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George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864
Artware Fineart
for sale €819     $889
£700

Artware Fineart

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George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864

19th century
For Sale by Artware Fineart
Description

George Hamilton Barrable, fl 1873 - 1887

Henry Pelham Fiennes Pelham-Clinton, fifth duke of Newcastle under Lyme 1811–1864

Signed/Inscribed:

middle right "By Mr Barrable"

pencil coloured chalks and watercolour

58 x 46 cm. (23 x 18 in.)

Henry Pelham Fiennes Pelham-Clinton, , fifth duke of Newcastle under Lyme (1811–1864), politician, was born on 22 May 1811 at 39 Charles Street, Berkeley Square, London, the third child but eldest son of Henry Pelham Fiennes Pelham-Clinton, fourth duke of Newcastle under Lyme (1785–1851), and his wife, Georgiana Elizabeth (1789–1822), daughter of Edward Miller Mundy of Shipley, Derbyshire. Styled the earl of Lincoln until 1851, he was educated at Eton College (1824–8), and in 1829 proceeded to Christ Church, Oxford, where he took a BA degree in 1832. While at Oxford he became a close friend of William Ewart Gladstone; both belonged to the Union Debating Society, each serving as president, and both were members of the Essay Club, founded as an Oxford equivalent to the Cambridge Apostles. He also shared Gladstone's high-church Anglicanism.

Both Lincoln and Gladstone entered parliament as Conservatives in December 1832 through the influence of the fourth duke of Newcastle, the former, without a contest, for South Nottinghamshire and the latter for Newark. On 27 November 1832, shortly before his election, Lincoln married Susan Harriet Catherine (1814–1889), daughter of Alexander Douglas-Hamilton, tenth duke of Hamilton, granddaughter of William Beckford, and sister of William Douglas-Hamilton, later the eleventh duke, an Eton and Oxford friend of Lincoln. He served as a lord of the Treasury from 31 December 1834 to 20 April 1835 in Sir Robert Peel's first ministry. It was at this time that a lasting bond of friendship was established between Peel and his young subordinate colleagues, whom he had introduced to official life.

Lincoln became first commissioner of woods and forests on 15 April 1841 when Peel formed his second administration. As commissioner he performed a myriad of tasks, including providing more public accessibility to royal buildings and parks; enacting the major recommendations of the metropolitan improvements commission, over which he served as chairman; enlarging Buckingham Palace; and superintending the work of the British Geological Survey. Following Gladstone's resignation over the Maynooth College grant early in 1845, Peel appointed Lincoln to the cabinet; and on 14 February 1846 he was made chief secretary for Ireland in Peel's reconstituted administration. The potato famine had become catastrophic by the time he arrived in Ireland. Despite opposition to large-scale state assistance from Treasury officials, especially Charles Edward Trevelyan, he helped to set in motion famine relief measures that included a programme of public works to create employment to enable the Irish people to purchase imported grain. He also became a principal proponent for larger measures to stimulate economic growth and reconstruct Irish society. Although modest, the famine relief measures prevented exceptional suffering during the first half of 1846; but his tenure as chief secretary ended when the Peel ministry resigned in June 1846.

By the time of his appointment as chief secretary Lincoln had modified his earlier protectionist views and was in complete agreement with Peel over the necessity of repealing the corn laws. Peel acknowledged the support he received from Lincoln during the contest over corn law repeal, and the obloquy and sacrifice which this had involved. He suffered his father's wrath for supporting repeal, having already angered him by his support for the Maynooth grant. When he had to seek re-election for his South Nottinghamshire seat on accepting the Irish chief secretaryship, he was defeated by a protectionist candidate backed by his father. His father-in

Physical Dimensions
Height
58cm (22.83")
Width
46cm (18.11")
Depth
2cm (0.79")
Declaration

Artware Fineart has dated this Victorian Oval Portrait Miniature to the 19th Century.

Reference Numbers
Sellingantiques Reference
SA837548
Dealers Internal Reference
3838
Description
George Hamilton Barrable, fl 1873 - 1887

Henry Pelham Fiennes Pelham-Clinton, fifth duke of Newcastle under Lyme 1811–1864

Signed/Inscribed:

middle right "By Mr Barrable"

pencil coloured chalks and watercolour

fig 1. An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
fig 1. George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864

58 x 46 cm. (23 x 18 in.)

Henry Pelham Fiennes Pelham-Clinton, , fifth duke of Newcastle under Lyme (1811–1864), politician, was born on 22 May 1811 at 39 Charles Street, Berkeley Square, London, the third child but eldest son of Henry Pelham Fiennes Pelham-Clinton, fourth duke of Newcastle under Lyme (1785–1851), and his wife, Georgiana Elizabeth (1789–1822), daughter of Edward Miller Mundy of Shipley, Derbyshire.

Styled the earl of Lincoln until 1851, he was educated at Eton College (1824–8), and in 1829 proceeded to Christ Church, Oxford, where he took a BA degree in 1832.
Artware Fineart

While at Oxford he became a close friend of William Ewart Gladstone; both belonged to the Union Debating Society, each serving as president, and both were members of the Essay Club, founded as an Oxford equivalent to the Cambridge Apostles. He also shared Gladstone's high-church Anglicanism.

fig 2. An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
fig 2. George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864

Both Lincoln and Gladstone entered parliament as Conservatives in December 1832 through the influence of the fourth duke of Newcastle, the former, without a contest, for South Nottinghamshire and the latter for Newark. On 27 November 1832, shortly before his election, Lincoln married Susan Harriet Catherine (1814–1889), daughter of Alexander Douglas-Hamilton, tenth duke of Hamilton, granddaughter of William Beckford, and sister of William Douglas-Hamilton, later the eleventh duke, an Eton and Oxford friend of Lincoln. He served as a lord of the Treasury from 31 December 1834 to 20 April 1835 in Sir Robert Peel's first ministry. It was at this time that a lasting bond of friendship was established between Peel and his young subordinate colleagues, whom he had introduced to official life.

fig 3. An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
fig 3. George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864

Lincoln became first commissioner of woods and forests on 15 April 1841 when Peel formed his second administration. As commissioner he performed a myriad of tasks, including providing more public accessibility to royal buildings and parks; enacting the major recommendations of the metropolitan improvements commission, over which he served as chairman; enlarging Buckingham Palace; and superintending the work of the British Geological Survey. Following Gladstone's resignation over the Maynooth College grant early in 1845, Peel appointed Lincoln to the cabinet; and on 14 February 1846 he was made chief secretary for Ireland in Peel's reconstituted administration. The potato famine had become catastrophic by the time he arrived in Ireland. Despite opposition to large-scale state assistance from Treasury officials, especially Charles Edward Trevelyan, he helped to set in motion famine relief measures that included a programme of public works to create employment to enable the Irish people to purchase imported grain. He also became a principal proponent for larger measures to stimulate economic growth and reconstruct Irish society. Although modest, the famine relief measures prevented exceptional suffering during the first half of 1846; but his tenure as chief secretary ended when the Peel ministry resigned in June 1846.

By the time of his appointment as chief secretary Lincoln had modified his earlier protectionist views and was in complete agreement with Peel over the necessity of repealing the corn laws. Peel acknowledged the support he received from Lincoln during the contest over corn law repeal, and the obloquy and sacrifice which this had involved. He suffered his father's wrath for supporting repeal, having already angered him by his support for the Maynooth grant. When he had to seek re-election for his South Nottinghamshire seat on accepting the Irish chief secretaryship, he was defeated by a protectionist candidate backed by his father. His father-in

Height
58cm (22.83")
Width
46cm (18.11")
Depth
2cm (0.79")
Date of Manufacture

Artware Fineart has dated this Victorian Oval Portrait Miniature to the 19th Century.

Reference Numbers
Sellingantiques Ref
SA837548
Dealers Internal Ref
3838
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
1 / 4
Archive I An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.

George Hamilton Barrable, Fl 1873 - 1887 Henry Pelham Fiennes Pelham-clinton, Fifth Duke of Newcastle Under Lyme 1811–1864

Archive II An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia. View II
Archive III An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia. View III
Archive IV An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia. View IV
Enlarged Archival View
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Location
18 La Gare
51 Surrey Row
London
SE1 0BZ
United Kingdom
Verified Since Sep 2008
Items For Sale 243
Items Sold 223
Artware Fineart
Verified Since Sep 2008
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Location: 18 La Gare , 51 Surrey Row , London , SE1 0BZ , United Kingdom
Verified
Sep 2008
For Sale
243
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An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
George Hamilton Barrable, fl 1873 - 1887 Henry Pelham Fiennes Pelham-Clinton, fifth duke of Newcastle under Lyme 1811–1864
Ref: SA837548
An oval Victorian watercolour portrait painting depicting a gentleman with a reddish-brown beard wearing a dark coat, blue sash, and star insignia.
Detail View 1
Detail View 2
Detail View 3
Archival Detail
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Portrait miniatures were small, detailed paintings that peaked in popularity during the 18th and 19th centuries across Europe. In the Victorian era, these portable likenesses were executed in watercolour on ivory, vellum, or paper to record personal relationships, family heritage, and noble status prior to the widespread commercial adoption of photography.

Artists typically painted 19th-century miniature portraits using watercolour or gouache applied to thin wafers of ivory, vellum, or heavy paper stock. Frames were frequently made from gilt bronze, brass, or carved wood, occasionally featuring protective convex glass covers.

Authentic period miniatures exhibit fine, minute brushwork under magnification rather than mechanical dot patterns characteristic of modern reproductions. Original pieces often feature period-appropriate backing materials, hand-applied signatures, and slight natural age marks on the paper or ivory surface.

Miniature portraits are best displayed grouped together in a gallery wall arrangement or resting on framed picture easels within bookshelves, consoles, or mantelpiece displays. Combining them with contemporary artwork creates a curated contrast inside traditional and eclectic interiors.

Keep watercolour portrait miniatures out of direct sunlight and away from high humidity to prevent fading, warping, or foxing. Display them behind UV-filtering glass and avoid wiping the original painted surface directly with liquid cleaners.
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