A fine European portrait miniature dating to circa 1800, dressed in elegant attire characteristic of the French Consulate and early Empire period. An old inscription on the reverse of the painting identifies the sitter as Pauline Bonaparte (1780–1825), later Princess Borghese, sister of Napoleon Bonaparte, Emperor of France. A signature, Raxas, is visible in the lower left section of the painting and has been attributed to the Spanish miniature painter José de Roxas y Sarrio, who was active during the early 19th century. Description of the Portrait The miniature depicts a young lady in a half-length composition, with her face turned slightly to one side and her gaze directed towards the viewer. Her face is oval and delicate, with dark eyes, lightly rosy cheeks, and softly rendered lips. Her expression is serene and restrained, with a hint of a smile that gives the portrait a sense of personal presence. Her light reddish-brown hair is arranged in small curls framing her forehead and the sides of her face. The upper part of her hair is gathered into a slightly raised hairstyle, in keeping with women's fashion in France around 1800. She wears a white dress with a broad neckline, short puffed sleeves, and a high waistline, characteristic of the Neoclassical fashion of the period. The pale fabric is rendered with delicate tonal transitions, and soft details of folds and decoration are visible around the bodice and sleeves. A broad shawl in shades of greyish-brown is draped over her arms, creating a contrast with the light tones of the dress. A delicate necklace is visible around her neck, and a small earring can be discerned. The dark background, in a smoky greyish-brown tone, emphasises her face and white dress, giving the figure an elegant and restrained presence. The painting is characterised by delicate treatment of the facial features, soft colour transitions, and meticulous depiction of the hairstyle and clothing, in keeping with the European tradition of miniature portrait painting during the early 19th century. The Gilt Frame The miniature is mounted in an elaborate oval gilt frame with rich Neoclassical decoration. The outer borders are adorned with a closely spaced row of spherical beads, while the inner sections feature decorative bands with geometric and foliate patterns. A dark blue inner border surrounds the portrait, creating a striking contrast with the gilding of the frame and the delicate colouring of the painting. The upper section of the frame is surmounted by a sculptural ornament featuring a torch, tied ribbon, and leafy branches, forming a decorative composition characteristic of Neoclassical art. Motifs of torches, wreaths, ribbons, and laurel leaves were common in French decorative arts during the late 18th and early 19th centuries and sometimes carried symbolic associations with love, remembrance, and glory. The reverse of the frame consists of a rigid backing board secured by folded metal tabs around the perimeter. The frame gives the miniature a formal and ceremonial character and emphasises its possible status as a portrait of personal or family significance. The Historical Inscription on the Reverse An old handwritten inscription appears on the reverse of the painting, mentioning Pauline Bonaparte and her family connections to the House of Bonaparte. The inscription gives the miniature particular research interest, as it may preserve an early tradition concerning the identity of the sitter. Pauline Bonaparte – Princess Borghese Pauline Bonaparte (1780–1825), born Maria Paola Buonaparte, was one of Napoleon Bonaparte's sisters and one of the prominent figures within the Emperor's family circle. In 1797, she married the French general Charles Leclerc, and following his death, she married the Roman prince Camillo Borghese in 1803, thereafter bearing the title Princess Borghese. Pauline was known for her beauty, social standing, and connections with the artistic world and the Imperial Court. Her likeness was immortalised in various works of art, including the celebrated sculpture by Antonio Canova depicting her as Venus Victrix. Her portraits reflect the Neoclassical fashion of the Napoleonic period, characterised by light-coloured dresses, high waistlines, and hairstyles inspired by classical antiquity. The Attributed Artist – José de Roxas y Sarrio José de Roxas y Sarrio, born in Alicante, Spain, around 1780, was a Spanish miniature painter active during the early 19th century. In 1817, he was admitted as a member of the Real Academia de Bellas Artes de San Fernando in Madrid. The miniature painting historian Leo R. Schidlof described him as a skilled artist who worked in the style of French miniature painters during the Empire period. This style was characterised by refined treatment of facial features, soft tonal transitions, and elegant depiction of period clothing and fashion. According to the original description, the miniature bears a signature in the lower left section, read as Raxas, which is attributed to José de Roxas y Sarrio. Artistic Background – Portrait Miniatures During the Napoleonic Period Around 1800, miniature portrait painting flourished in France and other artistic centres throughout Europe. Portrait miniatures were used by members of the aristocracy, the Imperial Court, military officers, and affluent society as personal keepsakes, gifts, and objects intended to preserve the likenesses of family members and loved ones. Among the important artists active in France during this period were Jean-Baptiste Isabey (1767–1855), Jean-Urbain Guérin (1760–1836), and Augustin Dubourg (1750–1804). Miniature paintings of the period often combined psychological precision, delicate colouring, and Neoclassical elegance, reflecting the artistic tastes of the time. The present miniature belongs to this tradition in terms of its style and the sitter's clothing. Artistic and Collecting Significance The miniature combines a refined female portrait from the early 19th century, an elaborately decorated gilt frame with Neoclassical motifs, a signature on the front, and a historical inscription on the reverse. The attribution to Pauline Bonaparte, sister of Napoleon I, and the attribution to the painter José de Roxas y Sarrio give the work particular research and collecting interest. **Artist:** Signed Raxas or Roxas, attributed to José de Roxas y Sarrio (born circa 1780) **Sitter:** Pauline Bonaparte, Princess Borghese **Date:** Circa 1800 **Period:** French Consulate and Early Empire **Country of Origin:** France; the attributed artist was Spanish **Genre:** Half-Length Portrait Miniature of a Lady **Technique:** Watercolour or oil on a natural substrate **Painting Height:** Approximately 7.6 cm **Frame:** Oval gilt frame with Neoclassical decoration, beaded borders, and an upper ornament featuring a torch, ribbon, and leaves **Signature:** Lower left section of the painting **Inscription on Reverse:** Old handwritten inscription attributing the portrait to Pauline Bonaparte **Provenance:** Private Collection
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art