Portrait de jeune fille en robe de bal @ Piasa, 21 Dec 2012

April 2, 2013 § 1 Comment

Portrait of a Lady from Piasa

Portrait de jeune fille en robe de bal @ Piasa, 21 Dec 2012

This potrait appeared at Piasa, in Paris, on 21 December 2013 (lot 107, oil on canvas, 66.0 x 55.0 cm), as by Hermann Winterhalter (est. € 2,000-3,000).

The fact that the portrait is not by the artist is apparent on stylistic grounds.

This unfortunate misattribution is further confirmed by the presence of a signature in the lower right-hand-side of the painting, which is also not in Hermann Winterhalter’s handwriting.

There is little doubt that this portrait was painted by a professional artist, most likely from the second half of the nineteenth century.

At the time of writing, the portrait remains unsold. Hopefully, with further research, the correct attribution will be found.

© Eugene Barilo von Reisberg, 2013

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Florinda @ Koller West, 20 March 2013 (c.f. cat. no. 456)

April 1, 2013 § Leave a comment

Florinda Watercolour Copy 01

Florinda @ Koller West, 20 March 2013 (c.f. cat. no. 456)

This watercolour came up at Koller, in Zurich, Switzerland, previously on 17 September 2012 (lot 6635); and again recently on 20 March 2013 (lot 6627).

It is immediately apparent that the watercolour is based on Franz Xaver Winterhalter’s celebrated painting, Florinda, painted by the artist in 1852, exhibited that very same year at the Royal Academy in London, and immediately purchased by Queen Victoria as a birthday present for her husband, Prince Albert. The painting remains by descent in the Royal Collection (c.f. cat. no. 456).

Winterhalter must have been so satisfied with the painting that he decided to produce an almost exact replica to be exhibited at the Salon, in Paris, in 1853. The work was eventually purchased by an American collector, and is today at the Metropolitan Museum in New York (c.f. cat. no. 474).

Just who and at what point produced this watercolour remains unclear.

Florinda Watercolour Copy 02

First and foremost, the initials on the right hand side of the watercolour, F.W., are not in Franz Xaver Winterhalter’s handwriting, and this in turn makes the entire watercolour problematic.

As such, the watercolour immediately attracts greater scrutiny, and the technique, brushwork, application of (rather faded) pigments, and the interpretation of the female prototypes all comes into questioning.

Florinda Watercolour Copy 03

While it is known that Hermann Winterhalter frequently produced watercolour copies after his brother’s paintings, mainly as visual aids for lithographers and engravers, they were mainly done in the late 1830s and early 1840s. Furthermore, they were usually and clearly signed by Hermann Winterhalter. There is no indication that this practice continued into the 1850s, and in any case, Franz Winterhalter’s initials on this work that are neither in Franz’s nor in Hermann’s handwriting further throw Hermann’s authorship in doubt.

Therefore, this work might be a nineteenth-century copy by an unknown artist at best. Winterhalter’s Florinda was so celebrated at the time that it was engraved and lithographed on at least three separate occasions by three separate artists between 1857 and 1864. It is pure speculation whether or not this work might somehow relate to the production of these engravings and lithographs.

Admittedly, on both occasions, in September 2012 as well as in March 2013, Koller cautiously entered this watercolour, which measures 29.0 x 40.0 cm, in their catalogues as zugeschrieben, or ‘attributed’, with the estimates of 3,000-4,000 CHF / € 2,460-3,280. At the time of writing, the work remains unsold.

© Eugene Barilo von Reisberg 2013

Flora, or Jeune Fille aux Fleurs, @ Koller West, 5 Dec 2012 (cat. no. H 121c)

March 31, 2013 § Leave a comment

Dear Friends,

I recently went for a lovely trip around art galleries and museums in Southern Germany and France to view works by Franz and Hermann Winterhalter in their collections. But before I share some of my reminiscences about these magnificent encounters, I’d like to catch up on some of the works by the Winterhalter brothers that had recently appeared, or are about to appear, on the art market.

121c 50 Flora Jeune Fille

First and foremost, a charming genre study, Flora, or Jeune Fille aux Fleurs, had appeared at Koller West, on 5 December 2012, lot 6428.

The openly eroticised picture captures a young girl, bust length, blond hair parted in the middle and gathered at the back, decorated with small wreaths of white flowers on either side. A white loose blouse around her shoulders is modestly upheld with the right hand, in which she also holds a similar wreath of flowers. She is depicted thrusting forward, towards the viewer, while reaching with her left hand for more flowers from a tree or a bush growing at the back to the right, beyond the picture plane, out of the sight of the viewer. There is a suggestion of an abstracted landscape of shrubbery and clouds in the background.

The painting is not signed. The auction catalogue does not provide any provenance, or grounds for their attribution of this work to the hand of Franz Xaver Winterhalter. Granted, the girl in the picture looks not dissimilar to some of the models used by Hermann Winterhalter, and purely on stylistic grounds, a tenuous attribution can be made to the hand of Hermann, rather than Franz.

However, more research is definitely required to make any further, or indeed any firmer, attributions to the hand of either of the Winterhalter brothers.

The painting, which was estimated at € 250-420, was sold for € 2,600.

http://www.kollerauktionen.ch

© Eugene Barilo von Reisberg 2013.

Franz Xaver Winterhalter – Brief Biographical Outline

July 13, 2012 § 3 Comments

Brief Biographical Outline

Portrait of F.X. Winterhalter by Queen Victoria or Prince Albert

 Franz Xaver Winterhalter, c. 1850s

by Queen Victoria or Prince Albert

Oil on canvas, 47 x 40.6 cm, HM Queen Elizabeth II

 

 

1805

Franz Xaver Winterhalter was born on 20 April 1805 in a picturesque Black Forest town, Menzenschwand, in the former ecclesiastical fiefdom of St Blasien, which after the Secularisation of 1806 was absorbed into the Grand Duchy of Baden. He was the seventh child of Fidel (1773-1863) and Eva Winterhalter (née Mayer, 1765-1838), whom the artist’s early biographers describe as land-owning farmers and inn keepers, but who the more recent biographers claim as having been armen Bauern (poor peasants).

 Before 1818

Winterhalter received primary education and elementary instruction in drawing from Pastor Joseph Berthold Liber (1781-1854), a former Benedictine monk and an art lover, who was able to salvage numerous works of art from St Blasien monastery, where he was a monk until its secularisation in 1806, and place them within the newly erected church and adjoining parish school in Menzenschwand.

 1818

On the advice of Pastor Liber, Fidel Winterhalter raised the necessary 400 Gulden for board and tuition in order to enrol the twelve-year-old Franz Xaver, in the autumn of 1818, at the Freiburg-im-Bresgau studio of the artist and printmaker Karl Ludwig Schuler (1785-1852).

 1819-1822

Within a year, Schuler’s studio merged with that of Bartholomäus Herder (1774-1839), the proprietor of a respected lithographic and publishing institution, and an acquaintance of Pastor Liber, whom he met while studying at the St Blasien monastery from 1792 to 1794. Franz Xaver is joined there the following year by his brother, Hermann.

 1823-24

Leaves Herder early in 1823, and after a brief sojourn in Menzenschwand, moves to Munich in spring of the same year, where he commenced working on lithographs for such leading printmakers of the day as Ludwig Albert von Montmorillon (1794-1854), Ferdinand Piloty (1786-1844), and Joseph Selb (1784-1832); further income was derived from portrait drawings. Hermann Winterhalter joins his brother in Munich in 1824.

024i 25 Winterhalter after Bordone 1825 – 1826

Through the mediation of David Seligmann Freiherr von Eichthal (1755-1850), Karlsruhe-based industrialist and philanthropist (who may have met Winterhalter family through Pastor Liber, the shell of whose former monastery was occupied by the baron’s spinning mills), the annual stipend of 200 Gulden was allocated by  Ludwig I, Grand Duke of Baden (1763-1830) enabling Winterhalter to pursue academic training at the Munich Academy of Arts. He begins receiving instruction in portrait and oil painting from Joseph Karl Stieler (1781-1858), a celebrated portrait painter and honorary Academy member, and produces lithographs after his portraits of the Bavarian Royal Family.

 1827

The artist completes his studies at the Bavarian Academy of Fine Arts in the summer of 1827,  travells to Landshut, Regensburg, Nürenberg, Pommersfelden, and other towns, sightseeing, drawing, and undertaking portrait commissions; returns to Munich.

 1828

Lives in Munich, continues working in lithography and undertakes further portrait commissions, including those of Freiherr von Eichthal and his wife; through von Eichthal’s mediation appointed  drawing master to the family of Ludwig I’s morganatic half-brother, Leopold Graf von Hochberg (future Grand Duke of Baden, 1790-1852).

  1829

Lives in Munich and travels regularly to the Grand Ducal Court at Karlstuhe; executes portrait drawings of Sophie Wilhelmine von Hochberg (future Grand Duchess of Baden) and other members of the Grand Ducal family.

 1830

Moves to Karlsruhe, lodges with Dr J.A. Wich; paints portraits of Karl Spindler, Joseph Berckmuller, Luise Fries, and others.

 1831

Paints at the court of Baden, portraits include the Grand Duke and Grand Duchess of Baden, their children, and other members of the family. 

 1832

Paints the Grand Duchess of Baden with her son, Prince Wilhelm; received a study grant from the Grand Duke; leaves to study in Italy; visits Rome, Ariccia, Orvieto, Capri, Tivoli, etc.

 1833

Studies in Rome, address recorded as Caffe Greco, via Condotta; shares his studio with J.B. Kirner; travels to Naples and Venice; produces several albums of sketches and watercolours, and the Roman Genre Scene.

 1834

Returns to Karlsruhe in August; appointed Court Painter to the Grand Duke of Baden and paints the portrait of his daughter, Alexandrine, the future Duchess of Sachsen-Coburg und Gotha, and of Freiherr von Eichtal; in December leaves forParis.

 1835

Works in Paris (17 rue des Petits Augustins); exhibits for the first time at the Salon.

 1836

Works in Paris (15 rue des Petits Augustins); exhibits at the Salon, paintings include Il Dolce Farniente.

 1837

Works in Paris, exhibits Decameron at the Salon, paints Mme Delong and her children, Graf Jenison-Walworth and Prince de Wagram.

 1838

Works in Paris (34 rue de Lille); exhibits among others the portrait of the Prince de Wagram and his daughter at the Salon, receives his first commissions from Louis-Philippe, King of the French, and paints Princesse Clémentine and the Queen of the Belgians with her son. The latter painting is sent to Queen Victoria as a present and becomes the first painting by the artist in the Queen’s possession.

  1839

Works in Paris (1 rue de Labruyère); exhibits at the Salon; paints the King of the French, the King of the Belgians, the Duchesse d’Orléans with her son, the Dukes de Nemours and d’Aumale, the Duke and Duchess of Württemberg; awarded the Knight of the Légion d’Honneur and the Knight of the Order of the King Leopold I; joined in Paris by Albert Graefle (1807-89), who becomes his studio assistant until 1845.

 1840

Works in Paris, joined by his brother Hermann and paints a self-portrait with his brother; paints the King of the Belgians, the Duchesse de Nemours and the Duchesse de Vallombrosa; awarded Cross of the Commander of the Order of King Leopold I.

 1841

Works in Paris, exhibits at the Salon; paints the King of the French, the Queen of the Belgians, the Queen of Spain, the Maréchal Sébastiani and Comtesse Duchâtel with her son; Queen Victoria purchases La Siesta.

 1842

Works inParis, exhibits at the Salon; receives his first commission from Queen Victoria and travels to London to paint the Queen and Prince Albert; also paints the Queen of the French, Madame Adélaïde, the Duc d’Orléans, the Comte de Paris, and the Duchess of Sachsen-Coburg und Gotha.

 1843

Works in Paris and London, exhibits at the Salon; paints state portraits of QueenVictoria and Prince Albert, also paints the Duchess of Kent, the Duke de Nemours, the Prince de Joinville, the Duke of Beaufort and the Fürstin zu Sayn-Wittgenstein-Sayn.

 1844

Works in Paris (29 rue Notre-Dame-de-Lorette) and London, exhibits at the Salon; paints the large-scale Reception of King Louis-Philippe at Windsor Castle, paints children of the King and Queen of the Belgians, Princesse de Joinville and Duc de Montpensier.

 1845

Works in Paris and London, paints Louis Philippe Receiving Queen Victoria at the Château d’Eu, also paints the King of the French, QueenVictoria and Prince Albert.

 1846

Works in Paris and London, exhibits both large-scale Reception paintings at the Salon; paints The Royal Family, as well as separate full-length portraits of Queen Victoria, Prince Albert and the Prince of Wales in a Sailor Suit; paints the King of the Belgians, Princess Augusta of Prussia, Grand Duchess of Mecklenburg-Strelitz, Duchesse d’Aumale and Princesse de Joinville.

 1847

Works in Paris and London, exhibits The Royal Family at St James’s Palace in London; paints QueenVictoria, Duchesse de Montpensier, and Prince August von Sachsen-Coburg undGotha.

 1848

At the outbreak of the February Revolution and the abdication of Louis-Philippe, Winterhalter leaves Paris and works in England, Belgium and Switzerland, paints Grand Duchess Anna Feodorovna of Russia.

 1849

Works predominantly in England, paints Queen Adelaide, numerous portraits of QueenVictoria’s children, Duchess of Kent and Duchess of Cambridge, British aristocracy (including the Duchess of Sutherland), Grand Duchess of Mecklenburg-Strelitz, Fürst and Fürstin von Sachsen-Meiningen; also works in Belgium; returns to Paris towards the end of the year.

 1850

Works in Paris and London, travels to Karlsruhe; created member of Akademie Royale des Beaux-Arts, Amsterdam; paints Queen Victoria and Prince Albert, future Queen of Prussia, Duchess of Gloucester, and Fürst zu Leiningen, QueenVictoria’s half-brother.

 1851

Works in Paris and London; paints The First of May, children of QueenVictoria, and of Prince and Princess Wilhelm of Prussia.

 1852

Works in Paris and London, paints Florinda, which he exhibits same year at the Royal Academy; paints Queen Victoria, travels with Eduard Magnus to Madrid, where he paints Isabel II, Queen of Spain; betrothed to Marie Scheffel, but engagement later broken off. December: coup d’état in Paris, Napoléon III becomes Emperor of the French.

 1853

Works in Paris and London, travels to Baden, exhibits at the Salon in Paris and at the Royal Academy in London; receives first commissions from the Emperor and Empress of the French and paints their State Portraits; also paints the Fürst zu Hohenlohe-Langenburg, Grand Duke of Mecklenburg-Strelitz, Princess Augusta of Prussia and Countess Elzbieta Krasinska. 

 1854

Works mainly in Paris and London, created Peintre Attiré de la Cour de Napoléon III ; paints Empress Eugénie, Grand Duchess Sophie of Baden, Maharajah Duleep Singh, King Pedro V of Portugal and his brother, future King Luis of Portugal, and Countess Katazryna Potocka.

 1855

Works in Paris and London, invited to be on the 1855 Salon Wards Jury along with Ingres and Delacroix; paints Empress Eugénie Surrounded by her Ladies in Waiting, which is exhibited with several other works at the 1855 Exposition Universelle; also paints Queen Victoria and Prince Albert, Queen Victoria’s half-sister, the Fürstin zu Hohenlohe-Langenburg, and Grand Duke Friedrich I of Baden.

 1856

Works mainly in Paris and London, but also travels to Baden, Austria, Poland and Switzerland; exhibits at the Royal Academy; paints Empress Alexandra Feodorovna of Russia, Queen Victoria, Fürst Karl Egon III zu Fürstenberg, Russian and Polish aristocrats.

 1857

Works mainly in Paris (2 rue de la Chaussée d’Antin / studio at 64 rue de la Rochefoucauld) and London, but also travels to Baden, Württemberg and Switzerland; exhibits at the Salon; raised to the rank of Officier de la Légion d’Honneur, paints Emperor Alexander II and Empress Maria Alexandrovna of Russia, Emperor Napoléon III and Empress Eugénie of the French, future King Karl I and Queen Olga of Württemberg, Grand Duchess Luise of Baden, Crown Prince Frederick and Crown Princess Victoria of Prussia, Grand Duchesses Maria Nikolaevna and Olga Feodorovna of Russia, Russian and Polish aristocrats.

 1858

Works in Paris, travels to Germanyand Switzerland; awarded Knight of the Order of St Anne, 3rd Class (Russian Empire); paints Langräfin Anne von Hessen, and Russian aristocrats, most notably Princess Tatiana Youssoupova, Princess Maria Worontzova, Princess Elizaveta Bariatinskaia, Sophia Naryshkina and Varvara Rimskaia-Korsakova.

 1859

Works mainly in Paris and London, travels to Germany; awarded Order of the Red Eagle (Kingdom of Prussia); exhibits at the Salon; paints state portraits of Queen Victoria and Prince Albert, Grand Duke Konstantin and Grand Duchess Alexandra Iossifovna of Russia, and of noted Russian aristocrats, Princess Sophia Gagarina, Princess Maria Worontzova, Princess Elizaveta Troubetzkaia and Countess Maria Lamsdorff.

 1860

Works mainly in Paris; travels to Germany, Baden, and England; paints Princess Pauline von Metternich, Duchesse Carmen de Montmorency, Princess Elena Kotchubey, and Princess Maria Obolenskaia.

 1861

Works in Paris, exhibits at the Salon; paints Empress Eugénie, state portraits of King Wilhelm I and Queen Augusta of Prussia; travels to London to execute posthumous portraits of Prince Albert and the Duchess of Kent.

 1862

Works in Paris, travels to Baden and Berlin; visits Italy; exhibits at the 1862 London International Exhibition; paints Empress Eugénie, Grand Duchess Elena Pavlovna of Russia, Crown Prince Frederick and Crown Princess Victoria of Prussia, Duchesse de Mouchy, Shouvalov, Abaza and Auffm’Ordt families.

 1863

Works in Paris, travels to Brussels, Baden and Stuttgart; visits Italy; exhibits at the Salon; paints Queen Sophie of the Netherlands, future Queen Marie-Henriette of the Belgians, Duchesse Sophie de Morny, the Duke of Hamilton, Lady Middleton, the Bariatinsky family, and the Wellesley sisters.

 1864

Works in Paris, London and Vienna, travels to Baden and Germany; exhibits at the Salon; paints Emperor Napoléon III, Empress Eugénie and the Prince Imperial, two portraits of Empress Elisabeth of Austria, Emperor Maximilian and Empress Carlotta of Mexico, Queen Ekaterina of Mingrelia and her children, Princess Sophia Radziwill, Varvara Rimskaia-Korsakova, and the wedding portraits of the Prince and Princess of Wales.

 1865

Works in Paris and Vienna, travels to Baden and south of France; paints state portraits of Emperor Franz Joseph I and Empress Elisabeth of Austria, King Karl I and Queen Olga of Württemberg, Prince and Princess Belosselsky-Belozersky, Countess Maria Branicka; and travels to Rosenau near Coburgto paint QueenVictoria’s children.

 1866

Works in Paris; travels to Baden and south of France; paints Princess Antonia of Hohenzollern, Fürst Christian von Schleswig-Holstein, Duchess of Teck, and a subject picture, Susannah and the Elders.

 1867

Works in Paris, travels to Germany and Italy; completes posthumous portrait of Prince Albert, which is presented by Queen Victoria to the National Portrait Gallery; paints Mrs Philip Vanderbyl and exhibits the portrait at the Royal Academy in London; also paints the Grand Duke Ludwig IV of Hesse and by the Rhine, Crown Prince and Crown Princess of Prussia.

 1868

Works briefly in Paris, travels to Munich and Italy; completes a self-portrait on the request from the Uffizi Gallery, Florence, for their famous collection of artists’ self-portraits; paints his last portrait of QueenVictoria, a double portrait of sisters Alexandra, Princess of Wales, and Grand Duchess Maria Feodorovna of Russia, of Mme Mélanie Goldschmidt, and Adelina Patti.

 1869

Works briefly in Paris, takes an extended holiday to the south of France and Switzerland; paints identical portraits of sisters Queen Olga of Württemberg and Grand Duchess Maria Nikolaevna of Russia; other portraits include Mme Leon Casso, Frédéric Kuhlmann, and Contessa di Castelvecchio.

 1870

Spends winter in Italy; at the outbreak of the Franco-Prussian War, Winterhalter leaves for Switzerland.

 1871

Lives and works in Baden; paints members of the Russian Imperial Family at Bad Petersthal; moves to Karlsruhe and settles with his brother at no 4 Friedricksplatz.

 1872

Lives and works in Karlsruhe; travels to Frankfurt where he paints a modest number of portraits of Auffm’Ordt, von Metzler and von Grunelius families;  and travels to Baden-Baden on Queen Victoria’s request to paint her  half-sister, Fürstin zu Hohenlohe-Langenburg – the artist’s last commission for the Queen.

F.X. Winterhalter's tombstone, by O. Sommer 1873

Lives in Karlsruhe; travels on invitation of von Metzler family in June to Frankfurt, where he caught typhoid fever during an epidemic, and died on 8th July at Diakonissen Krankenhaus; buried at the Frankfurt Cemetery. Posthumously awarded another Order of Franz Joseph, and his first retrospective exhibition was held in October same year at the Kunsthalle in Baden.

© Eugene Barilo von Reisberg 2012

Do you have any comments, suggestions, or additions to the online Franz Xaver and Hermann Winterhalter Catalogue and these blog entries? Have you heard more news about the works by these artists at auctions and exhibitions? Then do not delay and get in touch!

Some notes on the Winterhalter Family:

July 13, 2012 § 6 Comments

Some notes on the Winterhalter Family:

 

 

Fidelis (Fidel) Winterhalter (Menzenschwand-Hinterdorf 15.11.1773-Menzenschwand-Vorderdorf 6.5.1863 [natural son of Anna Schlageter (Menzenschwand 7.08.1745-Menzenschwand 2.05.1818), who m.1st  Matthias Winterhalter (Wittnau bei Freiburg 1717-); m.2nd 1786 Jacob Benedict Laule (or Leule / Lewle, Menzenschwand 11.07.1748- Menzenschwand 27.08.1829)] m. Menzenschwand 3.05.1790  Eva Mayer (Menzenschwand 12.12.1764-28.12.1838 [daughter of Josef Mayer, d. Solothurn 6.5.1772]), having had the following issue:

 

1. Balbina Winterhalter (Menzenschwand 11.02.1791-Menzenschwand 21.05.1803)

2. Justina Winterhalter (Menzenschwand  13.01.1793- Menzenschwand  1.07.1867), m. 1823 Hieronimus Maier (1794-1838)

2.1. Daughter, died young

2.2. Wilhelmina Maier, m. Heinrich Mayer (-1877)

2.3. Fredericka Maier, m.1854 Johann Baptist Schlageter (-1879)

3. Hermann Winterhalter (Menzenschwand 18.09.1796- Menzenschwand4.11.1798)

4. Theresia Winterhalter (Menzenschwand 20.04.1799-1.03.1865), m. Katejan Wild (-1850)

4.1. Babina Wild, m. Peter Maier

4.2. Justina Wild, m. 1866 Augustin Maier

4.3. Franz Xaver Justin Wild

4.4. Pankranz Franz de Paula Wild

5. Maria Anna Winterhalter (Menzenschwand 14.04.1801- Menzenschwand 22.06.1801)

6. Franz Xaver Winterhalter (Menzenschwand 2.11.1802- Menzenschwand 28.04.1804)

7. Franz Xaver Winterhalter (Menzenschwand 20.04.1805 – Frankfurt am Main 8.07.1873)

8. Fidel Hermann Winterhalter (Menzenschwand 23.09.1808-Karlsruhe 24.02.1891)

9. Makar Winterhalter (Menzenschwand 26.01.1813-Menzenschwand 21.02.1815)

 

© Eugene Barilo von Reisberg 2012

Do you have any comments, suggestions, or additions to the online Franz Xaver and Hermann Winterhalter Catalogue and these blog entries? Have you heard more news about the works by these artists at auctions and exhibitions? Then do not delay and get in touch!

Hermann Winterhalter – Catalogue Updates

June 28, 2012 § Leave a comment

117 50ch Chateaubourg WinterhalterThursday, 28 June 2012 

Hermann Winterhalter – Catalogue Updates

No 6 – Mme Say – the sitter is most certainly a member of the Say family, of the sugar refinery fame and fortune; though it is impossible to say with any certainty which one, as there were several Say women who were alive during the 1850s and 1860s;

No 12 – sitter identified – Wild refers to this portrait as Mr de Boutray. Though there were several people by that name living in Paris at the time, this is most likely to be Ernest de Boutray (1822-1920), who married in 1849 Mlle Léonie Coustou (1830-1904), sister of Mme Gustave Bronchant de Villiers (1825-1906), who was also painted by Hermann Winterhalter (q.v.);

No 13 – sitter identified – Léonie Coustou, Mme de Boutray (1830-1904) – see above;

No 29 – sitters identified – Wild refers to this painting as Mme Lafond et ses deux enfants; the Lafonds were a Parisian banking family, with a number of members alive in the 1850s and 1860s. The present portrait most probably refers to Marie Elise du Temple de Chevrigny (1831-1901), who married in 1851 Comte Etienne Edmond Lafond (1821-1875); and who in the 1850s still had two young children, Marie Thérèse Lafond, later Duchesse de Perusse des Cars (1852-1912); and Charles Louis Lafond;

No 30 – sitter identified – Wild lists this entry as Mr E. Lafond. This most likely refers to the husband of the above, Comte Edmond Lafond (1821-1875); though it is also likely to have been a portrait of his uncle, Ernest Lafond (1806-1881);

No 55 – sitter’s family name identified – Mlle Le Péletier d’Aunay; further identification of the sitter is not possible at this time, as there were several women by that name at the time;

No 66 – sitter identified – Jenny Levavasseur, Marquise de Conegliano (1837-1918) –  wife of Adriene Duchesne de Gillevoisin de Conegliano, Marquis de Conegliano (1825-1901), from 1878 Duc de Conegliano, Chamberlain at the court of Napoleon III; as such the portrait was most likely painted between 1857 and 1870;

No 77 – sitter identified – Louise Fontenilliat, Baronne Levavasseur (1801-85) – although there were several women by that name living at the time, the sitter is most likely to be Marie-Anne-Louise Fontenilliat, Baronne James Levavasseur (1801-85), mother of the Duchesse de Conegliano (q.v.);

No 90 – sitters identified – Comte de Bondy et son fils avec 3 enfants – this most likely refers to Pierre Marie Taillepied, Comte de Bondy (1766-1847); his son, François-Marie Tailliepied, Vicomte de Bondy (1802-90); and his sons, Rupert (1835-1849), Lionel (1836-1917), and Olivier (1840-95); the date of the portrait is thus most likely to be after the birth of the youngest grandchild, 1840, and the patriarch’s death in 1847. The portraits of the children are most likely those exhibited at the Salon of 1844 (q.v. no 108a below);

No 108a – sitters identified – the portrait most likely relates to the above entry, and represents Rupert (1835-1849), Lionel (1836-1917), and Olivier (1840-95), children of Vicomte and Vicomtesse de Bondy; as the portrait was exhibited at the Salon of 1844, the date of this portrait can be safely placed at c. 1843-4.

© Eugene Barilo von Reisberg 2012.

Do you have any comments, suggestions, or additions to the online Franz Xaver and Hermann Winterhalter Catalogue and these blog entries? Have you heard more news about the works by these artists at auctions and exhibitions? Then do not delay and get in touch!

MAJOR UPDATES: Works by Franz Xaver Winterhalter 1840-45

June 26, 2012 § 1 Comment

277 45 Andre WinterhalterMAJOR UPDATES: André Portraits by Franz Xaver and Hermann Winterhalter

No 277 – portraits of Edouard André (1833-94); and Jean André (1794-1850) – I acknowledge that the authorship of both portraits is disputed; and that both portraits are also ascribed to Hermann Winterhalter. The matter is complicated by the fact that members of the André family were painted by both Franz Xaver and Hermann Winterhalter.

Whereas the portraits of Edouard André father, Ernest André (1803-64, no 275) and step-mother, Louise Gudin, Mme André (1806-73, no 276), are clearly signed by Franz Xaver Winterhalter, no 277 is only known from a copy (note that in numerous Musée Jacquemart-André guides, all three portraits are erroneously identified as being by Hermann Winterhalter). Furthermore, Wild records childhood portraits of Edouard André by Hermann (q.v. no. 1) rather than Franz Xaver Winterhalter.

No 277a has been variously ascribed as a portrait of Jean André (1794-1850) or Louis-Eugène André (1800-1861), and as being by Franz Xaver or Hermann Winterhalter respectively. Once again, Wild does not list either of the sitters on Franz Xaver’s list, but enters Mr. Louis André on Hermann Winterhalter’s list.

Clearly, further research is required for both portraits. Therefore, for the time being, nos 277 and 277a are left on Franz Xaver Winterhalter’s list with the note about disputed authorship. Both portraits are also entered on Hermann Winterhalter’s list (q.v. nos 1 and 85 respectively).

099 70s Brazil WinterhalterPedro II, Emperor of Brazil

In a recent email from a fellow researcher, I was alerted to the incongruity of no 303, Pedro II, Emperor of Brazil, which was dated from around the middle of the 1840s.

The earlier provenance of this work is unknown. It appeared at Sotheby’s Zürich,  Europäische Malerei und Moderne und Zeitgenössische Druckgraphik, 25.09.2000, lot 110, unsigned and undated, as a portrait of Pedro II, Emperor of Brazil, by Franz Xaver Winterhalter. It was initially entered it into my catalogue as such.

Further research revealed that a portrait of Don Pedro, Kaiser von Brasilien was mentioned by Wild as work by Hermann Winterhalter, rather than Franz Xaver, with a possibility of it being drawn in Karlsruhe.

On the basis of the image, the Emperor looks like he is in his 50s. This would mean that the portrait is definitely not from the 1840s, but probably dates from the 1870s. This would also coincide with the fact that Pedro II was in Europe and visited Germany between 1871 and 1872, and then again between 1876 and 1877. I have not been able to find out yet exact dates of his presence in Germany, and / or especially in Karlsruhe, where both Franz Xaver and Hermann lived at the time.

Purely on the basis of the image, I believe a correct date for the drawing should be around 1876-77, when the Emperor would have been in about 50-52 years old (this also corresponds with contemporaneous photographs of the Emperor taken around this time). Thus this could only be a work by Hermann Winterhalter, as Franz Xaver died in 1873.

© Eugene Barilo von Reisberg 2012

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