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Edith Mary Fawkes (late 19th century) English school after Egley, a portrait miniature on ivory of Lady Cleasby (Lucy Susan Fawkes), hand inscribed loose confirming authorship and dated 1889, the image 8.2cm high, in a contemporary gilt metal frame with inscription to the reverse.

'AL', a late 18th century English portrait miniature on ivory of a gentleman, in brown coat , entwined cypher signature, the image 4cm high, in a gilt metal (silver?) case, the reverse with armorial crest; and an early 19th century portrait miniature on ivory of a gentleman with black coat and discoloured hair - now orange, the image 7.1cm high, (2).

A late 18th century English School portrait miniature on ivory of a gentleman, wearing a blue coat with red lapel facings and frilly white stock, the reverse with glazed plaited hair and seeded pearl monogram 'MH', the image 6.3cm.

A mid-19th century English School portrait miniature on ivory of James Bonnell of Carlisle , husband to Esther Lowry of Crosby , in a velvet lined leather folding case, the image 13.5cm x 11.5cm.

NATHANIEL HONE THE ELDER (1718-1784)Portrait of a lady holding a bookOil on canvasSigned with monogram and dated 1758Although they later fell out dramatically - and their relationship is inevitably viewed through the events surrounding the exclusion of The Conjuror from the 1775 exhibition of the Royal Academy - in the 1750s Nathaniel Hone and Joshua Reynolds seem to have been close both personally and professionally. They were two young artists on the rise with Hone, born in 1718, the elder by five years. There seems to have been some connection between Reynolds and Hone’s brother, Samuel, when the two were in Italy together in 1752, with a sketched portrait of ‘Master Hone’ appearing in one of Reynolds’s Italian Sketchbooks in the British Museum. By the mid-1750s Hone and Reynolds were both winning distinguished patronage and were involved together in the fractious art politics of the time, but, perhaps crucially, with the latter yet to establish the total dominance of the London art world which he would secure in the following decade particularly after the establishment of the Royal Academy with the, by now, Sir Joshua in charge as President. In the year after the present work was painted, Reynolds and Hone served on a committee of leading artists charged with organising a public exhibition to improve the standing of the profession. Several of this committee, Francis Hayman, Richard Wilson, Joseph Wilton and William Chambers went on, with Hone and Reynolds, to comprise the foundation members of the Royal Academy. Hone was one of two Irish artists so honoured - with the number limited to forty in the instrument of foundation, signed by George III on 10 December 1768. George Barret was the other and both served as members of the first Council of the R.A., a position it is difficult to see Hone having attained without the support of the President. It is unsurprising then that there are telling overlaps between Hone and Reynolds’s portrait practice. The present portrait of a lady shares the central placement of the sitter and frank gaze and amused, quizzical, or possibly flirtatious, expression with Reynolds’s Catherine, Lady Chambers (1756, Kenwood House, London) while the arrangement of the hands, held interlinked on a ledge, recalls - or anticipates - Reynolds’s Portrait of Lady Caroline Adair (1757-59, private collection) and a succession of later portraits such as Mrs Irwin and Mrs Montgomery (both 1761; Huntington Art Collection, San Marino and private collection). However, the Hone differs from all of these portraits by Reynolds, in the inclusion of a book, a motif the latter very rarely uses in his numerous portraits of female sitters. Her benign expression accords happily with the harmonious colour scheme and gently bravura treatment of the varied textures of her clothes, while she wears similar large pearl drop earrings to those sported by Hone’s wife in a 1749 miniature portrait (private collection, with Gorry Gallery, Nov 2016).The present work will be included in the forthcoming monograph on the artist currently being compiled by the author and Dr Brendan Rooney. Anyone with information about Nathaniel Hone is invited to get in touch with the authors via the National Gallery of Ireland. William Laffan

Late 18th century, a gold mounted watercolour portrait miniature depicting a lady in Georgian attire, within a very fine 22ct gold case with engine turned detail and engraved monogram to reverse, portrait measures 49mm by 61mm, the mount with lion passant hallmark and maker's mark ' I M '

ATTRIBUTED TO DANIEL SAINT Miniature portrait of a French officer with moustache and wearing uniform with two medals, on ivory; 4 x 3.25 cms. The reverse with a painted ivory panel.

FRENCH SCHOOL:- Miniature portrait of a lady wearing fur trimmed pink robe, possibly on card, 4.5 cms dia, paste set border set in later wood frame and a portrait of Mary Queen of Scots, on ivory; 7 x 5.5 cms (2)

ENGLISH SCHOOL EARLY 19TH CENTURY:- Miniature portrait of an officer wearing uniform, half length, on ivory; 5.5 x 4.5 cms, gilt gesso frame

ENGLISH SCHOOL EARLY 19TH CENTURY Miniature portrait of a lady seated wearing mob cap, on ivory; 8. x 6 cms and a portrait of a gentleman wearing black; 11 x 8.5 cms, both in gilt frames

ENGLISH SCHOOL c.1815 Miniature portrait of an officer of Fencible or Yeomanry Cavalry, head & shoulders, on ivory; 8 x 5 cms, reverse with hairwork panel and blue eglomise border

ENGLISH SCHOOL EARLY 19TH CENTURY:- Miniature portrait of figures in neo-classical style, an angel embracing two children, on ivory; 8.5 x 11 cms

SAMUEL SHELLEY Miniature portrait of a Yeomanry Officer c.1805, quarter length, on ivory; 7.75 x 6.25 cms, reverse with central guilloche glass panel

ENGLISH SCHOOL C.1780 Miniature portrait of an officer, James Bracey*, wearing blue jacket, on ivory; 4.5 x 3.75 cms *Bracey served as a lieutenant with Admiral Byng on board the ship from which Byng was courtmartialled in 1757.

FOLLOWER OF JOHN SMART A miniature portrait of a lady wearing a scarf and pearls in her hair, bears initials J.S, on ivory; 5.5 x 4.5 cms

ATTRIBUTED TO PETER PAILLOU Miniature portrait of an officer wearing uniform with a medal, on ivory; 6.25 x 5 cms

ENGLISH SCHOOL c.1810 Miniature portrait of an officer, head & shoulders, on ivory; 55 x 9.25 cms

ENGLISH SCHOOL c.1795 Miniature portrait of a young officer, head & shoulders, on ivory; 5.5 x 4.25 cms

ENGLISH SCHOOL EARLY 19TH CENTURY Miniature portrait of an officer wearing uniform, head & shoulders, on ivory; 6.25 x 5.25 cms. The reverse with a portrait of a gentleman wearing blue jacket, late 18th century, on ivory, 3.5 x 2.75 cms, in ivory surround

ENGLISH SCHOOL LATE 19TH CENTURY Miniature portrait of a lady wearing green silk dress & veil, three quarter length, on ivory; 8 x 6 cms

TWO MINIATURE PORTRAITS each of a child, one wearing blue jacket, the other with "stove pipe" hat, early 19th century, portrait of Sir Walter Scott, on ivory, and a portrait of an officer (probably on printed base) (4)

..... GILCHRIST Miniature portrait of General Charles Crosbie of the 53rd or Shropshire Regiment of Foot, head & shoulders, on ivory, signed; 7 x 5.25 cms

Portrait miniature, in an ebonised frame

English School, 19th Century, portrait miniature of a lady wearing a bonnet, in profile, 7.5xm x 6cm; and a reverse print on glass, Wellington. (2)

A Regency oval watercolour portrait miniature, Gentleman in hub profile, head and shoulders length, in a black lacquered frame, 13 x 11cm, another miniature and a plaster profile portrait plaque, (3).

A 19th century Bartolozzi engraving, later colouring, depicting female nude standing full length, together with portrait miniature of a girl.

A 19th century miniature on ivory depicting a portrait of a gentleman wearing a tunic, signed.

A 19th century portrait miniature of seated female, printed and painted, 9x6cm

Four small gilt metal framed miniature portrait prints

A Regency oil on ivory miniature, portrait of a gentleman

A Victorian gold hinged bangle with inset portrait miniature, a seal and pendant etc.

Head & shoulder miniature oval portrait of a Regency Naval Officer, watercolour on ivory, in ebonised frame with gilt metal slip, H7cm Condition Report Click here for further images, condition, auction times & delivery costs

Head & shoulder miniature oval portrait of a Regency Officer, watercolour, H7.5cm Condition Report Click here for further images, condition, auction times & delivery costs

Head & shoulder miniature oval portrait of a Regency Officer, watercolour on ivory, probably originally a brooch, H4cm Condition Report Click here for further images, condition, auction times & delivery costs

Adelheid Blarsdzall (German, 19th century): a Christ figure with halo, wearing a blue robe, circular miniature portrait, oil on ivory, signed and dated 1837 lower right, 7cm diameter, framed size 15 by 13cm.

A portrait miniature contained within an inlaid arched top frame, 10 x 8.5cm

Attributed to Alexander Galloway (1794-1812)'Portrait Miniature of a Cleric'Watercolour on ivory in yellow metal (thought to be gold) oval frame, with plaited lock of hair and initial 'M' within glass backing, 6 x 5cm, together with a Victorian portrait miniature of a gentleman, watercolour on ivory in black papier mache frame, 8 x 7cm (2)

Early 19C miniature portrait of lady on Ivory

Continental school, 19th century, a portrait miniature of a young lady wearing a white dress with blue waist, Watercolour on ivory, 7.5cm x 5.5cm, oval

An early 19th century portrait miniature of a young boy wearing a blue jacket, Watercolour on card, 6cm x 4.5cm, oval

English school, early 19th century portrait miniature of a gentleman wearing a brown jacket, Watercolour on ivory, 7cm x 5cm

English school, early 19th century, portrait miniature of a gentleman wearing a black jacket, Watercolur on ivory, 9.5cm x 7cm

English school, early 19th century portrait miniature of a young girl wearing a brown dress, Watercolour on ivory, 6.5cm x 5cm

A portrait miniature, height 147mm

An Ebonised Portrait Miniature 'Half Length Portrait of a Gentleman in Period Dress' together with an oval small coloured print within gilded frame

An Early 19th Century Portrait Miniature of a Gentleman in Period Dress, together with another similar, 20 x 16 cms, together with a daguerreotype

An Early 19th Century Portrait Miniature, quarter length portrait of a gentleman in period dress together with two other similar portrait miniatures

An Early 19th Century Portrait Miniature of Captain Alfred Chapman, gouache and watercolour, 9.5 x 7.5 cms, together with its pair of Caroline MacNaughten, wife of Captain Alfred Chapman, 9 x 7 cms

French portrait miniature of a lady wearing a veil, watercolour on porcelain, 8cm.

A VICTORIAN PORCELAIN LANDSCAPE BROOCH, a portrait miniature brooch and others etc.

A 19TH CENTURY CIRCULAR PORTRAIT MINIATURE OF A YOUNG LADY wearing a lace bonnet and dark dress. 8.5cms diameter, with gilt metal surround and wooden frame.

*English School. Portrait of Julia Richmond (1811-1881), oval watercolour and gouache miniature on ivory, painted from a photograph taken in 1868, 48 x 38 mm (1.9 x 1.5 ins), set in a thin gold metal frame, glazed, and with maroon morocco backing and label of J. & W. Vokins, Miniature Frame Makers to H.R.H. The Prince of Wales & The Royal Family, 14 & 16 Gt. Portland St. W., housed in original maroon velvet-lined oval black leather case with clasp Provenance: Estate of George Richmond (1809-1893). Illustrated: A.M.W. Stirling, The Richmond Papers, 1926, page 88 (illustrated opposite). This work is likely to have been made following the death of Julia Richmond on 6th January 1881 (at the age of 69). An annotated copy of The Richmond Papers, by A.M.W. Stirling is enclosed with this lot. (1)

*Richmond (George, 1809-1896). Portrait of Charles Heathcote Tatham (1772-1842), after the portrait by Thomas Kearsley exhibited at the Royal Academy in 1799, circa 1830, miniature watercolour and gouache on ivory, 87 x 69 mm (3.5 x 2.75 ins), framed and glazed Provenance: George Richmond (1809-1896) thence by descent. The architect and designer Charles Heathcote Tatham (1772-1842), whose daughter Julia married George Richmond, was supported in his early career by the architect to the Prince of Wales, Henry Holland, by whom he was sent on a Grand Tour of Italy (1794-96), where he enjoyed the companionship and company of Joseph Michael Gandy, Antonio Conova, Sir William and Lady Hamilton, Angelica Kauffmann, Frederick Howard, 5th Earl of Carlisle, and Antonio Asprucci. The present work is a miniature copy of the portrait painting by Thomas Kearsley (1773-circa 1802), exhibited at the Royal Academy in 1799 as number 161, which was owned by George Richmond until sold at Christie's in 1897. Richmond's large oil on canvas version of the portrait, dating from 1874, was sold at Sotheby's London on July 4th 2001, lot 134. George Richmond eloped with Charles Tatham's daugther Julia to Gretna Green, and was married on January 24th 1831, having been lent £40 by Samuel Palmer. (1)

*Miniature. Portrait miniature of a young man in blue coat and black cravat, circa 1830, oval watercolour and gouache on ivory, 50 x 40 mm, period frame, and glazed Possibly an American. Acquired by vendor in North America. (1)

*Richmond (George, 1809-1896). Portrait of the artist's wife Julia Richmond (1811-1881), circa 1830, miniature oval watercolour and gouache on ivory, 38 x 32 mm (1.5 x 1.25 ins), set in an oval metal brooch, with thin gold frame and outer border of seed pearls Provenance: Estate of George Richmond; thence by descent. A fine small-scale portrait of Julia Tatham, daughter of Charles Heathcote Tatham (1772-1842), and sister of Frederick Tatham (1805-1878). George Richmond and Frederick Tatham were both members of the circle of artists formed around Samuel Palmer in Shoreham, who were influenced by William Blake in his final years. Around 1825, Julia's father appointed George Richmond as a drawing tutor to his daughter, the beautiful 14 year old Julia. The relationship was initially encouraged, but when a wealthy older suitor appeared, Charles Tatham changed his mind, forcing the young couple to elope to Gretna Green, where they were married on 24th January 1831. Samuel Palmer loaned George Richmond the substantial sum of £40 to aid their elopement. The father forgave the couple after he was reassured by the artist John Linnell that his daughter's new husband had a promising future in the art world. (1)

*Richmond (Thomas, 1771-1837). Portrait of William, Duke of Gloucester, 1820, miniature watercolour and gouache on ivory, showing the Duke of Gloucester half-length in garter and robes, signed and dated to verso, 8.3 x 6.7 cm (3.3 x 2.7 ins), period black and gilt frame Provenance: Estate of the artist George Richmond (1809-1896). Additionally inscribed by George Richmond to verso with the sitter's identity, and with presentation inscription 'To Mary Farrer from her loving father GR 1888'. See A.M.W. Stirling, The Richmond Papers, 1926, page 116. (1)

An early 19th century portrait miniature, a gentleman wearing military uniform, on ivory, 3 6/8 x 2 3/8, glazed and framed

19th Century British School - a half length portrait miniature of a woman with brown hair wearing a lace collar and black dress, 3 x 2 1/4, in an ebonized and brass frame and another 2 3/4 x 2, in a similar frame

A small religious painting on panel, depicting Madonna and infant surrounded by angels, 18cm x 15cm; another depicting Saints, 14.5cm x 21cm; and a portrait miniature in faux ivory and tortoise shell frame, (3)

A miniature portrait study of a young lady in evening dress, contained in a faux walnut and gilt frame; and a pair of portrait studies of young ladies, indistinctly signed, (one of Madame du Barry) in green and gilt decorated frames