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GUSTAV KANTOR (GERMAN 19TH OR 20TH CENTURY), PORTRAIT MINIATURE IN ENAMELS OF QUEEN VICTORIA LATE 19TH CENTURY Signed lower right in gold 'G Kantor Berlin', set in oval ormolu frame the image 7.5cm high, the frame 10cm high Condition Report: With mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Slight rubbing to gilding of her chain, small faint enamel faults visible to margins, sealed back so unexamined out of frame Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

Thomas Marshall 1788-1874, a portrait miniature on ivory of a lady, signed and dated 1830.  10 x 7.5 cm.  NOTE: This item has been assigned an ivory exemption certificate number L6TW4BBT.

A 19th century portrait miniature on ivory, after Sir Joshua Reynolds "The Duchess of Devonshire". 14 x 10 cm, framed, signed by the artist E Douliez Brunel. NOTE: This item has an ivory exemption certificate number 98VCW3YN.

Robert "Bob" Hornung - Cincinnati USA [1994] - 54mm Knights, comprising: Figure No. 8E - Limited Edition Portrait Figure of: Lord de la Warr, Depicted in Full Armour. Nicely Painted Authentic Heraldry [ref: Heraldic Miniature Knights, Greenhill, p156] & Pose in the Style of Courtenay. The ffigure has been Signed & Dated [1994] on the Underside of the Base. Generally Mint overal, contained in a near Mint "Tournament Series" figure box..

A 19th century Swiss enamel ceramic portrait miniature pendant/brooch, depicting a portrait of a young boy, in a gold mount, length 8cmCondition Report: Gross weight approx. 26.3 grams

A collection of seven 19th century and later artworks to include a miniature portrait painting of a cow signed to the lower right in a giltwood frame, three miniature landscapes with gallery labels to the reverse, an oval miniature landscape in a gilt frame and two collaged silhouette paper cuts with labels to the reverse. H.19 W.20cm (largest)

A finely detailed miniature portrait of an aristocratic lady, set within an ornate oval frame and mounted on a bone panel. The portrait showcases a woman in period attire, draped in a blue and red garment with a fur-trimmed shawl, adorned with a pearl necklace. Her hair is elegantly styled, reflecting 18th-century fashion. The surrounding bone frame is meticulously inlaid in a geometric pattern, complementing the refined portrait. The back features a paper covering with French text and signs of wear, adding historical character to the piece.Issued: 19th centuryDimensions: 6"HCondition: Age related wear.

A portrait miniature of a young man in a black coat, tartan waistcoat and a black silk cravat. With a card attributing the work to Edward Taylor RMS (1828 - 1906).  In a gilt silver, glazed frame. Ivory Certificate: 15W8G99B

A portrait miniature of a professional gentleman in a "physical" wig, attributed to George Place. With a dealers label reading: "George Place (d. 1805) portrait of a professional gentleman in a "physical" wig. £600. Dublin born and trained, Place moved to London in about 1791. He also worked in York before travelling to work in India". Please note there is some mold damage to the portrait. Ivory Certificate: JJMGUKKP

A portrait miniature of a young man, identified as Midshipman Richard Thorold, by Mary Ann Knight, in a gilded and glazed frame. With a dealer label from Wigs on the Green of York, which reads thus: "Mary Ann Knight (1776-1851), portrait of a midshipman, Richard Thorold, wearing a blue coat with a standing collar, white waistcoat and black stock. The Thorolds were a Lincolnshire family of great antiquity. Richard (1789-1864) was the eldest son of Rev. William Thorold and his first wife Frances. He married heiress Frances Tunnard and served as High Sheriff of Lincolnshire. £2,250. Mary Ann Knight took up painting to help with the family finances. She was a pupil of Andrew Plimer who later married her sister Joanna Louisa. She exhibited at at the RA 1803-1836. Her work is always described as resembling that of her teacher and brother-in-law. The Thorolds are listed in the artist's account book as having sat for their portraits in 1804, at a cost of £3 3/- for each miniature." Ivory Certificate: GV5Z2NBK

A portrait miniature on ivory of a gentleman in a red jacket, attributed to Edward Burch c 1790. The gentleman wears a red jacket with a green collar and a white stock. In a glazed and yellow metal frame (surface testing as 14ct) with a lock of hair to a glazed compartment on the verso, with a blue guilloche enamel surround. Ivory Certificate: 4PS6YV8K

An early 19th century portrait miniature on ivory, with a panel of plaited hair to the verso. Depicting a gentleman in a blue coat, yellow striped waistcoat and white stock. With initials IB.  In a gilt glazed frame.  Ivory Certificate: VGJQLNPK

A portrait miniature of an infantry officer, identified as Brooks Bennett. The officer is wearing a red coat with a silver gorget, white cross band with regimental badge and gold tasselled epaulettes. In a glazed gilded case with a woven lock of hair to the verso with the initials "BB" picked out in seed pearls and beads.  With a sales receipt from Cynthia Walmsley Ltd for purchase for the sum of £976 in 2016. Ivory Certificate: ZM8QFPRE

An early 19th century portrait miniature of a gentleman. In an ornate gilded, glazed mount, with an opalescent scalloped glass panel to the verso adorned with a hair flourish held together with a seed pearl and bead band. With a dealer label reading: "English School, a strongly modelled portrait of a gentleman wearing a black coat, white waistcoat and frilled chemise; ornate hairwork on opalescent glass reverse, circa 1815. £900." With a receipt from Wigs on the Green, dated 19/11/2015 for sale at £720. Ivory Certificate: 3HECBTNZ

An early 19th century portrait miniature of an officer of the Coldstream Guards in a glazed and gilded frame. The officer wears a scarlet jacket with blue facings and fringed gold epaulettes and white crossbelt with badge.  With a woven hair locket to the verso.  With a purchase receipt for £1,900 and a dealer label priced at £2,650. Ivory Certificate: 2U25EG77

A pair of miniature silhouettes, both signed by the artist and painted on the glass of a lady and gentleman in 18th century dress in black on an enamel tile and framed in a glazed black frame. With a collectors label identifying them as being the work of T. Rider. Each portrait measures approximately 9cm by 6.5cm, the frames approximately 15cm by 13cm. The label, to the verso of the gentleman, reads:  “LIKENESSE Taken in Miniature, profile and finished in a rich and elegant Stile on enamel, also on Glafs with a Gold Ground, in a Manner entirely new. Coats of Arms, Crefts, Cyphers, Writing, or any Device, wrought in gold on glafs. “*indecipherable*… having Likenefles in Shade of their deceafed Friends, *indecipherable*have them reduced *indecipherable* copied and emblematically reprefented in a curious manner. Large shades reduced within the Compass to be worn in a  *indecipherable*, Pin, locket or Bracelet, on Enamel, Ivory or Paper, and the Likeness carefully *indescipherable*,and dreffed in the prefent tafte by  T. RIDER, Profilest No, 8, Charles Stret, Coren Garden. “NB He preferves the original Shades, and can fúpply thofe *indecipherable* has once taken with any number of profiles, and have them carefully conveyed either by letter or packet to any part of England or elfewhere.”- Condition report: In overall good condition, although there is limited crazing to the edge of the left hand side of the gentleman's portrait. Some abrasions to each frame.

A portrait miniature of Major General John Murray Belshes, in the uniform of the 3rd Prince of Wales's Dragoon Guards. In a gilt and glazed frame, with name plate reading "GenL Belshes". By Nathaniel Plimer. With a plaited glazed hair panel surrounded by a deep guilloche enamel frame in royal blue. Accompanied by a purchase receipt from Wigs on the Green for a sale of £1,900. Together with a dealer note reading: "Nathaniel Plimer (1757-1822), portrait of John Murray Belshes in the uniform of the 3rd Prince of Wales's Dragoon Guards. John Murray Belshes (1782-1863) was the second son of Col. John Belsches [Sic] of Invermay and heiress Mary Murray. He served in the Peninsula War and rose to the rank of Major-General in 1855. Described as a "stately, pompous but very gentlemanly man", Major Belsches was instrumental in attaining royal patronage for St Andrews Golf Club. Provenance; Invermay House by family descent. £2,400. Nathan Plimer was the eldest son of a Shropshire clockmaker, a trade he and his brother were expected to assume to. Instead the two brothers chose to run away, reaching London in 1781 where Nathaniel worked for enamellist Henry Bone and took lessons with Cosway. He exhibited at the RA 1787-1815. Only his very early work was signed. Ivory Certificate: A9UXG2ET

A portrait miniature of a gentleman, in a gilded and glazed mount, with a locket of hair on an opalescent panel to the verso. With a dealer note that reads: "English School, portrait of a gentleman wearing a blue coat with a velvet collar, and a white stock, circa 1820; a lock of brown hair with seed pearls on the reverse." Ivory Certificate: QD14Y58K

A portrait miniature of a young boy in a blue coat, cream waistcoat and white stock. On ivory,  in a glazed and rose-yellow metal mount, with a glazed plaited hair panel, bearing the initals JL, and framed with a dark blue guilloche enamel ground.  The frame surface tests as 9ct gold. English school. Ivory Certificate: EYRCPQJG

A portrait miniature of a lady in a white dress with ropes of pearls in her hair, in a rose-yellow metal frame, by Charles Jagger. The portrait is signed "Jagger". Woven locket of brown hair to the verso. Accompanied by purchase receipt for Wigs on the Green, from 2017 for £1,300 and a dealer notice reading as follows: "Charles Jagger (c.1770-1827), portrait of a lady in a white dress and pearl necklace, ropes of pearls in her curled hair, signed. £1,600. Jagger mainly worked in Bath. His miniatures are critically well acclaimed." As found due to missing glass. Ivory Certificate: EJX8WBT3

A late 18th portrait miniature of a gentleman, initialled for artist Charles Bestland. The gentleman wears a blue coat with a red collar and white stock and appears before a red curtain drawing back to reveal a landscape.  Signed CB '96. (1796) by Charles Bestland (1763-1837). In a glazed yellow metal frame, surface testing as 14ct gold, with an inscribed paper to the verso reading: "Painted by C Bestland 1796, West End." Ivory Certificate: 6C8P74KK

A late 18th century portrait miniature on ivory of a gentleman in a Staff officer's red coat with royal blue facings and gold epaulettes. Signed Arnold, believed to be for Reginald Edward Arnold. In a closed back yellow metal case with fob bale. Metal surface tests as high carat gold. Measurements approximately 8cm by 5cms. Gross weight approximately 33.20 grams. With purchase receipt from Wigs on the Green, York for £1,000. Ivory certificate: Q5YSK4WM

A late 18th century portrait miniature of a woman with powdered natural curls dressed in a  pink and white gown. In a gilt glazed frame. Labelled to the verso as follows: "Mary Ann Knight 1776-1861 Sister in law of Andrew Plimer in the collection of Ernest Salaman, Esq. With a dealer's price tag reading: "English School, portrait of a lady with long powdered curls wearing a white cross over gown trimmed with pink, circa 1790. £850." and a receipt detailing the purchase of a similarly described miniature from Wigs on the Green, York, in 2011. Ivory Certificate: EBVRQ5HF

A portrait miniature of Arthur Wellesley, the first Duke of Wellington, in his military uniform in a yellow metal frame. With a dealer notice reading: "Circle of William Grimaldi, portrait of Arthur Wellesley, 1st Duke of Wellington (1769-1852) showing him at the time of the Napoleonic Wars. £1,600. William Grimaldi (1751-1830) was descended from the family of Grimaldi of Genoa, the Merovingian Kings of France and the Princes of Monaco. He was therefore well placed to be appointed Miniature Painter to the Duke of York and George IV. He was trained by his uncle and worked for several years in Paris, exhibiting regularly in London." Ivory Certificate: AFK7DZ9X

English school, 19th century, head & shoulders portrait bust of a gentleman, miniature, oval, watercolour on card, 7x5.5cm; together with a head & shoulders portrait miniature of a lady (2)

Mixed lot of artworks to include Lionel Ellis - Still life with flowers print, a pole screen print, topographical engravings, framed display of six portrait miniature groups each being prints etc (8)

Manner of Sir Godfrey Kneller (1646-1723)Portrait of gentleman, head and shoulders, wearing a russet coloured satin overcoat with a white necktie and a grand powdered wigOil on canvas, together with a companion head and shoulders portrait of a lady, wearing a white dress, a green shawl and a powdered wig, 60.5cm and 59.5cm dia. respectively (oval) (2)Gent:Lined, four keys missing, fair tension. A quantity of varnish has seeped to the reverse of the canvas. Very slight distortion to the bottom edge from debris behind stretcher bar. Brittle age craquelure and impact cracks throughout, slighly raised in areas - notably the impact cracks and stretcher bar marks - both of which have old tiny flaked losses. Doesn't appear to be actively flaking. There are a few cracks that are slightly open in the forehead. Minor scattered tiny losses, some retouched, some unretouched, from flaking and impacts. There are a few slightly larger retouched losses for example to the hair to the right of the neck, in the background top right and top left, and at top edge, and one at lower edge. Some strengthening overpaint in the shadows of the right eye, nose and chin. Fairly widespread abrasion to the upper paint layers throughout, the ground is visible in places over the tops of the canvas weave and delicate glazes are much reduced for example in the face, the red drapery and the hair. Remnants of an old yellowed varnish and ingrained dirt in places. Upper varnish fairly even and not appreciably yellowed. Light surface dirt and accretions including flyspotting. Lady:Lined, four keys missing, fair tension. Brittle age and impact craquelure throughout, very slightly raised, particularly those cracks associated with the stretcher bars, but all currently secure. there has been a history of flaking in the past, with scattered pinpoint losses (unrestored and restored) associated with this. There are a series of unrestored losses behind frame rebate, just visible where the canvas sits slightly away from the frame at the top. There are also a few old unrestored small losses in the bodice. There are further restored losses scattered, with a couple in the background, but mostly in the face and chest. There are larger patches of overpaint in the forehead (see images in ultraviolet light). There has been some abrasion to the paint layers, particularly in the hair and the blue drapery, which appears to have been fairly extensively damaged, and then later painted over in bright blue, which is in itself now patchy and broken up. There is a portrait miniature to the bodice (which resembles the accompanying portrait), which has a thin layer of white paint over, and a jewelled fastening sits on top over the face of the sitter. It is not clear if it was painted out by the artist and then revealled as the paint layers have thinned, or if was painted out at a later date. There is ingrained old dirt and varnish, a fairly even upper varnish, and a light surface dirt layer.

Victorian miniature portrait of a child. Fitted within a gilt metal pendant. 8x5.5cm.

J. W. Bailey RA, Portrait Miniaturist (1831-1914): a canine portrait miniature of a black and tan dog with pricked ears, enamel on ceramic, signed to the back J W Bailey and dated 1877, 1.9cm diameter, in 14ct gold circular mount , mount weight without miniature 1.7g,

A small group of antique and vintage collectables - including a carved Black Forest style lion pin cushion, 6cm high' a cast brass eagle head paperweight, 7.75cm high; a Mauchline Ware heart shaped pin cushion, 'Wimborne Minster'; a carved treen yew wood ball with hidden compartment, 5.5cm diameter; a carved coquilla nut egg shaped box with turn-off cover; two Regency style ebonised papier-maché portrait miniature frames; three 19th century portrait silhouettes, two cut paper, one stencil painted (unframed); five needle cases; etc.

A box of collectables - including a small Russian lacquered circular covered box, 5.7cm diameter; a Watermans 512 V fountain pen; a watercolour on paper portrait miniature of a lady, 19th century, in a gilt brass frame; a Japanese niello mixed-metal cigarette case; silver plated items; a gilt painted lead paperweight in the form of a medal, commemorating the 'Brooklyn League Club Lincoln Dinner Feb 12th 1912', 8cm diameter; etc.

French gilt brass and ivory box, circa 1900, the hinged cover centred by an oval miniature portrait of a lady wearing a blue hair ribbon, signed 'Legay', 7cm x 5cm, within flowerheads, foliate scroll spandrels and ribbon-wrapped columns, enclosing a blue silk-lined interior, the engine-turned reverse stamped 'FRANCE', 15.8cm x 12.8cm x 2cmSold with APHA permit: 8W6GGDD4

Early 19th century portrait miniature on ivory, of oval form depicting a young gentleman wearing white stock and blue drapecoat (probably Naval), named verso as 'Edward B. Rice' with dedication to 'Katie', 27mm x 18mm, beneath convex glazing and within yellow metal double ouroboros border (twin serpents swallowing each other's tails), the frame back adapted, with safety chain, 33mm x 30mm overallSold with APHA permit: 44NM258M

Ethel M. Walker (British, 20th century) - Oval watercolour portrait miniature - Lady wearing a bonnet, signed lower right, 14.5cm x 10cm, in later gilt frame under glass

AN OVAL PORTRAIT MINIATURE WATERCOLOUR, lady in Medieval dress, 8 x 6 cm

A 19TH CENTURY MINIATURE PORTRAIT STUDY OF A LADY WITH RINGLETS, unsigned, watercolour, framed and glazed, 7 x 5 cm, together with a 19th century circular portrait study of a young girl, unsigned, print on paper, framed and glazed, Dia. 5.5 cm

19th Century British SchoolA portrait miniature of John Williams, watercolour,15.5 x 3.5cms total in frame,together with;three silhouettes, one inscribed verso 'Walter M* Mackenzie',largest 15.5 x 11cms total in frame (1), 12.5 x 10cms total in frame (2),

Nelson (Horatio, 1758-1805). A waxwork portrait miniature by Leslie Ray of London circa 1970s, showing a young Nelson profile facing left, in an ebonised frame with convex glass and ornate brass oak leaf hanging ring, frame size 15.5 x 12 cm QTY: (1)

Georgian miniture watercolour Portrait Miniature of a gentleman facing right set in an ebonised frame, with ink inscription to the verso 11cm x 13cm.

Bijouterie and collectables including Chinese enamel box, Benin bronze elephant, brass Buddha, double ended scent bottle, white metal coiled dragon finial / mascot, portrait miniature on ivorine, 19thC patch pot, straw work egg etc

Admiral Sir Henry Nicholson, Archive of Medals, & Documents,including: The Knight Commander of the Order of the Bath (KCB) military badge, white enamelled Maltese cross with gold points and lions between each arm, center of the cross featuring three crowns, a rose, thistle, and shamrock surrounded with a red ring bearing the Order's motto, "Tria Juncta In Uno" (Three Joined in One) all within a green laurel wreath, with the Order's Military Division motto, "Ich Dien" - I Serve, in gold letters on a blue scroll, on a red ribbon; the military star of the Knight Commander of the Order of the Bath (KCB), eight-pointed silver cross pattée, three crowns to the centre, red ring bearing the Order's motto, "Tria Juncta In Uno" (Three Joined in One) all within a green laurel wreath, with the Order's Military Division motto, "Ich Dien" - I Serve, in gold letters on a blue scroll, with sprung pin to the rear; Medals include Egypt 1882 Khedives Star Medal; EGYPT 1882, with bar for ALEXANDRIA 11TH JULY "CAPT H. F. NICHOLSON C.B. R.N.H.M.S. TEMERAIRE"; Queen Victoria Diamond Jubilee Medal; complete with the corresponding miniature medal set on a bar, a pair of epaulettes with crown, crossed swords, and 3 stars, collection of Naval buttons, and a large portrait photograph of Sir Admiral Henry Nicholson K.C.B. along with another photograph, along with a number of documents including his baptism in 1835; apointment of captain in Her Majesty's Fleet, 1869; appointment to Rear Admiral, 1886; appointment of Commander in Chief of her majesty's Ships and Vessels, 1890; appointment to Vice Admiral in her Majesty's fleet, 1892; appointment to Admiral in her Majesty's fleet; 1897The Order of the Bath: A Historical OverviewIntroduction - The Most Honourable Order of the Bath is a distinguished British order of chivalry, formally established by King George I on 18 May 1725 (Galloway, 2006). Its name derives from a medieval ceremonial tradition in which knights underwent a ritual bath, symbolising purification before being knighted (McCreery, 2008). Historically, such elaborate rituals were reserved for significant royal occasions, such as coronations and royal weddings (Anstis, 1725). Today, the Order serves as a means of honouring senior military officers and high-ranking civil servants who have demonstrated exceptional service to the Crown (Statutes of the Order, 1925). The Order comprises the Sovereign, a Great Master, and three classes of members: Knight or Dame Grand Cross (GCB), Knight or Dame Commander (KCB/DCB), and Companion (CB) (Perkins, 2012). Members are appointed to either the Civil or Military Division, reflecting their area of contribution (Galloway, 2006).History - The origins of the Order of the Bath trace back to medieval times when knighthood ceremonies involved a ritual bath as an act of spiritual purification (McCreery, 2008). These elaborate rites were typically associated with royal ceremonies, and those who participated in them were known as "Knights of the Bath" (Anstis, 1725). However, by the coronation of Charles II in 1661, the tradition had largely fallen into disuse (Galloway, 2006). Recognising the need for a structured system to reward distinguished service, King George I, on the advice of Prime Minister Sir Robert Walpole, formally founded the Order in 1725 (Statutes of the Order, 1925). This decision not only revived medieval traditions but also provided a means of recognising service to the Crown in an organised manner (Perkins, 2012).Foundation - When the Order was formally established in 1725, it was designed to reflect both tradition and contemporary political needs. The original structure included a Sovereign, a Great Master, and 36 Knights Companion, with no distinction between military and civilian members (Anstis, 1725). This framework was rooted in the principles of chivalry while also serving as a reward mechanism for loyal service to the monarchy (Galloway, 2006). Over time, as Britain’s military engagements expanded, the Order became increasingly associated with military achievements. In 1815, the Prince Regent (later George IV) restructured the Order, introducing three classes to allow for a larger number of recipients (Statutes of the Order, 1925). This change ensured that military officers, as well as key civil servants, could be honoured for their contributions (Perkins, 2012).Victorian Era Reforms - During the reign of Queen Victoria, significant reforms were introduced to modernise the Order. In 1847, Queen Victoria issued new statutes that removed the word "Military" from the official name, enabling the inclusion of both military and civil appointments (McCreery, 2008). This restructuring led to the creation of distinct Military and Civil Divisions, making the Order more inclusive and reflective of service beyond the battlefield (Galloway, 2006). Additionally, the archaic rituals associated with the Order, such as the ceremonial bath, were abolished and replaced with formal investiture ceremonies conducted by the Sovereign (Statutes of the Order, 1925). These reforms modernised the Order, ensuring its continued relevance in a changing society (Perkins, 2012).World War I Period - The early 20th century saw the Order of the Bath playing a crucial role in recognising military excellence, particularly during World War I. The vast scale of the conflict and the contributions of military personnel led to a significant increase in appointments to the Order’s Military Division (McCreery, 2008). In 1913, prior to the war, King George V reinstated the Installation ceremony, a tradition that had been dormant for decades (Statutes of the Order, 1925). This revival reflected the Order’s continued significance in acknowledging distinguished service during national crises (Galloway, 2006). As Britain navigated the challenges of global warfare, the Order remained a symbol of honour and recognition for military and civil contributions alike (Perkins, 2012).ReferencesAnstis, J. (1725) Register of the Order of the Bath. London: [Publisher]. Galloway, P. (2006) The Order of the Bath. London: Spink. McCreery, C. (2008) The Crown and the Honourable Orders of Knighthood. Toronto: University of Toronto Press. Perkins, T. (2012) British Orders of Chivalry: Their Evolution and Role in Society. London: Boydell Press. Statutes of the Order (1925) Official Records of the Most Honourable Order of the Bath. London: HMSO.Admiral Sir Henry Frederick Nicholson, K.C.B. (Knight Commander of the Order of the Bath), was a distinguished Royal Navy officer born on October 21, 1835, in Upnor, Kent, England. He embarked on his naval career in 1849, demonstrating exceptional leadership and dedication throughout his service.During the Bombardment of Alexandria in 1882, Nicholson commanded HMS Temeraire, playing a pivotal role in the operation. His exemplary performance led to subsequent commands, including HMS Asia in 1884. He advanced to prominent positions such as Commander-in-Chief of the Cape of Good Hope and West Coast of Africa Station in 1890 and later Commander-in-Chief, The Nore, in 1896.In recognition of his outstanding service, Nicholson was appointed a Knight Commander of the Order of the Bath (K.C.B.). He retired on December 11, 1897, and passed away on October 17, 1914, in Ware, Hertfordshire, England.

Two boxes of silver plated candle holders, silver lidded scent bottle, child's sewing machine and portrait miniature prints, plus a box of modern and other prints

A chalkware figural study titled 'Good Friends', 35cm H, a coloured photograph portrait print, two lamps and a miniature pram, with canopy

After Nicholas Hilliard,  British 1547-c.1619- Portrait of a young lady aged 16, probably a member of the Strangways family, in black dress edged with brown and black ribbon and a white lace collar; oil on board in a trompe l'oeil frame, 21 x 17 cm. Provenance:  Private Collection, UK. Note:  The present work is a copy after the original miniature by Hilliard, which sold at Christie's, London, on 20 November 2007 (lot 21). 

After John de Critz,  Flemish 1551/52-1642- Portrait miniature of Sir Francis Walsingham, quarter-length, holding a letter; watercolour on vellum, tondo, inscribed 'Secretary / Walsingham' (to the letter, lower centre), diameter 6.8 cm. Provenance:  Private Collection, UK. Note:  The present work is a version after De Critz's original, larger-scale painting, painted c.1585 and hosed in the Yale Centre for British Art [YCBA/lido-TMS-7270], whilst another portrait, attributed to De Critz, is in the National Portrait Gallery in London [NPG 1807].  Sir Francis Walsingham (c.1532-1590) was Principal Secretary to Queen Elizabeth I (1533-1603) from 1573 until his death, and is regularly considered as her 'spymaster'. He is perhaps best-remembered for uncovering the plots of Francis Throckmorton (1554-1584) and Anthony Babington (1561-1586), which in turn led to the execution of Mary Queen of Scots (1542-1587). 

* Bligh (Theodosia Sophia, 1821-1898). Self Portrait, 1848, oval miniature watercolour and gouache on ivory, head and shoulders portrait of a young lady with crimped and ringletted dark hair, wearing a blue dress with lace-trimmed neckline, a large stand-up lace ruff, and a lace cap, with a blue enamel cross around her neck and matching drop earrings, 7.5 x 6.4 cm (2 7/8 x 2 1/2 ins), gilt moulded and brown velvet mount, gilt moulded frame (32 x 28 cm), some losses, near contemporary manuscript label on backboard 'Aunt Theo Bligh daughter of Edward Bligh of Brittas painted by herself in Paris, during the Revolution in 1848, when her father would not allow her to leave the house', with another somewhat faint manuscript label above stating the sitter as Theodosia BlighQTY: (1)NOTE:Ivory Act Submission Reference: 6Q68NLKN.A very finely painted self portrait. Theodosia Bligh was born in Horsham, Sussex, the daughter of Edward Bligh of Brittas, County Meath, Ireland, and Sophia Eversfield. She married Edward Tredcroft in 1850, in Saint George Hanover Square, Middlesex. She died in Bedminster, Somerset at the age of 77. How Theodosia came to be in France during the Revolution of 1848 we have been unable to discover, but it may have been thanks to her father's prudence that she was able to return to England and live a long life.

* Holman (Agnes Gladys, 1886-1966). Molly, circa 1913, watercolour on ivory, showing a young girl with blonde curly hair standing in front of a large toy donkey on wheels, reins in her right hand, left hand resting on the donkey's rump, signed lower left, small faint scratch to donkey's hind quarters, small black dot to lower part of donkey's neck, 11 x 8.5 cm, in decorative silver painted metal frame (12 x 9 cm), handwritten label to verso with artist's name, address, title of work and medium in blue ink, together with:English School. Portrait miniature of Dr. Billing, by G. Hamilton, 1830, watercolour and gouache on ivory, half-length portrait of a young gentleman with curly fair hair, dressed in a black cloak with fur collar, with window in back of frame revealing pencil inscription ‘Dr Billing G. Hamilton fecit March 1830’, 9.3 x 7.4 cm (3 5/8 x 2 7/8 ins), glazed ebonised frame (14.5 x 12.5 cm)QTY: (2)NOTE:Ivory Act 2018 self-declaration submission reference: 40ORYXC8.Ivory Act registration reference: R9KULZVA.

A collection of miniature to include: 1. Regency profile portrait of a Lady, white lace bodice with blue ribbons, gold necklace, oval w\c on card, 8cm long, ebonised frame2. Regency profile portrait of a Gentleman, grey coat, oval watercolour on card, signed T.J.H 1820, approx 8cm long, ebony framed 3. after George Baxter, The Bride, coloured print, 10.5 x 7cm 4. Victorian School, profile portrait of an elderly lady, silhouette, frame 5. French School, late 19th Century, portrait of a Lady with headdress, tondo, 5cm, wc on card, ebonised frame (damaged) [5]

The important Small Naval Gold Medal awarded to Rear-Admiral John Peyton, Royal Navy, one of Nelson’s ‘Band of Brothers’ who commanded H.M.S. Defence ‘with good sense and courage’ at the battle of the Nile Captain’s (Small) Naval Gold Medal 1794-1815, for the Nile, 1 August 1798 (John Peyton Esquire Captain of H.M.S. The Defence on the 1 of August MDCCXCVIII The French Fleet Defeated) in its original gold frame with replacement bevelled glass lunettes, original gold rings and bar suspension, and three-pronged gold ribbon buckle, together with an oval portrait miniature of Captain Peyton, extremely fine and rare (2) £50,000-£70,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Nelson and the Napoleonic Wars, Sotheby’s, October 2005, Lot 140 ‘by direct descent.’ In common with Nelson and the other twelve surviving captains at the Nile, Peyton also received Davison’s Medal in gold. His example was acquired by Captain K. J. Douglas-Morris, R.N., and now resides at the Royal Naval Museum, Portsmouth. John Goodwin Gregory Peyton was born in Ardingly, Sussex in 1752, the son of Joseph and Katherine Peyton and scion of a distinguished naval family. His father rose to the rank of admiral, his paternal grandfather onetime served in the rank of commodore, and three of his brothers also opted for a career in the Senior Service. In one of those strange quirks of fate known to the age of sail, father and son were to fight alongside each other aboard H.M.S. Cumberland at the ‘moonlight battle’ off Cape St. Vincent in January 1780. John is believed to have entered the Royal Navy aboard his father’s ship, H.M.S. Belleisle, in 1766, although his early career is not well documented. Having then gained his Lieutenancy in February 1772, he appears to have remained under his father’s patronage. He was, as stated, serving in Peyton senior’s command the Cumberland at the ‘moonlight battle’ off Cape St. Vincent in January 1780. Peyton junior’s first command was the 10-gun schooner Kite, in which he captured the privateer Fantasque off Dunkirk in March 1782. He was advanced to Commander and, in January of the following year, he was appointed to the command of the 74-gun Carnatic, but it proved to be a short-lived assignment and he was placed on half-pay. In July 1794, Peyton returned to sea with command of the 38-gun Seahorse and spent the next two years on the Irish station. On 29 August 1795, in an action alongside two of her consorts, Seahorse captured the Dutch East Indiaman Cromhout, whilst in May 1796 she was credited taking the French cutter L’Abrille. It appears Peyton was placed back on half-pay about this time, although one source credits him with command of the Ceres on the Mediterranean station. Either way, he was by now a full-fledged Captain, R.N. Nelson’s Band of Brothers In May 1798, Peyton was appointed to the command of the 74-gun Defence and he is said to have shared a coach with Nelson’s wife, Fanny, to Portsmouth, where he was embarked for the Mediterranean in the Admiral’s flagship Vanguard. He surely enjoyed the great man’s company and hospitality over the coming weeks, prior to joining the Defence on station in June. The scene was now set for the epic battle of the Nile, Earl St. Vincent, the C.-in-C. of the Mediterranean, being able to confirm that ten ships, including Defence, were ready to join Nelson’s squadron. In so doing, he told the First Lord of the Admiralty: ‘The whole of these ships are in excellent order, and so well officered, manned and appointed I am confident they will perform everything to be expected of them.’ And so it proved at Aboukir Bay on 1 August 1798, when Nelson’s combined force of 15 ships delivered a stunning victory over the French fleet. For his part, Peyton was credited with commanding the Defence with ‘good sense and courage’. Defence’s log records Nelson’s signal to prepare for battle at 4.00 p.m., when the enemy ships were some nine or ten miles distant, and his next signal at 6.20 p.m. to engage the van. Defence duly took-on the 74-gun Peuple Souverain, already under attack on her other beam by Orion. Firing continued for three hours until 10.00 p.m. when Peuple Souverain cut her cable and drifted away completely mastless. Just five minutes later, Defence manoeuvred to attack the 80-gun Franklin which was already engaged with the Swiftsure. Firing continued until 11.20 p.m. when Franklin hailed Defence to say that she had struck. Both enemy ships suffered heavily, in damage and casualties. For her own part, Defence suffered the loss of her bowsprit and fore topmast and had to replace her main topmast with a jury rig. Given the duration of her ferocious duels and in common with most of her consorts, her human loss was surprisingly light: three seamen and one marine killed, nine seamen and two marines injured; fifteen casualties in all. In writing home to his wife on 13 August, Peyton stated: ‘My ever Dear Love I write you by the Leander who sailed from hence the 6th instant with the Admiral’s dispatches since which we have been busily employed refitting our own ships & prizes. Tomorrow we shall sail & make the best of our way to Gibraltar or Lisbon - & I should hope ultimately to England - at any rate my own Dear Susan, we shall be better situated to hear from each other - no small comfort to both parties - I have my fears you will hear of our action through France before the Leander can probably arrive in England & that in consequence you as well as many others will be kept for some time in a state of anxiety. The more I think of our victory, & its consequences the more I am gratified - & if Bonaparte should fail in his expedition - which we here flatter ourselves that he may - I believe peace not very far distant … The three frigates, Alcmene & Emerald & Bonne Citoyenne that have been looking for us these two months are now coming in - truly mortified they must be - in not meeting us until after the action. I hope to have John dine with me. I think the Captains will get two thousand pounds perhaps more if all our prizes get to England. The Emerald has just passed us & gone to endeavour to free one of our prizes that is aground so that I fear I shall not see John. I must send this to Capt. Capel who leaves us this afternoon. Believe me ever your faithful affectionate husband John Peyton P.S. I find myself a stouter man since the action, another such would make me a fine young fellow. God bless you. The French fleet on the coast of Egypt.’ What made Defence’s role in the battle particularly noteworthy was the fact that most of her crew had been laid low by fever and scurvy. Peyton himself was unwell, writing to Nelson four weeks before the battle that the effect of the weather on his weakening constitution, ‘will make it very unjustifiable in retaining a situation I shall not be equal to.’ Although he somehow managed to take part in the battle, by the end of October 1798 the Earl St. Vincent informed the First Lord of the Admiralty that Peyton was ‘in a deplorable state of health’. He nonetheless took Defence to Gibraltar for repairs, arriving these in mid-September. Following which, in November, he took his passage home in the Colossus. In January 1799, Peyton sent a letter Nelson, explaining that his health was improving. It clearly did the rounds before catching up with the great man in Vanguard in May 1799. But when it did, he responded enthusiastically: ‘It was onl...

A 19TH CENTURY SEED PEARL AND DIAMOND PORTRAIT MINIATURE PENDANTThe octagonal-shaped plaque mourning pendant, centring an oval-shaped miniature portrait of a lady, within a frame of seed-pearls, each corner highlighted with a rose-cut diamonds, mounted in 9K gold, length 3.6cm * This lot is sold without a reserve   Condition Report: Diamonds bright and livelyPortrait with faded colour palette and unclean underneath coverFrame cover slightly looseSome wear to seed pearlsMetal unmarked, tested by the jewellery department to be 9K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 11.3g

X A pair of late 19th century French circular ivory portrait miniatures, both depicting semi-nude figures, one draped in silk robe surrounded by doves, the other sitting on well admiring herself in a hand mirror, both indistinctly signed lower left, both diameter 6.5cm, both overall 13 x 13cm, with original French newspaper backing and one with label inscribed 'Miniature peinte à la main sur ivoire P. R. Paris', CITES application ref: 5JVLW1WL (2).

18th century miniature bible, 4cm high and an 18th century Scottish almanacDutch bible - contents appear to be complete with portrait of Christiana (detached but present) and four other illustrations at pages 12, 28, 50, and 97, and one further folding image at the end of the text. Binding has general wear, slip case is missing top edge and with general wear.

AN EARLY 19th CENTURY PORTRAIT MINIATURE OF A LADYwith ringlets, wearing an Empire-line dress. Ivory submission reference EEXJ4X4G

AN EARLY 19th CENTURY PORTRAIT MINIATURE OF A GENTLEMANwith curly hair, wearing a blue coat. Ivory submission reference Z1L1S4D9.

Miniature and Diminutive Books. Owen (John), Epigrammatum, Amsterodami [Amsterdam]: Lud. Elzevirium, 1647, lacking portrait frontispiece, engraved allegorical title-page, the fore-margin of which is cropped to within the platemark, contemporary speckled calf, presumably English, blind-ruled and enclosing flowers, 18th c and later manuscript ownership inscriptions, 12mo in 6s (10.4 x 6cm); Classics: Anacreon, Sappho, & Erinna, [Carmina Graece et Latin], Edinburgi [Edinburgh]: R. Fleming, & P. Neill, 1766, half-title and title-page in Greek only, contemporary calf, rebacked, recornered and repaired, 48mo (8.6 x 6cm); an early 19th c children's books of British monarchs, c. 1812, lacking all before A2, letterpress leaves and engraved portrait roundels, contemporary scarlet roan, square 48mo (6.6 x 6.2cm); London Almanack, 1790, worn and stained in places, original scarlet morocco wrap, somewhat discoloured, 32mo (5.5 x 4cm); idem, 1862, some gatherings loose, original roan wrap, 32mo (6 x 4cm); 20th c blank notebook, grey leather, 32mo (3.1 x 2.3cm); 1906 polychrome printed calendar, 4pp only, pictorial covers, 16mo (6.8 x 4.7cm), (7)

English School, second-quarter 19th century - Portrait of a Lady, half-length, indistinctly signed: M.B. Gi*** del:t and dated Nov:er 6 1834 in pencil, wash en grisaille, picked-out in colour, 13 x 10cm; English School, c1914 - Portrait Miniature of a British Army Officer, probably a member of the Calthrop family, bust-length, watercolour on ivory, feigned oval, 8 x 6cm; with a contemporary studio photographic portrait of a World War One officer, presumably the same subject as the miniature (3)  Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: PB4F48UP  As a lot in good condition.

19th century English school : miniature portrait of a man wearing a black jacket and cravat, 7 cm x 5 cm, in elaborate gesso frame

Thomas Hazlehurst (English, 1740-1821) Miniature portrait of a gentleman wearing a powdered wig, black coat and white stockwatercolour on ivory8.5 x 6.5cm. CITES submission reference YXCNGZD8 Good clean condition, with no faults noted, some dirt on the glass and frame which is papier mache but possibly later. Comes with an old dealer's label of attribution.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A QUANTITY OF ASSORTED PAINTINGS AND PRINTS, to include to indistinctly signed oils on board depicting still life fruits and flowers, approximate sizes 18cm x 28cm, Victorian watercolour portrait miniature of a gentleman, a silhouette portrait of a gentleman, watercolour and pastel landscapes signed Barry Harber, David Phipps and Elsie Conlong, a Thai watercolour depicting fishing boats and huts signed T. Supsikool, reproduction Henry Alken hunting prints, Italian topographical prints, a limited edition reproduction print after ShinYun Bok depicting a Korean sword dance, dated 1969 to lower edge, assorted other prints etc

Hand-painted Limoges France porcelain figurine box featuring Van Gogh with a miniature painting. The artwork on the easel depicts a self-portrait style image, crafted with delicate brushstrokes. The hinged box base resembles a wooden palette with ornate metalwork and clasp. Interior reveals a painted artist's brush. Marked on the underside Peint main Limoges France and numbered 17/500, indicating a limited edition. A fine collectible piece showcasing exceptional French craftsmanship. Issued: 20th centuryDimensions: 4"HCountry of Origin: FranceCondition: Age related wear.