins), ebonised frame, glazed (Qty: 1)Provenance: From the portrait miniature collection of mathematician and businessman Sir Brian Kellett (1922-1994). Francis William Digweed (1781-1865) was the youngest son of Hugh and Ruth Digweed who lived in Steventon Manor, near Basingstoke, renting it initially from Thomas Knight, and subsequently from his heir, Jane Austen's brother, Edward Austen Knight. He and his four brothers, John, Harry, James and William were consequently close friends of Jane Austen and her family, who lived at Steventon Rectory nearby. For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue , 2004, page 299, and Richard Walker, Regency Portraits , 1985, page 246. Another example of the work of George Jackson, a portrait miniature of a young gentlemen dated 1822, was previously sold in these rooms, November 2018 (Dominic Winter, Antiques & Fine Art, 8 November, 2018, lot 380).

[Jane Austen]. Portrait miniature of James Digweed, by George Jackson (active 1810-20s), circa 1811, watercolour, gouache, and bodycolour on ivory, oval head and shoulders half-profile portrait to right of a fair-haired gentleman with side whiskers, wearing a black coat and white stock, against a backdrop of crimson drapes and leather-bound books, small piece of paper tipped to verso annotated in contemporary manuscript 'Rvd James Digweed', 70 x 55 mm (2.75 x 2.25 ins), ebonised frame, glazed (Qty: 1)Provenance: From the portrait miniature collection of mathematician and businessman Sir Brian Kellett (1922-1994). The Digweeds were non-landed gentry who rented Steventon Manor from Thomas Knight, and subsequently his heir, Jane Austen's brother, Edward Austen Knight. Consequently they were close neighbours and friends of George and Cassandra Austen and their offspring, who lived at the rectory in Steventon, near Basingstoke, from 1775 to 1801 during George's incumbency there. Hugh and Ruth Digweed had five sons - John, Harry, James, William Francis and Francis William - who were much of an age with the Austen progeny. James Digweed (1774-1862) was born at the Manor the year before Jane was born, and so the two childen grew up together and formed a great friendship. James took holy orders in 1797 and became George Austen's curate at Steventon in 1798. His wife Mary Susannah was also a close friend of the novelist. She was the daughter of John Lyford, the Austen family doctor, who attended on all members of the family whilst they lived at Steventon. Jane Austen often referred to the Digweeds in her letters, their paths frequently crossing at dinners, balls and other social occasions. A particularly interesting letter is that sent by Jane to her sister Cassandra in 1798: 'James Digweed has had a very ugly cut–how could it happen? It happened by a young horse which he had lately purchased, & which he was trying to back into its stable;– the Animal kicked him down with his forefeet, & kicked a great hole in his head;–he scrambled away as soon as he could, but was stunned for a time, & suffered a good deal of pain afterwards.' James Digweed was also alluded to in a typically romantic vein by Jane to her sister in a letter written the following year: 'James Digweed left Hampshire to day. I think he must be in love with you, from his anxiety to have you go to the Faversham Balls, & likewise from his supposing, that the two Elms fell from their greif [sic] at your absence. - Was not it a galant [sic] idea?' ( Jane Austen's Letters , Collected and Edited by Deirdre Le Faye, OUP, 2011, pages 28 and 65) Although unsigned, in our opinion this painting is by the same artist as the portrait miniature of James's brother, Francis William, in this sale (lot 221); the works match in style and technique, and were almost certainly done around the same time. For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue , 2004, page 299, and Richard Walker, Regency Portraits , 1985, page 246.

[Jane Austen]. Portrait Miniature of Mrs. James Digweed, née Mary Susannah Lyford, by George Jackson (active 1810-20s), circa 1811, watercolour and bodycolour on ivory, oval head and shoulders half-profile portrait to left of a young lady wearing a white dress with high-necked lace-trimmed collar, her fair hair worn piled up on her head and in curled bangs, portion of paper tipped to verso with contemporary manuscript inscription 'Mrs. James Digweed born Miss Susanna Lyford', 67 x 53 mm (2.5 x 2 ins), ebonised frame, glazed (Qty: 1)Provenance: From the portrait miniature collection of mathematician and businessman Sir Brian Kellett (1922-1994). Mary Susannah Lyford (1772-1840) married James Digweed in 1803. She was a close friend of Jane Austen, and her father, John Lyford, was a physician who attended on all members of the Austen family whilst they were residing at the rectory in Steventon between 1775 and 1801. Mary Lyford's cousin, Giles-King Lyford, was Surgeon-in-Ordinary at the County Hospital in Winchester and he attended on Jane during her final illness. In fact Jane moved to Winchester in 1817 shortly before her death so that she should be near her doctor. The Digweeds were also close friends and neighbours of the Austen family, living as they did at Steventon Manor, which they rented first from Thomas Knight, and subsequently from his heir, Jane Austen's brother, Edward Austen Knight. Although unsigned, in our opinion this painting is by the same artist as the portrait miniature of Susannah's brother-in-law, Francis William, in this sale; the works match in style and technique, and were almost certainly done around the same time. For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue , 2004, page 299, and Richard Walker, Regency Portraits , 1985, page 246.

Miniature. A blue enamel and gold double frame, early 19th century, oval blue enamel and gilt metal double locket frame, designed to hold two portrait miniatures back-to-back, each side with hinged door, white enamel edge band with decorative repeating border in blue, some small edge-chips, embellished with a pearl drop on a circular ring attached to hanging loop, size (not including loop) 53 x 43 mm (2 x 1.75 ins), together with another portrait miniature frame, early 20th century, oval white metal frame set with paste gemstones, similarly embellished hanging loop, size (not including loop) 57 x 48 mm (2.25 x 1.75 ins) (Qty: 2)

Miniature. Portrait of a gentleman, circa 1660-1670, watercolour and bodycolour on card, backed with card, oval head and shoulders portrait of a gentleman in a full-bottomed wig, wearing a red bow and white lace cravat, verso with contemporary manuscript inscription partially crossed out 'Richard Benningsforde'(?), 60 x 47 mm (2.25 x 1.75 ins), oval gold locket frame with hanging loop, glazed, verso with engraved armorial of the Rooke family of Horton, Kent, housed in a blue velvet-lined black morocco case, with brass decorative hinge (slight loss to upper side) and closure hooks (Qty: 1)The armorial bearings of the Rooke family of Horton in Kent are described thus: 'argent on a chevron engrailed sable between three rooks proper as many chess rooks of the first'.

Miniature. Portrait of a gentleman, circa 1800, watercolour, gouache, and bodycolour on ivory, oval half-length portrait of a dashing young gentleman with flowing wavy hair and side whiskers, wearing a buttoned up dark coat, and white cravat tied in a bow, 51 x 45 mm (2 x 1.75 ins), oval gold plated pendant frame with hanging loop, glazed, reverse glazed to reveal two locks of hair plaited together (Qty: 1)With entwined locks of hair sealed on the reverse as a love token.

Miniature. Portrait of a lady, Continental, early 17th century, watercolour and bodycolour, heightened with gold, on vellum, oval bust length portrait of a young lady with curled flaxen hair and enigmatic gaze, wearing a dress with black skirt and muslin bodice, a black shawl over her head, and a string of pearls around her neck, indistinct letters in gold top right 'MARO ANTE'(?), 60 x 46 mm (2.25 x 1.75 ins), later oval gilt metal pendant frame with hanging loop, glazed (Qty: 1)

Miniature. Portrait of a naval officer, early 19th century, watercolour and bodycolour on ivory, oval head and shoulders profile portrait to left of a young naval officer with side whiskers, wearing a blue jacket with gold epaulettes, and a white stock, 40 x 39 mm (1.5 x 1 ins), gilt metal pendant frame, with engraved arabesque decoration on verso, glazed (Qty: 1)

Miniature. Portrait of a Regency gentleman, circa 1800, watercolour on card, oval head and shoulders portrait of a young gentleman with curled hair, wearing a blue coat and white cravat, toned, 73 x 60 mm (2.75 x 2.25 ins), ebonised frame, glazed (Qty: 1)

Miniature. Portrait of a woman in a mob cap, circa 1800, watercolour and bodycolour on ivory, oval bust length portrait of a lady with grey hair, wearing a white fichu over a blue dress, and a white frilled mob cap with bow, 70 x 56 mm (2.75 x 2.25 ins), veneered wooden frame (with loss of veneer to edges), indistinct early manuscript inscription on verso 'Elizabeth Hyde married ... (?)' (Qty: 1)

Miniature. Portrait of a young boy or girl and dog seated in a landscape, circa 1760-1770, watercolour and bodycolour on ivory, oval half-length portrait of a small girl wearing a white dress with boned bodice and close-fitting elbow-length sleeves, her right arm around a brown and white spaniel sitting at her side and her left hand holding the dog's paw on her lap, with a tree in the background, 55 x 45 mm (2.25 x 1.75ins), oval gilt metal locket frame (probably rose gold), glazed, reverse glazed to reveal an inset collage of a bouquet of flowers within decorative border, composed of fabric, pearls, gilt stars, spangles, gold thread, and tiny beads, on an opalescent enamel ground (Qty: 1)A charming and carefully delineated portrait of a small child and her canine companion, with the unusual addition of a pretty and minutely worked decorative collage inset on the reverse.

Miniature. Portrait of King Henry IV of France, probably 19th century, oval painted enamel on curved gold support, head and shoulders portrait of a bearded gentleman wearing a red doublet and lace-edged stiff ruff, with the Grandes Croix on a blue ribbon around his neck, gold frame with fleur-de-lys border in blue, both border and sitter's order set with diamonds (one lacking on border), size including frame (but not hanging loop) 42 x 35 mm (1.5 x 1.25 ins) (Qty: 1)

Victoria (Queen of Great Britain, 1819-1901). Portrait of Prince Friedrich Wilhelm of Prussia, after Anton Hähnisch (1817-1897), watercolour, with traces of pencil, depicting Prince Friedrich ( later Wilhelm II, German Emperor) as a baby, seated, wearing a white lace dress with pink sash and shoulder ribbons, a white lace bonnet, and blue shoes, holding a silver rattle in his right hand, and with the outline of a Mr. Punch toy at his side, signed in pencil 'V.' lower right, 21.5 x 16 cm (8.5 x 6.25 ins), mounted, framed and glazed (Qty: 1)Provenance: Given by Queen Victoria to Miss Sarah Hildyard ('Tilla'), governess to the royal children; sold by her descendants at Sotheby's, 25th January, 1968, where purchased by the current owner. Prince Friedrich, later Wilhelm II (1859-1941) - or 'Kaiser Bill' as he was popularly known - was the eldest child of Frederick III, German Emperor and King of Prussia, and his wife Victoria, Princess Royal, eldest child of Queen Victoria. Anton Hähnisch's portrait miniature of Prince Friedrich was commissioned by Queen Victoria, and a second version, painted by the artist expressly for the Queen, is housed in the Royal Collection (RCIN 420524). On 30th December 1859 the Princess Royal wrote to Queen Victoria: "Hähnisch is painting my miniature and Baby's – … Baby's is quite horrid, too dreadful, so affected and disagreeable, not the least like the child; but he paints quite beautifully only he uses too much violet lilac and pink in the face, not the pure, transparent freshness of Sir William Ross". On 11th February 1860 Victoria wrote again to her mother: "Hähnisch is copying Baby's Picture for you, and I hope you will have it soon". The Princess evidently valued the finished work as she wrote of the artist some months later, "he paints very well you know", and the Queen must have approved of the picture to have taken the trouble to attempt her own copy of it. Queen Victoria didn't meet her grandson until September 1860, when she wrote that he was: "a fine fat child, with a beautiful white soft skin. We felt so happy to see him at last."

Molyneux family, a miniature pencil profile portrait attributed to Charles Hayter, circa 1810, another miniature of a gentleman after Bernard Lens, two further Victorian miniatures and two miniature silhouettes (6)

A 19th century treen circular box with male-portrait miniature to the cover signed Bingle, 6cm diam; and an early 19th century turned ivory box, the lid inset with a miniature of Elizabeth Derby (1759?-1829) after John Downman (2)

A 19th century gilt metal framed and enamelled hair miniature, named to the rim; a portrait miniature of Lady Croft; and one other miniature (3)

A portrait miniature of Janet, Lady Strange (d.1799), daughter of Sir Robert Anstruther of Balcaskie, Fife

George Paul ECKSTEINA miniature portrait of a gentleman Watercolour Signed and dated 179913 x 10.5cm