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English School, a portrait miniature, of a young gentleman in a blue coat, indistinctly signed, watercolour on ivorine, gilt frame

ENGLISH SCHOOL, 19TH C, PORTRAIT MINIATURE OF A LADY, WATERCOLOUR, TRADITIONALLY IDENTIFIED AS MRS LOWTH, LOWER MARGIN EXTENDED BY 2CM, "MRS LOWTH WIDOW OF THE REVD. ROBERT LOWTH RECTOR OF ......", 15 X 11CM

An early 20th century white marble and gilt brass mantle clock, having an urn over a drum design case, decorated with a wreath over a demi-lune stand with turned pillars, on turned feet, with a bell strike Japy Freres movement, white enamelled, floral painted dial with Arabic numerals and the pendulum decorated with a portrait miniature, signed J Baker

A portrait miniature of a Lady, hand painted on porcelain (possibly Meissen) inscribed Charlotte Greasley verso, 5cm x 3.5cm (oval).

A 20thC watercolour miniature, half length portrait of a lady, in a black ebonised frame, 13.5cm x 11.5cm.

ANTIQUE PORTRAIT MINIATURE, painting on ivory "Portrait of seated Lady wearing long gold chain and earrings", 4.75" x 3.5"

19th CENTURY PORTRAIT MINIATURE, oil on porcelain panel "Young Lady with gold chain quizzing glass and black satin dress", 5" x 4"

19TH CENTURY MINIATURE PORTRAIT, oval pencil study "Portrait of a Lady"

GEORGIAN PORTRAIT MINIATURE, a brass circular framed pendant miniature portrait of fashionable young lady with pearl necklace and white bonnet, embroidered panel back

GEORGIAN MINIATURE PORTRAIT, unframed oil portrait of noble-woman

Early 20thC portrait miniature young woman with flowers in her hair

Portrait miniature lady by a mirror in part gilt frame together with four further portrait miniatures and similar

An 18thC or 19thC oil on board portrait 26 x 22cm, watercolour of sailing ships and a miniature

The Hours of Isabella d’Este, Use of Rome, in Latin, opulently illuminated manuscript on parchment [Italy (Florence), c. 1490]  240 leaves, text complete, wanting a single leaf before fol. 233 (probably with a miniature), collation: i12, ii11 (i a singleton with miniature), iii-xi10, xii11 (i a singleton with miniature), xiii-xvii10, xviii8, xix11 (i a singleton with miniature), xx-xxi10, xxii11(i a singleton with miniature), xxiii-xxiv8, catchwords, single column of 13 lines of a fine rounded gothic bookhand, headings in red and burnished gold, one-line initials in blue or burnished gold, 2-line initials in same with contrasting infill and penwork, each initial followed by ornate penwork capital, seven large illuminated initials formed of coloured leaves, with full borders of dense coloured foliage and bezants extending into three margins, five large historiated initials and borders by the Florentine brother-artists Gherardo and Monte di Giovanni del Fora (Gherardo producing the miniatures and Monte the decoration), each with full borders of foliage enclosing smaller miniatures within roundels, putti, birds and architectural features, and the first four of these facing four full-page miniatures also by the same artists, within full borders enclosing further miniatures within roundels, prayers added in italic hand at end, a few small holes (mostly repaired), edges trimmed affecting extremities of borders, slight scuffs and stains in places, else in excellent condition, 130mm. by 88mm.; binding of late nineteenth-century Parisian black morocco, with gilt inlaid with brown strapwork in entrelac style by Marius-Michel (either Jean Marius-Michel, 1821-1890, or his son and successor in the firm, Henri, 1846-1925), splitting along edges of spine, but solid in binding  An exquisite Book of Hours, reflecting the very heights of Renaissance book production, and made for that period’s supreme female patron and art-collector; and almost certainly the last book connected with her or her court available on the market Provenance:1. Written and illuminated for Isabella d’Este (1474-1539), daughter of Ercole I d’Este, duke of Ferrara, and the wife of Francesco Gonzaga, marquis de Mantua: arms of Este and Gonzaga in the bas-de-page of the first illuminated double page opening, facing each other. She sat at the centre of a wide political network that encompassed almost all of Italy, with her father’s contacts in Rome, Naples and Venice, and her brother Alfonso’s marriages to Anna Sforza of Milan and then the infamous Lucrezia Borgia, the natural daughter of Pope Alexander VI. Her sister Beatrice married Ludovico ‘il Moro’ the Duke of Milan, and her sister-in-law became the Duchess of Urbino. She had a privileged and enlightened upbringing, and was encouraged from a young age to assert herself regardless of the male-centric world of Renaissance Italy. Ercole had all his children educated to the same high standard, and even as a youth she had her own substantial library rich in Classical texts and a complete presentation set of Aldines on parchment. Her husband lamented later in life “Havemo vergogna di avere per nostra sorte una mogliere che sempre vol fare di suo cervello” (‘we are chagrined at our fortune of having a wife who always wants to do things according to her own mind’), but seems to have secretly been pleased with a companion who would rule in his stead during his numerous absences from Mantua. She excelled in traditionally male arts, such as oratory and horse riding, and above all in art-collecting. She built a private museum in her apartments in the palace at Mantua, her studiolo, and pursued the greatest artists of the day to fill it with commissions from Mantegna, Raphael, Titian and Leonardo da Vinci (the last two both painting or sketching her portrait; Kenneth Clarke remarking of that by da Vinci, that the pose “must have influenced Venetian portraiture for the next ten years … in its ease and breadth [it] anticipates the Mona Lisa”), as well as a vast library and collection of sculpture and other valuable objects. She received literary tributes in works by Ariosto, Castiglione, Bandello, Bembo, Trissimo, and the diplomat and poet Niccolo da Correggio proclaimed her “la prima donna del mondo”. She has commanded the fascination of a modern audience and spawned a vast armada of modern writing on her and her collecting (see for example, E.P. Meyer, First Lady of the Renaissance: A Biography of Isabella d’Este, 1970, G.R. Marek, The Bed and the Throne: The Life of Isabella d’Este, 1976, D. Shemek, Ladies Errant: Wayward Women and Social Order in Early Modern Italy, 1998, and D. Looney and D. Shemek, Phaethon’s Children: The Este Court and its Culture in Early Modern Italy, 2005, and references there). This jewel of a book was produced at about the same time as her marriage to Francesco Gonzaga, when she was only 16 years old. The principal patron of the two artists here was the great Lorenzo de’ Medici (1449-92), who retained Gherardo di Giovanni in his intimate household. Isabella knew Lorenzo personally, and he is recorded incidentally as sending other costly gifts to her at the time of her marriage. This book was most probably a wedding gift. It does not appear in the inventories of books in the walnut cabinets in her Studiolo (S. Campbell, The Cabinet of Eros, 2006, appendix 1, pp.270-79), and was perhaps kept for private devotions in her bedroom or chapel.2. Most probably passing to the infamous Cardinal Richelieu in the seventeenth century. The political connections and power of the Mantua dukes collapsed in the seventeenth century, and under the ineffectual leadership of Ferdinando Gonzaga (1587-1626), and Carlo di Gonzaga (1609-31) agents for King Charles I of England and Cardinal Richelieu negotiated the sale of the artworks in the main palace (the former getting Raphael’s Madonna of the Pearls and Mantegna’s series of nine paintings, The Triumph of Caesar, for 68,000 great ducats; the latter Mantegna’s Parnassus and Minerva, transferred to the Louvre in 1801). Richelieu was also a book collector, and took possession of much of Isabella’s library, probably explaining the French binding on the present manuscript. His library of 900 volumes was mostly transferred to the Sorbonne c.1660, with a small number of books re-emerging on the market in the second half of the nineteenth century: William Bragge owned one (his sale in Sotheby’s, 7 June 1876, lot 374), as did Eugene Piot (his sale in Paris, 23 April 1862, lot 348), followed by others from Isabella’s library, and perhaps with a shared provenance: a Philostratus, Imagines, made in the early sixteenth century, once in the Sneyd collection, was sold at Sotheby’s, 16 December 1903, lot 615, and a copy of elegies, made c. 1500, also from the Cartier family, was sold in their sale with Lefèvre and Guérin, 1 March 1962, lot 1.3. Louis Cartier (1875-1942), jeweller, perhaps acquired on 14 June 1921: pencil note on last endleaf; by descent to his son, Claude Cartier (1925-1975): his sale in Sotheby’s, Monte Carlo, 25-27 November 1979, lot 1296.4. Re-emerging in Sotheby’s, 5 December 2012, lot 23, and sold for £217,250 to the current owner.Text:The text comprises: a Calendar (fol.1r); the Hours of the Virgin, with Matins (fol.14r), Lauds (fol.29r), Prime (fol.46r), Terce (fol.52r), Sext (fol.58r), None (fol.63v), Vespers (fol.69v), and Compline (fol.79v); the Office of the Dead (fol.115r); the Penitential Psalms (fol.184r) and Litany; the Fifteen Gradual Psalms (fol.215r); and the Hours of the Cross (fol.233r) The library of Isabella d'Este: Only a tiny handful of books from this crucial Renaissance library are now traceable. 

John Jackson, R.A. (British 1778 - 1831)"Portrait of a Gentleman," watercolour, half length miniature, inscribed on reverse, approx. 14cms x 9cms (5 3/4" x 3 3/4") mounted. (1)

19th Century Irish SchoolMiniatures: Half-length, "Portrait of Lady with floral bonnet, in black dress," 8.5cms x 5.5cms (3 1/2" x 2 1/4"), on ivory; and a later, oval miniature "Lady with white lace Bonnet," in oval gilt frame. (2)

Early 19th Century Irish School Miniature: Oval "Portrait of a Redcoat Officer," in black and gilt frame. (1)

An early 20th century gold and seed-pearl circular miniature portrait locket: with central glazed panel 30mm diameter and hinged glazed panel to the reverse.

J. Higl***, early 19th Century-A miniature portrait of a young lady,:-bust-length, with dark curling hairwearing an amber bead necklace and white satin dresssigned and dated J. Higl.. 180... bottom righton ivory , oval, 6.9cm,in a yellow metal frame.

Circle of Andrew Plimer [1763-1837]-A miniature portrait of a lady,:-with long powdered hair and brown eyes,wearing a white silk cap and dresssky backgroundon ivory, oval 6.6cm, in yellow metal frame with hair plait reverse.

Follower of George Engleheart [early 19th Century]-A miniature portrait of Admiral Sir Pulteney Malcolm,:- head and shoulders with short wavy grey hair and brown eyes, wearing naval uniform, sky background,on ivory, oval, 9.6cm.* Provenance. Christies Fine Miniatures and Objects of Vertu 15 June 1976, lot 31

Circle of Andrew Plimer [1763-1837]-A miniature portrait of a young lady,:-with dark curling hair tied in a band and wide brown eyes,wearing a white silk dress with fringed collarsky backgroundon ivory, oval 7.5cm.

English School circa 1800-A miniature portrait of a young man,:-head and shoulders with dark wavy hair and blue eyes, wearing a blue coat and white linen stock, sky backgroundon ivory, oval 7.6cm, in a yellow metal frame with mother of pearl guilloche enamel back enclosing a lock of hair and gilt metal RW monogram.

English School early 19th Century-A miniature portrait of a young officer, thought to be Edward Pyndar Lygon, as a Cornet in the 2nd Life Guards, :-head and shoulders, with fair wavy hair and brown eyeswearing a red tunic, on ivory, heart-shaped, 4 x 4.2cm,within a heart-shaped blue glass and white metal frame,(there is an indistinct pencil inscription on the backing card, possibly 'Lt. Lyson Smart')together with one other heart-shaped miniature of a young lady, Circle of Andrew Plimer, sky background, in a silver frame. [2]

British School early 20th Century-A miniature portrait of Field Marshal Frederick Sleigh Roberts, Lord Roberts [1832-1914],:- head and shoulderssigned Luc, on ivoryoval, 10cm, in an ornate brass military frame.

Edwardian miniature portrait, overpainted photograph image of a lady, housed within a fitted case, the miniature 6cm high

A Lot of 4 miniature portraits and silhouettes. Painting of a Gentleman by George Patten, Lady portrait is an old print, Silhouettes are paintings. All fitted within wooden frames and brass hangers.

A portrait miniature of a Georgian lady, wearing 1830s fashions, of a turquoise blue silk dress with gigot sleeves, and her hair in finger-curls beneath a lace bonnet, watercolour over ivory, framed under glass, 8 x 6.5 cm

M*** Stielen (20th Century) A portrait miniature of a young lady in 18th Century dress, wearing a turquoise dress with laced stomacher, watercolour over ivory, framed under glass, 8 x 6.5 cm

An antique white-metal brooch containing a hand-painted portrait miniature of a young lady in a lace bonnet, held in a Rococo frame set with blue paste stones, stamped '800'

Antique 18th /19th century portrait miniature signed ornate bronze frame

Antique 18th /19th century portrait miniature of a lady in ornate bronze frame

Antique 18th /19th century portrait miniature of a gentleman

Antique 18th /19th century portrait miniature of a young boy, there are marks to the gold gilt on the frame, some staining to the picture.

Collection of 4 antique 18th /19th century and later miniature portrait pictures

A 19th century oval portrait miniature, painted on ivory of a man with white cravat and brown jacket, in yellow metal frame with hair to the reverse, maximum diameter 2.75ins

FRENCH SCHOOL (20TH CENTURY) Portrait Miniature of a Lady in a Blue Dress, oil, possibly on board, indistinctly signed centre right, 8.5cm x 6.5cm (oval), in a shaped, velvet-covered frame; together with another portrait miniature, oil on ivory (cracked), indistinctly signed lower right, 4.5cm x 3.75cm (oval), (2).

INDIAN PORTRAIT MINIATURE, PROBABLY PUNJAB, Portrait of a Mughal Noble man with a Katar, watercolour and gilt highlights, possibly 18th century, height 21cm x 12cm

H.M.S. Bounty - Mutiny. A portrait miniature of accused 'Bounty Mutineer' Peter Heywood (1772-1831), half length, taken in later life, 14 x 9.5cm, and his older sister, presumably Hester 'Nessy' Heywood, each with paper labels to the reverse of 'Wane & Rothwell Artists Douglas' in a two part leather frame. Together with a small miniature of 'John Quale Clerk of the Rolls' (according to a modern inscription to the reverse); three 19th century Heywood family silhouette portrait busts, and an Edwardian circular miniature of a lady in gilt frame. Peter Heywood joined Bounty's crew as Midshipman, aged 15 years - Bligh may well have known his family as his wife was the daughter of the Collector of Customs at Douglas on the Isle of Man. He remained on the ship after the mutiny in 1789, when William Bligh and some loyal crew were set adrift in an open boat. Heywood and some others left the ship when at Tahiti, whilst the rest of the mutinous crew, including Fletcher Christian sailed on to Pitcairn Island. In 1791 Heywood and others were captured and taken back to England for trial. Though condemned to death at a courtmartial, he was pardoned by the King and in later years saw several promotions within the Navy, retiring in 1816. Provenance: By descent within the Manx Christie family, and later a gift to the family of the current vendor. A portrait by John Simpson of Captain Peter Heywood is in the National Maritime Museum

A 19th century circular ivory box with oval miniature of a gentleman to the cover, within yellow metal floral border, together with two further ivory boxes each set with miniature, a tortoiseshell mounted frame set with portrait and a 20th century oval miniature

AFTER GEORGE ROMNEY PORTRAIT MINIATURE OF LADY EMMA HAMILTON watercolour on ivory, depicted as a Bacchante, in a gilt metal glazed locket frame 8cm x 6cm Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

SAMUEL ANDREWS (IRISH, 1767-1807) PORTRAIT MINIATURE OF AN OFFICER watercolour en grisaille, bust-length profile portrait of a gentleman wearing a cravat and jacket, signed and dated 'S. ANDREWS/ CALCUTTA/ 1803'. in an ebonised frame 8.5cm x 6.5cm

PORTRAIT MINIATURE OF WILLIAM NAPIER, 7TH LORD NAPIER OF MERCHISTON (1730-1775) 18TH CENTURY watercolour on ivory, with artist's monogram GS.*, of oval form with a blue glass backing with paper label 4cm high approx. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

A MINIATURE PORTRAIT OF A GENTLEMAN SEATED in a fitted presentation case

A PORTRAIT MINIATURE of a lady, head and shoulders, hand painted on ivory, in a fitted three fold presentation case

A PAIR OF EDWARDIAN ART NOUVEAU PIN DISHES heart-shaped with the portrait of a girl in the centre, by C. Saunders and F. Shepherd, Birmingham 1902, a trinket box with a stag on the cover, a miniature perdonium, a cigar cutter, an Italian lipstick compact and a silvergilt box with a tiger and dragon in relief on the cover; the latter 1.75" (4.5 cms) long (7)

ENGLISH SCHOOL 19TH CENTURY Miniature portrait of Blanch (sic.) Somerset,Baroness Arundel of Wardour ob.1649, head & shoulders, on ivory 4.25 x 3 cms and the companion portrait of Frances Howard, Duchess of Richmond ob. 1639 (pair)

ENGLISH SCHOOL LATE 18TH CENTURY Miniature portrait of a young gentleman wearing lace collar & purple suit, on ivory 3.5 x 3 cms, two other 18th century portraits and a portrait of a bearded gentleman in 16th century style; 4.25 x 3 cms (4)

FANNY SALT 1880:- Portraits of The Lady Elizabeth Howard & The Lady Gertrude Howard*, watercolour on card, 9.5 x 7 cms in carved giltwood frame *A copy of the miniature lot 561. Portrait of Mrs Yorke of Beverley Hall, c.1830, on card, 13 x 9.5 cms, together with two other miniature portraits, two silhouettes and two photo portraits (8)

A 19th Century portrait miniature, white haired woman in mourning, with white veil and jet collar in leather triptych easel case together with an Edwardian portrait miniature, the three quarter portrait of a young woman against a column with flowers, classical temple to background in a late 19th Century lacquered brass easel frame

A 19th Century ivory hinged box, with portrait miniature of elegant woman to lid, 3.2 cm high x 4.4 cm diameter

A late 18th/early 19th Century portrait miniature, of a young man marked verso John Bowie, 6.5 cm x 5 cm together with a Berlin plaque of young girl in turban, 7.5 cm x 6 cm

A mid 19th Century French portrait miniature, signed Bonet, of young woman with blue eyes and floral bouquet, framed, 8 cm x 6 cm

A group of five unframed miniature portraits, watercolour on ivory mounted on card (generally warped and requiring attention), comprising an oval head and shoulders portrait of a 19th century gentleman wearing military uniform with four medals (possibly including the Hanoverian Medal for Waterloo, KCH and Gwalior Star), frame present; together with a 19th century oval portrait of an 18th century lady, another of a Victorian lady in lace cap and black coat and two of Edwardian ladies (5)

MANNER OF GEORGE ENGLEHEART A GEORGE III PERIOD OVAL PORTRAIT MINIATURE, bust length image of a gentleman in blue coat, circa 1800, wearing a powdered wig "W.W." monogram verso, rose yellow metal oval frame, 6cm x 4.5cm

ANDRE A GEORGE III PERIOD OVAL PORTRAIT MINIATURE of "Mrs. Beaufoy", in the manner of Gainsborough, wearing a blue and white gown with pearls, c.1800, mounted within a white metal oval frame of wreath form with bow crest, 8cm x 5.5cm

G JACKSON 1822 "Man in black stock and brown jacket", miniature portrait, watercolour, signed lower right and three boxes of various prints and mirrors CONDITION REPORTS The painting is on card and measures 18 cm x 15 cm approx. It is framed.

A mid 19th Century portrait miniature on ivory, Mary Anne Haines, wife of William Henry Haines, 1845, seated half length wearing a white dress, 11cm by 8cm, framed

Three 19th Century reverse painted silhouette portraits on glass, ladies in costume, in the original birds eye maple frames, largest 21cm by 14cm, and a oval watercolour portrait miniature signed G.S. Harding,1812 (4)

An early 19th Century oval portrait miniature on ivory of Admiral of the Fleet Sir William Bowles K.C.B. (1780-1869), bust length in uniform, in a gold plated pendant mount with inset plaited lock of hair and monogram verso within a blue enamel border, 7cm by 5.5cmNote: Sir William Bowles was a senior Royal Navy Officer and a Conservative Party politician