sotheby’s – The Winterhalter Catalogue

‘Portrait of Clémentine de Boubers, Baronne Renouard de Bussierre’ (1854) by Hermann Winterhalter @ Sotheby’s Paris

Portrait of Clémentine de Boubers, Baronne Renouard de Bussierre (1854), by Hermann Winterhalter, @ Sotheby’s Paris

The aformentioned auction featured a portrait of Mélanie de Pourtalès’s sister-in-law, Clémentine de Boubers, Baronne Paul Renouard de Bussierre (1829-1861), by the hand of Hermann Winterhalter.

The baroness is painted at the age of 25, at just over half-length, posed frontally, with her face in semi-profile to the right. She is wearing an evening gown of white satin over a lace-edged under-blouse, with white silk bows at the sleeves and the waist. Apart from the corsage of pink roses and a golden wedding band at the base of the ring finger, the baroness wears no other jewellery or visible decorations.

The provenance of the portrait is unclear. The portraits of the sitter, her husband, and her sister are framed identically, suggesting that they were at one stage in the same collection. As Clémentine and her husband had no children, it is likely that their portraits may have passed to her sister-in-law, Mélanie de Pourtalès, and thence, by family descent, to Christian, Comte de Pourtalès, at Château de Martinsvart, from whose collection it was offered at Collection Schickler-Pourtalès: Art et Pouvoir au XIXe siècle, by Sotheby’s Paris, on 16 May 2019.

Clémentine’s white dress may suggest that the portrait references her marriage two years’ prior. The three states of the roses—wilting, blooming, and budding—are quite unusual in the context of a formal portrait, and may indicate Hermann Winterhalter’s own allegoric and moralising touch. The lack of jewellery broadly corresponds with the prevalent depictions of French aristocracy in the middle of the nineteenth century, and especially during—or shortly after—the Second Republic. It also may indicate the sitter’s personal piety and the lack of ostentatious tastes, reflective of her Protestant faith.

Offered with the estimate of € 30,000-40,000, the portrait appears to have found no buyers. Although Hermann Winterhalter may have been as talented as his celebrated older brother, his art market performance remains relatively modest.

Winterhalter’s ‘Portrait of Mélanie de Bussière, Comtesse de Pourtalès’ (1857) @ Sotheby’s Paris

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It is always a thrill when iconic works by Franz Xaver Winterhalter turn up on the art market. While transferring the ‘custodianship’, they test the strength of the market and re-invigorate the collectors’ following.

Such was the case with Winterhalter’s Portrait of Mélanie de Bussière, Comtesse de Pourtalès (1838-1913), of 1857, at the sale Collection Schickler-Pourtalès: Art et Pouvoir au XIXe siècle by Sotheby’s Paris, on 16 May 2019 (lot 59). The understated beauty of the portrait, the delicate colour scheme, the vigorous and unrestrained brushwork, as well as the willingness of its various owners to lend it to exhibitions made it one of the most famous and most beloved of Winterhalter’s portraits. Its various artistic and aesthetic aspects are a fitting illustration to the artist’s enduring reputation as one of the most sought-after elite portrait specialists of the era.

Aged barely nineteen, the countess is painted standing, in a semi-turn to the right, against a loosely-executed verdant background. Portrayed almost en face, her gaze is directed at the viewer. She is wearing an evening gown of white satin, edged with azure ribbon and lace, and with matching bows of azure silk on the sleeves and the bodice. The date of the portrait suggests that it was commissioned to commemorate Mélanie de Bussière’s marriage to Edmond, Comte de Pourtalès-Gorgier (1828-95). Although she became the wife of one of the richest men in Paris, she wears no jewellery save for a wedding band and a small gem-set ring, reflective perhaps of the personal modesty of the sitter.

While the authorship of the portrait is beyond doubt, the signature may have been overpainted and / or added by a different hand.

Over the last 162 years of its existence, the portrait appears to have always remained in the family, passing between various branches and belonging to various descendants of the Countess, moving between their homes in Paris, Strasbourg, and Cherbourg.

The excellent condition of the portrait, its lustre as one of the most iconic works by the artist, as well as the added cache of continuous family ownership all played their magic. Estimated at € 120,000-150,000, the portrait sold for € 732,500, or, roughly, US$821,500.

It was widely rumoured that the city of Strasbourg was fundraising to secure this picture, as well as that it may have been secured by another member of the family. While the rumours have not been confirmed and the identity of the new owner has not been released, one humbly hopes that such important work was acquired for a public collection.

Auction Results: Winterhalter Portraits @ Sotheby’s

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.

Portrait of Wanda Fürstin von und zu Putbus (1837-1867) @ Sotheby’s

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.

Portrait of Clothilde Gräfin von Wylich und Lottum (1809-1894) @ Sotheby’s

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, 1^st 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.

Sales Results: Portrait of Princess Charlotte of Belgium

Dear Friends,

Apologies for a prolonged silence – I’ve been travelling a bit, visiting some truly amazing places, public museums, royal palaces, private collections, auction houses, and art galleries in search of works by Winterhalter brothers. I will share some of my findings in the subsequent blogs.

But, firstly, an update on a previous blog.

On 9 and 10 January 2014 I posted an entry about Portrait of Princess Charlotte of Belgium, which was coming up for sale at Sotheby’s New York – see https://franzxaverwinterhalter.wordpress.com/2014/01/09/portrait-of-princess-charlotte-of-belgium-1840-1927-c-1845-46-cat-no-311b-sothebys-new-york-part-1/ and https://franzxaverwinterhalter.wordpress.com/2014/01/10/portrait-of-princess-charlotte-of-belgium-1840-1927-c-1845-46-cat-no-311b-sothebys-new-york-part-2/

I am truly thrilled to share with you that this beautiful painting by Franz Xaver Winterhalter and His Studio, which was estimated at USD $ 60,000-80,000, was sold for USD $ 75,000.

The sales result for this painting represents to me a further example of the general increase in value of works by Franz Xaver Winterhalter at auction (as opposed to gallery / retail market which has a different and / or independent price structure).

Two more portraits by the Winterhalter brothers (that I am aware of) are about to be sold in France, so it will be interesting to see whether the example set by the New York sale will be repeated in Europe. More details to follow.

http://www.sothebys.com/

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 4]

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 4]

As it has become customary with my blog entries, here is a note regarding the sitter’s descendants:

HRH Marie Charlotte Amélie Auguste Victoire Clémentine Léopoldine, Princess of Belgium (Château de Laeken, near Brussels 7.06.1840-Château de Bouchout, Belgium 19.01.1927), m. 27.07.1857 HI & RH Ferdinand Maximilian Joseph, Archduke of Austria, Palatine of Hungary, cr. 1864 HIM Maximilian I, Emperor of Mexico (Vienna 6.07.1832-excecuted Queretaro, Mexico 19.06.1867)

All historians and biographers agree that Charlotte and Maximilian had no children. To the best of my knowledge, the allegations that Charlotte had an affair with the Belgian General, Baron Alfred Louis Adolphe Graves van der Smissen (1823-1895), and gave birth to Maxime Weygand (1867-1965), the future French General and Military Commander [see http://fr.wikipedia.org/wiki/Maxime_Weygand], are still contested.

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 3]

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 3]

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

Marie Charlotte Amélie Auguste Victoire Clémentine Léopoldine, Princess of Belgium (Château de Laeken, near Brussels 7.06.1840-Château de Bouchout, Belgium 19.01.1927)
Leopold Georg Christian Friedrich Prinz von Sachsen-Coburg-Saalfeld, cr. 1831 Leopold I, King of the Belgians (1790-1865), m.2^nd 1832
Princesse Louise-Marie Thérèse Charlotte Isabelle d’Orléans, Mlle de Chartres (1812-1850)
Franz Friedrich Anton Herzog von Sachsen-Coburg-Saalfeld (1750- 1806), m.2^nd 1777
Auguste Karolina Sophia Gräfin Reuss zu Ebersdorf (1757-1831)
Louis-Philippe d’Orléans, Duc de Valois, Duc de Chartres, Duc d’Orléans, cr. 1830 Louis-Philippe, King of the French (1773- 1850), m.1809
Donna Maria Amelia Teresa di Borbone, Principessa delle Due Sicilie (1782-1866)
Ernst Friedrich Herzog von Sachsen-Coburg-Saalfeld (1724- 1800), m.1749
Sofie Antonie Herzogin von Braunschweig-Wolfenbüttel (1724-1802, aunt to Ivan IV of Russia)
Heinrich XXIV Graf Reuss zu Lobenstein von Ebersdorf (1724-1779), m.1754
Karoline Ernestine Gräfin zu Erbach-Schonberg (1727-1796)
Louis Philippe Joseph, Duc d’Orléans, dit Philippe Egalité (1747-guillotined Paris 6.11.1793), m.1769
Mlle Louise Marie Adélaïde de Bourbon-Penthièvre (1753-1821)
Ferdinando I Antonio Pasquale Giovanni Nepomuceno Serafino Gennaro Benedetto di Borbone, King of Two Sicilies (1751-1825), m.1^st 1768
Maria Carolina Louise Josepha Johanna Antonia, Archduchess of Austria, Princess Palatine of Hungary (1752-1814, sister of Queen Marie-Antoinette)

To be continued…

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 2]

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 2]

The tragic story of Princess Charlotte of Belgium is only too well known to relate within these pages, but it would suffice to say that she was the only daughter of Leopold I, King of the Belgians, and his second wife, Princess Louise-Marie d’Orléans, the eldest daughter of Louis-Philippe, King of the French. She was a beautiful and intelligent child, especially favoured by her cousin, Queen Victoria of England. After the premature death of her mother in 1850, Charlotte’s education and upbringing was supervised by her grandmother, Marie-Amélie, Queen of the French, now living in exile in England.

Leopold I realised his political and dynastic ambitions by arranging in 1857 Charlotte’s marriage to Maximilian, Archduke of Austria, a brother of the Emperor Franz-Joseph. The same year Maximilian was appointed Viceroy of Lombardy and Venetia, then under the Austrian control, and Charlotte did much social, welfare, and charitable work to alleviate the anti-Austrian sentiment of the local populace.

In 1864 the political and diplomatic manoeuvring of Napoléon III brought Maximilian the crown of Mexico. Charlotte dutifully followed her husband to the New World, where she was instrumental in establishing a proper court, and where once again she endeared herself to the local populace through her philanthropy, charitable works, and frequent visits to the poorer areas of the newly-created Empire.

As the social and political situation in Mexico worsened, Charlotte famously travelled in 1867 to France to demand military and financial assistance from Napoléon III. During the interview with the Emperor, she suffered a nervous and mental breakdown, from which she never recovered. Pronounced clinically insane, Charlotte spent the next sixty years of her life being cared for by her Belgian relatives, and dying in 1927 a few months short of her 87^th birthday.

To be continued…

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 1]

Portrait of Princess Charlotte of Belgium (1840-1927), c.1845-46 (cat no 311b) @ Sotheby’s New York [Part 1]

Sotheby’s New York feature in their forthcoming The Courts of Europe auction on 30 January 2014 Portrait of Princess Charlotte of Belgium by Franz Xaver Winterhalter and Studio (lot 143, c. 1845-1846, oil on canvas, 93.0 x 64.0 cm; unsigned; stencilled in black with the names of the artist and the sitter on reverse; stencilled in red with the royal cipher LP and inventory number 6219 on reverse).

The present portrait is a three-quarter length version of Winterhalter’s original portrait of Princess Charlotte, painted in Paris in 1844 (oil on canvas, 140 x 98 cm, see cat. no. 258), presently in the collection of HM Philippe I, King of the Belgians. It was commissioned by Louis-Philippe, King of the French, for the Château d’Eu, the King’s sea-side residence on the coast of Normandy (AMN, P6, 26 April 1845). The artist was paid 1,200 FF for the commission from the King’s Civil List.

In the original portrait, the princess appears at full-length, standing in front of a column, with a billowing red curtain on the right, and a bush with giant white roses with a view to a distant park beyond on the left. The present portrait preserves the original pose of the princess and shows her wearing the distinctive Brabant cape, which also appears in the 1844 composition. However, the landscape and architectural elements are cropped out; and the sand-stone column is replaced by a neutral, sand-coloured background.

The sliding scale of the prices of the royal commissions and the examination of the portrait confirm the workshop participation. It is my opinion that within this particular portrait, the background, the curtains, and garments are by the studio of the artist, while Winterhalter’s hand is unmistakeable in the execution of face, hair, and hands, as well as the highlights and bold contrasts on the garments of the sitter.

The portrait remained by descent in the Orléans family, and thence passed, either by gift or acquisition, to the Hohenzollern(-Sigmaringen) family: the obvious connection between the two dynasties is the sitter’s niece, Princess Josephine of Belgium (1872-1958), who married in 1894 Karl Anton Prinz von Hohenzollern (1868-1919). The portrait remained by descent in the family at Burg Namedy.

The portrait is estimated at US$60,000-$80,000. For further information see http://www.sothebys.com/en/auctions/ecatalogue/2014/the-courts-of-europe-n09107/lot.143.html.

I would like to thank Ms Andrea Kust, of Sotheby’s New York, for bringing this portrait to my attention, and Sotheby’s New York for acknowledging my research assistance in their catalogue entry.

To be continued…