January 2014 – The Winterhalter Catalogue

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 4]

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 4]

[Continued from Part 3]

As it has become customary in my blog entries, at this point in time I usually furnish the information about the sitter’s descendants.

The sitter, HSH Wilhelm August Eduard Prinz von Sachsen-Weimar-Eisenach, Herzog von Sachsen (Bushy Park, London 11.10.1823-London 16.11.1902), married on 27.11.1851, Lady Augusta Catherine Gordon-Lennox (Goodwood House, Sussex 14.01.1827-London 3.04.1904).

His wife, daughter of Charles Gordon-Lennox, 5^th Duke of Richmond and Lennox (1790-1860), and Lady Caroline Paget (1796-1874, daughter of the 1^st Marquess of Anglesey), was not considered of equal birth under the German law. The marriage was deemed to have been morganatic, and the bride received a courtesy title of Gräfin von Dornburg from her future father-in-law. However, in Britain, at least since 1886, both husband and wife were consistently referred to as Their Serene Highnesses Prince and Princess Edward of Saxe-Weimar-Eisenach.

The couple had no children.

It is worthwhile pointing out that Lawrences featured in the same auction in October 2006, a portrait of Lady Augusta Catherine Gordon-Lennox, Princess Edward of Saxe-Weimar-Eisenach (lot 1556).

A comparison with the sitter’s photographs which were taken around this time irrefutably proves the identity of the sitter. While this is a beautifully executed portrait, which also bears all the quintessential hallmarks of the mid-nineteenth-century portraiture (the portrait is allegedly dated as having been painted in 1856), unfortunately, it is impossible to attribute it to Winterhalter. Not only it differs stylistically from Winterhalter’s oeuvre, it is signed by another artist. Albeit the signature is illegible, according to the catalogue, the unknown artist’s initials T and H can be clearly made out.

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 3]

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 3]

[Continued from Part 2]

As it has become customary with my blog entries, here is an abbreviated ancestry of the sitter, limited to the first three generations:

Wilhelm August Eduard Prinz von Sachsen-Weimar-Eisenach (Bushy-Park 11.10.1823-London 16.11.1902)
Carl Bernhard Fürst von Sachsen-Weimar-Eisenach (Weimar 30.05.1792-Liebenstein 31.07.1862), m.Meiningen 30.05.1816
Ida Prinzessin von Sachsen-Meiningen (Meiningen 25.06.1794-Weimar 4.04.1852, sister of Bernhard II von SM)
Karl-August Großerzog von Sachsen-Weimar-Eisenach (Weimar 3.09.1757-Graditz 14.06.1828), m.Karlsruhe 3.10.1775
Luise Auguste Landgräfin von Hessen-Darmstadt (Berlin 30.01.1757-Weimar 14.02.1830)
Georg I Friedrich Karl Herzog von Sachsen-Meiningen (Frankfurt 4.02.1761-Meiningen 24.12.1803), m. Langenburg 27.11.1782
Luise Eleonore Prinzessin von Hohenlohe-Langenburg (Langenburg 11.08.1763-Meiningen 30.04.1837)
Ernst August II Konstantin Herzog von Sachsen-Weimar-Eisenach (Weimar 2.06.1737-Weimar 28.05.1758), m. Braunschweig 16.03.1756
Anna Amalie Herzogin von Braunschweig-Wolfenbüttel (Wolfenbüttel 24.10.1739-Weimar 10.04.1807)
Ludwig IX Landgraf von Hessen-Darmstadt (Darmstadt 15.12.1719-Pirmasens 6.04.1790), m.1st Zweibrücken 12.08.1741
Karoline Henriette Christine Pfalzgräfin von Zweibrücken-Birkenfeld (Strassburg 9.03.1721-Darmstadt 30.03.1774)
Anton Ulrich Herzog von Sachsen-Meiningen (Meiningen 22.10.1687-Frankfurt 27.01.1763), m.2^nd Homburg vor der Hohe 26.09.1750
Charlotte Amalia Prinzessin von Hessen-Philippsthal (Philippsthal 11.08.1730-Meiningen 7.09.1801)
Christian Albrecht Ludwig Furst zu Hohenlohe-Langenburg (Langenburg 27.03.1726-Lidwigsruhe 4.07.1789), m. Gedern 13.04.1761
Karoline Prinzessin zu Stolberg-Gedern (Gedern 27.06.1732-Langenburg 28.05.1796)

To be continued … [see part 4].

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 2]

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 2]

[Continued from Part 1]

Winterhalter depicts Prince Edward in a head-and-shoulders format, in half-turn to the right, and facing the viewer. The prince is shown attired very modestly in the portrait, wearing an elaborately tied black silk cravat over a starched white shirt and a simple jacket. However, the simplicity of his garments is very typical of the mid-nineteenth-century style of the upper classes. As I explore in my forthcoming thesis on Winterhalter, following the upheavals of the French Revolution and Napoleonic Wars, scions of royal and aristocratic dynasties broadly adopted sensible, sober, and sombre garments of the middle classes to emphasise their subordination to the services of the country, rather the incident of birth and hereditary privileges.

Prince Edward’s aunt, Queen Adelaide, whose own children died in infancy, lavished all her motherly attention on her nieces and nephews on both sides of the channel. Prince Edward, son of Queen Adelaide’s sister, Ida von Sachsen-Meiningen, Fürstin von Sachsen-Weimar-Eisenach, was among them. He was born, and spent much of his childhood and youth, in England, becoming a close friend of the Prince of Wales (future Edward VII). In fact, Winterhalter’s original portrait, which is presently in the British Royal Collection, was bequeathed to Edward VII upon the sitter’s death. After becoming a naturalised British citizen in 1841, Prince Edward began to pursue career in the military, and fought valiantly during the Crimean War, during which he was promoted to lieutenant-colonel. From 1855, he became ADC to Queen Victoria. Prince Edward retired from active service in 1890 with the rank of Commander-in-Chief.

To be continued … [see part 3].

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 1]

Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902) (copy) @ Gorringes [Part 1]

As per the first post about Portrait of Mary, Duchess of Gloucester (1776-1857), Gorringes also featured in their slightly earlier auction, in December 2005, a painting, which was described in the catalogue as “Victorian School, Portrait of a Gentleman” (illustrated above).

The painting is, in fact, a replica or a copy of Franz Xaver Winterhalter’s Portrait of Edward Prinz von Sachsen-Weimar-Eisenach (1823-1902), the original of which, signed and dated 1849, is in the Collection of Her Majesty Queen Elizabeth II, possibly at Buckingham Palace.

Once again, a comment has to be made about the high quality of the portrait at Gorringes’, at least judging from the photograph on their website. While it is also quite possibly, just like in the case of the Portrait of Mary, Duchess of Gloucester (1776-1857), an excellent copy by William Corden, a closer examination, as well as a thorough provenance research, might suggest this work is a replica by the artist.

The same portrait – or at the very least a very similar copy or a version – appeared less than a year later at another British auction house, Lawrences (October 2006, lot 1555). This time, however, the portrait was fully catalogued, correctly identifying both the artist and the sitter.

According to the catalogue entry, the portrait was inscribed with details on reverse; and it was also accompanied with a lithograph of the painting by R.J. Lane, which once again would have made identification much easier.

It only goes to show that it is certainly impossible to know every painting by every artist, and that, at times, auction house specialists are at the mercy of the vendors.

To be continued … [see part 2].

[PS]: Neither of the auction houses provided any provenance details, so it is indeed rather difficult to know whether we are talking about the same work or two different portraits, which just happen to pop up on the British art market within a year of each other.

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes [Part 3]

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes [Part 3]

[Continued from Part 2]

As it has become customary with my blog entries, here is an abbreviated ancestry of the sitter, limited to the first three generations:

HRH Mary, Princess of Great Britain and Ireland, etc (1776-1857)
HM George III William Frederick, King of Great Britain cr 1760 (Norfolk House 4.06.1738-Windsor Castle 29.01.1820), m. St James’s Palace 8.09.1761
HSH Sophie Charlotte Herzogin von Mecklenburg-Strelitz (Mirow 19.05.1744-Kew Palace 17.11.1818)
HRH Frederick Lewis, Prince of Wales (Hannover 20.01.1707-Leicester House 20.03.1751), m. St James’s Palace 8.05.1736
HSH Augusta Prinzessin von Sachsen-Gotha (Gotha 30.11.1719-Carlton House 8.02.1772)
HSH Karl I Ludwig Friedrich, Herzog von Mecklenburg-Strelitz (Strelitz 23.02.1708-Mirow 5.06.1752), m. Eisenfeld 5.02.1735
HSH Elisabeth Albertine Prinzessin von Sachsen-Hildburghausen (Hildburghausen 3.08.1713-Neustreiltz 29.06.1761)
HM George II Augustus, King of Great Britain cr 1727 (Hannover 30.10.1683-Kensington Palace 25.10.1760), m. Hannover 22.08.1705
HSH Karoline Markgrafin von Brandenburg-Ansbach (Ansbach 1.03.1683-St James’s Palace 20.11.1737)
HSH Friedrich II Herzog von Sachsen-Gotha (Gotha 28.07.1676-Altenburg 23.03.1732), m. Schloss Friedenstein, Gotha 7.06.1696
HSH Magdalene Auguste Prinzessin von Anhalt-Zerbst (Zerbst 13.10.1679-Altenburg 11.10.1740)
HSH Adolf Friedrich II Herzog von Mecklenburg-Strelitz (Grabow 19.10.1658-12.05.1708), m.3^rd Strelitz 10.06.1705
HH Christiane Emilie Antonie Prinzessin von Schwarburg-Sonderhausen (March 1681-Mirow 1.11.1715)
HSH Ernst Friedrich I Herzog von Sachsen-Hildburghausen (Gotha 21.08.1681-Hildburghausen 9.03.1724), m. Erbach 4.02.1704
HH Sofie Albertine Grafin von Erbach-Erbach (Erbach 30.07.1683-Eisenfeld 4.09.1742)

HRH Mary, Princess of Great Britain and Ireland, etc (1776-1857), married in 1816 her cousin, HRH William Frederick, 2^nd Duke of Gloucester & Edinburgh, Earl of Connaught (1776-1834).

The couple had no children.

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes [Part 2]

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes [Part 2]

[Continued from Part 1]

The sitter was the fourth daughter and eleventh child of King George III and Queen Charlotte of Great Britain. She was considered to be the most beautiful of the six daughters, but similarly to her sisters, Mary’s prospects of connubial bliss were overshadowed by the illness of her father, domineering spirit of her mother, historical events, and the political instability in Europe. Eventually, in 1816, she married her cousin William, Duke of Gloucester. Although the marriage would have been vetoed by her father who disapproved marriages between cousins in general, and of the Gloucester family in particular, the union took place during George III’s illness and was only made possible with the mediation of the Prince Regent.

The Duchess of Gloucester commissioned Winterhalter to paint her portrait as a birthday present to her niece, Queen Victoria, with whom she was very close. When the Duchess died in 1857, at the age of 81, having outlived all her brothers and sisters, Queen Victoria wrote: “With her is gone the last link, which connected us with a bygone generation. She was an authority on everything, a bright example of loyalty, devotion and duty, the kindest and best of mistresses, and friends. She had become like a grandmother to us all, from her age, and from her being the last of the family.”

To be continued … [see part 3].

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes (cat no 389) [Part 1]

Portrait of Mary, Duchess of Gloucester (1776-1857) (copy) @ Gorringes [Part 1]

Replicas and copies of Winterhalter’s works are becoming increasingly valuable on the art market. However, they can still slip by unnoticed and undetected with a relative ease at art auctions.

For example, the auction house Gorringes, of Lewes, East Sussex, featured in one of their auctions in April 2006 a painting which they described as “Victorian School, Portrait of an Old Lady” (illustrated above).

The painting is, in fact, an exceptionally fine copy of Franz Xaver Winterhalter’s Portrait of Mary, Duchess of Gloucester (1776-1857), the original of which, signed and dated as painted in 1850, is in the collection of Her Majesty Queen Elizabeth II, possibly at Buckingham Palace.

The portrait shows Queen Victoria’s seventy-four year old aunt at head-and-shoulders, in half-turn to the left, turning her head towards the viewer. Her hair is parted in the middle and plaited around the ears in an early Victorian style. It is covered by a blue and white lace headdress, which is fastened under her chin, and descends onto her shoulders. The Duchess is wearing a dark-brown day dress, possibly of satin or silk, with ruches and embroideries, and with a white collar edged with lace. Her decorations comprise of a single golden brooch just visible under the lace; and a heavy pendant, possibly a large miniature or a watch, suspended from a heavy gold chain.

The portrait clearly shows Winterhalter’s versatility in depicting sitters of all ages. The artist has been frequently accused of beautifying and idealising his sitters, but as this portrait shows, he does not shy away from the veristic though sympathetic depiction of the venerable old age.

I have only seen a photograph of the work at Gorringes online, and not in high resolution. It is most likely a copy by William Corden, a professionally trained painter of extraordinary talent, who, together with his son William was employed by Queen Victoria almost exclusively as a copyist. However, the exceptionally high quality of the portrait, that comes forth even through this low resolution, makes me wonder whether this could be indeed Winterhalter’s own replica.

To be continued … [see part 2].

Portrait of Katharina Sigl-Vespermann (1802-1877), 1825 @ Kiefer Pforzheim [Part 2]

Portrait of Katharina Sigl-Vespermann (1802-1877), 1825 @ Kiefer Pforzheim [Part 2]

[Continued from Part 1]

Winterhalter’s involvement with lithography began early at the age of 12 or 13, when in 1818 he began his apprenticeship at the lithographic studios in Freiburg-im-Breigau. His lithographic work continued in Munich from 1823, where he also attended the Bavarian Academy of Fine Arts. A number of Winterhalter’s lithographs from the Munich period feature performers of the Hofoper, or the Royal Bavarian Opera and Ballet Theatre. While further research on this subject is required, given the fact that the artist was still a young student, it is most likely that commissions for the portraits of theatre performers came to him via one of the lithographic publishing houses for which he worked at the time, such as those of Montmorillon, Piloty, or Selb.

It is important to point out that in 1828 Katharina Sigl-Vespermann was also painted by the Bavarian Court portraitist, Karl Joseph Stieler (1781-1858) (oil on canvas, Neue Pinakothek, Munich). This means that Winterhalter’s portrait predates that of Stieler, and was most likely carried out before Winterhalter joined Stieler’s studio, whereupon the artist concentrated on producing numerous portrait lithographs based on the works of his master rather than on his own original drawings.

It has to be admitted, albeit reluctantly, that of the two portraits, Stieler’s is arguably better of the two. However, it has to be borne in mind that Stieler’s portrait is a work by a mature artist whose reputation as the elite portrait specialist was established literally before Winterhalter was born. At the same time, it is interesting to observe, that Sigl-Vespermann looks very similar in both portraits. Both artists captured not only the singer’s elaborately fashionable hairstyle, but also her strikingly elongated and angular face, and a long, swan-like neck. It can be argued that the comparison between the two portraits clearly shows that Winterhalter’s mimetic abilities were already in evidence from the very early stages of his career.

Portrait of Katharina Sigl-Vespermann (1802-1877), 1825 @ Kiefer Pforzheim [Part 1]

Portrait of Katharina Sigl-Vespermann (1802-1877), 1825 @ Kiefer Pforzheim [Part 1]

The auction house Kiefer features in their forthcoming Buch- und Kunstauktionen on 15 February 2014, in Pforzheim, Germany, a lithographic Portrait of Katharina Sigl-Vespermann (1802-1877) by Franz Xaver Winterhalter (40 x 29.2 cm, lot 5581, est. €0 – €60).

The lithograph shows the sitter frontally, at half-length, head in semi-profile to the left, her gaze piercing the limits of the picture plane. She wears a fashionable gown most likely of silk, gathered high at the waist, with large diaphanous sleeves, and decorated with silk bows at shoulders. Her hair is parted on one side, styled in fashionably elaborate curls, and adorned with roses.

Katharina Sigl-Verspermann was a renowned Bavarian operatic performer. She came from a family of Bavarian singers and musicians, and made her debut on the Berlin stage at the age of 10. In 1820 she received a permanent engagement with the Munich Court Theatre, where she gave memorable performances as Queen of the Night, Susanne, Elvira, Myrrha, Marzelline (Fidelio), and numerous other roles. She continued touring, appearing on the stages of Vienna, Nurnberg, and Stuttgart. In 1828 she married the baritone Wilhelm Vespermann (1784-1837), widower of another respected opera singer, Clara Metzger (1799-1827). An illness forced Katharina to retire from the stage in 1833, but she continued to participate in selected concerts and performances. She died at the age of 75 in Munich, in 1877.

The importance of this lithograph lies in the fact that it is one of the earliest known lithographic portraits by artist. The portrait bears facsimile signature and date lower right: Winterhalter ft – 1825, suggesting that the artist may also have been responsible for the original portrait drawing on which the lithograph is based (present whereabouts unknown). As the print bears no other names, it is highly possible that the artist was responsible for both the drawing and the production of a lithograph after it.

To be continued … [see part 2].

Portrait of Luise Gräfin von Langenstein und Gondelsheim (1826-1900), 1834 (cat. no. 98a) [Part 5]

Portrait of Luise Gräfin von Langenstein und Gondelsheim (1826-1900), 1834 (cat. no. 98a) [Part 5]

[Continued from Part 4]

As it has become customary with my blog entries, here is an abbreviated list of the sitter’s descendants, limited to the first three generations:

1. Vilhelm Ludwig Carl Graf Douglas (1849-1908), m.1899 Valerie Lesca Weiss (1867-1927)

2. Ludwig Vilhelm August Graf Douglas (1849-1916), m. 1876 Countess Anna Louise Dorothea Ehrensvard (1855-1930)

2.1. Anna Louise Dorothee Gräfin Douglas (1878-1964), m.1901 Axel Theodor Baron Adelsward (1860-1929)

2.1.1. Baroness Louise Adelsward (1902-1989), m.1^st 1923 Baron Gustaf Gabriel Falkenberg af Trystrorp (1893-1947), m.2^nd 1948 Birger Lundqvist (1888-19xx), having had issue (descendants: Beck-Friis, Falkenberg, von Rosen, Stenbock)

2.1.2. Baroness Carin Adelsward (1903-1987), m.1934 Gerhard Rundberg (1903-78)

2.1.3. Baron Erik Goran Adelsward (1905-1905)

2.1.4. Baroness Anna Adelsward (1906-93), m.1^st 1927 (div.1946) Count Clas Eric Sparre af Sofdeborg (1898-1948), m.2^nd 1949 Arne Moe-Larsen (1889-19xx), having had issue (descendants: Klingspor, Reuterskiöld, Rosenorn-Lehn)

2.1.5. Baroness Eva Helena Adelswärd (1908-1993), m.1931 Anders Grill (1896-19xx)

2.1.6. Eric-Göran, Baron Adelswärd (1909-1986), m.1^st 1935 (div 1963) Baroness Ebba Friis-Beck (1911-1986), m.2^nd 1964 Ulla Holm (1918-1986), having had issue (descendants include: Adelswärd, Ankarcrona)

2.1.7. Baron Gosta Adelsward (1913-1997), m.1948 Gunhild Wigner (1917-), having had issue (descendants: Adelswärd)

2.2. Carl Robert, Graf Douglas (Villa Douglas 24.04.1880-Schloß Langenstein 26.08.1955), m.1^st Ordrup 11.08.1906 (div.1938) Sofia de Fine Blauuw (Christiania 9.01.1886-Konstanz 20.08.1971); m.2^nd 1939 HRH Augusta Viktoria Prinzessin von Hohenzollern (1890-1966)

2.2.1. Ludwig Wilhelm Karl Graf Douglas (Langenstein 18.5.1907- Konstanz 6.6.1987), m.1^st Vorra 25.05.1937 Ursula Emilie Sophie Antonie Caroline Freiin v. Ellrichshausen (Stuttgart 12.3.1913-Langenstein 8.4.1972), m.2^nd 1974 Margit Bortfel (1919-), having had issue (descendants: Douglas, von Malaise, Milne, Stanley, von Stolberg-Wernigerode)

2.2.2. Ludwig Graf Douglas (1909-79), m.1^st 1936 Anne-Marie Staehlin (1912-41), m.2^nd Edith Straehl (1915-1999), having had issue (descendants include: von Blanckestein, Douglas, zu Waldburg-Zeil-Hohenems)

2.2.3. Robert Graf Douglas (1914-83), m.1949 Mielikki Taiovarra (1921-85), having had issue (descendants: Douglas)

2.2.4. Marie-Louise Gräfin Douglas (1921-), m.1^st 1944 (div.1962) Dennis Graf von Bieberstein-Krasicki von Siecin (1901-77), m.2^nd 1962 Zygmunt von Michalow Michalowski (1918-), having had issue (descendants: von Michalow Michalowski)

2.3. Albert Archibald Graf Douglas (4.06.1882-20.07.1882)

2.4. Vilhelm Archibald Graf Douglas (1883-1960), m.1907 Astri Henschen (1883-1976)

2.4.1. Carl Graf Douglas (1908-61), m.1935 Ottora Haas-Heye (1910-2001), having had issue (descendants include: von Bayern, Douglas, von und zu Liechtenstein, Spencer-Churchill (Dukes of Marlborough), Terberger, von Württemberg)

2.4.2. Archibald Graf Douglas (1910-92), m. 1945 Freiin Margaret Lagerfelt (1924-), having had issue (descendants: Douglas)

2.4.3. Gustaf Graf Douglas (1917-34)

2.5. Hedvig Ingeborg Gräfin Madeleine Douglas (1886-1983), m.1^st 1906 (div.1931) Charles Louis, Comte Fouché, Duc d’Otrante (1877-1950); m.2^nd 1931 Ivar Tengbom (1878-1968)

2.5.1. Thérèse Fouché d’Otrante (1907-2000), m.1^st 1929 (div.1935) Hans Bennich (1895-1950), m.2^nd 1937 Eugène Frieherr von Stedingk (1896-1947), having had issue (descendants: Bennich, Murray, von Stedingk)

2.5.2. Margareta Fouché d’Otrante (1909-2005), m.1934 HSH Gustav-Albrecht, Fürst zu Sayn-Wittgenstein-Berleburg (1907-disappeared in Russia, 1944; declared dead 1969), having had issue (descendants include: Brachetti-Peretti, von Dewitz, Galdo, von Hessen, von Hochberg, Konigs, zur Lippe, von Pezold, von Pfeil und Klein-Ellguth, von Saurma von und zu Elst, zu Sayn-Wittgenstein-Berleburg, Schmucker, zu Solms-Laubach)

2.5.3. Charles, Comte Fouché, Duc d’Otrante (1912-95), m.1967 Christina Grafin von Rosen (1939-), having had issue (descendants: Fouché d’Otrante)

2.5.4. Comte Louis Fouché d’Otrante (1917-), m.1944 Birgitta Tham (1915-), having had issue (descendants: Fouché d’Otrante, Dyhlén, Liljenqvist, zu Solms-Hohensolms-Lich)

2.6. Carl Sholto Graf Douglas (1888-1946), m.1919 Maria Mathilde Hedvig von Schlichsting (1895-1971)

2.6.1. Christina Gräfin Douglas (1923-68), m.1945 Sten, Baron Banér (1920-), having had issue (descendants: Banér)

2.6.2. Countess Madeleine Douglas (1927-), m.1949 Hans, Baron Ramel (1925-), having had issue (descendants: Anderson, Ramel)

2.7. Maria Ellen Gräfin Douglas (1892-1987), m.1927 (div.1937) Martin Mansson (1880-1952)

2.8. Oskar Vilhelm Graf Douglas (1896-1991), m.1926 Skarstedt (1901-93)

2.8.1. Jakob Graf Douglas (1927-), m.1950 Hedvig Thielers (1930-), having had issue (descendants: Douglas)

2.8.2. Gustaf Otto Graf Douglas (1930-), m.1^st 1956 (div.1979) Marianne Bäckström (1931-), m.2nd 1980 Eva-Britta Bibring (1946-), having had issue (descendants: Douglas)

2.8.3. Anna Gräfin Douglas (1936-), m.1960 Lars Christofferson (1935-), having had issue (descendants: Christofferson, von Oheimb)

2.8.4. Maria Gräfin Douglas (1941-), m.1967 Freiherr Eugen von Redwitz (1939-), having had issue (descendants: von Redwitz, Reuttner von Weyl-Mynett)

3. Madeleine Sofia Henrietta Gräfin Douglas (1852-99), m.1888 Hans Mikael Gottlib Herman Malio Freiherr von Meyern-Hohenberg (1860-1912) – s.p.

4. Catharina Carolina Lovisa Gräfin Douglas (1854-93), m. 1874 Heinrich Christian, Freiherr Gayling von Altheim (1847-1940)

4.1. Carl Heinrich Freiherr Gayling von Altheim (1875-1931), m.1st 1911 (div 1921) Ada Suermondt (1885-1966); m.2nd 1922 Elisabeth Belzer (1895-1984)

4.1.1. Olga Freiin Gayling von Altheim (1912-87), m.1941 (div.1976) Otto Westphal (1913-2004), having had issue (descendants: von Gayling-Westphal)

4.1.2. Elisabeth Freiin Gayling von Altheim (1879-1961), m.1906 Rudolph von und zur Mühlen (1875-1914)

5. Maria Augusta Lovisa Gräfin Douglas (1854-1923), m. 1903 Carl August Philip Graf von der Goltz (1848-1905)

6. Frederick Gustaf Archibald Graf Douglas (1859-1921)