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Miniature portrait of a priest, unsigned, watercolour on ivory, 12 x 10cm, 4.75 x 4in, set in a gilt and painted architectural frame.Condition report: The painting is in good, original condition. There are several vertical splits in the ivory and some small areas across the painting where the paint is lifting. The painting is framed and glazed. The frame has the odd minor knock and loss commensurate with age.

Charles Frederick de Brocktorff (Danish, 1775-1850):A portrait miniature of a naval officer, signed 'de Brocktorff pinx', H 8 cm, set within gilt frame, the whole approx. 20 x 20 cm. Note: Brocktorff had fought in the Napoleonic wars as an infantry officer with the forces of the Electorate of Hanover before moving to England after 1809. When he settled in Malta in circa 1810, he opened an art studio in Valletta.

John Smart (British, 1741-1811):A portrait miniature of a gentleman in a blue jacket, signed with initials lower right & dated 1799, H 8 cm

A porcelain hand painted miniature portrait, having a wooden surround and gilt mounts. Size 10.5cm.square. Condition: Some wear to gilding otherwise good.

A late 18th/early 19th Century French aide memoire, coral coloured enamel, bright cut yellow metal mounts 'Souvenir Diamitie', one side set with an oval portrait miniature of a lady, the reverse with a plaited lock of hair, the interior containing an ivory note pad and a yellow metal tipped pencil, 8.5cm by 5cmProvenance: from the collection of a titled Lady

English School (19th century), a portrait miniature, of a gentleman, half-length, in profile, watercolour, 8cm x 6cm

English School, 19th century, a portrait miniature, of a young girl with blue ribbon and flowers, watercolour on ivory, 4cm x 3.5cm, gilt metal frame

French School, 19th century, a portrait miniature, lady with roses in her hair and floral garland, watercolour on ivory, 6cm x 4.5cm, gilt metal oval frame

English School, 19th century, a portrait miniature, Duchess of Devonshire, dared 1802, watercolour on ivory, 8cm x 6.cm, ebonized frame

A GEORGIAN PORTRAIT MINIATURE OF A GENTLEMAN IN FORMAL ATTIRE IN PIERCED ORNATE EASEL BACKED BRASS FRAME

λ A late 19th century French gilt brass and champlevé enamel four glass mantel clock, the eight day brass drum movement by Japy Frères, striking on a bell, stamped with a Japy Frères medaille d'honneur pastille, inscribed 'MADE IN FRANCE' and numbers '734552', the jewelled pendulum inset with an ivory portrait miniature of a lady, the circular jewelled dial with Arabic numerals and inscribed with the retailer's name 'CAHOON BROS BELFAST PARIS MAKE', the case with Corinthian capital columns and with floral enamel bands, with bevelled glass panels, 32cm high, on a giltwood stand. (2)

19thC English School. Portrait miniature of a lady facing dexter, gouache, 8cm x 6cm, portrait prints of a gentleman facing sinister. (2)

Large nickel top wind pocket watch contained in silver mounted leather case, portrait miniature, three stick pins and a stone set dress ring. (B.P. 24% incl. VAT)

A CONTINENTAL MINIATURE PORTRAIT OF A YOUNG WOMAN, inscribed verso; 'E. PETER, Kaiserin ''Marianne'' (1845).....' and another similar (2)

A GEORGE III PORTRAIT MINIATURE, AND A 19TH CENTURY CHINESE IVORY CARVING OF A FISHERMAN

CONTINENTAL SCHOOL 20TH CENTURY Miniature portrait of a gentleman, signed Buttberg 1940 and another dated 1939, on ivory, 7 x 5 cms and a pair of portraits, each of a lady; 7 x 5.5 cms (4)

ENGLISH SCHOOL c.1838 Miniature portrait of a lady, believed to be a Mrs Phoebe Falconer, standing wearing a white dress in an interior; 17 x 12.5 cms, papier mache frame

ITALIAN SCHOOL 18TH C. Miniature portrait of the Virgin & Child, oil probably on copper; 7.25 x 5.75 cms, in baroque gilt copper frame

SIR WILLIAM JOHN NEWTON (1785-1869)* Miniature portrait of Lady Martins standing in an interior holding her son on the arm of a sofa, on ivory, signed and inscribed on reverse, dated 1839; 17.5 x 13 cms, together with a companion portrait, presumably of her husband, three quarter length, pair in black wood frames *Appointed Miniature Painter in Ordinary to the King and Queen in 1833.

ENGLISH SCHOOL EARLY 19th C. Miniature portrait of a lady wearing lace bonnet and seated in a chair,on ivory; 19.5-8.5 cms and of a young lady wearing a pendant and reading, on ivory; 9 x 7.5 cms

Two hand painted portrait miniature paintings of young ladies

Lady Anne Barnard (British 1750-1825) KHOI WOMAN provenance and artist's name inscribed on the reverse watercolour on paper 20,5 by 16,5cmIt is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

Lady Anne Barnard (British 1750-1825) BLACK MADONNA provenance and artist's name inscribed on the reverse watercolour on paper 18 by 14cm It is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

MANNER OF F. BUCK (c.1820)Miniature portrait of a man in a blue coat Watercolour on ivory, 6 x 5cmWith plated hair and seed pearls verso ** Please note that this lot contains ivory and is subject to CITES regulations when exporting outside of the EU. The United States Government has banned the import of ivory into the USA.**

MANNER OF F. BUCK (c.1820)Miniature portrait of a young man in grey coat Watercolour on ivory, 6 x 5cmWith plaited hair on reverse ** Please note that this lot contains ivory and is subject to CITES regulations when exporting outside of the EU. The United States Government has banned the import of ivory into the USA.**

Good 19thC pressed tortoiseshell frame with miniature portrait

A Victorian portrait miniature on ivory depicting a young girl, housed in an ivory frame

A painted portrait miniature of a lady signed K. Collings in gilt-metal oval frame, 7 x 6cm Condition Report: Available upon request

CONTINENTAL SCHOOL (19th Century), portrait of a young woman, oils on porcelain panel, Venetian carved and gilded wooden frame. The miniature 8 x 6cm approx. (B.P. 24% incl. VAT) CONDITION REPORT: Rather grubby but no obvious damage. Minor losses to the frame.

EARLY 20TH CENTURY GILDED HAND MIRROR, inset with a portrait miniature, 37cm long, along with an unframed sampler, vintage evening bags, and two Matchbox model vehicles

MINIATURE REGENCY PORTRAIT OF A GENTLEMAN, 10cm x 7.5cm, framed and under glass

MINIATURE REGENCY PORTRAIT OF A GENTLEMAN, 6cm x 4.5cm, framed and under glass

MINIATURE GEORGIAN PORTRAIT OF CAPTAIN GORDON, 11cm x 7.5cm, framed and under glass

EARLY 20TH CENTURY MINIATURE PORTRAIT OF A LADY, pictured wearing a headband, 5.5cm x 4.5cm, framed and under glass, in leather case

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

W.S. WATSON A GEORGE IV PERIOD PORTRAIT MINIATURE PAINTING of an unknown gentleman, signed and dated 1823, 7.5cm x 6cm, in an ebonised frame with brass acorn and oak leaf ring mount, together with a companion piece, AN EARLY 19TH CENTURY PORTRAIT MI NIATURE OF A YOUNG LADY, oval mount within an ebonised frame, 8cm x 6.5cm

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 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)

GEORGE MARSHALL MATHER (miniaturist fl.1832-1850) oil on panel - fine half portrait of an elegant lady in corset and dress with hair up, unsigned, 10.5 x 9cms (label verso inscribed 'Painted by G Marshall Mather miniature painter 63 Princes Street, Edinburgh')

19TH CENTURY ENGLISH SCHOOL "Gentleman in Blue Coat", portrait miniature, watercolour, in ebonised frame, together with two silhouette studies

19TH CENTURY CONTINENTAL SCHOOL "Women Playing Harp", portrait miniature on ivory panel, unsigned, in ebonised oval frame CONDITION REPORTS There appears to be some areas of discolouration and staining mainly to the edge, possibly some fading in areas, accretions and some small foreign objects on the inside of the glass. Some light surface scratches. No obvious areas of paint loss or restoration. There is a chip to the outer edge of the frame and also the frame has old worm in places. Item has general wear and tear commensurate with age and use. See photos for more details.

18TH CENTURY ENGLISH SCHOOL "Gentleman in Brown Coat and Grey Wig", portrait miniature on ivory, in ebonised frame

A portrait miniature on ivory circa 1900, signed Derval; a three bottle tantalus; a group of 19th century and later blue and clear glass; plated tray etc (one box)

A portrait miniature brooch; two Scottish brooches and a portrait miniature (4)

19th century white metal and tortoiseshell box inset with a painted miniature portrait of a lady, 2.75" wide; together with a leather box painted with a squirrel 2" diameter (2) **From the estate of Lady Dodds

Miniature - pendant portrait miniature of a gentleman set in a yellow metal frame; together with a paste set pendant and locket inset with a portrait of of a child (2)

Sir John Hayter R.A. (1800 - 1895) - Portrait miniature of "The Hon. Miss Calder", watercolour on ivory, 2.5" x 2" (2) - **From the estate of Lady Dodds; together with a miniature portrait of the Duchess of St Albans by Sir John Hayter R.A., 2.75" x 2.5", details inside back cover

19TH CENTURY ENGLISH SCHOOL;  a portrait miniature of a young woman with ringlets in her hair, inscribed verso 'Miss Elizabeth Jennings of Mount Jennings near Hollymount, Co. Mayo (Aunt of Emily Little) related to the Earl of Lucan (the Bingham Family)', 8 x 6,5cm, a miniature watercolour of Florence Nightingale, three profile portrait 19th century silhouettes and a further oval miniature in profile of a woman wearing lace bonnets (6).Additional InformationRegarding the largest, ivory lifting to right hand edge, otherwise all ok.

AN EARLY 19TH CENTURY PORTRAIT MINIATURE OF A GIRL, wearing a headscarf in a carved gilded rococo Florentine frame, image 60cm high 50cm wide.

Vintage European School Enamel Miniature Portrait Mounted in Frame. Signed lower left. Sight measures 4-1/2" H x 3" W, frame measures 10-1/2" H x 8-1/2" W. Condition: Good condition Estimate: $50.00 - $150.00 Domestic Shipping: $58.00

Two (2) Old Master Miniature Portrait Oil on Wood Paintings. Both with old labels affixed verso "Ditrici". Measures 4-1/2" x 3-3/4", frame measures 7" x 6" and 4-1/4" x 3-1/2" (unframed) Condition: Typical wear. Estimate: $200.00 - $300.00 Domestic Shipping: $44.00

Antique Miniature Ivory and Tortoise Hand Painted Portrait Box. Unsigned. Measures 3-1/4" dia. We Will Not Ship This Item Out of State of Florida. Anyone Having This Item Shipped Must Have a Florida Address or the Item will not be Shipped. We will Not Knowingly Sell Endangered Species outside of Legal Channels. Condition: Loss to inside lid, wear. Estimate: $50.00 - $100.00 Domestic Shipping: $30.00

A late 18th century French School portrait miniature in jewelled frame, Elisabeth Charlotte Pauline de Meulan, later Guizot (1773-1827), authoress, first wife of Francois Guizot, French statesman, wearing a white lace trimmed dress and blue shawl, gold ribbon waistband and pearl necklace, holding a pen in her right hand, oval watercolour on card, signed with initials 'M.P', inscribed 'Pauline de Meulan 1773' in pencil verso, within a pierced interlaced silver frame set with rose cut diamonds, the reverse with rose gold mounted glass panel with ivory silk, 5.5 x 4.3cm. overall.

Fine 19th century French gold and enamel mourning bangle, with pieced foliate panels and white enamel borders, the oval hinged oval locket bearing the initial monogram 'WL', enclosing the miniature portrait of Sir William Lawrence, the reverse with a hair locket, with safety chain, 49.7gm, 60mm wide; with the original box branded Philippi, 19 R. Richelien,Paris' - ** Sir William Lawrence, 1st Baronet FRCS FRS (1783 - 1867) was an English surgeon who became President of the Royal College of Surgeons of London and Serjeant Surgeon to the Queen (Victoria). In his mid-thirties, he published two books of his lectures which contained pre-Darwinian ideas on man's nature and, effectively, on evolution.

Set of three 19th Century bronze portrait miniatures in gilt and glazed frame overall size 16cm x 14cm from The Grosvenor Hotel Torquay together with a reproduction miniature (4).

Early 20th Century Portrait Miniatures of Victoria Elizabeth Garrett entitled No1 Pink Coral and another of the same sitter with an infant, together with a portrait miniature of the infant as a little girl. (3)

Portrait Miniatures. A framed set of four oval miniature paintings of children, 1821, watercolour on ivory, oval head and shoulder portraits of four siblings, comprising a curly-haired boy in a buttoned brown suit with frilled collar, two girls, each attired in a blue and red tartan dress with bows to shoulders, the elder girl also wearing a necklace, and an infant dressed in a white dress with lace yoke and matching bonnet, each with gilt plaited border and bow to upper edge, 5 x 4 cm (2 x 1.5 ins) and slightly smaller, mounted together as two pairs on a dark blue ground, in period gilt frame, glazed, verso with contemporary printed cutting of mourning verse and partially indistinct manuscript notes pertaining to the sitters (mentioning the surname 'Bates') and artist, including the inscription 'Painted by [...?] Smith of London, September 1821' (Qty: 1)A charming set of Regency portrait miniatures, intact in original frame.

A CHINESE FINELY CARVED SOAPSTONE FIGURE OF LI TIEGUAI, 17TH/18TH C seated half length, his left hand holding his iron crutch, 17cm h and a portrait miniature of the collector Claude Calthrop with the figure, pained by Horace Taylor in Geneva in 1918, gouache on card (2)Provenance: Claude David Usticke Calthrop (1893-1921) First Secretary General of the Rhineland High Commission, Coblenz, by whom possibly acquired in Switzerland or Germany; thence by descent to the present owner++Figure - old restoration to neck, losses as evident from illustration; old accretion of dirt and grime, entirely unrestored other than the repair to the neck. Miniature in good condition

A LATE 19TH CENTURY OVAL PORTRAIT MINIATURE OF COUNTESS POTZKA, NIECE OF THE LAST KING OF POLAND, contained in a white metal red paste set mount, as a brooch, 1 1/2" (4cm) high