An exceptionally fine and rare English portrait miniature from the Georgian period, dating to circa 1800, depicting a young lady of refined appearance, dressed in a richly coloured red gown with a broad neckline and elaborately fashioned sleeves. The work was executed in watercolours on a natural substrate and is preserved in an original eight-sided case with chamfered corners, covered in sharkskin (Shagreen) of a deep turquoise-green colour and fitted with metal mounts, originally described as silver fittings. The miniature is protected by glass and mounted within an inner frame with light-coloured borders, emphasising the octagonal shape of the work. The painting is characterised by meticulous treatment of the facial features, rich colouring, and a striking contrast between the red gown and the dark blue-green background. This combination of fine miniature painting and an original Shagreen case gives the object a distinctive artistic, decorative, and collecting character. Description of the Portrait The young lady is depicted in a half-length composition, with her shoulders facing almost directly towards the viewer and her face turned slightly to one side. Her face has an elongated oval shape, a fair complexion in pearly tones, relatively large dark brown eyes, finely shaped eyebrows, and a serene, serious, and restrained expression. Her nose is straight and delicate, her lips are small and softly rendered in a pinkish shade, and her cheeks are illuminated with warm, subtle tones. Her direct gaze gives the figure a personal and intimate presence, while the suggestion of a smile creates a sense of softness and elegance. Her hair is very dark brown, almost black, arranged in an elaborate hairstyle of closely grouped and carefully styled curls. At the top of the head are short, rounded curls arranged in symmetrical groups around a central parting. Additional curls descend along the sides of the face, framing the temples and cheeks. The hairstyle provides a dark, decorative frame for the face, emphasising the fair complexion and the lady's gaze. From a fashion perspective, the hairstyle reflects the tradition of carefully arranged curls fashionable among European women during the late Georgian period and the early 19th century. The Red Gown and Details of Attire The sitter wears an elegant gown in a vivid red shade, approaching deep crimson in certain areas. The gown has a broad, relatively low neckline, revealing the shoulders and upper chest. Horizontal folds of fabric are visible along the neckline, gathering at the centre of the chest to form a decorative knot or gathered detail. The sleeves are fashioned in broad, voluminous folds, with highlights of dark and light tones creating a sense of depth. Along the sides of the gown are tonal transitions between bright red, dark red, and reddish-brown shades. The fabric is depicted with delicate brushstrokes, emphasising its folds and structure. The contrast between the red gown and the fair complexion gives the figure a strong and striking visual presence. The use of vivid red is not common to all portrait miniatures of the period, in which clothing in lighter and more restrained shades also frequently appears. The rich colouring of the gown constitutes one of the principal artistic attractions of the work. The Background and Artistic Composition The background is rendered in deep shades of blue-green, bluish-grey, and dark green. The colouring is relatively uniform, but includes subtle tonal transitions that create a sense of depth. A soft illumination is visible around the lady's face, highlighting the fair complexion and facial features. The contrast between the dark background and the red gown creates a composition of particular chromatic intensity. The painting is characterised by precise treatment of the facial features, delicate shading around the eyes and nose, and meticulous depiction of the curls. The composition focuses attention on the lady's face, while the red gown gives the portrait a festive and decorative character. The Original Shagreen Case The miniature is preserved in a rigid case of almost square form, with four chamfered corners creating an octagonal shape. The case is covered in a material described as Shagreen, a leather with a characteristic granular texture, used to cover luxury objects, boxes, and cases. The covering is of a deep turquoise-green shade, with subtle variations in colour creating a rich and distinctive appearance. The surface is covered with a dense pattern of tiny raised granules, giving the material a unique texture. The case opens by means of hinges along one side, while a metal fastening mechanism is fitted on the opposite side. The greenish covering creates a striking colour contrast with the red gown inside the case. Shagreen cases were sought after as luxury objects because of their durability, decorative texture, and the possibility of dyeing them in rich colours. The preservation of the case alongside the miniature adds historical and collecting interest to the object. The Interior of the Case and the Mounting When the case is open, the miniature is displayed on the right-hand side, within an octagonal inner frame. The inner frame has light-coloured borders in a creamy-golden shade, creating a decorative boundary around the painting. On the left-hand side of the case is an old lining in a golden-brown shade, with a soft texture and a decorative pattern of rounded shapes. The construction of the case allows the painting to be protected when closed and displayed when open. The design reflects the tradition of preserving portrait miniatures as valuable personal objects. Historical Background – England Around 1800 Around the year 1800, Britain was undergoing a period of significant political, social, and cultural changes. During the reign of George III, who ruled from 1760 to 1820, a rich culture of portraiture developed in England, reflecting the social standing and artistic taste of the affluent classes. Portrait miniatures were sought after among the aristocracy, wealthy families, and members of high society. They served as personal keepsakes, gifts exchanged between family members and spouses, and objects of emotional significance. The small format made it possible to preserve the portrait in a personal case, carry it, or display it in private rooms. During this period, women's fashion gradually changed under the influence of social and cultural transformations in Europe. Gowns with broad necklines, soft fabrics, and carefully arranged hairstyles formed part of elegant female appearance. The clothing and hairstyle of the lady in the miniature reflect these characteristics and help place the work within its historical context. Artistic Background – Female Portrait Miniatures in England During the second half of the 18th century and the early 19th century, a rich tradition of portrait miniature painting developed in England. Among the prominent artists active in this field were Richard Cosway (1742–1821), John Smart (1741–1811), George Engleheart (1750–1829), Andrew Plimer (1763–1837), and Richard Crosse (1742–1810). These artists developed painting techniques based on the application of thin layers of colour, soft shading, and precise depiction of facial features. Portrait miniatures of women frequently emphasised their hairstyles, clothing, and individual expressions. The portraits were displayed in jewellery settings or special cases, and were sometimes preserved for generations as family objects. The present miniature displays these characteristics through the delicate treatment of the face, detailed depiction of the curls, and use of rich and balanced colouring. Shagreen as a Luxury Material in the Decorative Arts Shagreen is a covering material with a granular texture, used in Europe to cover boxes, cases, handles, and luxury objects. Historically, the term was used to describe various types of processed leather, including the skins of certain fish and leathers with an artificially produced texture. During the 18th and early 19th centuries, the material was sought after for its distinctive texture and durability. Shagreen was sometimes dyed in rich shades of green, blue, and turquoise, which emphasised its granular surface. The use of this material in miniature cases reflected the importance attached not only to the painting itself but also to the manner in which it was preserved and displayed. The present case, in a deep turquoise-green shade, provides an interesting example of this tradition. Portrait Miniatures in Personal Cases Portrait miniatures were sometimes preserved in special cases designed to protect them from light, dust, and mechanical damage. The cases were made from various materials, including leather, wood, metal, and decorative covering materials. In some cases, the interiors were decorated with linings, hinges, and carefully made fastening mechanisms. The case made it possible to preserve the portrait as a personal object and display it when required. The combination of a miniature portrait and a luxurious case reflected the emotional significance of the object and the desire to preserve it over many years. Artistic and Collecting Significance The miniature combines a fine female portrait dating to circa 1800, a red gown of rich colouring, a carefully arranged curled hairstyle, and an original turquoise-green Shagreen case. The refined treatment of the facial features, eyes, and hair gives the figure an individual presence and demonstrates a high standard of execution. The contrast between the red gown and the blue-green background creates a composition of particular visual intensity. The Shagreen case constitutes an important decorative and historical element because of its covering material, rich colour, and octagonal construction. The combination of painting quality, exceptional colouring, and an original case makes the object an interesting example of personal portrait art from the Georgian period. Subject: An unidentified young lady **Date:** Circa 1800 **Period:** Georgian **Country of Origin:** England **Genre:** Half-Length Portrait Miniature of a Lady **Technique:** Watercolours on a natural substrate **Painting Dimensions:** Approximately 7.6 × 6.6 cm **Case Dimensions:** Approximately 8.6 × 7.9 cm **Frame:** Octagonal inner frame with light-coloured borders **Case:** Original eight-sided case covered in deep turquoise-green Shagreen, with hinges and a metal fastening mechanism **Fittings:** Originally described as silver fittings **Front:** Protected by glass **Case Interior:** Old golden-brown lining with a decorative pattern of rounded shapes **Provenance:** Private Collection
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art