The Limner Company

Our portrait miniature by Isaac Oliver (c.1565-1617) of Lady Dorothy Sidney (née Percy) (c.1598-1659), later Countess of Leicester, gracing the London Art Week poster. 2 days to go until our LAW selling exhibition opens at Guy Peppiatt Fine Art Gallery, 6 Mason’s Yard, London. Opening times: 10am - 5pm Mon to Fri, 11am - 5pm Sat and Sun. We’re looking forward to unveiling this miniature and many more on Friday! @londonartweek_ @gpfawatercolours #londonartweek #londonartweek2024 #portraitminiatures #isaacoliver #dorothypercy #portraitminiature #miniatureportrait #historicalportrait

The Hilliard discovery is in the BBC news today! (although they mistakenly say Emma is at Warwick University…) We also have more to share with you on this discovery tomorrow! Stay tuned. Swipe left for more details of this rare and exquisite cabinet portrait of Lady Arbella Stuart (1575–1615), 1592, by Nicholas Hilliard (c.1547-1619). Watercolour and bodycolour on vellum, stuck down on card, 21.1 by 17.6 cm. – Private Collection. @elizabeth.goldring #nicholashilliard #artdiscovery #hilliard #arbellastuart #elizabethan #arthistory

A good bank holiday Monday read in @thetimes today, discussing the exciting new discovery with @elizabeth.goldring of a major miniature find - a cabinet miniature of Arbella Stuart - the teen who could have been queen…#portrait #elizabethan #elizabethanportrait #timesnewspaper

Most of our miniatures are painted with watercolour, or are created with layers of enamel on metal. However, we are currently exhibiting a few painted using oil paint, instead. Here’s a quick look into this particular material. Oil painting is one of the more popular methods of painting, especially with larger paintings, and has been around for centuries. Traditionally, this tends to be used on panel, or on canvas. However, our miniatures are not based on this same material. Instead, to get the level of detail that is required in the miniature form, artists would use metal as a base, which allows for much more depth and saturation. This is certainly something that can be seen in a few brilliant portraits, featured in our London Art Week exhibition. Take the English School Gentleman in Armour, circa 1655 (image 2). The colour of his hair, as well as the pink undertone of his skin, stands out against the string blue background that the artist has managed to capture. Another example, also painted on copper, is the recently sold Gentleman, Attributed to Alexander Colison (image 3). The fabulous sitter is captured seemingly in motion, and again there is an incredibly warm undertone due to the copper base. We also have a much smaller oil on copper, possibly of a member of the Ernle family, which is housed in a beautiful blue gold and enamel case. Oil miniatures have also featured elsewhere this week, including the Portrait of a Girl by Joseph Heintz the Elder sold for £48,000 in the Sotheby’s Old Master Day Sale this morning (image 4). Make sure to pop in to see these in person before the end of London Art Week! We’re at Guy Peppiatt Fine Art, 6 Mason’s Yard, until Friday. Image 1: a video of our miniatures painted using oil Image 2: A Gentleman, English School (circa 1655), oil on copper, £4,500 Image 3: A Gentleman, Dutch/English School, attributable to Alexander Colison, oil on copper Image 4: Portrait of a Girl, Joseph Heintz the Elder, sold at Sotheby’s, image credit @roxane_hemard Image 5: A Gentleman, possibly a member of the Ernie Family, English School, oil on copper, £4500 #portraitminiature #londonartweek

Traditionally, the sitter of this portrait has been identified as Consul Charles Murray, later Lord Kenyons. Murray was based in Madeira between 1771 and 1802. If he is indeed the sitter of the portrait, this is one of the only depictions of him known to date. The only other lasting evidence of his life can be found in correspondence, and in the town in which he was a consul, Funchal, Madeira. Here, Murray had built a fountain for pilgrims on their way to Our Lady of Monte, and had transformed the nearby Monte Palace [image 2] into a ‘Pleasure Estate’. £12,500 A sketch by John Smart, exhibited at Philip Mould & Company in 2014 [image 3], bears a striking resemblance to this miniature, and may have been the initial sketch for it. Particular details, such as the wash of the hair and the light sketches of the embroidery on his waistcoat point to the two being related. If this is so, the present miniature would be the lost 1772 portrait that was referred to in the 2014 exhibition. The present miniature bares all the hallmarks that distinguish Smart as a brilliant artist. He is one of very few artists to record the fashion for coloured hair powder, which can be admired here in the subtle tinge of pink in this sitter’s hair. Smart’s father was a peruke maker, and it has been suggested that this is where his attention to detail for this particular element of his miniatures came from. Smart was also capable of bringing brilliant colour into his miniatures, including in the delicate embroidery detail here, which matches Murray’s wonderful green coat. Gold frame set with diamonds arranged in a bow shape on top, with a pin set into the back, to make it a brooch Signed and dated ‘1772’ Oval, 1 ¼ in (31mm) high Currently on display at our London Art Week seeking exhibition - more info in bio link. #londonartweek #johnsmart #portraitminiature #miniatureportrait #georgianportrait #georgianjewelry #georgianjewellery #18thcenturyart #18thcenturyjewelry #18thcenturyportrait #18thcenturyfashion

We don’t often stock silhouettes but we were charmed by this example of a young Gentleman, set in a brooch with a pearl border and glass aperture revealing hairwork on the reverse. £450 The artist, John Miers (c.1758-1821), born in Leeds in the mid-eighteenth century, was a well-known portrait miniature painter and silhouette maker (or profilist). This form of portraiture took a lot less time than painting a miniature, sometimes only a few minutes, and became a more affordable way to have one’s likeness taken. Miers himself was keen to advertise that he could make numerous copies of the portrait of any one sitter. It was this easily reproducible nature that led him to have over 100,000 copies of profiles in his studio when he died in 1821 . When painted on ivory, like in this example, silhouettes were created with watercolour, and ‘bronzing’, which has been used here to create the coloured details in the hair and the clothes. Though we do not have an identity for the sitter of this portrait, it can be seen that his likeness was treasured well, and likely worn by a loved one as a fashion piece, too. Currently on display at our London Art Week seeking exhibition - more info in bio link. Rectangular, 7/10 in (18mm) high #londonartweek #silhouette #portraitminiature #georgianjewellery #georgianjewelry #antiquejewellery #antiquejewelry #antiquesforsale #18thcenturyjewelry #18thcentury #silhouetteportrait

Bainbrigg Buckeridge (1668-1733), the first historian of British Art, noted that John Hoskins (c.1590-1664/5) was ‘a very eminent limner in the reign of King Charles I. whom he drew, with his queen, and most of his court.’ The sitter depicted here is most likely a courtier of the late Jacobean / early Carolean era in the 1620s. He wears the red sash of a Knight of the Bath. The order of the Bath derives its name from the medieval period when the elaborate knighting ceremony included ritual bathing (likely symbolic of spiritual purification). Later the knighting ceremony became simplified to just ‘dubbing’ and associated with important royal occasions such as coronations, weddings or investitures. It is possible that this sitter was given this honour on the accession of Charles I to the throne. The last of these Knights of the Bath were created at the coronation of Charles II in 1661. These knighthoods predate the modern Order of the Bath, and were not part of a military Order. The miniature was part of a sale in the nineteenth century of the contents from Blenheim Palace, and it may be that the sitter was originally related to the Churchill family. One possible contender could be John Jennings (d.1642), grandfather of Sarah Churchill, Duchess of Marlborough, and MP for St Albans. Jennings had been knighted in 1626. Currently on display at our London Art Week seeking exhibition - more info in bio link. £14,500 Signed with monogram in gold ‘IH’ Oval, 3 ¼ in (83mm) high #jacobean #1620s #portraitminiature #historicalportrait #knightofthebath #orderofthebath #johnhoskins #bainbriggbuckeridge #courtier #londonartweek #17thcentury

Just sold: This unique 19th century gent wearing a lovely pair of spectacles 👓, by George Engleheart. Glasses have been around for a long time, but it is unusual that we see sitters within portraits wearing them. In the 18th century, arms were introduced as an addition to spectacles, as we can see in this example. Just why they are featured in this particular miniature is a mystery- it is possible that these were very important to the sitter, or that Engleheart was just keen to experiment in this particular example. A ‘Mr Rev Liphott’ was recorded by George Engleheart in his fee book in 1806, and we have linked this record to the present sitter. However, given the records of the English Clergy, it is likely that this sitter was in fact a Rev. Liptrott, and that this original recording was spelled or transcribed incorrectly. There are other miniatures by Engleheart currently on display in our London Art Week exhibition, at Guy Peppiatt Fine Art, 6 Mason’s Yard. Two fashionable ladies, Miss Sarah Shergold (available) and a Lady in a hat (sold), sit alongside our gent in spectacles. Make sure to pop in this week to see them for yourself, or check out our online exhibition page! #portraitminiature #londonartweek #fashionhistory #georgeengleheart

A London Art Week exhibition highlight for #FashionFriday : what do the flowers worn by Lady Dorothy Sidney (née Percy) (c.1598-1659), later Countess of Leicester, in this portrait miniature by Isaac Oliver (c.1565-1617) tell us about the sitter? (Reserved) In this portrait, and in another by Van Dyck (1638), Dorothy is depicted adorned with dozens of flowers. One explanation for her wearing flowers in both these portraits is allegorical- Dorothy could be depicted here in the guise of Flora, the Roman goddess of flowers and spring. Furthermore, in Roman mythology, Flora was one of the goddesses of fertility, and of youth. This is particularly fitting for our sitter, who, in her short life of 44 years, had 12 children. Another depiction thought to be of Dorothy, by Oliver, was sold in 2013, and depicts her holding a sprig of rosemary, similarly a symbol of love, remembrance, fidelity, and loyalty. Oliver is known to have depicted many sitters in similar garb, including a portrait of an unknown woman at the V&A, and a young lady in costume at the Rijksmuseum, both of whom wear masque costume. At the Jacobean court, masques played an important role and it may be that Dorothy is simply shown wearing masque costume. Both Queen Anne and King James I had enjoyed participating in these theatrical shows, many of which were designed by renowned architect Inigo Jones. Though no evidence has yet been found to place Dorothy within one of these shows, it is possible that she is being depicted here as part of a wider trend of women being depicted wearing masque dress. Lady Dorothy was a member of the Jacobean court and wife of Robert Sidney, the 2nd Earl of Leicester. This marriage was not a traditional one in the sense that her and Robert had wed in secret, much to the shock of those around them, and no one was to find out for a year. Oval, 2 in. (52 mm) high Watercolour on vellum, laid down on a playing card (two of clubs) #londonartweek #portraitminiature #miniatureportrait #jacobeanportrait #jacobean #masquecostume #masque #flora #fashionhistory #fashionhistoryfriday #isaacoliver

Our London Art Week selling exhibition is NOW OPEN online (link in bio) and at Guy Peppiatt Fien Art, 6 Mason’s Yard, London. Opening times: Mon to Fri 10-5, Sat /Sun 11-5. #londonartweek #portraitminiatures

We’re just putting the finishing touches on our London Art Week exhibition and Emma is preparing for her Six Lives curators’ talk tomorrow (tickets via link in bio). One of the topics Emma will be discussing is the connection between early portrait miniatures, playing cards and Henry VIII’s luckiest queen… @londonartweek_ #sixlives #portraitminiatures #portraitminiature #londonartweek #miniatureportrait #tudor #tudorportrait #jacobean #historicalportrait #playingcards

Recently sold: An Unknown Soldier by Nicholas Hilliard (c.1547-1619). This mysterious sitter has been the subject of many attempts of identification, yet still remains unknown. When the miniature was exhibited in 1861, our soldier was named as King James VI & I, and later it was said that he possibly George Clifford, 3rd Earl of Cumberland (1558-1605), however, these remain unconvincing as possibilities. The sitter’s age in the calligraphy has been removed but may suggest that he was forty years of age. The date of 1614 is a later addition – the miniature being painted circa 1600 – making the sitter’s birth year around 1560. While Cumberland was born 1558, and therefore a potential candidate, his facial features do not quite align with the other portraits of him by Hilliard. Certainly, the sitter here is painted in the same vein as these heroes of the battlefield or joust. Not only is there mystery in the sitter, but also in the composition of this miniature. Why does the helmet behind our unknown soldier seem to sit so awkwardly? Hilliard is known to have added helmets like this to other miniatures, such as such as the full-length cabinet miniature of Sir Anthony Mildmay (Cleveland Museum of Art), where a helmet is also placed on a table, and the cabinet miniature of circa 1590 of George Clifford, 3rd Earl of Cumberland (National Maritime Museum, Greenwich), where a helmet is propped up against a tree. This repeated struggle against helmets gives us a clear sign that the master limner was behind this miniature, too. #portraitminiature #nicholashilliard #miniatureportrait #georgeclifford #elizabethan #tudor #historicalportrait