To follow up my two earlier posts, both portraits by Franz Xaver Winterhalter were sold at Sotheby’s London on 24 February 2015. Lot 173, Portrait of Clothilde Gräfin von Wylich und Lottum, sold for £ 32,500 / € 44,255 / AUD 64,652. The portrait of her daughter-in-law, Wanda Fürstin von und zu Putbus (Lot 174), sold for £ 31,250 / € 42,553 / AUD 62,165.
© Eugene Barilo von Reisberg, 2015
Porträt eines jungen Herren @ Ketterer
This spirited and lively sketch of a young man with a somewhat surprised and bemused expression on his face, by HERMANN WINTERHALTER, was offered at Ketterer Kunst’s Old Masters & Art of the 19th Century auction, in Munich, 21 Nov 2014, lot 196. Estimated at € 1,000, the drawing was sold for € 1,250 (and went to a very good collection in Germany).
The identity of the sitter remains unknown. The auctioneers dated the drawing from ca. 1870, which means the gentleman in the portrait was most likely a resident of Karlsruhe or Frankfurt-am-Main.
Every time I discover a new work by Hermann Winterhalter, every time I realise more and more what a talented and gifted artist he was in his own right. The drawing has been entered under the provisional no. 195 in Hermann Winterhalter’s catalogue.
© Eugene Barilo von Reisberg, 2015.
Portrait of Wanda Fürstin von und zu Putbus (1837-1867) @ Sotheby’s
The second portrait consigned to Sotheby’s represents daughter-in-law of Clothilde Gräfin von Wylich und Lottum, whose portrait was discussed in the previous post.
It represents Wanda-Marie von Veltheim-Bartensleben, Fürstin v.u.z. Putbus (1837-67) [1858, Paris; oil on canvas, 100 x 81.5 cm, cat. no. 658], who was the eldest of two daughters, and the eldest of the three children, of Georg Albrecht Karl Freiherr von Veltheim-Bartensleben (1812-74) and his first wife, Asta-Luise Gräfin zu Putbus (1812-1850). In July 1857, shortly before her twentieth birthday, she married Wilhelm-Malthus, Graf von Wylich und Lottum (1833-1907), her first cousin, second son of her maternal aunt and future mother-in-law, Clothilde Gräfin von Wylich und Lottum (1809-94). The couple had five daughters, the three eldest of whom would inherit their father’s sovereign titles in succession. She was a regular fixture at social entertainments in Berlin, an expert huntress, and a hostess par excellence, entertaining a number of notable guests, including Otto von Bismark, at the family’s castle on the island of Rügen. The Princess died of puerperal fever sixteen days after giving birth to her youngest daughter, Wanda-Augusta, on 18 December 1867, aged 30 years and six months. Her sudden death was deeply lamented by her close friend, Queen Victoria eldest daughter, Victoria, Crown Princess of Prussia (later Empress of Germany).
The Princess is shown standing, at three-quarter-length, in half-turn to the left, and facing the viewer. Her hair is parted in the middle, brushed back and arranged in chignon and neck-length curls. She is wearing a black silk or satin travelling dress with white lace collar and a large black and red bow at the front; with black ruches, lace and other details on the sleeves and bodice. A large wrap is thrown around arms; light-brown leather gloves are worn. Her jewellery comprises of gold and jet earrings and a small (watch?) chain at her waist. The princess is shown against a bright red background, presumably the artist’s studio curtain.
The portrait was most likely commissioned to commemorate the sitter’s wedding in 1857 to Wilhelm-Malthus, Fürst v.u.z. Putbus (1833-1907). As Winterhalter was at the height of his career at the time, with the waiting list of up to two years, it is quite possible that the young bride may have waited for more than six months to have her portrait painted. The choice of a travelling / day dress is unusual in Winterhalter’s oeuvre. The large black wrap suggests that the portrait may have been painted either in winter or early spring of 1858 when the Princess was six to seven months pregnant. The strict and voluminous garments may have been chosen for the portrait to partially disguise her pregnancy.
Incidentally, the Princess was also painted by Richard Lauchert (oil on canvas, signed and dated as painted in 1863, Jagdschloss Granitz). Richard Lauchert was a pupil of F.X. Winterhalter, and also a cousin by marriage to Victoria, Crown Princess of Prussia, who commissioned a number of portraits from Lauchert and also recommended him to her mother, Queen Victoria. Wanda was a personal friend of the Crown Princess, and it is quite likely that the latter may have recommended Lauchert for the later portrait commission.
The portrait will be offered at Sotheby’s London, Of Royal and Noble Descent, 24 Feb 2015, lot 174 (est. £25,000-35,000). See http://www.sothebys.com/
I would like to thank Sotheby’s for acknowledging my assistance with cataloguing this work.
© Eugene Barilo von Reisberg, 2015.
Portrait of Clothilde Gräfin von Wylich und Lottum (1809-1894) @ Sotheby’s
Two important portraits have been consigned to Sotheby’s from a private collection.
The first one depicts Clothilde Gräfin von Wylich und Lottum (1809-1894 née Gräfin und Herrin von und zu Putbus) [1854, Paris; oil on canvas, 82 x 63 cm; cat no 513a]. She was the eldest of five daughters and second of six children of Wilhelm-Malthus Reichsgraf zu Putbus (1783-1854) by his wife, Luise von Lauterbach (1784-1860). In 1828, at the age of 19, she married Hermann Frederick, Graf von Wylich und Lottum (1796-1847), who was thirteen years her senior. He was a chamberlain at the Prussian court and the minister at Naples for a number of years. The couple had three children, two sons and a daughter, the youngest of whom, Wilhelm-Mathus, inherited his maternal grandfather’s estates and titles as a sovereign prince of Putbus, an extensive appanage within the Pomeranian region of present-day Germany.
The countess is depicted at half-length, against a neutral olive-green background, in half-turn to the left, and facing the viewer. The hair is parted in the middle and arranged on both sides in neck-length curls. She is wearing a black dress with plunging neckline edged with two deep valances of white lace, black silk ruches, and further detailing on the bust and sleeves. A brown fur stole is thrown around her arms.
The black dress of the countess reflects her status as widow (her husband died in 1847), but also as a sign of mourning for her father, Wilhelm Malthus, 1st Fürst v.u.z. Putbus who died in September 1854. The portrait, therefore, was quite likely to have been commissioned to commemorate her succession to her father’s sovereign titles, and would have been painted in the late autumn or early winter of 1854, which also explains the reason why the countess poses wrapped in furs.
The portrait has become the official representation of the sovereign countess, having been lithographed by Gustav Heinrich Gottlob Feckert (1820-1899), and copied at least once.
The portrait will be offered at Sotheby’s London, Of Royal and Noble Descent, 24 Feb 2015, lot 173 (est. £20,000-30,000). See http://www.sothebys.com/
I would like to thank Sotheby’s for acknowledging my assistance with cataloguing this work.
© Eugene Barilo von Reisberg, 2015.
I am thrilled to add a new catalogue entry – Jeune Femme des Monts Sabins, by Hermann Winterhalter (oil on canvas, 98 x 76 cm).
Thrilled – because so little is known about Hermann Winterhalter, that every new work, which emerges from a private collection, is akin to a major revelation, and becomes an important addition to our collective knowledge about this supremely gifted and technically adroit painter.
The painting is signed [H] Winterhalter lower left and the handwriting clearly matches Hermann Winterhalter’s signatures in his other authenticated works. It appears to have been painted around the late 1830s to early 1840s, when Hermann joined his brother in Paris and began producing a number of Italian studies influenced by, and reminiscent of, Franz Xaver’s works. A number of these paintings were exhibited at the Salon, where they attracted a positive critical response.
The painting is included in the forthcoming auction, Mobilier, objets d’art, peinture, argenterie, Maître Guillaumont, 1725 route de Riottier, Villefranche-sur-Saône, and will be offered for sale on 28 February 2015, lot 12, estimates €4,000-6,000. [Please see http://www.interencheres.com/ or http://www.auction.fr/ for further information about this sale].
I would like to thank Maître Guillaumont for acknowledging my assistance in the cataloguing of this work.
The painting has been entered into Hermann Winterhalter’s Catalogue Raisonné under the provisional no. 101k.
© Eugene Barilo von Reisberg, 2015.
A Sitter Suggested – Lady in Waiting to Augusta Prinzessin von Sachsen-Altenburg (no. 744h).
The Courtauld Institute of Art has a lovely spirited sketch, enticingly titled Hofdame of the Princess of Altenburg. According to the catalogue records, the drawing appears to be unsigned, but a semi-legible inscription on the reverse reads: Hofdame der Prinzessin … / Moritz … Altenburg.
It is quite easy to establish the identity of Prinzessin … / Moritz … Altenburg. This is most definitely Augusta Prinzessin von Sachsen-Meiningen (1843-1919), who incidentally is believed to have been painted by Winterhalter, together with her parents and brother, around 1849 (present location unknown); and who in 1862 married Moritz Prinz von Sachsen-Altenburg (1829-1907).
The date of the princess’s wedding establishes the approximate date for the sketch, which would have been drawn some time in or after 1862.
A research of the Sachsen-Alteburg Hofkalendar suggests that the woman in the portrait is most likely to be the Princess’s chief lady-in-waiting, or Oberhofmeisterin, by the name of Fräulein Julie von Stenglin, genn. von Benninghausen. Further research establishes the dates of Julie v. Stenglin as 1812-1892. This would suggest that she would have been in her early 50s when the sketch was drawn. This (arguably) coincides with the age of the lady in the Courtauld drawing.
The Hofkalendar also states that Fräulein Julie v. Stenglin was an ‘Ehrendame des Köngl. Bayerischen Theresien-Ordens’, which is perhaps the insignia clearly visible on the woman’s left breast.
The drawing has been provisionally entered in the Catalogue Raisonné under no. 744h.
© Eugene Barilo von Reisberg, 2015
The Winterhalter Catalogue 