An exceptionally fine and exquisite English portrait miniature from the Georgian period, probably dating to the late 18th century and attributed to the British miniature painter Andrew Plimer (1763–1837). The work depicts a young lady with delicate facial features, fair skin, and a serene and restrained expression. Her face is turned slightly to one side, and her gaze is directed towards the viewer. Her light-coloured, silver-grey hair is arranged in a high hairstyle with abundant soft curls, characteristic of women's fashion in British society during the late 18th century. The hair falls in long curls on both sides of the neck and is adorned with small pearls. The lady is dressed in a white gown with a delicate neckline, puffed sleeves, and soft folds of fabric. The gown is decorated with a yellow-gold sash across the chest and pearls incorporated at the shoulders. The pale blue background emphasises the delicate flesh tones and light-coloured hair, giving the portrait a soft and harmonious appearance. The work was executed in watercolours on a natural substrate and is characterised by exceptionally delicate brushwork, gradual colour transitions, and great attention to the details of the face, hair, and clothing. The Frame – Gold, Enamel and Set Stones The miniature is mounted in an elaborate oval pendant frame, described in the original account as a gold frame, with borders decorated in dark blue and white enamel. Small transparent stones are set along the frame, described in the original account as imitation diamonds (Paste). The combination of the deep blue enamel, white decorations, and set stones creates a frame with a distinctly jewel-like character, typical of prestigious portrait jewellery from the Georgian period. A suspension fitting is mounted at the top of the frame, allowing the work to be worn as a pendant or preserved as a personal keepsake. The Mourning Scene on the Reverse – An Allegorical Sepia Painting One of the most important and distinctive features of the miniature is the allegorical mourning scene incorporated into its reverse. Within a small oval aperture, surrounded by a blue and white enamel frame, appears a delicate painting in sepia tones depicting two female figures in the classical style beside a memorial monument surmounted by a funerary urn. One of the figures kneels beside the monument in a pose expressing mourning and longing, while the second figure stands behind her with one arm raised. The composition includes architectural and botanical decorations, creating the atmosphere of a memorial garden or a classical commemorative site. The scene reflects the Neoclassical tradition that was prevalent in British art and memorial jewellery during the late 18th century. The Funerary Urn and Memorial Monument At the centre of the scene stands a rectangular memorial monument, upon which rests a decorative funerary urn. Urns of this kind were a common motif in Georgian mourning jewellery and served as symbols of remembrance, loss, and the commemoration of a loved one. According to the original description, the decoration also incorporates tiny seed pearls and diamond chips. The Memorial Inscription An inscription in English appears on the memorial monument: **NO TIME THY DEAR REMEMBRANCE CAN REMOVE** Translation: "No passage of time can erase your cherished memory." The inscription expresses the idea of eternal remembrance and the enduring emotional bond with a loved one who is no longer present. Expressions of this kind were common in British mourning and memorial jewellery during the Georgian period. About the Artist – Andrew Plimer (1763–1837) Andrew Plimer was one of the recognised British miniature painters active during the late 18th and early 19th centuries. He was born in 1763 in the Shropshire region of England and began his artistic career after arriving in London. Plimer worked for a period with the renowned miniature painter Richard Cosway (1742–1821), who greatly influenced his style and professional development. He subsequently developed an independent career as a painter of miniature portraits of members of the aristocracy, high society, and wealthy families in Britain. His works are characterised by delicate treatment of flesh tones, meticulous depiction of the eyes, and the use of light backgrounds and soft colour transitions. Characteristics of His Style and the Attribution of the Miniature The British miniature scholar Daphne Foskett (1911–1998) discussed the characteristics that make it possible to identify Plimer's works. The original description of the work refers to her book, page 126, where several stylistic characteristics are mentioned: fine cross-hatching in the background on both sides of the sitter, a relatively long nose, characteristic treatment of the eyes, and elongated necks. It is also noted that during the later period of his career, Plimer sometimes did not sign his works. In the present miniature, several characteristics can be observed that may correspond to his style: the elongated neck, delicate treatment of the eyes, relatively long nose, high hairstyle, and pale blue background. During the second half of the 18th century, a rich tradition of mourning and memorial jewellery developed in Britain, combining miniature portraits, sepia paintings, dedicatory inscriptions, and allegorical symbols. Among the common motifs were urns, memorial monuments, weeping willow trees, mourning female figures, pearls, and classical symbols. These pieces of jewellery were intended to preserve the memory of family members and loved ones and were sometimes commissioned as personal objects that could be worn on the body. The combination of a portrait on the front and a mourning scene on the reverse carried special emotional significance, as it united the likeness of the person with a message of remembrance and commemoration. Artistic and Collecting Significance The miniature combines several characteristics of artistic and collecting interest: a high-quality female portrait from the Georgian period, an attribution to Andrew Plimer, an elaborate gold and enamel frame, set stones, and a detailed allegorical mourning scene on the reverse. The personal inscription, allegorical figures, and decorations incorporated into the frame give the work special historical and emotional significance. The combination of a miniature portrait with an elaborate piece of mourning jewellery makes the object an interesting example of British decorative art from the late 18th century. **Artist:** Attributed to Andrew Plimer (1763–1837) **Date:** Late 18th century, estimated **Period:** Georgian **Country of Origin:** Britain **Genre:** Portrait Miniature of a Lady / Mourning Jewellery **Technique:** Watercolours on a natural substrate **Painting Dimensions:** Approximately 6.6 × 5.1 cm **Frame:** Gold, with blue and white enamel **Stones:** Transparent paste stones, according to the original description **Reverse:** Allegorical mourning scene in sepia tones **Decorations on the Reverse:** Seed pearls and diamond chips **Inscription:** NO TIME THY DEAR REMEMBRANCE CAN REMOVE **Signature:** None identified **Provenance:** Private Collection
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art