An exquisite British portrait miniature from the Georgian period, dating to circa 1760 and attributed to the English miniature painter Richard Crosse (1742–1810), one of the prominent artists active in the field of miniature portrait painting in Britain during the second half of the 18th century. The work depicts a distinguished gentleman in a half-length portrait, with his face turned slightly to one side and his gaze directed towards the viewer. His eyes are brown, his eyebrows are dark and pronounced, his facial features are full, and his expression is serious and restrained. His light-coloured, silver-grey hair is arranged in a hairstyle characteristic of the mid-18th century, with hair combed backwards and neatly arranged curls at the sides of the head, in accordance with the fashion for powdered wigs that was customary among members of the affluent classes. The gentleman is dressed in an elegant blue coat, beneath which he wears a white shirt with a high collar and an elaborate lace decoration at the front, known as a Jabot. The combination of the blue coat and white lace reflects men's fashion of the period, when great importance was attached to the quality of fabrics and a carefully maintained appearance. The dark background emphasises the sitter's face, the light tones of his hair, and the blue colour of his coat, giving the portrait a sense of depth and presence. The work was executed in watercolours on a natural substrate and is characterised by delicate treatment of the facial features, soft colour transitions, and attention to the details of the clothing. The Frame The miniature is mounted in a gold pendant frame, with edges decorated in a repeated engraved pattern and convex glass protecting the painting. A suspension ring is fitted at the top of the frame, allowing the work to be worn as a pendant or preserved as a personal keepsake. The reverse of the frame consists of a solid and relatively smooth metal panel, without a glass window or visible hairwork. Provenance – Frederick Joachim Collection (1904–1994) The work formerly belonged to the Frederick Joachim Collection, an assemblage of British and European portrait miniatures. Joachim's collection was offered for sale at Christie's auction house in London in 1995, in three separate sales held on 8 March, 2 May, and 1 November. The collection included works by important miniature painters, among them Richard Crosse and Jeremiah Meyer. The association with this collection gives the miniature additional interest in terms of its ownership history and art-historical research, particularly in view of its attribution to Richard Crosse, whose works are documented in the collection. Provenance: Frederick Joachim Collection (1904–1994) About the Artist – Richard Crosse (1742–1810) Richard Crosse was one of the important English miniature painters of the second half of the 18th century, known for his refined portraits of members of the aristocracy, high society, and the British royal family. Crosse was born in 1742 into an English family, the second son of John and Mary Crosse. He was born deaf and did not speak, but his communication limitations did not prevent him from developing a successful artistic career. From an early age, he showed an interest in miniature painting, initially as a hobby and later as a professional occupation. For his artistic training, he moved to London, where he studied at Shipley's Drawing School and the Duke of Richmond's Gallery, two institutions associated with the training of artists in 18th-century Britain. Crosse began exhibiting his works at the exhibitions of the Society of Artists, and in 1763 he was admitted as a member of the society. He later also exhibited at the Free Society of Artists and at the exhibitions of the Royal Academy. He gained recognition among aristocratic and high-society circles, and his clients included the Prince of Wales, the Duke of Cumberland, and the Duke of Gloucester. Later in his career, he was appointed Painter in Enamel to King George III, a position that reflected his professional standing and his connections with the British royal court. His Style and Painting Technique Crosse worked in oil portrait painting, watercolour miniatures, and enamel painting. His works are characterised by precise modelling of facial features, sensitive treatment of flesh tones, and the ability to convey the character of the sitter through expression and gaze. He was particularly known for his ability to create portraits with depth and presence, despite their small dimensions. The British miniature scholar Daphne Foskett (1911–1998) described Crosse as an outstanding artist whose miniatures were characterised by good modelling and artistic refinement. His works are documented in museum and private collections, including the collection of the Victoria and Albert Museum in London. Artistic Background – Miniature Portrait Painting in Britain During the 18th Century During the 18th century, miniature painting became an important part of British portrait culture. Portrait miniatures were commissioned by members of the aristocracy, high society, and the affluent classes, and served as personal keepsakes, family gifts, and sometimes as symbols of love and marriage. Unlike large-scale portraits, which were intended for display in drawing rooms and family galleries, miniatures were personal objects that could be carried, worn, or kept in cases and small frames. During this period, important miniature painters were active in Britain, including John Smart (1741–1811), Richard Cosway (1742–1821), and George Engleheart (1750–1829). These artists contributed to the development of a painting tradition characterised by great precision in the depiction of facial features, delicate colour transitions, and the ability to convey the character of the sitter in an exceptionally small format. The present miniature belongs to this artistic tradition in terms of its dating and characteristics. Artistic and Collecting Significance The miniature combines several characteristics of artistic and collecting interest: an early Georgian portrait of a gentleman, an attribution to an important British miniature painter, a gold pendant frame, and an ownership history pointing to the Frederick Joachim Collection. The attribution to Richard Crosse gives the work additional scholarly interest, particularly in view of his activity among aristocratic circles and the British royal court. **Artist:** Richard Crosse (1742–1810) **Date:** Circa 1760 **Period:** Georgian **Country of Origin:** Britain **Genre:** Portrait Miniature of a Gentleman **Technique:** Watercolours on a natural substrate **Painting Dimensions:** Approximately 3.8 × 3.2 cm **Frame:** Oval gold pendant frame with decorated edges **Glass:** Convex **Reverse:** Solid metal panel **Provenance:** Frederick Joachim Collection
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art