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Miniature Late 19th Century Watercolour - Victorian Woman in Black

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A charming miniature watercolour depicting a Duchess in her finery. He wears a beaded necklace and a feather adined tiara. Unsigned. Presented in a gilt frame with a ribbon cartouche...

A fine English School miniature portrait of a Victorian lady wearing a delicate lace bonnet with roses in her hair. Well presented in a 19th-century miniature frame with an acorn han...

A charming watercolour portrait depicting a widowed woman knitting in mourning wear. Part of a pair of studies by the same hand of what appears to be a mother and child. Presented in...

A finely painted Victorian watercolour of a young lady in mourning, full length, seated in a chair. Beautifully presented in an elegant gilt-effect frame with rope-twist profile. Uns...

Fine Mid 19th Century Portrait Miniature of a Woman Wearing a Lace Bonnet Finely detailed portrait miniature of an older woman wearing a lace bonnet. No visible signature. Dimensi...

Miniature signed and framed watercolour portrait of a woman.

Antique miniature watercolor portrait of a woman in a neoclassical style, set without glass in a brass frame. Measures: 1.875” x 0.125” x 1.87...

Miniature portrait of a distinguished lady, signed Stieler. Bronze frame behind oval round glass, 19th century Signed Stieler, Joseph Karl Stieler (1781- Mainz - 1858 Munich) was a German painter. The size is 10 cm x 7.5 cm x 1 cm 1820-1830 From 1820 until 1855 he worked as royal court painter of the Bavarian kings. He is known for his Neoclassical portraits, especially for the Gallery of Beauties at Nymphenburg Palace in Munich. Born in the city of Mainz to a long-established family of engravers, punchcutters and die makers, Stieler received some artistic training from his father, August Friedrich Stieler (1736–1789). After the early death of his father, Joseph Karl autodidactically completed his apprenticeship and began his career as a painter of miniatures, which were increasingly sought after by bourgeois circles After Mainz had been occupied by French revolutionary troops in 1792, Stieler followed the expelled court of Prince-Archbishop Friedrich Karl Joseph von Erthal to Aschaffenburg. Here he met with the later Archbishop Karl Theodor Anton Maria von Dalberg, who became his most important patron and sponsor. From 1802 to 1805 he attended the Academy of Fine Arts Vienna in the master class of Heinrich Füger. Stieler's portrait style was most especially shaped during his work in the Parisian atelier of François Gérard, a student of Jacques-Louis David. In 1808, he established himself as an independent portraitist in the city of Frankfurt and in 1810 travelled through Italy. From 1812 he worked at the court of King Maximilian I Joseph of Bavaria. In 1816, he again travelled to Vienna to paint the portrait of Emperor Francis I of Austria. Between February and April 1820, he worked on his portrait of Ludwig van Beethoven, which is probably the most well-known representation of the composer today. In 1847 he also painted the portrait of Lola Montez...