An exceptionally rare, refined, and fine-quality European portrait miniature from the second half of the 18th century, depicting a young lady holding a white dove between her hands, in a composition of sentimental and allegorical character. The work bears a historical inscription along the left-hand edge of the painting, in which a name appearing to read De Boetselaer can be distinguished, together with a date originally described as 21 September 1779. There may be a connection to the Dutch noble family Van Boetzelaer and the Van Aerssen family. The date is 21 September 1779. The miniature was executed in watercolours on a natural substrate and is mounted in a magnificent oval silver-gilt frame, decorated with openwork metalwork and polished stones with greenish backing. The painting is characterised by delicate treatment of the facial features, soft colouring, and rich depiction of the hair, fabrics, and the dove's wings. The combination of the lady's figure, the white dove, the magnificent jewellery frame, and the historical inscription gives the work particular artistic, symbolic, and collecting interest. Description of the Portrait The young lady is depicted in a half-length composition, with her shoulders turned slightly to one side and her head gently inclined towards the dove she is holding. Her face has a refined oval shape, a fair complexion in warm tones, light bluish-grey eyes, and finely shaped eyebrows. Her nose is straight and delicate, her lips are small and pinkish, and her cheeks are illuminated by soft shading that gives the face a sense of volume. Her expression is serene, gentle, and contemplative, and her gaze is directed diagonally towards the viewer. Her hair is light golden-brown, gathered into a relatively high hairstyle, with soft, curled locks around the forehead and temples. A blue-turquoise ribbon is incorporated into the upper part of the hair, winding around the hairstyle. A small flower in shades of pink and cream is visible at the side of the head, incorporated into the ribbon and giving the hairstyle a delicate decorative detail. The hairstyle reflects characteristics of European women's fashion during the second half of the 18th century, when ribbons, flowers, and ornaments were sometimes incorporated into the hair. The White Dove – Description and Symbolism The lady holds a white dove between her hands, positioned at the centre of the composition. The dove's body is depicted in shades of white, cream, and light grey, with delicate shading emphasising the structure of its feathers. Its wings are partially spread and are rendered with fine brushstrokes that create a sense of movement. The dove's head is raised towards the lady's face, and its beak approaches her lips. The lady's hands envelop the dove's body in a gentle and protective gesture. The visual relationship between the lady's face and the dove creates an intimate composition, emphasising tenderness, affection, and emotional connection. In European art of the 17th and 18th centuries, doves sometimes served as symbols of love, fidelity, purity, peace, and innocence. In the classical iconographic tradition, doves were also associated with Venus, the goddess of love, and with motifs of romantic love and affection. The white dove in the miniature may be interpreted as a symbol of love, tenderness, or fidelity. Clothing and Details of the Fabrics The lady wears a gown in soft shades of turquoise-green, cream, and peach-pink. The neckline is relatively broad, and the upper part of the chest is visible between the folds of the fabrics. Light-coloured fabrics drape around the shoulders and arms, arranged in soft folds and rendered with delicate brushstrokes. On the right-hand side of the portrait, a pinkish-orange fabric is visible, draping diagonally and giving the composition a warm colour contrast. In the lower part of the composition, a deep bluish-green fabric is visible, harmonising with the ribbon in the hair. The combination of the cool turquoise tones with the warm shades of pink and orange creates a harmonious and refined colour scheme. The fabrics are depicted with relatively free movement, giving the figure a painterly and romantic character. The Background and Artistic Composition The background is rendered in muted shades of greenish-grey, brownish-grey, and olive green. The colouring is relatively restrained, emphasising the lady's fair face and the white dove. The figure is illuminated by soft light, highlighting the forehead, cheeks, neck, and hands. The delicate tonal transitions create a sense of depth and give the portrait a quiet and contemplative atmosphere. The composition is based on a visual relationship between three principal focal points: the lady's face, the dove, and her hands. The inclination of the head, the movement of the hands, and the position of the dove create a delicate diagonal compositional structure. The painting combines a personal depiction of the lady with a symbolic motif, thereby departing from the conventional format of a formal frontal portrait. The Magnificent Silver-Gilt Frame The miniature is mounted in a magnificent oval silver-gilt frame. The frame has relatively narrow metal borders surrounding the painting and holding the transparent cover. Openwork metal ornaments are incorporated around the frame, fashioned in scrolling lines, volutes, and floral motifs. At the top of the frame is a decorative arrangement of three polished stones, incorporated between scrolling metal ornaments. Additional stones are incorporated along the sides of the frame and at its lower section. The stones have a greenish-golden hue in an antique setting. The geometric shape of the stones and the openwork ornaments give the frame a rich jewellery character. The frame incorporates decorative characteristics reminiscent of the Rococo tradition, distinguished by curved lines, scrolls, and decorative movement. A suspension fitting is attached to the upper part, allowing the miniature to be displayed as a pendant. The combination of the gilt frame, the greenish stones, and the painting's soft colouring gives the object a festive and refined appearance. The Reverse of the Frame The reverse of the frame displays a dark oval surface in a brownish-black shade, with a relatively fine and uniform texture. The surface is enclosed by a gilt metal frame corresponding to the construction of the front frame. Around it, the reverse sides of the openwork metal ornaments and stone settings are visible. On the reverse of the stones, circular metal components can be seen, with dark or greyish areas at their centres, probably forming part of the setting construction. The construction of the reverse makes it possible to observe how the frame was assembled and how the metalwork was combined with the stone settings. The Historical Inscription Along the Edge of the Painting Along the left-hand edge of the miniature appears an inscription in dark handwriting, blending into the background of the painting. The inscription reads: “De boetselaer ee, d-aersfen September 21st 1779” In the close-up photograph, a name appearing to read De Boetselaer and additional lines can be distinguished, although some of the letters are faded and difficult to read. The date is 21 September 1779. The inscription may refer to a family name, the identity of the sitter, ownership of the work, or the identity of the artist. There may be a connection to the Dutch noble family Van Boetzelaer and the Van Aerssen family. The Name De Boetselaer and Its Historical Background The name De Boetselaer is associated with a historical noble family originating in the Low Countries. Members of the Van Boetzelaer or De Boetselaer family are mentioned in historical sources connected with regions of the Netherlands and Germany. The appearance of the name in the inscription on the miniature may be significant for identifying the sitter or documenting the family history of the object. The inscription may serve as a starting point for genealogical research and comparison with family portraits and documents from the 18th century. Historical Background – Europe in 1779 The year 1779 belongs to the second half of the 18th century, a period during which a rich culture of personal portraiture and sentimental jewellery developed in Europe. In France, the Netherlands, Britain, and the German states, portrait miniatures were sought after among the aristocracy and affluent classes. These miniatures served as family keepsakes, gifts exchanged between spouses, and objects of emotional significance. At the same time, a tradition developed of incorporating allegorical motifs into portraits, including flowers, birds, doves, and symbols of love and fidelity. The present portrait belongs to this tradition through the combination of the lady's figure and the white dove. Artistic Background – Allegorical Portraits and Miniatures in the 18th Century During the 18th century, a tradition of portrait painting incorporating symbolic motifs developed in Europe. Women were sometimes depicted alongside flowers, birds, animals, or objects of allegorical significance. These motifs enabled the artist to give the portrait additional meaning beyond the sitter's outward appearance. The dove was one of the symbols associated with love, fidelity, and purity. In French portrait painting of the 18th century, female figures were sometimes depicted with doves, particularly in sentimental and romantic contexts. The Rococo style, which developed in France during the first half of the 18th century, emphasised softness, movement, refined colouring, and subjects associated with love and social life. The present miniature displays characteristics reminiscent of this tradition, particularly through the inclination of the head, the movement of the hands, the dove, and the soft colouring. The Jewellery Frame and the Sentimental Tradition During the 18th century, portrait miniatures were sometimes incorporated into magnificent jewellery frames. These frames were made of gold, silver-gilt, or other metals, and were sometimes decorated with gemstones, coloured glass, or stones with metallic backing. The frame formed an integral part of the personal object and sometimes reflected the social standing and taste of its owner. The present frame, with its openwork metal ornaments and greenish stones, gives the miniature a rich jewellery character. The combination of an allegorical portrait and a magnificent frame may indicate that the object was intended as a personal possession of emotional or familial significance. Artistic and Collecting Significance The miniature combines a fine female portrait from the 18th century, a symbolic depiction of a white dove, a historical inscription bearing the name De Boetselaer and a date, the year 1779, and a magnificent silver-gilt jewellery frame. The refined treatment of the facial features, hands, fabrics, and the dove's wings gives the work painterly quality and individual presence. The allegorical motif of the dove adds symbolic meaning to the portrait and distinguishes it from more formal portrait miniatures. The ornate frame constitutes an artistic element in its own right, owing to the openwork metalwork and greenish stones. The historical inscription adds research interest, particularly regarding the possibility of familial or genealogical identification. The combination of fine miniature painting, a symbolic motif, a historical inscription, and a richly ornamented jewellery frame makes the object an interesting example of sentimental portrait art in 18th-century Europe. **Artist:** European School, possibly Dutch or French **Subject:** A young lady holding a white dove **Date:** 21 September 1779 **Period:** Second half of the 18th century **Country of Origin:** Europe, possibly the Low Countries or France **Genre:** Female Portrait Miniature with an Allegorical Motif **Technique:** Watercolours on a natural substrate **Painting Dimensions:** Approximately 8.5 × 4.2 cm **Dimensions Including Frame:** Approximately 8.7 × 6.7 cm **Overall Weight:** 50.9 grams **Frame:** Silver-gilt, with openwork metalwork and scrolling ornaments **Stones:** Polished stones with greenish backing, originally described as Green Foil-Backed Gemstones; the type of stones has not been verified **Suspension Fitting:** Upper suspension fitting incorporated into the frame's ornamentation **Front:** Protected by a transparent cover **Reverse:** Dark oval surface surrounded by a gilt metal frame and openwork metal ornaments **Inscription:** An inscription along the left-hand edge of the painting, containing the name De Boetselaer and the date 21 September 1779 **Provenance:** Private Collection
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art