BRITISH

	Gentleman in Blue, Attributed to Thomas Flatman, Circa 1680 An English portrait miniature of a gentleman with blue eyes wearing a brown curly wig, a blue robe, and a white cravat fastened with a jewel, against a brown background. The painting is set in a gold pendant frame with a surround of garnets and a solid reverse. Thomas Flatman (1635-1688), one of the most distinguished early miniaturists, was born in London, the son of a clerk in Chancery. A man of versatile talents, he was invited to the Inner Temple in 1655, called to the Bar in 1662, and admitted M.A. of Cambridge in 1666. As well during this time, he began painting miniatures, his earliest known pieces dating from 1661. Besides miniatures, he executed oil portraits and published a volume of poems and songs. He had a wide circle of artistic friends, including the artists Mary and Charles Beale, whose son, Charles Junior, studied with Flatman. Flatman appears to have suffered periods of alternating elation and depression, and when he died in 1688, Anthony Wood’s description that “at length he gave way to fate” is taken to imply that he committed suicide. The Welbeck Abbey Miniatures by Richard Goulding lists signed and dated miniatures by Flatman between 1661 and 1683. Examples of his works may be found in most collections, including those of Her Majesty the Queen, the Dukes of Buccleuch and Portland, and the Earl Beauchamp, as well as the Victoria and Albert Museum, the National Portrait Gallery, the Wallace Collection, the Fitzwilliam Museum, and the Ashmolean Museum. His self-portrait miniature is at the Victoria and Albert Museum. Dimensions: 1 ¼ x 1 1/8 inches.

	Young Lady in Blue, by Frederick Buck, Circa 1785 An Irish portrait miniature of a young woman with light brown hair and blue eyes, wearing a blue dress with white fichu, against a sky background. The portrait is set in the original gold frame, the reverse with brightwork surrounding a glazed aperture holding the gold monogram TLS set on plaited hair, and a brooch pin. The case, according to a previous owner, was made by Buck's father, who was a gold and silversmith. Frederick Buck (1771-c.1840) was born in Cork, Ireland to the silversmith Johnathan Buck. Both Frederick and his brother Adam became popular miniaturists in their day. Frederick attended the Dublin Society Schools, and then established a large practice in Cork. He was particularly busy during the Peninsular War, when Cork was a port of embarkation, and he was in demand to paint portraits of officers passing through. Examples of Buck's work may be seen in the Victoria and Albert Museum. Dimensions: 2 x 1 ½ inches.

	Lady in a Veil, By Richard Cosway, Circa 1800 A British portrait miniature of a lady with light brown hair and amber eyes, wearing a white dress with gold-buttoned sleeves, a gold necklace, and a black lace veil, against a sky background. The painting is set in a gilt pendant frame with a solid reverse. Richard Cosway, R.A. (1740-1821), one of the most important and influential miniaturists in English history was born in Devon to a family that owned a prosperous woolen business. Cosway was sent to London at age twelve, where he studied with Thomas Hudson, attended William Shipley’s drawing school and attended the Royal Academy Schools. Cosway exhibited at the Society of Artists, the Free Society of Artists, and the Royal Academy, and was elected to the Academy in 1771. In 1781 he married the Anglo-Italian artist Maria Hadfield, and in 1789 their only child, Louisa Paolina Angelica, was born. Cosway dearly loved his daughter, and after her sudden death at age seven, his somewhat eccentric behavior became increasingly more erratic. Cosway's tremendous talent won him such famous clients as the Prince of Wales, and he and Maria moved in the most fashionable Georgian circles, known for their salons and exquisite art and antique collections. Thomas Jefferson said of them that they possessed: "….good sense, good humour, honest hearts, honest manners, and eminence in a lovely art." Cosway’s works may be seen in the Victoria and Albert Museum, the Wallace Collection, the Fitzwilliam Museum, the British Museum, and the private collection of Her Majesty the Queen, as well as many other public and private collections. Dimensions: 2 7/8 x 2 ½ inches.

	Lady in White, by Charles Robertson, Circa 1800 A serenely beautiful portrait miniature of a woman with blue eyes and auburn hair, wearing a white dress, against a sky background. The painting is set in the original gold locket frame, the rim with a surround of gold beads, the reverse with cobalt glass, an inset glazed aperture holding brown plaited hair set with the gold initials JB. Charles Robertson (c. 1760-1821), was arguably a more talented and less mannered artist than his older brother Walter Robertson, who served as his instructor when they lived together in Dublin. Robertson exhibited at the Royal Academy from 1790 to 1810, and in Dublin until 1821. He served as Secretary and Vice President of the Hibernian Society of Artists. A miniature of one of his daughters, Maria, and another of his brother Walter, are held in the National Gallery of Dublin, and other examples of his work may be seen at the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, and the Metropolitan Museum of Art. Dimensions: 3 x 2 ½ inches.

	Gentleman with Brown Eyes, by Andrew Plimer, Circa 1790 A British portrait miniature of a gentleman with brown eyes, wearing a powdered wig, a brown coat, a cream vest and a white stock, against a sky background. The portrait is set in the original gold frame, the reverse with cobalt glass, and a glazed aperture holding a hairwork and the gold monogram MWM. Andrew Plimer (1763-1837), one of England's most famous miniaturists, was brother to Nathaniel Plimer, another well-known miniaturist. As adolescents, Andrew and Nathaniel ran away from home, and after various adventures came to London in 1781. Andrew took employment as a man-servant to the miniaturist Richard Cosway, who recognized his artistic talent and arranged lessons for him. In 1785 Andrew left Cosway's home and, setting up in practice on his own, launched one of the most memorable careers in the history of miniature painting. Plimer painted on vellum, card, ivory and paper, and executed portraits in oil as well as miniatures. His works can be found in most collections, including those of the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, the Ashmolean Museum, and Oxford. For further information regarding this artist, see the book Andrew and Nathaniel Plimer, by Dr. G. C. Williamson. Dimensions: 2 7/8 x 2 7/16 inches.

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The primary references used for the artist biographies on the listings are: Miniatures Dictionary and Guide by Daphne Foskett,
American Portrait Miniatures in The Manney Collection, by Dale Johnson and The Miniature in Europe, by Leo Schidlof.

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