An exceptionally fine and particularly interesting English portrait miniature from the late Georgian period, dating to circa 1815, by the British portrait and miniature painter James Leakey (1775–1865), who was known for his work in unusual painting techniques in the field of miniatures. The work depicts a young gentleman with light-coloured, neatly arranged hair, wearing a bright red coat with gilt buttons and a white cravat. The miniature was executed on a natural substrate, in a technique originally described as oil painting, although it is possible that gouache mixed with gum arabic was used, in accordance with later research into Leakey's working methods. The painting is mounted in a gold Faux Montre frame, with a distinctive upper suspension fitting resembling the suspension mechanism of a pocket watch. On the reverse of the work, a historical collection label belonging to Bernard Franck (1848–1924), the well-known Parisian collector, has been preserved, bearing a decorative emblem and the catalogue number 105. The combination of the quality of the painting, the artist James Leakey, the jewellery frame, and the documented provenance from the Bernard Franck Collection gives the miniature particular artistic, historical, and collecting interest. Description of the Portrait The gentleman is depicted in a half-length composition, with his shoulders turned slightly to one side and his face directed towards the viewer, his gaze turned slightly to the right. His face has a refined oval shape, a fair complexion in warm pinkish tones, light bluish-grey eyes, and delicately defined brown eyebrows. His forehead is relatively broad, his nose is straight and softly modelled, his lips are thin, and his expression is serene, serious, and restrained. His gaze gives the figure an individual presence, while the delicate shading around the eyes, nose, and cheeks creates a sense of volume and softness. His hair is light greyish-brown, brushed back from the forehead and arranged in soft locks falling along the sides of the head. The hair appears either powdered or naturally greyish in colour, in keeping with hairstyle traditions fashionable during the late 18th and early 19th centuries. Rounded locks of hair are visible at the sides of the head, falling towards the ears and giving the hairstyle a carefully arranged and elegant appearance. The hairstyle may reflect the gradual transition from the fashion for powdered wigs in the 18th century to more natural hairstyles. The Red Coat and Details of the Clothing The gentleman wears a bright red coat with a relatively open collar and broad lapels. The coat is depicted in rich shades of crimson red, dark red, and reddish-pink, with delicate shading creating a sense of volume. Round gilt-coloured buttons are visible on the front of the coat, arranged along the garment. A small gold-coloured button or metal ornament is visible on one side of the collar. Beneath the coat is a white shirt with a high collar and a white cravat wrapped around the neck and tied in broad, soft folds at the front of the chest. The white cravat creates a clear contrast with the intense red colour of the coat and emphasises the sitter's face. The red coat may recall military or formal dress of the period, although the photograph does not provide sufficient details to identify a particular military unit, rank, or position. The intense colouring of the coat constitutes one of the principal visual attractions of the work. The Background and Artistic Composition The background is rendered in dark shades of brownish-grey, deep brown, and muted grey. The colouring is relatively uniform, but includes delicate tonal transitions around the head and shoulders. The gentleman's face is illuminated by soft light, emphasising the forehead, cheeks, and nose. The contrast between the dark background and the red coat and white cravat creates a balanced and impressive composition. The painting is characterised by meticulous treatment of the facial features, soft shading, and a relatively precise depiction of the hair and clothing. The oval composition focuses attention on the figure and gives the portrait a personal and intimate character. The Gold Faux Montre Frame The miniature is mounted in an oval frame of warm gold, tending slightly towards pink. The frame has smooth, stepped borders surrounding the painting and giving it a restrained and elegant appearance. At the top is a relatively long metal suspension fitting, consisting of a vertical stem and a broad suspension ring of horizontal construction. The structure of the suspension fitting resembles the suspension mechanism of historical pocket watches and corresponds to the designation Faux Montre, meaning a watch-shaped frame. Frames of this type allowed portrait miniatures to be carried as pendants or displayed as personal objects. The frame forms an important part of the object, both in terms of its jewellery value and its historical character. The front of the miniature is protected by a transparent cover. Reverse of the Frame – Bernard Franck Collection Label The reverse of the frame displays a dark bluish-grey surface with a fine texture resembling fabric. At the centre of the reverse is a decorative collection label bearing a heraldic emblem. At the top of the label is a helmet decorated with a feather or red crest. Beneath it appears a composition of shields, weapons, flags, a drum, and additional ornaments in shades of red, blue, and gold. The composition is surrounded by a decorative structure resembling a banner or hanging fabric. At the bottom of the label appears the name: **Below the label appears a catalogue number:** **“105”** **The label constitutes important evidence of the miniature's inclusion in the Bernard Franck Collection.** **The number 105 may refer to a registration number or an internal catalogue number of the collection.** **The preservation of the original label on the reverse of the frame adds particular historical and research interest to the object.** Provenance – The Bernard Franck Collection (1848–1924) Bernard Franck was a wealthy French collector, born in Paris, who lived from 1848 to 1924. Franck was an industrialist and businessman of considerable financial means, who devoted part of his fortune to collecting works of art, particularly portrait miniatures. He acquired works from leading art dealers throughout Europe and beyond, building a collection of importance in the field of miniature portrait painting. His collection included works from different periods and various European schools. Bernard Franck's collection labels, bearing his name and sometimes registration numbers, constitute important provenance marks for works that passed through his collection. The present miniature bears a Bernard Franck collection label on its reverse, with the number 105. This association adds collecting interest to the object, as it makes it possible to connect the work with a well-known historical collection. The Artist – James Leakey (1775–1865) James Leakey was a British portrait and miniature painter, born in Exeter, Devon, in 1775, who died in 1865. According to biographical sources, his family was probably of Irish descent. Leakey worked in London and Exeter and was associated with British artistic circles in the early 19th century. During his time in London, he became acquainted with important artists of his period, including John Constable (1776–1837), Sir Thomas Lawrence (1769–1830), and Sir David Wilkie (1785–1841). Despite his activity in London, he maintained a deep connection with his native city of Exeter and returned there during his lifetime. Leakey exhibited works at the Royal Academy in London between 1821 and 1846. He painted portraits of members of British society, including members of the Baring family, one of the prominent families in British banking and commerce. According to the original biographical description, Sir Thomas Baring persuaded him to abandon a plan to emigrate to Canada. Works by Leakey are held in private and public collections. Painting Technique – Oil or Gouache on a Natural Substrate James Leakey is regarded as one of the British miniature painters who worked in techniques that were not entirely typical of the tradition of transparent watercolours. The original description of the work states that the miniature was executed in oil paints on a natural substrate. However, later research into Leakey's working methods raised the possibility that, in some of his works, he used thick gouache mixed with a substantial amount of gum arabic (Gum Arabic). This technique may produce an opaque and rich layer of paint, resembling oil painting in appearance. Distinguishing between oil paint and thick gouache may be particularly complicated when dealing with a small miniature protected by glass. According to the original description, even examination with a magnifying glass did not make it possible to determine the type of paint with certainty. Therefore, it is appropriate to describe the technique as painting on a natural substrate, probably in oils or opaque gouache, in accordance with research into the artist's work. Historical Background – England circa 1815 The year 1815 was a significant year in British and European history. In that year, the Napoleonic Wars ended following the defeat of Napoleon Bonaparte at the Battle of Waterloo. Britain was under the reign of George III, while his son, later George IV, had served as Prince Regent since 1811. The period is also known as the Regency period and was characterised by significant changes in society, fashion, and visual culture. Members of the aristocracy and affluent classes continued to commission personal portraits, both in large formats and as miniatures. Portrait miniatures served as family keepsakes, gifts exchanged between spouses, and objects of emotional significance. Their small format made it possible to carry the likeness of a loved one or preserve it in a jewellery frame. Artistic Background – Portrait Miniatures During the Regency Period In the early 19th century, the art of miniature painting in England continued to develop upon the foundations of the 18th-century tradition. Among the prominent artists active in this field during the period were Richard Cosway (1742–1821), George Engleheart (1750–1829), Andrew Robertson (1777–1845), William John Newton (1785–1869), and Sir William Charles Ross (1794–1860). These artists developed painting techniques based on the use of thin layers of colour, soft shading, and precise depiction of facial features. Male portrait miniatures frequently emphasised personal expression, hairstyle, and formal clothing. The portraits were incorporated into gold, silver, or gilt-metal frames and were sometimes preserved as family possessions for generations. The present miniature displays these characteristics through the meticulous treatment of the face, the restrained colouring of the background, and the strong contrast created by the red coat. Portrait Miniatures in Watch-Shaped Frames During the 18th and early 19th centuries, portrait miniatures were sometimes incorporated into frames whose construction resembled pocket watches. These frames, sometimes known as Faux Montre, allowed the portrait to be carried as a pendant or personal object. The construction of the upper suspension fitting, resembling the suspension ring of a pocket watch, gave the frame a distinctive jewellery character. The use of this type of frame reflects the tradition of incorporating miniature paintings into personal objects of emotional and material value. Artistic, Historical, and Collecting Significance The miniature combines a fine male portrait dating to circa 1815, by the British painter James Leakey, a watch-shaped Faux Montre frame, and a historical provenance label from the Bernard Franck Collection. The delicate treatment of the facial features, hair, and cravat gives the portrait artistic quality and individual presence. The red coat adds visual interest and gives the composition striking colouring. The possible technique of painting in oils or opaque gouache on a natural substrate adds technical and artistic interest to the work. The Bernard Franck collection label constitutes an important element of the provenance documentation, connecting the miniature with one of the historical collections of portrait miniatures. The combination of the quality of the painting, the attribution to the artist, the historical frame, and the collection documentation gives the object particular collecting interest. **Artist:** James Leakey (1775–1865) **Subject:** An unidentified gentleman in a red coat **Date:** Circa 1815 **Period:** Late Georgian, Regency Period **Country of Origin:** England **Genre:** Half-Length Portrait Miniature of a Gentleman **Technique:** Painting on a natural substrate; originally described as oil, with the possibility of thick gouache mixed with gum arabic **Height of the Painting:** Approximately 4.5 cm **Dimensions Including Frame and Suspension Fitting:** Overall height approximately 8.2 cm **Frame:** Oval gold Faux Montre frame **Suspension Fitting:** Broad suspension ring on a vertical stem, in the style of a pocket watch **Front:** Protected by a transparent cover **Reverse:** Bluish-grey surface bearing a decorative collection label **Provenance Label:** Bernard Franck (1848–1924) **Collection Number:** 105 **Provenance:** Bernard Franck Collection (1848–1924)
Auction 02: Rare 18th–19th Century Portrait Miniatures & Mourning Jewellery — Melis Antiques & Art