2 - European Miniature Portraits

Melocchi, Pittrice E - Classical copies

2011-12-31T12:55:00.000-08:00

Here is the Mona Lisa and a miniature copy copy of it painted by Melocchi. There are obvious differences, but the skill of the miniaturist in capturing the fine detail has to be admired.

Decorative copies are frowned upon by most collectors of miniature portraits, but there is no clear distinction between what should be described as a "decorative copy" and as a "genuine miniature".

The current example demonstrates how it is possible to have a painted miniature version of perhaps the most famous painting in the world and admire the skill of both artists in a manner which is not possible with a print of the original.

Most decorative miniatures were churned out in the late 19C and early 20C as multiple copies painted with minimal skill in factory type workshops, often with a few painted highlights over a printed outline. These normally have fake or fictitious signatures. They often have frames made out of old piano keys and pages from old books on the reverse to give a false impression of their ages. Hence they were generally intended to deceive, and many are now offered for sale as original 18C portraits, by sellers who have only limited knowledge. Sometimes this is in good faith by people who have inherited them from Grandma or Great-Grandma, and now assume they are real 18C miniatures, whereas the Grandma who originally purchased the portrait nearly 100 years ago, knew well it was only a copy. Fortunately, it only requires a little study to distinguish them as decorative copies.

However, some were painted with more care by artists who took more care and were proud enough of their work to include a proper signature.

The miniature portraits appearing here demonstrate this point. They appear to date from 1920-1930 and to have been sold to tourists between World War I and World War II. There are likely to be multiple examples, but the skill of the artist is a cut above that of most decorative copies.

They are all clearly copies of classical portraits, but they are also clearly signed by the miniature artist, E Melocchi, Via Luca Landucci 45 Firenze (Florence, Italy). With one giving his full name as Pittrice E Melocchi.

The miniature of La Gioconda (more often named a portrait of the Mona Lisa) is noted as a copy of the portrait by Leonardo da Vinci, and the two other portraits are identified as copies of self-portraits of Leonardo da Vinci and Michelangelo from the originals in the Uffizi Gallery in Florence.

I have seen other examples by this artist, such as this copy of Botticelli recently sold on Ebay. I have also seen a duplicate of the Michelangelo portrait.

A visitor recently asked me about another two similar classical miniatures of 18C ladies of the French Court, also by Melocchi.

The building housing Via Luca Landucci 45 is still in Florence, as appearing here, but Melocchi seems to be long gone.

The values of such decorative miniatures can vary a great deal. I purchased La Gioconda on eBay for $280 in 2008 and the Botticelli sold on eBay in December 2011 for $350. However, the self-portraits of da Vinci and Michelangelo were purchased as a pair on eBay in December 2011 for only £70 including shipping.

Thus it is still possible to pick up bargains and being able to match La Gioconda with a portrait of da Vinci as the artist, with both painted by Melocchi enhances them even more. 1338, 1458, 1459

Berteaux - Portrait of Eugene Beauharnais

2011-11-21T12:26:00.000-08:00

This miniature portrait is signed by an artist named Berteaux. This does not appear to be the name of an acknowledged miniature artist, so the portrait is more of a cross-over type between a "genuine" miniature and a "decorative" one. The quality puts it out of the normal range for a decorative miniature.

The sitter is Eugène Rose de Beauharnais, Prince Français, Prince of Venice, Viceroy of the Kingdom of Italy, Hereditary Grand Duke of Frankfurt, 1st Duke of Leuchtenberg and 1st Prince of Eichstätt ad personam (3 September 1781 – 21 February 1824). He was the first child and only son of Alexandre, Vicomte de Beauharnais and Joséphine Tascher de la Pagerie, future wife of French Emperor Napoléon I. His natural father was executed during the revolutionary Reign of Terror. For a miniature portrait of his father, which is in this collection, see View

Eugene was born in Paris, France and became the stepson and adopted child (but not the heir to the imperial throne) of Napoleon. He commanded the Army of Italy and was viceroy of Italy under his stepfather. Historians have looked upon him as one of the ablest of Napoleon's relatives.

Although there are obvious differences, it appears the miniature was inspired by the same original as was a portrait of Eugene in uniform by the famous artist Jachues-Louis David. Another version, in similar pose but wearing a black cloak dates from 1837. So far I have not located an original version depicting the same green uniform as appears above. However, it is probable that the "missing" original wearing a green uniform pre-dates the black uniform in the David portrait, as Eugene appears to be of higher rank and is wearing more decorations in the David portrait.

According to Wikipedia, Eugène's first campaign was in the Vendée, where he fought at Quiberon. However, within a year his mother Joséphine had arranged his return to Paris. In the Italian campaigns of 1796–1797, Eugène served as aide-de-camp to his stepfather, whom he also accompanied to Egypt. In Egypt, Eugène was wounded during the Siege of Acre (1799). He returned to France in the autumn of 1799 and helped bring about the reconciliation which then took place between Bonaparte and his mother, torn apart by each other's affairs. When Napoleon became First Consul, Eugène became a captain in the Chasseurs à Cheval of the Consular Guard and with his squadron he took part in the Battle of Marengo.

During the War of the Fifth Coalition, Eugène was put in command of the Army of Italy, with General Étienne-Jacques-Joseph-Alexandre MacDonald as his military advisor. In April 1809 he fought and lost the Battle of Sacile against the Austrian army of the Archduke John, but Eugène's troops decisively won the rematch at the Battle of Raab that June. After the Battle of Aspern-Essling, Napoleon recalled the Army of Italy and after joining the main army, on the island of Lobau in the Danube, Eugène took part in the Battle of Wagram.

During the Russian campaign, Eugène again commanded the Army of Italy (IV Corps) with which he fought in the Battle of Borodino and the Battle of Maloyaroslavets. After Napoleon and then Joachim Murat had left the retreating army, Eugène took command of the remnants and led it back to Germany in 1813.

During the campaign of 1813, Eugène fought in the Battle of Lützen. Napoleon then sent him back to Italy, where he organised the defence against the Austrians, holding out on the Mincio until the abdication in 1814. After the fall of Napoleon in 1814, Eugène retired to Munich and at the behest of his father-in-law Maximilian I Joseph of Bavaria, did not get involved with Napoleon and France again. 1449

Unknown - Empress Eugenie of France

2011-11-21T11:11:00.000-08:00

A kind visitor has assisted me to identify this miniature portrait, by an unknown artist, as representing Empress Eugenie of France (5 May 1826 – 11 July 1920). As can be seen, it is a miniature copy of a famous portrait by Winterhalter. The background has unfortunately been over-painted, so restoration will be needed at some point.

Her full name was Doña María Eugenia Ignacia Augustina de Palafox-Portocarrero de Guzmán y Kirkpatrick, 16th Countess of Teba and 15th Marquise of Ardales. She was known as Eugénie de Montijo and was the last Empress consort of the French from 1853 to 1871 as the wife of Napoleon III.

Eugénie de Montijo, as she became known in France, was educated in Paris, at the fashionable Convent of the Sacré Cœur. When Prince Louis Napoléon became president of the Second Republic, she appeared with her mother at several balls given by the "prince-president" at the Elysée Palace; it was there that she met the future emperor. In a speech from the throne on 22 January, Napoleon III formally announced his engagement, saying, "I have preferred a woman whom I love and respect to a woman unknown to me, with whom an alliance would have had advantages mixed with sacrifices".

The match was looked upon dubiously in the United Kingdom. The Times editorialized: "We learn with some amusement that this romantic event in the annals of the French Empire has called forth the strongest opposition, and provoked the utmost irritation. The Imperial family, the Council of Ministers, and even the lower coteries of the palace or its purlieus, all affect to regard this marriage as an amazing humiliation..."

Napoleon III married countess Eugenie in 1853, and it was in anticipation of this marriage that he ordered the court jewellers Gabriel Lemonnier and Francois Kramer to create an entirely new parure using the pearls previously used by Marie Louise and Marie Therese. The Empress Eugenie Pearl and Diamond Tiara, the subject of this miniature, was an important component of this pearl parure. Other components include a six-stranded pearl necklace, pearl bracelets and a diamond stomacher incorporating the "Perle Napoleon." When Eugenie had access to the crown jewels of France, she set about transforming most of the old pieces, into new settings, to suit her own taste and the fashion trends of the period. Apart from re-setting old pieces, she also added several new pieces to the crown jewels of France, and commissioned a Greek diadem incorporating the famous Regent diamond, once mounted on the hilt of Napoleon's sword. In 1855, when Eugenie accompanied Napoleon III on a state visit to Britain, she wore the Pearl and Diamond Tiara, on two consecutive nights for dinner at Windsor Castle, held on April 17 and 18, 1855.

On 16 March 1856, the empress gave birth to an only son, Napoléon Eugène Louis Jean Joseph Bonaparte, styled Prince Impérial. Her husband often consulted her on important questions, and she acted as Regent during his absences in 1859, 1865 and 1870. A Catholic and a conservative, her influence countered any liberal tendencies in the emperor's policies. She was a staunch defender of papal temporal powers in Italy and of ultramontanism. She was blamed for the fiasco of the French intervention in Mexico and the eventual death of Emperor Maximilian I of Mexico.

When the Second French Empire was overthrown after France's defeat in the Franco-Prussian War (1870–71), the empress and her husband took refuge in England, and settled at Chislehurst, Kent. After his death in 1873, and that of her son in 1879, she moved in 1885 ,alternating between Farnborough, Hampshire and her villa "Cyrnos" (ancient Greek name of Corsica), which was built at Cape Martin, between Menton and Nice, where she lived in retirement, abstaining from politics. Her house in Farnborough is now an independent Roman Catholic girls' school, Farnborough Hill.

After the deaths of her husband and son her health started to deteriorate. Her physician recommended she visit Bournemouth which was, in Victorian times, famed as a health spa resort. During her visit in 1896, a groundskeeper lit hundreds of little tea candles in the municipal Bournemouth Gardens to light her way to the sea at night. This event is still commemorated in the same gardens every September in an elaborate public display, set to music, of both static and floating lighted candles.

The former empress died in July 1920, aged 94, during a visit to her relatives, the Dukes of Alba in Madrid, in her native Spain, and she is interred in the Imperial Crypt at St Michael's Abbey, Farnborough, with her husband and her son, who had died in 1879 fighting in the Zulu War in South Africa. 1447

Unknown - Prince Louis and Princess Alice of Hesse

2011-07-09T14:28:00.000-07:00

This pair of miniature portraits are tightly riveted in small gold cases, so it is not practical to open them. Hence it is not possible to tell whether they are painted on ivory, or on card over-painted on a photographic base. They are very small at 26mm x 23mm.

Nevertheless, they are an interesting pair, being of Prince Louis of Hesse and his wife Princess Alice, second daughter of Queen Victoria of England, see View

The case of Prince Louis is inscribed "Louis of Hesse / 1st July 1862 / From Alice and Louis / Xmas 1862" with that of Princess Alice inscribed "Alice / 1st July 1862 / From Alice and Louis / Xmas 1862".

Thus they appear to have been intimate Christmas gifts, perhaps as a thank-you for wedding presents from July 1862. Although one might expect there to be other similar examples in existence, so far none seem to be known.

A kind expert has advised;
You are right to draw a comparison with the miniature by Charles
Lepec of Prince Louis in the Royal Collection, based, probably on a
photograph by F. Backhofen of Darmstadt, although it differs from yours
in being in enamel on gold. Yours look to me to be in watercolour on
card. I have searched through the transcriptions of the archival material
which I have from 1862 which I have but unfortunately can find no
reference which equates with the two miniatures in your possession.
Sadly, without opening the miniatures, it may not be possible to
identify the creator, particularly in this case where they are clearly
derived from photographs. Queen Victoria commissioned miniatures from
photographic colourists such as John Horrak/Horrach (fl. 1861-2) who is
the sort of artist who could have been responsible for your miniatures,
if indeed they were made in London. It is also possible that they were
made in Darmstadt.

Princess Alice (25 April 1843 – 14 December 1878) was a member of the British royal family, the third child and second daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha. In 1861, Prince Albert became ill with typhoid fever, and Alice nursed him through his final illness before he died on 14 December. Following his death, Queen Victoria entered a period of intense mourning, and Alice spent the next six months acting as her unofficial secretary.

While the court was still at the height of mourning, on 1 July 1862, Alice married Prince Louis of Hesse, heir to the Grand Duchy of Hesse. The ceremony—conducted privately and with unrelieved gloom at Osborne House—was described by the Queen as "more of a funeral than a wedding". The life of the Princess in Darmstadt was unhappy as a result of impoverishment, family tragedy and worsening relations with her husband and mother.

Alice was a prolific patron of women's causes, especially nursing, and was a follower of Florence Nightingale. When Hesse became involved in the Austro-Prussian War, and Darmstadt filled with the injured, the heavily pregnant Alice devoted much of her time to the management of field hospitals. One of her organisations, the Princess Alice Women's Guild, became a national one, and took over much of the day-to-day running of the military hospitals in Darmstadt. Furthermore, she befriended and promoted the theologian David Friedrich Strauss, who provided an intellectual basis for her faith instead of the traditional sentimentality of Victorian religion.

In 1877, Alice became Grand Duchess following the accession of her husband, and her duties put a further strain on her health. The following year, she travelled to England for the last time, holidaying in Eastbourne at the Queen's expense.

In the later months of 1878, diphtheria infected the Hessian court, and Alice nursed her family for over a month before falling ill herself. She died on the 17th anniversary of her father's death, 14 December 1878, at the New Palace in Darmstadt.

Princess Alice was mother of Empress Alexandra Feodorovna (the wife of Emperor Nicholas II of Russia) and the maternal great-grandmother of Prince Philip, Duke of Edinburgh, consort of Queen Elizabeth II.

Louis IV (Friedrich Wilhelm Ludwig Karl) (12 September 1837 – 13 March 1892), was the fourth Grand Duke of Hesse and by Rhine, reigning from 13 June 1877 until his death.

Through his own and his children's marriages he was connected to the British Royal Family, to the Imperial House of Russia and other Royal Houses of Europe.

There is a modern portrait of Empress Alexandra (1872-1918) in this collection. She was murdered in 1918.

Also in this collection is a contemporary miniature portrait, by Adolf Helzel, of two of the grandchildren of Louis and Alice, the Grand Duchesses Olga (1895-1918) and Tatiana (1897-1918) who were also murdered in 1918.

For more about these see View 1425

Winberg, Ivan - portrait of Tsar Alexander II

2011-07-06T16:23:00.000-07:00

Two assassinations - Alexander II and Abraham Lincoln

Two great reformers were assassinated in the 19C. They are depicted here, Tsar Alexander II and President Abraham Lincoln, in a dual portrait prepared for an exhibition in Moscow in February 2011.

Also showing is an important miniature portrait recently acquired for this Artists and Ancestors collection. It is by Ivan Winberg, a Swedish miniaturist who worked in Russia c1825-1845. It is quite large at 116mm x 83mm, with other royal portraits by Winberg being of similar size.

When the miniature was purchased it was described as being of Tsar Nicholas I (1796-1855), but from a comparison with the images of Nicholas I and Alexander II here and below, the sitter appears in fact to be Tsar Alexander II (1818-1881). A kind researcher from the Hermitage Museum advises that the portrait seems to date from around 1840.

Christie's -Winberg, Nicholas I

Winberg, Nicholas I

Christie's - Winberg, Alexander II

Theer - Alexander II 1839

Lavrov - Alexander II

It is a little hard to tell with the small images here, of which larger versions were sent to me by a kind visitor from Russia (left click on them for larger versions), but close inspection shows that the Winberg miniature portrait depicts Alexander II in the same pose and wearing the same decorations as in the left-hand portrait. In the centre portrait, a blue sash has been added to the same medals, and in the right-hand portrait, he has additional medals. It therefore seems likely that the left-hand portrait and the Winberg miniature were painted around 1840, with the centre one painted immediately after his 1855 accession, and the right-hand one a little later in 1855, after his Order of St George had been raised from Fourth Class to First Class with a white cross.

Alexander II demonstrated his bravery when he served in the Caucasian army and helped to repulse an attack by wild tribesmen. He was awarded the Order of St. George (fourth class) for his heroism. It can be seen as the left most decoration in the Winberg miniature. Established in the Russian Empire in 1807, it was granted to non-commissioned officers, soldiers and sailors for their military heroism. After Alexander II's accession, in 1856 it was split into four degrees. On 26 November, 1869 Alexander became one of only 25 people to ever be awarded the First Degree of a white enamelled cross pattée with a central disc bearing the image of St. George on horseback slaying the dragon. The change to a white cross can be seen in the right-hand portrait and also in the Lavrov portrait, showing that was also painted after 1869.

Below are miniatures in this collection of his grandfather, Alexander I (1777-1825) see View , his father Nicholas I (1796-1855) see View , and grandson, Nicholas II (1868-1918). Missing is his son, Alexander III (1859-1894).

There is another miniature portrait by Ivan Winberg in this collection.

It is this portrait of an aristocratic Russian lady who is wearing a miniature portrait of an army officer on her wrist. 953

For more details of it, see View

Autant, M - portrait of Art Nouveau lady

2011-04-21T18:54:00.000-07:00

Miniature portraits from the late 19C and early 20C sometimes had an Art Nouveau theme, as with this exceptionally large miniature which has a sight size of 200mm x 130mm. The frame is carved and gilded. Being so large, it has suffered a vertical stress fracture but that does not detract from the unusual subject and the skill of the artist, particularly in depicting the drapery of her dress.

It is signed at the lower left "M Autant". Blattel says little about Autant, other than that he was a Belgian artist active in the 19C. To the left is a stylized forest and on the right a statue of a winged figure on a plinth, looking downwards at a group of romantic or Italianate buildings. It is quite unusual to find a Romanic or Art Nouveau type miniature of a generic nature, depicting a subject matter more often associated with larger paintings of the period.

There was a M Autant, an architect, who was involved as a witness in the Emile Zola trial, itself connected to the famous Dreyfus trial, but it has not been confirmed that he is same person, although it is possible.

There is also a reference to M Autant in connection with;
SANOUILLET. Lyre & Pallette or Art & Life, which later became Art & Action. A dramatic company formed by Louise Lara, ex-secretary of the French Comedy & her husband Mr. Autant. Courses of dramatic art at the theatres of Paris were offered by the war office, as rallying points for artists dispersed by the hazards of war. These included presentations of the Mamelles de Tirésias (June 1917), Colors of time (Nov. 1918), The Cuirs de Boeuf (Dec. 1918), of Georges Polti to the Academy Rene Maubel, known as of the plays of the world (déc.1918), P. Méral To the Old Dovecote; and The Parade (May 1917), etc See Cat. Collection Art & Action. BLJD, 50.282.

But so far there is no certainty over the identity of this artist. Thus any assistance in identifying him further would be welcomed. 1348

Helzel, Adolf - Grand Duchesses Olga and Tatiana

2011-04-18T20:46:00.000-07:00

A rare and desirable miniature portrait on ivory is this one of the two eldest daughters of Tsar Nicholas II which is signed A Helzel Berlin. It is 70mm in diameter. Depicted in the miniature are Olga (1895-1918) and Tatiana (1897-1918). It was copied from a newspaper photograph of 1913 as shown below.

But when one thinks of the circumstances, it is a rare survivor. A year, later in 1914, Germany was at war with Russia, so a German artist living in Berlin could not risk painting a portrait of the Russian royal family. Four years later the Tsar had been deposed and in 1918 the whole Romanov family was murdered, so it also became dangerous for Russians to own a portrait of their royal family. Thus there can be very few contemporary miniature portraits of the family still in existence.

Blattel records very little about Adolf Helzel, only that he he lived in Bodenbach and Bohemia, was active in 1894, and was an owner of a porcelain painting company with his brothers, Emanuel and Heinrich. Other family members may have included August Helzel, and an earlier glass blower, Wilhelm Helzel. Adolph Helzel exported champagne and other wines glasses to the United States, but the New York Times reported that the importing agents ran foul of Customs with their declared values, which were held to be too low.

A little research suggests that he was likely the son of Franziskus Helzel and Aloisa Ludovia Guirand who were married there on 31 December 1846. He married Adelaide Amalie Suchy on 23 August 1875 at Stein-Schooenau, Decin, Czechoslovakia and they had a daughter, Martha Melanie Wilhelmine Helzel who was born on 27 September 1882. Martha married Robert Carl Joseph Emil Manzer on 19 October 1910 at Karlsbad, Vary Karlovy, Czechoslovakia and died on 30 December, 1949.

The collection also includes another miniature signed; "A Helzel Berlin". The sitter is H.R.H. Ernst August, Duke of Cumberland (1845 - 1923), formerly the Crown Prince of the Kingdom of Hanover. He was a great grandson of King George III of England. He wears the uniform of the Austrian Infantry regiment of which he was honorary Colonel. As such he was a distance cousin of Olga and Tatiana. Blattel says Helzel was active around 1894, but these two portraits suggest he was still active twenty years later.

The original studio or news photo of 1913 that the miniature was copied from is shown here. There are several in the series in different poses, but it is clear this was the inspiration for the miniature. During her lifetime, Olga's future marriage was the subject of great speculation within Russia. Matches were rumored with Grand Duke Dmitri Pavlovich of Russia, Crown Prince Carol of Romania, Edward, Prince of Wales, eldest son of Britain's George V, and with Crown Prince Alexander of Serbia. Olga herself wanted to marry a Russian and remain in her home country. Olga's murder following the Russian Revolution of 1917 resulted in her canonization as a passion bearer by the Russian Orthodox Church. In later years, when dozens of people made claims to be surviving members of the imperial family, a woman named Marga Boodts claimed to be Grand Duchess Olga, but her claim was not taken seriously.

Tatians was better known than her three sisters during her lifetime and headed Red Cross committees during World War I. Like her older sister, Olga, she nursed wounded soldiers in a military hospital from 1914 to 1917, until the family was arrested following the first Russian Revolution of 1917. Their murder by revolutionaries on 17 July 1918 resulted in her being named as a passion bearer by the Russian Orthodox Church. They was assassinated along with her family at Ekaterinburg. Their remains were identified through DNA testing and were buried during a funeral ceremony in 1998 at Peter and Paul Cathedral in St. Petersburg along with those of her parents.

A legitimate question for collectors is; "Is this a decorative miniature?" There is no straight answer to that, with the miniature showing there was a cross-over between "genuine" and "decorative" miniatures. This was not new in 1913, one hundred years earlier Henry Bone and his son Henry Pierce Bone copied other portraits, and their enamel miniatures are now highly prized.

Early and Modern Russian Decorative Miniatures
Elsewhere in this collection are a number of decorative miniature portraits of Russian monarchs. They include Peter the Great and Catherine the Great. 844a, 868

Also a miniature portrait by an unknown artist, which is a copy of a well known portrait of Alexander I (1777-1825) and one of Nicholas I (1796-1855). 1120 1058

Since 1990 the Russian royal family has regained nostalgic popularity, to the extent that decorative miniatures are again being painted, some of them are of a high standard. Shown here are four Russian miniatures painted since 2000. They are of Tsar Nicholas II and his wife Alexandra, together with two of his children, Grand Duchess Tatania amd Grand Duchess Anastasia.

This type of miniature is called Fedoskino or Palekh miniatures, after the Russian villages where many are still painted using lacquer on a papier-mache base. For more about them see Russian lacquer miniature - Fedoskino These can be purchased relatively inexpensively and would make a great basis for a collection for anyone interested in collecting miniature art, but with a tight limit on the amount of money they can spend.

Thus miniatures by Fedoskino artists provide a means of forming an attractive and inexpensive collection, and in doing so provide an insight into the times and events associated with the original sitters.

Morel-Ladeuil, Leonard - The Death of Andre Mazet, Barcelona, 1821

2011-04-11T19:08:00.000-07:00

In collecting miniature portraits it becomes inevitable that one becomes attracted to items slightly outside the boundaries of a collection, but related to it and interesting in their own right.

One such an example is this French snuff box. There are 6 or 8 snuff boxes in this collection which have portrait miniatures as part of the decoration. Hence this one looked interesting, especially as it has a medical theme, as over two years have been spent researching the life and times of the 19C surgeon Sir Anthony Carlisle.

The snuff lid decoration is 70mm in diameter and is set into the lid of a composition or papier mache box. The material appears to be a thin sheet of gold applied to a thin sheet of copper, as the base, in a similar manner to Sheffield Plate. The design technique is repousse, which means raised in relief, as a design on a thin piece of metal hammered through from the underside. A similar effect can be achieved by pressing or stamping a design, but the detail on this example appears too fine for that.

As discussed further below, there was a yellow fever epidemic in Barcelona in 1821. A French medical team including six physicians and two nuns was sent to Barcelona to provide assistance. Dr Rocheaux (aka Dr Rochoux) one of the French physicians at Barcelona during the epidemic, states in his book on yellow fever printed in 1828, that in the early part of the epidemic the mortality was in the proportion of 19 out of 20 of those infected, that towards the middle it became much less, and at the close was only two thirds.

The doctors can be seen tending the victims in tented cubicles on the right, with the two nuns, acting as nurses, standing at the rear. A doctor, perhaps Dr Rochoux, sits at the front mourning his colleague, and wondering about the cause of the epidemic. An angel is conveying to heaven, the soul of Dr Andre Mazet (seen here) who has just died, while placing a wreath on the obelisk. Death, as a skeleton holding the sickle of the Grim Reaper stands on the left and is raising the lid of an empty tomb. The tree is a weeping willow, ready to weep over the dead, but is outshone by the sun, shining brightly with pleasure at the positive efforts of the doctors.

There are several inscriptions on it;
Bottom - DEVOUEMENT DES MEDECINS FRANCAIS A BARCELONNE 1821- which translates as commemorating "the devotion of the French doctors in Barcelona in 1821".
Left on obelisk - MA ZET - There are two interpretations. Firstly, Andre Mazet was one of the doctors who died two years after publishing his book, "Observations sur la Fievre Jaune, Faites a Cadix, en 1819". This was an account of a similar outbreak in Cadiz in 1819, with Mazet himself a victim of yellow fever contracted during the expedition to Barcelona. But secondly, and less likely, "mazette" is an old expression meaning "Nothing or Empty", with the funeral monument empty because the doctors have saved so many lives.
Left on tomb - ILS ME LES RAVISSENT - Death is implying, there is nothing here for me; "they (the doctors ) have taken all of them".
Left under tomb - MOREL F - for Morel fecit - Morel made it.

There were several French jewellers named Morel and this was likely made later than 1821 by Leonard Morel-Ladeuil. Alternatively, it may be an earlier piece by Gabriel-Raoul Morel (c1819-1838) who made the box showing here, or by Alexandre-Raoul Morel (c1833-1850)
LEONARD MOREL-LADEUIL (1820-1888), French goldsmith and sculptor, was born at Clermont-Ferrand. He was apprenticed first to Morel, a manufacturer of bronzes, under whom he became one of the most expert chasers, or ciseleurs, in France, and then to Antoine Vechte, to acquire the art of repousse (q.v.) - the art in which he was to excel. He studied further under J. J. Feuchere and then attracted the notice of the comte d'Orsay and the due de Morny, through whose recommendation the French government, desirous of popularizing the idea of the new Imperialism, commissioned him to produce the "Empire Shield." Napoleon III. notified his warm approval, but the trade, annoyed that a craftsman should obtain commissions direct, resented the innovation and thenceforward boycotted the young artist, whose beautiful and poetic vase, "Dance of the Willis" (the spirits dancing round the vase, above the lake represented on a dish below) none would take. He was encouraged nevertheless by a foreign dealer in Paris, Marchi, who employed him on statuettes, mainly religious in character, until 1859, when Messrs Elkington, in view of the great exhibition of 1862, engaged him to work in Birmingham for three years in repousse, assuring him a free hand. Following his silver "Night" came "Day," and then the "Inventions" vase, which placed him at once at the top of his profession. This was followed by the beautiful plateau called "Dreams," which was subscribed for (£150) by Birmingham as the town weddinggift to the prince and princess of Wales. Morel-Ladeuil's contract was then renewed for five years, but as a matter of fact he remained with the firm for twenty-three years at their London house, the first result being his masterpiece the "Milton Shield: Paradise Lost" (in repousse steel and silver), which was the sensation of the Paris Exhibition. It was bought by the English government for £3000, and thousands of copies made by "galvanoplastie" or electrotype were sold and spread all over the world. Then after "The Months" came another masterpiece, the "Helicon Vase," in steel, silver, and gold, priced at £6000, which in course of time was presented by the ladies and gentlemen of the royal house to Queen Victoria on her first jubilee. For the Philadelphia Exhibition (1876) MorelLadeuil produced "A Pompeian Lady at her Toilet," following it in 1878 with the "Bunyan Shield," a companion to the Milton. After putting forth his reliefs "The Merry Wives of Windsor," "The Merchant of Venice," and "Much Ado about Nothing," in view of his failing health he retired to Boulogne, where he died of angina pectoris on the 15th of March 1888, and was buried with much ceremony at Clermont-Ferrand. His total work, apart from the productions of his youth, numbers 35 pieces, which richly reveal his elegant and refined fancy and grace, his feeling for correct and dainty ornament, and his love of pure art marked by an elevated if rather sentimental taste and a noble style.

The following paragraphs from Yellow fever in Barcelona - Barcelona blog - Barcelona food ... provide the background.
In the centre of Poble Nou Cemetery is a monument to the victims of the outbreak of yellow fever in Barcelona in 1821. The disease was brought by a boat from Cuba. The epidemic first hit the poor areas, and then the rest of the city. It is thought that at least 20,000 inhabitants died from the disease, that is a sixth of the total population (120,000). To the north, the French authorities took emergency measures by cutting off land and maritime borders and blocking French ports to Catalan vessels and defining a quarantine line along the Pyrenean border patrolled by 15,000 soldiers.

A French medical team including six physicians and two nuns was sent to Barcelona to provide assistance. Long after the epidemic had receded, the Pyrenean quarantine line was maintained by the French authorities for a hidden political purpose: Paris wished to contain Spanish Liberalism, a “revolutionary pest”. French troops engaged in the so-called quarantine line were used in 1823 to invade Spain, while French physicians returning to Paris were celebrated as heroes and benefactors of mankind although they had not provided any serious contribution to the therapeutics or the epidemiology of yellow fever. They were glorified in publications of the time. This unexpected manifestation of nationalism was welcomed and encouraged by the government of Louis XVIII who felt himself threatened by the liberal opposition.

There is an oil painting as shown here, by Henri Auguste Cesar Serrur (1794-1865) titled La Mort de Mazet which was painted in 1861. It is in Musée des Beaux Arts de Cambrai.

The events, including the death of Mazet, "Mort de Mazet", are also depicted in a set of engravings kindly made available on the Internet at Léon-François Hoffmann, LA PESTE À BARCELONE. En marge de l ... where larger images of those below can be seen.

It is not known whether there are multiple copies of the snuff box or if this was a single example. Other similar snuff boxes signed Morel are known, as shown here. The one on the left was offered for sale on eBay and that on the right offered for sale by Trinity Antiques on Ruby Lane, and described as "The high carat gilded medallion depicts Jesus Christ being delicately tended and lifted from the tomb. This medal was sculpted by one of the Morel brothers, famous for their quality. The detail is very fine. We can see the crown of thorns removed on the ground. Alongside are the nails and pliers. A cherub bathes Jesus's feet whilst the other two tend his upper body wounds. The words JESUS-CHRIST AU TOMBEAU (Jesus Christ Without The Tomb) surround the scene and below the arrows MOREL.F."

The third example has a portrait of George Washington and was offered for sale by snuffbox.com. 1411

Unknown - portrait of a patriotic Frenchman

2011-04-08T18:24:00.000-07:00

Although this miniature portrait is unsigned, and of an unidentified man, it is interesting as an indication of the effects of the French Revolution on men's dress.

The man is no longer wearing a powdered wig of the 1780's and is now proudly wearing the colours of the revolution.

Although it looks a little like a military uniform, it is perhaps more likely just to show his allegiance as a an "advertisement" and so to avoid potential persecution, or even the guillotine, as a reviled aristocrat.

The condition is less than perfect, but it was painted by a very competent artist.

It is 55mm in diameter, so is smaller in size than became common after 1800. 1407

Renoldguy (?) - portrait of a unknown man

2011-04-08T17:02:00.000-07:00

A valuable reference for collectors of French miniatures is Les Peintres en Miniature by Nathalie Lemoine-Bouchard. But, unfortunately, the artist who painted this miniature does not seem to feature in that dictionary, nor in Blattel, and hence appears to be a previously unrecorded French artist.

The signature is very hard to read and any assistance in identifying the artist would be gratefully received. It appears never to have previously been out of its frame, and so the faint writing is compounded by dirt which has seeped under the glass for over 200 years. It has been possible to brush some of the dirt off with a dry brush, but it is still very hard to read.

One guess is Renoldguy, but that is not a French name, neither are "renoldque" nor "renalaque"; another possibility is to read it perhaps as : Renold pinx

The artist is seen to be competent, without being outstanding. The main interest being the discovery of a previously unrecorded French artist who appears to have worked around 1790.

The miniature is only 60mm in diameter and so comes within the French modest school, that is a miniature of smaller size, rather than suggesting it is by an artist of modest ability. 1406

Bossi, Domenico - portrait of a man in a navy coat

2011-02-24T17:27:00.000-08:00

Eight and ten years ago, fortunate purchases for this collection, on two different occasions, were two miniatures acquired for very modest prices, which on receipt turned out to be by Domenico Bossi (1765-1853) an Italian artist born in Trieste, but who worked in several different cities.

Although his style can vary, some of his miniatures are quite distinctive, and since then anything resembling his work tends to stand out.

Bossi is a prized artist and hence a very fortunate acquisition at a local auction was this miniature portrait, described only as, "A Late 18C Circular Portrait Miniature on Ivory of a gentleman in a gold frame with memorium hair backing. Estimate $250-$450". It was listed among twenty lots of decorative and other miniatures of little value, so was very much out of place at the auction.

As it looked like a Bossi, it was necessary to inspect it, fortunately the auction house was quite close. On viewing the miniature, although perhaps a little faded, it was possible to detect a faint signature on the left starting D B..... This confirmed a feeling it was by Bossi. The reverse has two shades of hair laid at right angles, together with a damaged label which is unfortunately illegible as it may have shown the name of the sitter.

Fortunately, no one else picked the artist and it was purchased for less than the high estimate.

On opening the miniature the signature was only marginally clearer, but by enhancing the sharpness and contrast of the image, as seen here, it became possible to read the signature as "D Bossi 1795".

Schidlof describes Domenico Bossi (1765-1853) "as one of the best miniaturists of his period; in particular his works of the 18C are remarkable for expression and relief. In his first period he painted the shadows in surfaces using contrasts of sometimes hard light parts."

This aspect of Bossi's style is very apparent in this portrait, as the facial features are in a single colour, but made apparent by different depths of colour.

The National Museum in Stockholm contains 36 works by Bossi, dated 1796-1815. Hence this miniature of 1795 is an early work by Bossi, who in between 1794 and 1796 was working in Hamburg. Then going to Stockholm until 1802. He also worked in St Petersburg, Paris, and Vienna

One of the other two Bossi miniatures, of Baroness Leopold Neuwall is dated 1816, when he was in Vienna, so is towards the end of his career. For more see View The second is unsigned but is of Carl-Ludwig (1755-1801), Hereditary Prince of Baden.For more see View

In comparing the portraits of 1795 and 1816, the increased range of colours used in painting the facial features is quite apparent. 290, 492, 1409

Curiger - wax portrait of a man

2010-10-28T14:34:00.000-07:00

This is a wax miniature portrait from around 1815-1820. It is unsigned and the sitter is unknown.

The portrait is well modelled and is very similar to portraits by members of the Curiger family of Switzerland. Their work is normally on a slate background, whereas this one is on paper. The family was very well known in the late 18C and early 19C, and there were seven of them who modelled in wax.

It is unusual for it to be on a paper background, as that was nor rigid enough to support the wax, thus I am inclined to the opinion that the original background was broken at some stage, and the sculpture was then mounted on paper.

Wax portraits are even rarer than those on ivory, so correspondingly, fewer collectors ever see them, nor collect them. 1385

A wax miniature portrait in the collection by Joseph Benedict Curiger the Elder, can be see at;
Curiger, Joseph Benedict the Elder - portrait of man

Unknown - Decorated French soldier, 1915

2010-10-28T14:06:00.000-07:00

This miniature portrait is of an unknown soldier. The portrait is signed and dated 1915, but the signature is illegible. It appears to read something like "Augesety 1915", but I cannot find a similar name in Blattel. Any suggestions as to the name would be welcome.

I think he is French by the colour of his uniform. As he appears to have no rank badges, presumably he was only a private. If so, he is very well decorated for a private. It is a bit hard to tell the decorations he is wearing, but I believe the medal is the Legion de Honor. In addition he is wearing a red and green ribbon to the right of that decoration. I think this means that he had been awarded a second decoration, but the medal itself was not available, hence he only had the ribbon.

The Legion of Honour, or in full the National Order of the Legion of Honour (French: Ordre national de la Légion d'honneur) is a French order established by Napoleon Bonaparte, First Consul of the First Republic, on 19 May 1802. There are five grades of the Legion of Honor as below, and it looks as if he may have the ribbon bar of the second Grade, that of Officer;

Grand'croix

Grand Officier

Commandeur

Officier

Chevalier

The colours of the second decoration appear to be red and green in horizontal bars. My knowledge of decorations is very weak, but red and green were the colours of the Croix de Guerre which was established on 2 April, 1915, so the date fits. However, the ribbon had vertical stripes, as this this example. Thus, it is either a separate decoration, or perhaps at the early stages of it being awarded in 1915, it had not been confirmed that the stripes should be vertical, and not horizontal. The Croix was created by a law of April 2, 1915, proposed by French deputy Émile Briant. The Croix reinstated an older system of mentions in dispatches, which were only administrative honours with no medal. The sculptor Paul-André Bartholomé created the medal, a bronze cross with swords, showing the effigy of the republic.

Expert opinion on his uniform and medals would be welcome, also any advice as to whether there is any faint prospect of identifying him. To have apparently been awarded both medals in 1915, and to have had his portrait painted the same year, suggests he had performed some heroic service.

If so, it is possible there is a photograph of him in French newspapers of 1915. 1392

Unknown - bracelet portrait of lady

2010-10-28T12:35:00.000-07:00

This is a most unusual miniature portrait bracelet of an older lady. It is painted in enamel on porcelain, which was an uncommon technique, especially in the mid 19C.

It was a roundabout acquisition, as a visitor to my website asked me about it, as they thought it was American. I told them that I thought it was enamel on porcelain and probably German, and offered a fair price to buy it. However, the owner decided that as I had expressed interest, it must be worth a lot more than my offer, so they offered it on eBay with a high reserve. After a couple of unsuccessful auctions there where it did not reach reserve, the price was lowered and I was able to win it on eBay for a price a lot lower than I had originally offered the vendor.

I thought it was interesting as I had never seen a miniature in such a setting. There is a minor scratch on the right hand side which could be touched up. When it arrived, I found that the bracelet is made of silver, covered by gilt. I am still not certain about the origin. I am confident it is not American, but it may be that the painting itself was made in Germany, and the setting in England. Unfortunately, neither the sitter nor artist is known.

It was made for a very small hand, as it does not open, with the internal dimensions being only 60mm x 50mm. The portrait itself being 33mm x 42mm.

There are a couple of other miniatures in the collection set as bracelets, but they have wristlet bands made of human hair. 1380

Bellet E - portrait of a lady

2010-07-08T16:42:00.000-07:00

Unfortunately, to date it has not been possible to find out anything about the artist E Bellet.

But the miniature portrait of a young lady is a very fine example, probably French and dating from 1900-1910.

As can be seen in one image, the artist has also painted the reverse of the ivory base to give extra depth to the tones, without having extra layers of paint on the front of the ivory.

Few artists bothered to do this, I would guess only one or two out of every hundred. 1383

Brioso, Jose or Francisco - portait of an officer

2010-05-17T15:13:00.000-07:00

This fine miniature portrait of an unknown officer is signed "Brioso". It is either by Jose Brioso or Francisco Brioso.

Little is known of Jose Brioso who was a Spanish artist. [I have been kindly advised by a Spanish collector that José Brioso is one of the leading Spanish miniaturists of the first half of the nineteenth century. Little is known of his life. He was born in Cadiz (Andalusia) and worked in Madrid during the reign of Isabel II. In 2009 a Spanish auction house sold the portrait of a lady, signed and dated 1845.]

It does seem works by Brioso are rare as Schidlof does not mention him. Blattel refers to an artist F Brioso who was active 1835-1865 and is mentioned by Mariano Tomas in a 1953 book, "La Miniatura Retrato en Espana".

Under the name Jose Brioso Y Ruiz, he seems to be the author of Museo artístico y filosofía de la noble pintura: obra original - which was published in Spanish in Cadiz in 1866. Although the book is about painting, it does not seem to mention miniatures.

As can be seen, the quality is remarkable, and it seems surprising that he is not better known. In style the miniature is similar to those of the Italian artist Domenico Bossi.

One unresolved issue is the likely date of the portrait. From the clothing and hairstyle, the miniature appears to date from around 1820. If so, it seems too early to be by Jose Brioso. That raises three possibilities;
1 The signature has been added
2 Brioso copied an earlier miniature
3 There were father and son artists, both named Brioso.

The third alternative is possible, as the name Brioso seems connected to Cadiz for many years, including;
Jose Brioso Trujillo, born in Cadiz in 1724, son of Julian Brioso
José Brioso (civil, a native of Cadiz in the Archdiocese of Seville) married to Maria Josefa, who was an early settler in Uruguay, South America c1763, see Contribución española al poblamiento de Maldonado (siglo XVIII ...
Jose Brioso y Ruiz, of Cadiz, author of the above book in 1866
Jose Brioso del Ray, c1900, father of Jose Brioso del Val
Jose Brioso del Val, born in Cadiz 5 Jun 1931, son of Jose Brioso del Ray

Now that this miniature has emerged, perhaps more will be learned about the family. 1373

[Later - A kind Spanish collector has sent me the following information;
In relation to the portrait by Brioso, the author of the book "Museo Artístico y Filosofía de la Noble Pintura", written by José Brioso y Ruiz in 1866, on page 6, when referring to Spanish painters of the past, including Madrazo, Rivera, etc. Brioso mentions his father ( 1). In the footer below, it says: "Father of the author, an excellent miniaturist and assistant professor of drawing at the Academy of Fine Arts of Cadiz". His father and author of the miniature is Francisco Brioso, but do not know his middle name.]

A little research has revealed that The Royal Academy of Fine Arts of Cadiz [La Real Academia de Bellas Artes de Cádiz Orígenes físicos - UCA.es Universidad de Cádiz ] was opened in 1789. It was a place where educational activities were developed to train goldsmiths and expert designers in drawing, so as to improve the quality of jewelry and luxury items, it was also the School of Silversmiths.Its first location was the magnificent Palace of Recaño in Sacramento and from 1842 was housed in a building, previously the convent of San Francisco in the Plaza de Mina, now the Museum of Cadiz.

Theer, Robert - portrait of Ferdinand I of Austria

2009-11-11T12:46:00.000-08:00

Illustrating a dilemma faced by collectors of moderate means, is this miniature portrait which provides an excellent example. That is, should damaged miniatures be collected? In this instance, it can be seen there is some rubbing to the left of the sitter's face.

However the sitter is a well known historical figure and the artist is important. Hence, whereas one can readily acquire unknown sitters, named sitters are more rare and in this case, the miniature seemed to be worth buying. It was fortunately obtained at a price which was a small fraction of what would prevail for a similar miniature in perfect condition. At some stage it would be desirable to have it restored, but as the condition is stable, that can be deferred.

The sitter is Ferdinand I (19 April 1793 – 29 June 1875), Emperor of Austria, President of the German Confederation, King of Hungary, and associated dominions from the death of his father, Francis II, Holy Roman Emperor, from 1835 until his abdication after the Revolutions of 1848.

He married Maria Anna of Savoy, the sixth child of Victor Emmanuel I of Sardinia. They had no issue. Ferdinand was incapable of ruling his empire, so his father, before he died, drafted a will promulgating that he should consult Archduke Lewis on every aspect of internal policy, and urged him to be influenced by Prince Metternich, Austria's foreign minister.

He abdicated on December 2, 1848. He was succeded by his nephew, Francis Joseph. Following his abdication, he lived in Hradčany Palace, Prague, until his death in 1875.

Robert Theer (1808-1863), was the eldest of three brothers, all important miniature painters born in Johannisberg, Silesia and who all died in Vienna. Robert was a pupil of the famous artist Daffinger.

The close ups show the skill of Theer, as the group of medals is less than 2cm across. 1370

It is interesting, and unusual, to be able to compare three miniatures of the same sitter by the same artist. The originals are all 54mm x 38mm. The one in this collection shows him as the youngest, probably painted on his accession in 1835. The second is in the Albertina Museum collection in Vienna and shows him around 1840. The third example shows him around the time of his abdication and, in late 2009 the prominent art dealer, Boris Wilnitsky, was offering it for sale for Euros 3000. See
Boris Wilnitsky Fine Art - Homepage

Miniatures like these were painted as diplomatic gifts in the days before photography and hence multiple examples often exist, varying slightly during the monarch's reign.

Rohl, Maria Christina - portraits of Ebbe Samuel and Anna Bring

2009-06-10T20:56:00.000-07:00

Miniature portraits by Scandinavian artists are not often seen outside north Europe, thus this signed, dated, and identified, pair by Maria Christina Rohl are especially useful in comparing painting styles, and dating clothing for undated miniatures.

Maria Rohl (26 July 1801-5 July 1875) is described as a Danish artist in some references, but according to Blattel she was born at Skonstavik in Sweden. She was a Swedish portrait artist who made portraits of a large number of well known people in Sweden in the first half of the 19th century. Her paintings are exhibited at the national museum Nationalmuseum in Stockholm. The Swedish Royal library has a collection of 1800 portraits. She was a member of the Royal Swedish Academy of Arts (1843) and a portrait artist of the royal court.

Maria Röhl was born in Stockholm in a well-off family, but was left poor at the death of her parents in 1822. After first planning to become a governess, one of the few occupations then available to well-born but poor women, she was educated in drawing by the professor and engraver Christian Forsell and by the painter Alexander Hambré. She was taught to make quick and realistic portrait drawings in lead and chalk.

She began to draw the friends of the Forsell family, where she lived, and soon it became fashionable in high sociaty to be portraited by "mamsell Röhl", and she was able to support herself as an artist. She was much employed by those who couldn't pay to be painted in oil, and drew a large number of famous Swedes of the time, both aristocrats and actors. She painted a portrait of Henry Wadsworth Longfellow when he visited Stockholm in 1835. Maria Röhl did paint in oil, but the majority of her works are drawings in lead and chalk. Blattel notes that she also painted miniatures, but that may have only been during the early stages of her career, as with this pair painted in 1826.

In 1843, Röhl was appointed court painter, and in 1843–1846, she studied in Paris at the studio of Leon Cogniet at the French academy of arts. After her return, she established her own studio at Brunkebergstorg in Stockholm. During her last years, as with many artists, photography became a harsh rival to her drawn portraits. She died in Stockholm.

The sitters in the miniatures are Ebbe Samuel Bring (24 Jul 1785-20 Feb 1854) born Osajo, Kristianstad, Sweden, and his second wife Anna Maria Leche (1804-1877). They married on 23 August 1826 at Lund, Malmohus, Sweden. They had two daughters, Anna Sophia (18 January 1828-23 January 1828) and Ebba Wilhelmina Bring (1835-) born Lund, Malmohus, who married Niclas August Tengberg (26 Mar 1832-14 Nov 1870) in 1858, the son of N Tengberg and Augusta Charl Billquist.

Although not certain, Ebbe Samuel Bring is thought to be the son of Ebbe Bring and Maria Halstrom, who also had a daughter, Ebba Maria Bring (2 Apr 1777-1855) who married Goran (Georg) Liebert Skytte of Satra (27 Jan 1767-25 May 1836). The Bring family had a number of noted scholars at Lund University. Ebbe Samuel Bring was a cousin of Ebbe Gustaf Bring (4 Jul 1814-1884), the son of Sven Haken Bring and Ulrika Sofia Silfversvard. Ebbe Gustaf Bring was a Swedish bishop, professor, theological writer, born July 4 1814 in Askersund, death in Linköping night between 12 and August 13 1884. He became a student in Uppsala in 1829 and in Lund in 1832, gaining a PhD at Lund in 1835, and being appointed to associate professor in dogmatism and moral theology in 1837. He married the same year. In 1844 he was appointed theology teacher and the same year to the dean of his own congregation. From 1839-1847 Ebbe Gustaf Bring almost continuously held various professorial positions in the theological faculty, and in 1848 he was appointed professor of pastoral theology, and in 1856 also to be the rector of Lund University, a position held at various times by other members of the Bring family. Ebbe Gustaf Bring prepared King Oscar II's three eldest sons for their first communion. In 1861 he was appointed Bishop of Linköping, which he retained until his death in 1884.

Ebbe Samuel Bring was also a nephew of the mathematician Erland Samuel Bring (1736-1798 0r 1802?), who in 1750 became a student at Lund, passed the legal state examination in 1757, and was subsequently employed as a practical lawyer. In 1762 Ebbe Gustaf Bring became associate professor in the Faculty of Law and in 1765 the first holder of notarial activity at the university. In 1766 he became Master of Arts in 1770 and was appointed to the chair in history in 1779. Bring's activities in history were less significant than the actual field of his scientific interest in mathematics. The manuscript works, which he (seven volumes of the Lund University Library), are considered to show that he in many cases was ahead of his peers. His most famous work is "Meletemata quaedam mathematematica circa transformationem aequationum algebraicarum". He found a formula to reduce the general fifth degree equation;

to the much simpler form

It looked as though it was a big step closer to a general solution of the fifth degree equation, but Erland Samuel Bring's formula remained basically unknown. Erland Samuel Bring was rector of Lund University in 1790.

Anna Maria Leche, the wife of Ebbe Samuel Bring, was the daughter of Professor Wilhelm Julius Leche, the vicar of Kyrkheddinge, Esarps, Lund and also a schoolmaster. The Leche family seems to have lived in Malmohus since 1675 or earlier and it is likely that Anna Maria was related to the Johan Cornelius Leche who married Johanna Moller on 31 March 1792. It is also likely that she had several siblings or cousins, including, Jöns Gessel Leche (1794-?), Magnina Christina Leche (1798-?), and Magnus Christian Leche (1799-?). As Anna Maria was nineteen years younger than Ebbe Bring, it seems possible that one of her brothers was a student of Ebbe Bring and that is how they met. There is a collection of her letters, the "Anna Maria Bring letter collection", at Lund University.

Ebbe Samuel Bring MA, became a student in Lund in 1798, when only 13 years old, he gained his Master of Arts in 1808 and became Associate Professor of History in 1809. After a time, having studied medicine, he studied law, passing in 1815 his Law degree. In 1819 he became curate of Kriminallagfarenhet and 1821 Matthaeus Fremlings successor as professor of theoretical philosophy. In 1828 he was appointed professor of history, a post he held until his death. In 1841 he received sacerdotal ordination, was then pastor of Bjärshögs and Oxie prebendepastorat. He was twice rector of Lund University in Sweden, in the years 1830-31 and 1840-41. He died in 1855 and is buried at the Monastery Cemetery in Lund.

Ebbe Samuel Bring was also an author. His printed writings consists mainly of a very large number of academic dissertations and numerous political brochures. Books or papers, written by Ebbe Samuel Bring, as author or co-author, are thought to include;
- Svenska civillagfarenheten, uti systematisk ordning, 1819
- De veterum Suecorum et Gothorum præcipuis, quæ rempublicam spectant, , institutis Disquisitio Historica. Sectio Prima, 1823
- Prolusiones antiquariae, 1827
- Historica in difficiliores aliquot Herodoti locos adnotamenta, 1829
- Om statsförfattningen och krigsväsendet hos de fordna svear och göther. 1-10. Diss. resp. F.O. Cöster, N. Hemesse, A. Brunnerus, P.E.G. Gullander, O.B. Rosenblad, A.G. Schröder, A. Andersson, P.D. Rudelius, I. Tollin, R. Wollin, 1832.
- Om Stat, Statsförfattning och Representation med afseende på Sverige, 1834
- Bibliografisk handbok till Sveriges historia,
- De ingenti Franco - Gallorum regis , Henrici IV:ti consilio, vulgo: Le grandessein de Henri IV. P. I - V, 1835

(1369A and 1369B)

Unknown - portrait of Karl III of Pfalz-Zweibrucken

2008-09-02T14:23:00.000-07:00

Karl III von der Pfalz-Zweibrucken

When first acquired, there was doubt about the identity of the sitter in this miniature by an unknown artist, which is set into the top of a late 18C snuff box. A kind visitor has now been able to supply his identity, which is gratefully received. He is Karl (or Carl) III Duke of Palatinate-Zweibrücken (Pfalz-Zweibrücken) who lived from 1746 to 1795. Confusingly, he sometimes described himself as Karl II.

He was the older brother of Max Joseph, the first King of Bavaria. His life is described in German at Biografische Notiz and the following is an attempt to translate that into English. "On the one hand he was considered as very interested in music and the builder of a large castle with splendid gardens and a rich art collection. But on the other hand, he was described as a despotic ruler, who lived far beyond his financial resources, without considering the needs of his subjects. In particular his passion for the hunt near his castle caused displeasure and protests by the rural population, about harvest damage from the hunt for wild animals. Thus his personality is still disputed.

In 1775 he succeeded his uncle Christian IV, as Duke of Zweibrucken. In the spring of 1776 he moved from his Zweibrücken palace to a new residence at Jägersburg near Sanddorf. At Karlsberg he expressed the expectation, that from his power and his protected situation, he would have a weighty role to play in European policy, as he had the prospect of inheriting Kurpfalz and Bavaria in the background.

However, the French revolution, and the French invasion into German territories destroyed this hope in 1793 and, on 9 February, Karl III August fled before the French troops, who at the end of July 1793 burned his castle down to the foundations. As the last Zweibrücken duke, he died at Mannheim 1795.

Another portrait where he is described as Karl III August Christian Pfalzgraf von
Birkenfeld-Zweibrücken can be seen on page 2 at

http://www.pastellists.com/Articles/LAUER.pdf

Information about the two discounted sitters has been left below, just for interest. They are Elector Karl Theodor of Bavaria (Dec 1724-16 Feb 1799) and Count Rumford, an interesting American who warrants some attention due to his association with Karl Theodor.

Apart from the different colour of lapels on the front of his uniform jacket, the image in the miniature is fairly similar to the enamel miniature of Charles Theodore by Langenhoeffel showing here, which is in the Orange-Nassau Collection of the Dutch Royal Family.

A kind military expert has identified the uniform as that of a lieutenant-general in the Bavarian army.

The name of Karl Theodor translates into English in various forms including Carl Theodor and Charles Theodore, with "The Wordsworth Handbook of Kings & Queens" listing him as Charles IV Theodore, Elector Wittelsbach of the Palatinate (from 1742-1799) (Duke of Salsbach; eleventh in descent from Rupert III). Then he also became Elector of Bavaria after the union of Bavaria and Salsbach in 1777.

A kind visitor has been able to identify and supply images of the two decorations.

"The sitter is wearing the two highest Bavarian Orders.

The breastplate on the top is that of a knight of the Bavarian Order of St Hubertus. It is the highest Bavarian order.

The one below is that of a commander of the second highest Bavarian Order, that of St George."

Carl Theodor did wear these two decorations, but the visitor has observed that the sitter is depicted with no epaulettes, no sashes of the relevant orders, no Golden Fleece, and a simple military uniform instead of Gala.

However, apart from the lapel colours, the uniform does appear similar to the Orange-Nassau portrait.

Count Rumford and the miniature
Another less likely identification is that the miniature represents Count Rumford (1753-1814).

He was an American born as Benjamin Thompson in Woburn Massachusetts, who served as an aide to Karl Theodor in the late 18C.

Rumford is shown here as a younger man in a painting by Thomas Gainsborough from 1783 which has some similarities, although thinner and younger.

Rumford was an aide to Karl Theodor between 1785 and 1796, so it could possibly be him and painted around 1795. As all men of importance wore wigs at the time, it can be quite difficult to identify sitters in 18C portraits.

The dating fits and the sitter is wearing a white uniform. As mentioned below by a kind visitor, some Bavarian cavalry units wore white uniforms. Rumford was appointed a major-general in the Bavarian cavalry in 1785.

Identification as Rumford could also explain the absence of some items of uniform decoration, that might otherwise have been expected on a uniform if it was worn by Karl Theodor.

Currently, it is not known whether Rumford was awarded the two decorations appearing on the uniform. From the later image, he may have been awarded at least one of them, although the decorations are not mentioned on the frontispiece of a book by him, which gives a list of his various titles, including his being a Lieutenant-General.

Also shown here is a painting said to date from 1872, which is well after Rumford died in 1814. It does not look to be early 19C in style and thus it may be an artist's impression of Rumford, not a copy of an actual portrait. See http://www.yeoldewoburn.net/rumford1.JPG

The actual miniature shown above, was acquired within USA, rather than Germany, and was purchased at not a great distance from Concord MA, where Rumford's daughter returned to live.

Count Rumford is discussed in more detail below.

Bavarian Uniforms

Another kind visitor has also provided the following comments about Bavarian uniforms of the 18C.

"However, so far as I know, the Bavarian general officers' uniform was blue, not white. It was either dark blue, or a medium blue called cornflower blue - there is some dispute about which shade of blue Bavarians wore in the 18th century though they were definitely cornflower blue by Napoleonic times.

So the question is: why is your man in white? Well, several possible answers. Maybe he is wearing a cavalry uniform (some Bavarian cavalry units had white coats). Or possibly he is wearing a Holy Roman Empire uniform (I note that he was not only Duke of Bavaria, but also from the Palatinate (called Pfalz in German) - there were smaller armies in the Holy Roman Empire, including from Pfalz, all of which made up together what was called the Reichsarmee. Some of these little armies wore white - I'm not sure if Pfalz did or did not, though. Also, the Austrians and French did wear white.

So far as the coloured panels are concerned, these are called 'lapels'. Together with the 'cuffs' and the 'turnbacks' (the triangles formed by turning back the coat-tails), these together were called 'distinctives' or (later) 'facings'. The colours of the distinctives were used to differentiate one regiment from another. For instance, all Bavarian infantry regiments wore identical blue uniform coats, but had different coloured facings to distinguish them, such as red, white, yellow, black or buff. General officers also sometimes had facings, which were usually a specified colour, with their rank distinguished by the amount of gold braid on them.

So your man is either wearing uniforms from two separate units or countries - or possibly the colour of the facings had changed in some sort of uniform reorganisation between the time of the two portraits."

More on Karl Theodor
When Karl Theodor inherited the Palatinate in 1742, the Mannheim Palace was still incomplete.

Construction had commenced in 1720. As with most public buildings before and since, it took much longer and cost a lot more than intended.

The building process was to cost about 300,000 Gulden and be financed by an extraordinary “palace tax”, but in the end, the palace cost about 2,000,000 Gulden and severely worsened the Palatinate's financial situation. The first administrative institutions began using the palace in 1725, but the court only transferred to the new residence in 1731. Construction was not completed until 1760.

During Karl Theodor's reign, the palace and the city of Mannheim saw their zenith. The glamour of the Elector's court and Mannheim's then famous cultural life lasted until 1778, when Karl Theodor became Elector of Bavaria by inheritance and he moved his court to Munich. Although Mannheim kept the title of “residence”, the palace was used merely as accommodation for several administrative bodies.

On the union with Bavaria Karl Theodor instantly managed to make everyone in Bavaria his enemy by proposing to Emperor Joseph II (1741-1790) of Austria that they exchange parts of Bavaria for some Austrian possessions, along the Rhine and in Belgium and close to Karl's dominions; the Palatinate, Jülich and Berg.

There is a miniature portrait of Joseph II of Austria in this collection, see
Bencini, Antionio - portrait of Joseph II Joseph II was the brother of Marie Antoinette.

The ensuing diplomatic crisis over the proposed exchange led to the outbreak of the War of the Bavarian Succession. At the ensuing Peace of Teschen in 1779 it was resolved that Karl's descendants would not inherit the throne of Bavaria.

Karl Theodor never became popular as ruler of Bavaria. In the following years, he constantly tried without success to exchange the ducal lands of Bavaria for the Austrian Netherlands and a royal crown, and he never managed to control the mounting social tensions in Bavaria.

Karl Theodor was a great lover of the arts, including drama and especially music. His Mannheim court orchestra was considered one of the finest in its time.

Mozart applied for a position with the Mannheim orchestra in 1777, but was turned down, as the court was about to move to Munich. In 1780, Karl Theodor commissioned Idomeneo from the composer. Mozart quotes him as saying "No music has ever made such an impression on me. It is magnificent." (David Cairns, Mozart and his operas, 2006, p.48)

Despite the mutual dislike and distrust between him and his Bavarian subjects, Karl Theodor left a distinctive mark on the city of Munich; it was under his reign that the "English Garden", Munich's largest park, was created and the city's old fortifications were dismantled to make place for a modern, expanding city.

The English Garden with 417 hectares, is one of the largest inner-city parks in the world, even larger than Central Park in New York or Hyde Park in London. See Bavarian Palace Department | Gardens | Munich English Garden

More on Count Rumford

The choice of the name, the English Garden and its design, seem to be due to an American born in Woburn Massachusetts!

Count Rumford is shown on the left as a statue erected in Munich in 1867, and on the right in an exact replica from the same casting which was donated to the citizens of Woburn, MA by Marshall Tidd in 1900.

Although few people today remember Rumford's name, he had some famous admirers, including FDR.

“Many-sided men,” Franklin Delano Roosevelt told an interviewer in 1932, “have always attracted me. I have always had the keenest interest in five men … of comparatively modern times.” They were Thomas Jefferson, Benjamin Franklin, Napoleon, Theodore Roosevelt, and Benjamin Thompson, Count Rumford. Of Roosevelt’s list, the last named is the only one not now a household word. See AmericanHeritage.com / Rumford

Rumford was born Benjamin Thompson (26 Mar 1753-1814) in this house which still retains his cradle, although one wonders whether its exterior color is original!

Apprenticeships in the importing trade and the study of medicine absorbed much of his young life until at the age of 19 he became a schoolmaster in Concord (earlier called Rumford) N.H. There he met and married a wealthy widow, Mrs. Sarah Rolf, who was also the daughter of Reverend Timothy Walker. In this position of influence, young Thompson met Governor Wentworth of New Hampshire who was impressed enough to name him Major in the 2nd Provincial Regiment.

This commission, awarded to him over older men, and his continued contacts with influential British officers, such as General Gage in Boston, set him in the center of controversy. In 1774 a committee of Concord citizens charged him with “being unfriendly to the cause of liberty.” Though acquitted, he felt the atmosphere so inimical that he returned to Woburn and to the home of his mother where he was joined by his wife and infant daughter.

Then as a loyalist he left for England in March 1776. In England his scientific career prospered. While serving in the Government Colonial Office his scientific study and experiments, particularly with gunpowder, were so successful that he was elected in 1779, at the age of 26, to the prestigious Royal Society. He was knighted as Sir Benjamin Thompson in 1784.

In 1785 he was appointed by Karl Theodor as Major-General of Cavalry and Privy Councillor of Bavaria. Thompson worked in Bavaria for over ten years and in recognition of his assistance, Karl Theodor created him Count Rumford on 9 May 1792.

Thompson thus had spent over a decade in Bavaria, where he:
• Reorganized the army
• Invented a special soup for the poor
• Taught Bavarians to cultivate potatoes
• Invented wax candles
• Built the English Garden
• Invented the double-boiler and the drip coffee-maker
• Published An Experimental Enquiry Concerning the Source of the Heat which is Excited by Friction, a tract that overturned conventional scientific wisdom
• Became a Count of the Holy Roman Empire
• Invented thermal underwear

Rumford wrote many papers and also some books. At the end of the 18C many items were published in a set of three volumes; "ESSAYS, Political, Economical, and Philosophical" by Benjamin Count of Rumford, where he described himself as: Knight of the Orders of the White Eagle, and St. Stanislaus; Chamberlain, Privy Counsellor of State, and Lieutenant-General in the Service of his Most Serene Highness the Elector Palatine, Reigning DUKE of BAVARIA; Colonel of his Regiment of Artillery, and Commander in Chief of the General Staff of his Army; FRS. Acad. R. Hiber. Berol. Elec. Boic(oe). Palat. etc. et Amer. Soc.

Several of books have been written about Count Rumford and his discoveries, including a cookbook and a book about fireplaces.

For example the introduction to the cookbook comments; "After a century and a half, he is honored today as the grand master of the great guild of chefs, the first and greatest scientist of the kitchen.

He was the first to study diet; to invent an effective oven, and roaster, and tea kettle, and boiler; to advocate drip coffee; to suggest holes in the handles of pots and pans so they can be hung up; to analyze fuels and the management of heat; to devise the modern air-tight stove; to lay out efficient kitchens; to reason about the construction of oven doors and thereby open up the great field of insulation."

“My principal design,” he said, “is to fix the attention of my readers on a subject which is highly interesting and deserving of the most serious consideration. I wish to inspire cooks with a just idea of the importance of their art. In what other art could improvements be made that would more powerfully contribute to the enjoyments of mankind?”

Rumford Medal and Rumford Prize

Count Rumford in 1796, gave $5,000 each to the Royal Society of Great Britain and to the American Academy of Arts and Sciences to award medals every two years for outstanding scientific research on heat or light.

The American Academy of Arts and Sciences awards the Rumford Prize, while the Royal Society awards the Rumford Medal. A picture of the Rumford Medal is shown above.

Also shown is another medal with a portrait of Rumford, but it seems unlikely the latter is based on a contemporary portrait of Rumford, as the collar of the uniform looks to date from 1805 or even later. By then Rumford had been out of the military for some years. It is a commemorative medal by Moritz Furst issued by the AAAS in 1951, see The Life and Legend of Count Rumford and numismatics.org:1940.100.1962

The medal is inscribed on the obverse: "BENJAMIN COUNT RUMFORD BORN 1753 DIED 1814 and on the reverse: RUMFORD MEDAL FOR DISCOVERIES IN LIGHT OR HEAT|AWARDED BY THE AMERICAN ACADEMY OF ARTS AND SCIENCES TO ...". Although it is inscribed as the Rumford Medal, it seems that the wording is intended to refer to the Rumford Prize.

Established in 1839, the Rumford Prize is one of the oldest scientific prizes in the United States.

The first person to receive the Rumford Prize from the American Academy of Arts and Sciences was Dr Robert Hare (1781-1858) who was born in Philadelphia and was Professor of Chemistry at the University of Pennsylvania from 1819-1847, where he became Professor Emeritus.

The award reads; "Robert Hare, Philadelphia, Pennsylvania, for his invention of the "compound" or "oxyhydrogen" blowpipe".

Dr Hare is depicted here in a miniature in this collection painted by James Peale, for more about Robert Hare and the miniature, see Peale, James - portrait of Dr Robert Hare The AAAS Rumford Prize was not awarded again until 1862.

Among those who have received the Rumford Medal from the Royal Society are Humphry Davy, Michael Faraday, Louis Pasteur, James Maxwell, and John Tyndall.

Among those who have received the award from the American Academy of Arts and Sciences are Josiah Gibbs, Thomas Edison, Albert Michelson, Irving Langmuir, Arthur Compton, Karl Compton, Enrico Fermi, and Edwin Land.

Rumford was also instrumental in the founding of the Royal Institution The Royal Institution of Great Britain is an organization devoted to scientific education and research, based in London. It was founded in 1799 by the leading British scientists of the age, including Henry Cavendish and its first president, George Finch, the 9th Earl of Winchilsea, for "diffusing the knowledge, and facilitating the general introduction, of useful mechanical inventions and improvements; and for teaching, by courses of philosophical lectures and experiments, the application of science to the common purposes of life." Much of its initial funding and the initial proposal for its founding were given by the Society for Bettering the Conditions and Improving the Comforts of the Poor, under the guidance of philanthropist Sir Thomas Bernard and Count Rumford.

At his funeral in Paris in 1814 Rumford was described as the “benefactor of humanity”. He left a will dated September 28, 1812; one of its witnesses was the Marquis de Lafayette. Included in the bequests were a plain gold watch for the chemist Humphry Davy and a gold-headed cane and gold-enameled watch, with the gold chain and seals attached, for the American Daniel Parker. To Benjamin, Baron Delessert, Rumford left a gold-enameled snuffbox, set around with diamonds, that had been given him by His Majesty Francis II, Emperor of Austria.

The bulk of the estate, however, was set aside for a trio of beneficiaries: Harvard College, the United States Military Academy, and Rumford’s daughter, Sarah.

The portion of the estate was left to Harvard University enabled the present Rumford Professorship to be established.

Sarah, Countess of Rumford
Daughter Sarah (1774-1852) shown here did not marry, although she had wanted to. After her mother died, Rumford sent for her to come to Europe to serve as his companion. Thus, around 1796, at her father's request, Sarah Thompson travelled to London to be with him. Their relationship proved uneasy, often strained; after his death she returned to Concord.

In 1797, the Elector of Bavaria accepted Sarah Thompson as a Countess of the Holy Roman Empire. In recognition of her father's military services to Bavaria, she was to be given one half of his pension of 2000 florins upon his death, with the right to live in any country she wished. When her father died in 1814 she became "Countess Rumford".

As the Dowager Sarah, Countess Rumford, she died on December 2, 1852, when she was seventy-nine years old. She left her large house and land in Concord, and her considerable fortune, to charity. She had two favorite causes and endowed them by bequest: a home for parentless children and the New Hampshire Asylum for the indigent insane.

Although there is no accompanying provenance, this miniature portrait was acquired in the United States from Kensington, MD, which is less than 450 miles from Concord, MA. As it represents Rumford's benefactor and would have been painted while he was in Bavaria, it is even possible the miniature was left as part of his estate to his daughter Sarah. 1344

Maricot, Jean-Alexandre - portrait of a young lady

2008-05-27T18:04:00.001-07:00

This recently acquired miniature of a young lady is signed and dated in red at the lower left: "Maricot 1827".

Miniature portraits by Jean-Alexandre Maricot (aka Jeanne-Alexandre Maricot) (<1785->1840) seem to be uncommon, so much so that Nathalie Lemoine-Bouchard was unfortunately unable to locate a suitable image in time to include in her book about French miniature painters.

Although the French Government owns over 2,000 miniatures, almost all by French artists, there is no example by Maricot.

A kind visitor who is an expert on European miniatures has commented: "Maricot is an extremely rare artist, and he is just as good as Mansion or Aubry, but lesser known due to his rarity. Glowing colours, a brush stroke like in oil painting, a fantastic artist."

The miniature is very large at 185mm x 135mm. As a result of that it has suffered some cracking over the years.

Whilst cracks are generally to be avoided, it is almost impossible to find 18C and 19C miniatures of large dimensions without any evidence of cracking.

For most large miniature portraits depicted in the Louvre Catalogue, cracks can be seen and it seems likely many others will also be cracked, but such cracks not apparent in the printed images.

Thus for a miniature such as this, it seems that any cracks must really be regarded in a similar manner to rim chips on 17C Delft ware. That is, it is an acceptable proof of age.

Schidlof describes miniatures by Maricot as follows:

"The miniatures of Maricot clearly show an influence of Isabey. They have a yellowish colouring with red-brown shadows and a fine, skilful and soft execution. The relief and expression of his miniatures are remarkable. Maricot was a very good miniaturist and some of his works are of great quality".

Maricot exhibited at the Paris Salon from 1808 until 1848. He also painted in oils and watercolour.

The sitter in this miniature is unknown.

The hat she is wearing is very finely painted and could have passed with favourable comment 100 years later, if it had been worn by a fashionable young lady in the 1920's. 1332

Unknown - silver snuff box with portraits

2008-04-08T20:50:00.000-07:00

There are many unsigned miniature portraits, with unidentified sitters, and while some are very attractive, there is often not a lot of research that can be conducted to find out more about them.

Despite this pair of miniatures being unsigned and unidentified they were acquired as they are unusual. They are set into the interior lid of a silver snuff box. The box is probably Dutch, French, or German.

As such the item appeals to three groups of collectors; those collecting miniature portraits, snuff boxes, and sterling silver.

The snuff box is hammered silver in a rococo design and likely made at the end of the Rococo period, say 1775/1780. There is a town hall mark but it is hard to read, however the maker's mark is quite clear as "CH".

I do not know much about hallmarks but have had a look through my reference book without success. The hallmark appears to be something hovering over four thick prongs, perhaps of a crown. Any help in identifying the hallmark will be very welcome.

The portraits are finely painted on paper under glass. The wheat sheaves and agricultural implements between the man and lady, suggest they could represent a miller and his wife.

Within this collection there are a number of complete snuff boxes. They are made from a variety of materials, including silver, horn, wood, and papier-mache as shown here (the portraits are inside the silver snuff box). With portraits ranging from the famous French sculptor Joseph Chinard by Francois Soiron, to King Ferdinand VII of Spain by Stobwasser, a baby, and a mourning scene.

The history of snuff is very long with snuff taking by the Native Americans first described by a monk named Ramon Pane in 1493, during Columbus' second journey to the Americas.

By the 1700s, Snuff had become the tobacco product of choice, with fans including Napoleon, as well as George III's wife, and Pope Benedict XIII.

This box is an early example to have portraits inside. At the end of the 18C and into the 19C there were many snuff boxes with portraits set into the outside, especially in France.

The better quality portrait miniatures surviving from that period are often survivors of a broken snuff box, with the lower portion being discarded.

Even after snuff-taking ceased to be popular in general, the practice lingered among diplomats. Monarchs retained the habit of bestowing snuff-boxes upon ambassadors and other intermediaries as a form of honour. Some of these were incredibly valuable.

Prince George, Duke of Cambridge (1819-1904) shown here in a miniature from this collection, see View himself possessed an important collection. After the Duke's death a Louis XV gold snuff box was sold at auction for £2000. 1325

Kellner, Dorothea - the von Cramon portraits

2008-03-27T17:45:00.000-07:00

A Family at War
Rarely does one come across a pair of miniature portraits so well identified as this pair are. The research below shows what can be discovered about the impact of war on a family. Researching these sitters also brings history to life and gives a different perspective to some 20C events.

The following research has not all been confirmed by the von Cramon family, but it appears the family was a true military family with a long and proud military history back to the 17C, which was wrenched apart by events associated with WWI and WWII.

Apart from the von Cramon family's distinguished military service in both World Wars, such events included August von Cramon's involvement in war reparation disputes after Versailles, a plot to restore the rights of the feudal states in the 1920's, persecution of Jewish members of the family, the bomb plot against Hitler, and the effects of the Iron Curtain. There was also conflicting Nazi Party and SS membership by wider family members leading in at least one instance, to the trial and imprisonment of Udo von Woyrsch, a nephew-in-law, for war crimes.

The story ends in 2008 in a small town auction in Hatfield, Pennsylvania, USA, where the two miniature portraits were offered at an antique auction. The pair were offered as separate lots, but fortunately they both sold below the estimates and so I could afford to buy them. Otherwise they could have been split up for ever.

The artist
The miniatures are both signed on the front and on the reverse by D Kellner, for Dorothea Kellner (1875->1938). Little is recorded about her, but she did exhibit at the Berlin Academy. She was born at Gentzrode/Neuruppin and worked in Berlin, Cairo, Paris, Italy, and Austria. Judging by the apparent age of the two sitters, compared to their actual birth dates, it would seem that Kellner copied the portraits from photographs or other portraits dating to the 1920's.

Both miniatures are in silver gilt frames which are hallmarked on the base. The country mark is Germany, the fineness is 925 and a town or maker's mark which appears to be a spouting whale over the letters D G W, followed by a date letter or maker's mark "H". However, the specific hall mark has not yet been located.

The von Cramon family Identification of both sitters comes from interior inscriptions and also a typed inscription on the reverse.

Inscribed inside the officer is "August von Cramon / geb 7.4.1861 / Rgt preuss. Generalleutnant n D / General Adjutant L M Kaiser Wilhelm II / D Kellner pinxit 1938". The typed note reads "August Friedr. Wilhelm Karl Erdmann v. Cramon geb Pawlau 7.4.1860 gest 20.10. / Gen. Lt. Gen. adjt. Kaiser Wilhelm II 19.40. / Eh, Komend. Ordenshptn. d. Johanniterordens".

Identification of the lady come from the interior inscription "Helene von Cramon / geb Frein von Tschammer und Quaritz / geb 6.3.1865 gest. 18.3.1939 / D Kellner pinxit 1938" and the typed note which reads "Ottilie Therese Agnes Helene v. Cramon / geb. Frelin v. Tschammer u. Quaritz / Brunselwaldau 6.3.1865 - 9.3.1939 x Quaritz 29.9.1887".

Helene von Tschammer und Quaritz was born 6 Mar 1865 at Brunzelwaldau, Freistadt, in Silesia, then part of Prussia, possibly at Brunzelwaldau Castle as shown here. Her parents were Arthur von Tschammer und Quaritz and Johanna von Lieres (or Jenny von Lieres).

Helene may also have been a sister of Georg Freiherr von Tschammer und Quaritz (1869-October 1918) who was a German politician and State Secretary at the Ministry of Alsace-Lorraine when it was part of the German Empire.

Lieutenant-General August von Cramon was born at Pawlau on 7 April 1861 (or 1860). At that time, it was a parish of Breslau in the Ratibor district of Upper Silesia and the main language spoken was Polish. His parents were Friedrich August von Cramon (7 Nov 1832-30 Nov 1898) and Katharina von Taubadel (7 Jun 1834-17 Jan 1906) who were married on 14 May 1860. Katharina's parents were probably Wilhelm von Taubadel (1796-1851) and his wife Agnes von Jordan (1799-1854) as shown here in portraits of 1840 by Karl Friedrich Ludwig de Rahden which were sold by Sotheby's in Munich, on 18 May 1988.

With Wilhelm von Taubadel himself likely to be descended from the Swedish general George Christoph von Taubadel (aka Georg Christoph von Taupadel)(c1600-1647) shown here in 1632 and who fought many battles in the Thirty Years War, in one of which he lost his arm.

A letter recording an incident from this period was sold by Christie's in 2007. It was from Matthias Gallas, Count of Campo and Duke of Lucera (1584-1647), to an unidentified correspondent, on one page in Italian, with a request to take care of the sister, son and possessions of [Colonel George Christoph von Taupadel] the commander of the Swedish army, 'mi fava favore, che sia tenuto cura della sorella figlio et Robba de Tubadel'. Gallas took part in the siege and destruction of Schondorf where the Swedish army in which Taupadel served was routed by the Imperial forces in September 1634. Taupadel avenged the defeat in 1642, after Gallas, who had joined the conspiracy against Wallenstein, had succeeded to the command of the Imperial army.

Wilhelm also probably descended from Ernst Balthasar Siegmund von Taubadel (7 Aug 1724-13 Aug 1802) a Prussian Major General and Commander of Danzig (1793-1795).

Friedrich and Katharina had one other son, Bertram Heinrich Werner Erdmann von Cramon-Taubadel (28 Sep 1869-13 Feb 1952) who adopted the surname von Cramon-Taubadel, This was a result of August inheriting their father's von Cramon estate, while his brother inherited the estate of their mother, Helena Taupadel. (see more about Bertram and his family below)

There were possibly also two daughters, Katharina Agnes Karoline Marie Erdmute von Cramon (27 Nov 1862-?) who married Lieutenant-General Adalbert Karl Deodat Siegismund von Rothkirch und Panthen (9.11.1853-14.11.1928) on 12 Apr 1882. They had four children;
1. Friedrich Wilhelm Oskar Deodat Siegesmund von Rothkirch und Panthen (16 Feb 1884-24 Dec 1953) who became a Lieutenant-General in the army, see Friedrich-Wilhelm von Rothkirch und Panthen He was involved in the invasion of France leading the 13th Infantry Division (Motorized), see General der Panzertruppe Traugott Herr He then led the 13th Panzer Division in Operation Barabarossa, the invasion of Russia, see The road to Stalingrad
2. Elly Helene Toska Katharina von Rothkirch und Panthen (31 Mar 1889-?)
3. Oskar Guido Karl Ludwig Deodat Siegismund von Rothkirch und Panthen (29 Sep 1893-?).
4. Toska Katharina Marie Elisabeth von Rothkirch und Panthen (09 Nov 1894-?) Breslau Stadt, Schlesien, Preussen

Also Karoline von Cramon (26 May 1866-29 Feb 1944) who married Gidein Vollrat Julius Helmold von Plessen on 6 Feb 1887.

The career of August von Cramon

Nothing of August von Cramon's early career is currently known, but at the outbreak of war in 1914 he was Chief of Staff for the 8th Corps. However he was soon made the official German observer attached to the Austrian forces during World War I, from early 1915 until some months after the Armistice. (A kind visitor has recently sent me a copy of this print of von Cramon dated 1915)

His November 1915 account of the fall of Serbia can be read at First World War.com - Primary Documents - The Fall of Serbia by ...

Von Cramon was instrumental in the lead up to the Asiago Offensive in June 1916 and his report can be read at First World War.com - Primary Documents - General von Cramon on ...

Later on August 1, 1917 General Von Cramon informed the German High Command that German help was required on the Isonzo front see La Grande Guerra: Caporetto - A Fresh Look

At a major German conference on 11 May 1918 a memorandum prepared by von Cramon was an important discussion topic when the military relationship between Germany and Austria was discussed. The minutes record; "Field Marshall von Hindenburg notes that it will suffice in any case if the upcoming meeting of the monarchs discusses General von Cramon’s seven points."

Later there was a German military conference on 10 Aug 1918 at Spa, the German Supreme Headquarters. At it, a report from General von Cramon, as the Military Attache in Vienna, was read to the effect that the Austrian Emperor had said that they should make peace in 1918, and if they did not, he would make a separate peace. The postcard below shows Colonel von Cramon in the Officer's Mess in Austria, he is just right of the candelabra. The names of those depicted at the table, are a little confusing in the translation, but seem to include; "Conrad of Hötzendorf" sitting Kundmann Colonel, Lieutenant Colonel Graf von Kageneck, Slameczka Lieutenant Colonel Rear Admiral Raisp v. Caliga, Colonel von Cramon, Field Marshal Lieutenant v. Hoefer, Generalmajor Metzger, Lieutenant Colonel Christophori.

Immediately after WWI in late 1919 General von Cramon was carefully appointed head of the GAPM (German Army Peace Commission) where he often clashed with Allied government and military officials after 1920, as part of a German government policy of passive resistance and vehement opposition to any form of German disarmament.

The GAPM was an unexpected gift to the German government, which had expected the Allies to ride rough shod over their defeated enemy. Instead the Allied powers requested there be a German liaison committee to co-ordinate the disarmament process. The German government saw they could use the GAPM as a means of obstructing the Allied demands for disarmament. From his first meeting with the IAMCC (Inter Allied Military Control Commission) on 20 Jan 1920, von Cramon demonstrated that the policy included power games, obfuscation, and general obstruction.

A report of the initial meeting between the French and Germans in Berlin recorded the following exchange. Germany's representative, General von Cramon, "declares this meeting open."
France's General Nollet intervened, "Stop! It is for me to declare this meeting open. We are in control here!"
Von Cramon responded, "You are a foreign mission, on our territory in time of peace. By all diplomatic precedents it is for me to decide."
Nollet replied, "There are no precedents. The Treaty has made one. The Treaty has placed us in control, and control means supervision."
"Very well," said von Cramon, "then I must report to my government."
"And I to mine," Nollet answered and the two generals left the room. Back at the Hotel Bellvue, General Nollet angrily told his staff that he has beaten the Germans four times in battle, and he will not lose now.

As a result of these delaying tactics, the Germans were able in 1920, amongst other things, to spirit away or hide in remote barns, stables, sheds and cellars over half of the Fokker airplane factory machinery and vital parts, leaving less than half of the inventory for the IAMCC inspectors to find.

The Fokker F-7 being the only item of German war equipment named in the Versailles Treaty as being required to be completely destroyed.

The concealed items were later in 1920 all smuggled to Holland in six train loads totalling in all, 350 wagons, so that Fokker could appear to operate from a neutral country. The smuggled train loads included 200 airplanes and 400 engines, as well as much machinery.

In addition Tony Fokker (shown here in 1914) smuggled to Holland the 25% of his total assets which he held in the form of cash, half by sailboat and the rest in a decrepit suitcase sent as diplomatic luggage. For more see Military Deception and Strategic Surprise - Google Books Result

The French government believed that the task of von Cramon was simply to discredit the IAMCC, to such a degree that Foch declared "the War is not yet over". Von Cramon held a similar view and German nationalists referred to the IAMCC as "the hyenas of the battlefield".

Von Cramon wrote the 205 page book pictured here about his WWI experiences titled "Unser Österreichisch-Ungarischer Bundesgenosse im Weltkrieg" or "Our Austrian-Hungarian Confederation in the World War" which was published by Ernst Siegfried Mittler und Sohn, Berlin 1920. This book has been described as "unsurpassed for gaining an insider's view of Austria's army at war, on the Isonzo and elsewhere".

It was tranlated into French in 1922 as "Quatre ans au G. Q.G. austro-hongrois pendant la guerre mondiale comme représentant du G. Q.G. allemand. Traduit par le capitaine Koeltz."

In 1921/22 he wrote "Fort mit den Interalliierten Kontrollkommissionen. (= Flugschriften des "Tag" Nr. 14 / und: Die Maßnahmen der Interalliierten Militär-Kontrollkommissionen gegen die Deutsche Werk A.-G. Herausgegeben von den Spitzenverbänden der Deutschen Gewerkschaften (Allgemeiner Deutscher Gewerkschaftsbund, Allgemeiner freier Angestelltenbund, Deutscher Gewerkschaftsbund, Gewerkschaftsring Deutscher Arbeiter-, Angestellten- und Beamtenverbände. 2 Schriften in 1 Band."

I think this translates as something like; "Doing away with the IAMCC (report No 14). The measures of the IAMCC against the German workers. Allow a central association of the German trade unions (general German trade union federation, general free employee federation, German trade union federation, and the trade unions of German workers, employee and official federations). 2 writings in 1 volume."

Von Cramon also wrote another military book in 1932; "Deutschlands Schicksalsbund mit Österreich-Ungarn. Von Conrad von Hötzendorf zu Kaiser Karl" or (I think); "The fate of Germany federation with Austria-Hungary. Von Conrad and von Hoetzendorf to Emperor Karl."

The broader picture
The IAMCC realised much too late it had been a mistake to require the establishment of the GAPM. Perhaps the Allied negotiators had forgotten that the German government was not familiar with the phrase "it is not cricket".

The NY Times reported on Dec 29, 1920 "Once more the French are talking about occupying the Ruhr Basin. More than anything else this is probably a play for position in the discussion of reparations which reopens in Brussels on Jan. 10, and is a threat made to counteract the German threat that if the French do not treat them better they will take back all the nice promises they came near making at Brussels two weeks ago." see FRENCH AGAIN TALK OF OCCUPYING RUHR; Say Germany Seeks to Play ...

When the French and Belgians did indeed move to occupy the Ruhr in 1923-1925, General von Cramon resigned leadership of the German Peace Commission post claiming that "French soldiers hung German civilians by their feet and crushed their skulls". Although a strong claim, there were instances of repression by the occupying forces. In the event, the Red Cross was called in and this was the first time the Red Cross conducted an investigation to see how the civilians were affected, see The occupation of the Ruhr (Germany, 1923-1925)

The claim also did appeal to many Germans as someone to blame for the crippling effects of hyper-inflation which were spreading across Germany. The onerous WWI reparation payments required from Germany and consequent hyperinflation within the country, became major factors leading to the rise of Adolf Hitler and Nazi Germany.

At Germany and Coalition Warfare in the World Wars: A Comparative Study the author Raffeel Scheck suggests from looking at several early 1920's right-wing plots in detail (three led by von Tirpitz (19 Mar 1849-6 Mar 1930) and one by von Cramon and Helfferich) that they were were willing to go as far as an armed putsch if necessary. They were also willing to run the considerable risk of an armed conflict with France in the process.

Scheck establishes a widespread pattern of thinking which sought to force the Reichstag to name a national government led by a man or men chosen by the conspirators which would repudiate both the constitution and the Versailles Treaty, re-arm, and "restore" the rights of the federal states. This was to be done with Reichswehr support and under the armed pressure of the paramilitary leagues. Popular support for such measures was to be gained through media manipulation and the forcing of a confrontation with France. However, none of these plots came to fruition.

The probable aim in the mind of August von Cramon, was not a literal return to the 19C, but a recognition that a unified Germany had led to a disaster for the country in World War I. He may have thought that there were a risk of further militarism, as indeed happened with rise of the Nazi party, which might also lead to a second disaster for the general population. As he was a high ranking army officer and diplomat based in Vienna, but had not personally been in a position of defeat on the front during World War I, he was uniquely positioned to view the events in Germany a little more dispassionately than those fighting on the front or at headquarters in Berlin. With those views in mind, von Cramon likely thought that a constitutional monarchy would not be acceptable to the Allies, but they might accept a return to the German States political structure of the 19C.

With the benefit of hindsight, such a return to the German States would have prevented World War II, and led to a lot more stability in Europe. Europe would look a much different place in the 21C with many more prosperous small countries of the size of Luxembourg, Lichtenstein and Monaco.

In May 1926 General August von Cramon informed the Ex-Kaiser (shown below along with his son, Crown Prince Wilhelm in a miniature portrait from this collection, see View) about the United Vaterländischem associations of Germany, and the need to strengthen President Hindenburg with advice of the Kaiser's own preferences: "In the future is dictatorial rule. You need to make a decision, whether to go to the right or left, whether it be monarchy or republic. The sooner the decision is made, the better." See 70 ZEITLAUFTE

From this distance it is a little difficult to fully evaluate von Cramon. He was obviously involved in many political machinations at the Austrian Court during WWI, so would have learned a lot about "playing the political game".

He must have known well, all the major power brokers in Germany in the 1920's and 1930's.

It appears with the GAPM in the 1920's he was scrupulous in following German policy dictates. Given his membership of the Order of St John, and the various comments here, he seems to have been an honourable man concerned about the move towards a dictatorship within Germany.

Judging by the inscription on the miniature and the research undertaken as recorded here, it appears von Cramon was an aide to the ex-Kaiser during the latter's exile in Holland. They were both officers of the Order of St John and there is a reference to von Cramon being one of several visitors to the Kaiser for his 80th birthday on Jan 27 1939 at Meine Erinnerungen an Wilhelm II

The newspaper photo shows August in a procession, as a member of the Order of St John. He is the one who is leading the procession. From von Cramon's shared membership of the Order of St John with the Kaiser, and especially given he had the miniature painted in 1938, the year a decree was issued banning officers from belonging to St John and to the Nazi Party, it seems certain von Cramon was "old school" and thus opposed to Hitler and Nazi Germany.

A question for other historians to consider, is whether von Cramon was ever in a serious position to prevent the rise of the Nazi Party. Von Tirpitz had died in 1930 and von Cramon turned 70 in 1931, so was probably too old to seriously consider running for political office himself. As he had not been a field officer during World War I, his name was not known to the public and thus he had no wide base of support.

However, I feel von Cramon was not far off being in a position to successfully act as a rallying point against Adolf Hitler and the Nazi Party.

With the benefit of hindsight, the Allies would have been far better advised to have left the Kaiser as head of state, with reduced powers, rather than forcing his abdication. It would have been impossible for Hitler to have achieved power, had the Kaiser still been the nominal head of state.

After WWII Emperor Hirohito was retained with reduced powers and so revolution was never an issue in Japan.

Also, the Allies realised that reparation payments were likely to cause unrest, so it was better to grow the economy of Germany after WWII through the Marshall Plan, than punish it as happened after WWI.

The Order of St John and the July bomb plot against Hitler

A close up of von Cramon's decorations is shown here for any interested medal collector - see full key of the medals and decorations further below which was provided by a kind member of the von Cramon family.

Also shown for any medal collecting visitors to this blog, is another miniature in enamel on copper, of a well decorated German officer from this collection painted by Adolf Helzel, - now identified as Crown Prince Ernst August of Hanover, Duke of Cumberland and Teviotdale.

He is believed to be the only man to be a senior officer in armies on both opposing sides, the German as a colonel, and the British as a general, in World War I, see View)

The Order of St John decoration worn by von Cramon is interesting, as on 2 July 1938, being the year his miniature was painted, Rudolf Hess issued a decree (78/38) from Adolf Hitler, which forbade anyone having common membership of the NSDAP and the Order of St John.

At this time only about 10% of the Order members had become National Socialists.

The Order was not dissolved or forbidden by the decree, but it could not accept new members. The Order remained, with members now wearing a finger ring with a medal cross.

Later, a number of German members of the Order of St John were involved in the July 1944 bomb plot against Adolf Hitler and were subsequently executed. No doubt those members of the Order were well known to von Cramon and, if he had still been alive in 1944, it seems entirely probable he would have been in favour of the plot.

In fact one of the brave plotters who was executed on Aug 30, 1944 was Karl Ernst Rahtgens shown here, who was married to Johanna Helene Rahtgens, nee von Cramon.

After gaining his school-leaving certificate, Karl Ernst Rahtgens decided on an officer’s career and joined a Potsdam infantry regiment in 1928 as an officer cadet senior grade. He married Johanna von Cramon, with whom he had a daughter and two sons. In 1937 Rahtgens passed the entrance examination for the War Academy, and was transferred to general staff training in Berlin in 1938. In the early years of the war he fought on various fronts. In 1942 he was detached as lieutenant colonel on the general staff to the “Führer’s” headquarters, the “Wolf’s Lair”, near Rastenburg in East Prussia. He became friendly there with Günther Smend, with whom he discussed the war situation. These discussions coincided with the views of Rahtgens’ uncle, General Field Marshal Günther von Kluge, who sympathized with the resistance for a while, but eventually wavered. Rahtgens was involved in the preparations for the coup attempt of July 20, 1944. He was arrested by the Gestapo in Belgrade in August 1944. Karl Ernst Rahtgens was sentenced to death by the People’s Court on August 30, 1944 and murdered the same day in Berlin-Plötzensee. see GDW - Biographien

Johanna von Cramon was a granddaughter of General August von Cramon and, like her husband and grandfather, a very brave lady. Her father was Friedrich August Emil Arthur Kurt Erdmann von Cramon.

Johanna was reportedly interviewed in early 2008 for a proposed new documentary starring Tom Cruise and directed by Bryan Singer, when Johanna was the last living widow of one of the executed plotters, see OPERATION VALKYRIE: THE PLOT TO KILL HITLER When interviewed, Johanna gave an emotional account of her husband being dragged before the judges. Karl and Johanna Rahtgens had a daughter and two sons.

Although I have not read it, there appears to be a 248 page paper-back book about the life of Johanna Rahtgens, written in German by Johanna Helene Erdmute Rahtgens, and titled "Abschied und Neubeginn", (I think this translates as "Farewell and a New Beginning") ISBN 3833489189

The cover is shown here and it appears to be available as a print on demand book for 20 Euros, see BoD - Books on Demand GmbH: AutorenPortrait

The family of August and Helene von Cramon
August von Cramon died on 19 Oct 1940 at Quaritz, Schlesien, Prussia. He and Helene were married at Quaritz on 29 Sep 1887 and had five children.
1.Friedrich August Emil Arthur Kurt Erdmann von Cramon (15 Jul 1888-9 Sep 1934) who married Anna Elisabeth von Prittwitz und Gaffron on 21 Jun 1915.
2.Gunther Theodor Otto Erdmann von Cramon (26 Nov 1889-24 Mar 1945) who married Alexandra von Winterfeld on 3 Aug 1935
3.Helmuth Georg Johannes Adalbert Wilhelm Erdmann von Cramon (6 Oct 1892-20 Nov 1966) who married Magherita (or Daisy) Gruschwitz on 23 Sep 1916. He was an export merchant.
4.Johanna Charlotte Katharina Therese Antonie Helene von Cramon (14 May 1898-25 Mar 1982) who married Ernst Heymann on 13 Sep 1921. He was Jewish and was sent to Theresienstadt concentration camp in Aug 1944. This was despite his distinguished WWI record. In 1912 he completed the baccalaureate examination on the Wilhelm Gymnasium in Berlin, in May 1914 he joined the Air Force in 1915 until 1919 as a captain in the Air Force. Heymann was severely wounded several times, was awarded the Iron Cross class I and II and was recommended for the Order of the House of Hohenzollern. They were married as Protestants and the family lived in Holland, see Theresienstadt Lexikon: Ernst Heymann
5.Agnes Elisabeth Antonie Susanne von Cramon (19 Oct 1903-20 Mar 1970) who married Fritz Laack (1900-1990) on 30 Mar 1935. Fritz Laack was an educator, see Kurzbiographie Fritz Laack

The history of the pair of miniatures from 1938 until they were sold at auction in Hatfield, PA, USA in 2008 is currently unknown. All the above children died in Germany. It seems the family may have lost all their estates at the end of WWII, as the estates would have ended up behind the Iron Curtain in Poland and so perhaps a branch emigrated to America after WWII.

Moni von Cramon and the Nazi Party
Although it is not yet clear where she fits into the family, if at all, but at least one von Cramon was involved with members of the Nazi Party, as least for a time. See quote; "Earlier, in September 1934, the aristocratic lady Moni von Cramon, one of the leading German Buchmanites, was personally invited to the Nuremberg Nazi Party rally by Heinrich Himmler. Moni, in turn, invited Frank Buchman." Also "In August 1935, Frank Buchman and Moni von Cramon were again invited to the Nuremberg Nazi Party rally by Heinrich Himmler, and again they discussed religion and politics with Himmler." quoted at Religious Roots: Nazi Partying and Oxford Group - Wikipedia, the free encyclopedia

Frank Buchman was a Swiss American who founded the "Oxford group"which started as a Christian Group, but later widened its activities to provide "an ideology for democracy" in the struggle against Communism.

Bertram von Cramon-Taubadel and his family
The family of General von Cramon's brother, was also affected by WWII. Bertram Heinrich Werner Erdmann von Cramon-Taubadel (28 Sep 1869-13 Feb 1952) achieved the rank of Major and married Suzanne von Jordan (8 Apr 1875-1 Jul 1959) on 21 Apr 1897. They had several children, all of whom died in Germany:
1. Hans Juergen Erdmann von Cramon-Taubadel (14 Nov 1901-6 Nov 1985) who married firstly, Viola von Kaufmann-Asse (17 Aug 1912-4 Nov 1997) on 16 Nov 1933 and secondly, Ilse Wehrs (8 Nov 1919-16 Jun 1988) on 5 May 1948.
2. Reimar von Cramon (23 Dec 1904-14 Jul 1987)
3. Renate Katharina Susanne von Cramon (4 Nov 1906-5 Apr 2003)
4. Susanna Catharina von Cramon-Taubadel (29 Sep 1915-8 Nov 2002) who married firstly, Hermann von Kapp-Herr Lockwitz on 27 Apr 1943, secondly Eckhard von Schack on 14 Feb 1948 and thirdly, Wilhelm von Karnap on 6 Feb 1976. Her first husband, Hermann von Kapp-Herr was a fighter pilot killed on 24 Apr 1944 after less than a year of marriage. He was credited with 7 kills.

Some references suggest that two children continued to use the name Von Cramon-Taubadel, and two reverted to the name von Cramon.

The reason for this may be connected to the following event in 1940. I am indebted to Rick Kent of www.ipmsstockholm.org for the following information, see Camouflage & Markings of Messerschmitt Me 109

"The picture is of the Messerschmitt Me 109E-3, of Stab, JG53 flown by Major Hans-Jurgen von Cramon-Taubadel (Geschwader Kommodore) from Thevile-Maupertus (Cherbourg-Ost), France, August 1940"

"This 109E-3 has an interesting story attached to the markings. Major von Cramon-Taubadel was married to a Jewish wife, Viola von Kaufmann-Asse, a fact which came to the attention of Hermann Goering during the Battle of France. As a result Goering ordered that the whole of JG 53 must remove their famous Ace of Spades badge and paint a red band around the noses of their aircraft as a mark of shame. In the Autumn of 1940 von Cramon-Taubadel was removed as Geschwader Kommodore and Goering told them they could reinstate their "Pik-As" badge; this they did but at the same time, as a mark of protest, all the pilots of JG 53 had the Swastikas painted over on their aircraft. Thus it is easy to recognise JG 53 109's late in the Battle of Britain as they have no Swastikas on them."

"The profile shows Major von Cramon-Taubadel's aircraft with the red band marking when the Geschwader were operating from Cherbourg and the Channel Islands during the Battle of Britain."

(In a strange way this has a connection with me as a collector, as my parents honeymooned at St Peter Port, Guersney, Channel Islands in 1937 and met my subsequent godmother, Dorothy Falla (Doff Falla) who was a resident of the Channel Islands during the German Occupation.)

The Geschwader commanded by Major von Cramon-Taubadel was one of the most effective during the Battle of Britain, claiming 258 kills for 51 pilots killed or POW. For more on this, see Jagdgeschwader 53 - Wikipedia, the free encyclopedia Thus it maybe that two of Hans-Jurgen von Cramon-Taubadel's siblings dropped the Taubadel from their name as a result of Nazi pressure associated with his Jewish wife. Later in WWII, from Nov 1943 to 18 Dec 1944 Oberst Hans-Jürgen von Cramon-Taubadel was Chief of Staff of the German Airforce in Finland.

The von Tschammer und Quaritz family and the Nazi Party
On Helene von Tschammer und Quaritz's side of the family there seems to have been a closer connection with the Nazi Party. The following comes from Udo von Woyrsch – Wikipedia Udo Gustav Wilhelm Egon von Woyrsch (24 Jul 1895-14 Jan 1983) was married on 21 Sep 1934 to Inez Freiin von Tschammer und Quaritz (21 Dec 1908-?) the daughter of Siegfried Freiherr von Tschammer und Quaritz and Edith von Lieres und Wilkau. Thus Inez was probably the niece of Helene.

Von Woyrsch was an officer in WWI, but in 1921, took over his father's estate. Early on, he joined the Nazi Party (No. 162,349) and SS (No. 3,689). On 1 Jan 1935 he was appointed SS-Obergruppenführer, the then second-rank in the SS.

In 1934 von Woyrsch during the Röhm-coup, ordered the shooting of his rival Emil Sembach. From Mar 1933 to the end of the war, he was responsible for the constituency of Wroclaw member of the Nazi Reichstag. In addition, he was appointed to the Prussian State Council.

On 3 Sep 1939 Himmler appointed him "special commander of the police" and he received command of the Operations Group V. campaign in Poland. On 15 Apr 1941 he became General of the Police Board. From 20 Apr 1940 to 11 Feb 1944 von Woyrsch was a police leader, but he lost this office, because he was involved internal Nazi intrigues in Dresden.

Woyrsch was, in 1948, sentenced to 20 years in prison, because of his "membership in a criminal organization", but in 1952 was released. In a second trial in 1957, concerning the Rohm-coup, he was sentenced to 10 years in prison, but was released in 1960.

Summary
It is sad to view the 1938 portraits of August and Helene Von Cramon when they were proud and respected. Shortly thereafter, in early 1939, they attended the 80th birthday of the Kaiser, but Helene died later that year and August died in 1940.

Later, one of their nephews was persecuted by Goering for having a Jewish wife, the husband of their granddaughter was executed for being involved in the July 20 1944 plot against Hitler, and a son-in-law was sent to Theresienstadt concentration camp. A nephew-in-law was imprisoned for war crimes. Quite likely after WWII the family lost any estates which were situated behind the Iron Curtain.

The miniatures above show August and Helen von Cramon at their peak and they would have been devastated if they could have known what would happen to the family after 1938. With losses not only from WWII itself, but apparent internal family conflicts arising from the effects of Jewish persecution and involvement with the Nazi Party.

Although there was not a civil war as such, in Germany in the 1930/1945 period, the conflicts within families have parallels with the family conflicts that arose within the English Civil War of the 17C and the American Civil War of the 19C.

That is not to say any one of these eras was more or less honourable than another, but in each case families were sadly torn apart by the beliefs of certain family members who found themselves on different sides of the idealogical division.

Final words

As a collector this research brings some events of the first half of the 20C into sharp relief, and it is a little humbling to know that these two miniature portraits were handled by someone who must have shaken hands with Kaiser Wilhelm, Emperor Franz-Joseph of Austria who died in 1916 (the extra image of an Austrian officer is not Emperor Franz-Joseph, see View in this collection), Emperor Charles I of Austria, President Paul von Hindenburg of Germany, and no doubt also at some stage the various Nazi leaders. 1319, 1320

Later - Alix von Cramon has kindly supplied further attractive images of August, c1909, and Helene, c1890, together with the following image of the honors and decorations of August von Cramon, together with a key to their names. Clicking on the images should link to larger versions.

A kind German speaker has provided a preliminary translation of the decorations, which may need minor revisions;
1 Royal Prussian red eagle order, commander of an order, on oak leaves and swords and crown on a black and white band.
2 Royal house order of Hohenzollern, commander of an order with swords on a black and white band
3 Royal Bavarian military earned order star with swords
4 Royal Bavarian military earned cross, second class, with crown and swords
5 Badge of rank of the Royal Prussian flank adjutant
6 Royal Belgian Leopold's order, commander cross with swords
7 K&K Austrian war memory badge from 1929
8 German "Iron Crosses from 1914", first and second classes
9 Turkish "Iron Half-moon"
10 Grand Duke of Mecklenburg Griffin order, Silhouette cross
11Prince of Lippe cross of honor, second class with oak leaves and swords
12 Royal Bavarian military badge 2nd class before 1905
13 Holder with dates 1859-1929 on a band of the Royal Prussian Hohenzollern badge to remember the 70th birthday of Kaiser Wilhelm II.
14 Hungarian St Stevens order, Silhouette Cross
15 Grand Duke of Oldenburg war cross first class
16 Epaulette of a general lieutenant and general adjutant of Kaiser Wilhelm II (name badge and crown)
17 Royal Bulgarian military order, star and badge on a shoulder band
19 Royal Italian St Mauritius order and Lazarus order
20 Japanese Imperial order of the holy treasure
21 Austrian Imperial Marianne cross on a band of the German Knight Order
22 " " Leopold's order commander cross with war decorations
23 " " Badge of bravery silhouette
24 " " Order of the "Iron Crown with war decoration
25 " " Military badge 2 class
26" " " Order of the "Iron Crown" Big Cross, star and order on a shoulder band
27 Belgian Leopold's order, commander cross
28 Austrian Imperial Franz-Josephs order

On the badge clip from left to right:
Bavarian military badge, 3rd class, in gold
Badge of St.Michael, knights cross
Grand Duke of Mecklenburg house badge of the Wendish crown
Grand Duke of Oldenburg, house and earned badge, Knights cross,
Royal Sachsen, Albrecht's order, Knights cross.

Till, Franz - portrait of a lady

2007-11-30T19:40:00.000-08:00

Here is a miniature portrait of an elegant lady, who is probably German, and it is signed "F Till Dresden". It dates from 1890-1910.

The signature is that of Franz Till of Dresden, who Blattel advises was active around 1866. Blattel notes that he was known for portraits on porcelain, copies, and photographs.

Blattel makes a further note; "Porcelain Painting Company: Vienna and Meissen style". Thus it is not clear if perhaps, Franz Till started as an individual painter, and then grew into a company which was active for the remainder of the 19C.

There is another miniature on porcelain in this collection of a girl which is also signed "F Till Dresden", see View

The portraits may be painted by copying a photograph, or they may be painted over a faint photographic base, in a manner similar to the way Matthieu De Roche painted over a faint photographic base, but which was on an enamel on copper ground.

Two large porcelain plaques signed "F Till Dresden" are shown here. They were sold at auction recently, the boy (10in x 7.5in) for $4300 and the nun (12.72in x 7.5in) for $5000. No doubt there are many more.

So far no on-line articles have been found which discuss the painting of portraits on porcelain like these examples.

Any references or more information about the process would be welcome, as it seems that the subject is much under-researched.

Unfortunately, little is known of the sitter, but a flavour of her privileged environment can be gained from the following references.

The only fact the vendor (a descendent of Dr Erhard Hartung von Hartungen) knew, was that the sitter had been a patient of Dr. Erhard Hartung von Hartungen at his very famous and elegant homoeopathic sanatorium. This specialised in treating nervous dieseases at Riva am Gardasee, (now Riva del Garda) and was at the northern lake end of a lake which in the extreme north of Italy. Before World War I much of the area was owned by the Hapsburg family, but they had to cede it after the end of the war.

There is a 1995 book about the Sanitorium; "Ai confini della Mitteleuropa: Il Sanatorium von Hartungen di Riva del Garda : dai fratelli Mann a Kafka gli ospiti della cultura europea" by Albino Tonelli. (I think this translates as "On the shores of Middle Europe: The Von Hartungen Sanatorium on the Garda River: the hosts of European culture, from the Mann children to Kafka".)

There is an interesting series of photographs of five generations of the Von Hartungen family at homeoint.org/photo/h2/hartungc.htm so the sitter in the miniature may have known more than one generation of the family.

At The Cambridge Companion to Kafka - Google Books Result it is commented that a reference to the Sanatorium run by Dr Von Hartungen in a book by the famous author Franz Kafka is one of the very few references in Kafka's work where he can be seen alluding to a real locale and a real event. The event being the suicide of retired Major-General Ludwig von Koch of the Austrian army, on 3 October, 1913 when Kafka was visiting the Sanatorium during the months of September and October 1913.

The famous German author Thomas Mann also stayed at the Sanatorium for six weeks in 1901, see VQR » Why Thomas Mann Wrote as did Sigmund Freud. 1284

Saint, Daniel - portrait of a young lady in white

2007-10-23T19:02:00.000-07:00

This miniature portrait is signed "Saint" for Daniel Saint (12 Jan 1778-23 May 1847) the famous French artist who was born and died in St Lo, although he largely worked in Paris.

Daniel Saint specialised in miniatures and took part in most of the Paris Salon exhibitions between 1804 and 1839. He was awarded a second class medal in 1806 and a first class medal in 1808.

Saint, together with Isabey, were the principal miniaturists who painted official miniature portraits at Court. Napoleon commissioned a portrait from him, which was surrounded by 150,000 francs worth of diamonds, and was sent to Marie-Louise.

Apart from being popular during the Empire period, Saint was also one of the most popular miniaturists under Charles X and Louis-Philippe.

Leo Schidlof comments on him as follows; "Saint may be considered as one of the greatest French miniaturists of the 19C. He was very close to equalling Isabey and Augustin. In his works at the beginning of his career, he worked in a technique which resembles, to the point of confusion, the work of Isabey. Like the latter, he used "aerial" veils in his miniatures. Later he painted very broadly with a magnificent sureness and a pure and pleasant colouring.".

The signature is shown here and it corresponds with the signature on the various works by Saint which are illustrated in the Louvre catalogue. However, it has not yet been endorsed by an expert as a genuine signature.

This miniature is in fact very similar in style to the miniature in the Louvre collection shown here of Madame Edouard Julien, so much so, they could both be of the same person. The Louvre catalogue includes nine miniatures by Saint.

Judging by the costume, the hairstyle, and the use of flowers, the miniature would seem to date from around 1840, when Saint was aged 62, and hence must be one of his later works that Schidlof, as noted above, considered to be "painted very broadly".

The sitter is unknown. 1280

Cior, Charles Pierre - portrait of H Michel

2007-09-02T18:11:00.000-07:00

This miniature portrait has an inscription on the front that reads "H Michel 1820". This was first thought to be the signature of the French artist noted in Blattel, and in Lespinasse, as active around 1810.

However, a kind visitor to the website has advised this is probably the name of the sitter, as the miniature can be attributed to the French artist, Charles Pierre Cior (1769-1840). While it is uncommon for the sitter's name to appear on the front instead of the artist, it is not unique.

As another example, in the American section of this collection there is a miniature, which in style is clearly by J H Gillespie, but which has the name "Alexander H Niven" inscribed on the front.

However, the naming of this miniature is made even more confusing, as inside the frame there is a piece of paper that appears to read "Monsieur Leroy do (ditto?) fixet (?) 1807".

A possible explanation is that the scratched signature of H Michel 1820 is a later addition, with the original portrait dating to 1807, and with Monsieur Leroy being the name of the framer.

Schidlof observes "About 1805 Cior changed his style completely. He put gum in his colours to make them more fresh, he used wider brushes to work more quickly and he discovered the decorative effect of landscape backgrounds. It is about this period that he did his best miniatures, some of which one would not expect of him by seeing his ordinary work. During the last 25 years of his life."

Also, "Cior must have produced much and possibly sold his miniatures cheaply. In this period his miniatures all all done in the same way: the faces almost front view, with rather pale blue shadows, a sky background in gouache, with the of some leaves on the right and with the signature Cior ending on a spiral on the left."

As of September 2007, Boris Wilnitsky has a miniature by Cior with very similar facial features and style, shown here and displayed on his website at Boris Wilnitsky Fine Art - Homepage1167

Dondoukoff-Iziedinoff, Prince - portrait of a man

2007-08-30T17:29:00.000-07:00

This miniature is well signed, although the first letter is not very clear. A very kind visitor to the website has recognised the signature as "Iziedinoff 1950" (possibly 1930, but more likely 1950) and also provided some information about the artist.

The artist was Prince Dondoukoff-Iziedinoff (aka Dondokoff or Dondukov), a Russian artist who was descended from one of the oldest princely Kalmuck families. He may have worked in various places, but Paris is the only city where he is known to have worked with any certainty.

Several miniatures by him are in a private collection and two miniatures by him of Czar Nicholas II, one dated 1947, were offered at auction in October/November 2004, see Аукционный Дом "Гелос" - аукцион месяца

Although the unknown sitter is wearing a typical grey pin-striped business suit of the time, the portrait is very well painted and a late example of the miniaturist's art. 1259

Curion, Alessandro - portrait of a mother and children

2007-04-30T21:31:00.000-07:00

Regretably, the images of this portrait do not adequately demonstrate its vitality, nor the amount of detail the artist has included. It is quite large for a miniature at 130 mm x 80 mm.

The miniature is signed on the pedestal at the lower right "Alessandro Curion Roma 1912".

Curion is not recorded in Blattel and the only other example by him that has been found on the Internet, is a miniature signed and dated 1905 in the Ploiesti Museum, Roumania.

However, given the quality of this miniature, there must be other examples in existence and this example provides a good reference point.

The rear is stamped with his address; 22 Via Babuino, Rome, Italy.

The sitters are unknown, but the portrait was acquired from Argentina, so presumably the family emigrated to Argentina. 1220

Bouvier - portrait of a man

2007-04-30T21:00:00.000-07:00

This miniature is signed "Bouvier", although expert opinion has kindly advised it is not by the most famous artist of this name, Pierre Louis Bouvier (1766-1836).

Little is known about this Bouvier, other than that the artist continued working after the death of Pierre Louis Bouvier.

Pierre Louis Bouvier painted on both ivory and enamel. Examples of his work can be seen in many art museums in Europe, particularly in Switzerland. His portrait of Madame de Stael can be seen at Médaillon

In 1827 Pierre Louis Bouvier published a book about painting, entitled "Manuel des jeunes artistes et amateurs en peinture". Copies can be found, but are quite expensive.

The miniature is set into the top of a wooden snuff box, but unfortunately the bottom half is missing.

The sitter is unknown. 1219

Hertrich, Michel - portrait of husband and wife

2007-04-30T20:20:00.000-07:00

Both of these portraits are signed "M Hertrich 1840". Michel Hertrich (1811-1880) was a French artist who was born in Turkheim and died in Colmar. He exhibited at the Paris Salon between 1844 and 1848. Two miniatures by him are in the Museum of Colmar.

These two portraits are believed to be the earliest recorded works by him. A very attractive portrait of his family, presumably including his self-portrait, can be seen at HERTRICH

Later in his career, Hertrich was noted for his town landscapes, see Michel Hertrich Prints and Posters at Art.com

Although not shown here, the portraits are framed in relatively ornate thermo-plastic type frames of a design not seen before.

The sitters are unknown.
However, it is possible the man is Friedrich Wilhelm Bessel (1784-1846) the German astronomer.

Bessel made measurements of positions for about 50,000 stars, which allowed the first accurate determination of interstellar distances; he was also the first astronomer to measure the distance of a star other than the Sun.

There is a portrait by Michel Hertrich of Bessel in the Granger collection in New York which has similar facial features, although a different hairstyle - see
Bessel, Friedrich Wilhelm -- Encyclopaedia Britannica .

Literature: Les Peintres en Miniature p287 1221a, 1221b.

Chatillon, J B - portrait of a man

2007-04-30T20:08:00.000-07:00

This miniature portrait is partially signed with a monogram, which appears to read "J B Chatillon 1822".

There are three French artists mentioned in Blattel with the last name Chatillon, but their first names and dates do not seem to fit with this sitter.

Hence, it appears to be painted by a previously unrecorded French artist and is therefore useful for reference purposes.

The painting is very competently done with fine details on the clothing. The black cloud above the sitter's head seems to be intentional, perhaps as a sign of the sitter's death.

The sitter is not known.

Literature: Les Peintres en Miniature p157. 1217

Brunet, H - portrait of a soldier

2007-04-30T19:59:00.000-07:00

Although not of high quality, this miniature portrait is signed and dated "H Brunet 1836".

There are three artists named Brunet listed in Blattel, but the dates recorded do not fit with 1836.

Thus this portrait appears to be by a previously unrecorded French artist who has now been added into the literature as below.

The sitter is wearing a military uniform, but his identity is not known. The uniform is well detailed, especially on the buttons and epaulettes.

Literature: Les Peintres en Miniature p130 1214

Hurter, Johann Heinrich - portrait of I N S Allamand

2007-02-26T14:33:00.000-08:00

This important miniature portrait is by Johann Heinrich Hurter (1734-1799) and was a very fortunate acquisition. Hurter was born in Switzerland, but worked in many European cities including London and Paris. He may be the Johann Heinrich Hurter who married Anna Christina Roerig on 11 Jul 1756 in Prussia. From the extra information below, it seems that Anna Christina had died by 1790.

Schidlof describes Hurter as an excellent painter on enamel. His works are represented in many major collections, but rarely come on the market. The miniature is signed "Hurter fct 1788".

The rear of the case is engraved "I N S Allamand obit d 2 Maart 1787" and thus was completed after the sitter's death. This refers to a well known naturalist of the 18C who is recorded on the Internet under a variety of spellings, including J N S Allamand, Jan Nicolaas Sebastiaan Allamand, and Jean-Nicolas-Sebastien Allamand.

Allamand was born in Lausanne, Switzerland on 18 Sep 1713 and died in March 1787. In Lausanne he studied theology and became a Protestant minister. He moved to Leiden and became Professor of Natural History at Leiden University in 1749, then later Professor of Philosophy and Mathematics.

He became a Fellow of the Royal Society in 1755. Allamand was also involved in editing and publishing several books.

Allamand was friendly with Benjamin Franklin, who had read of Allamand's experiments with electricity which were carried out in 1746. He attended Franklin's experiment in London to show the wave calming effects of oil on water and subsequently Allamand urged the spread of this knowledge to seamen as a safety device when in dangerous seas. Hence the phrase "pouring oil on troubled waters". For much more detail about this see View as HTML

The plant genus Allamanda, a shrubby climber and native of Central America is named for him.

An intriguing point about this miniature, is that it appears Hurter married Allamand's widow. There is an Internet reference at Worldroots.com which records three marriages of Magdelaine Crommelin who was baptised 28 October 1739 at Rotterdam:

Married (1) 5 May 1761 Rotterdam, Justus Lodowig Schlemm who died 17 September 1779 Delft.

Married (2) 22 August 1784 Leiden to Prof. Dr. Jan Nicolaas Sebastiaan Allamand, born 18 September 1713 Lausanne and died 2 March 1787 Leiden

Married (3) 12 July 1790 Leiden to Freiherr Johann Heinrich von Hurter, son of Freiherr Hans Jacob von Hurter and Anna Meyer. He was born 9 September 1734 and died 2 September 1799

From these dates, it seems likely Hurter was commissioned by Allamand's widow to paint the portrait and then married her. 1197

Carriera, Rosalba - portrait of a girl

2006-05-01T21:48:00.000-07:00

This miniature portrait is unsigned. Originally, it had been thought it might be by Jean Honore Fragonard (1732-1806). However, most of his miniatures are bust portrait, rather than three-quarter length.

Instead, a kind expert has advised this miniature is probably by Rosalba Carriera, although badly retouched overall.

Rosalba Carriera (1675-1757) was born in Venice. Schidlof observes she was universally famous for her portraits in pastel and her miniatures. She was one of the very first artists to use ivory and two miniatures by her appear in the Louvre catalogue.

Schidlof also comments "The miniatures of Rosalba Carriera are painted with a lot of verve. Now they are often faded in the flesh parts, but those which are well kept show fresh colours and a great harmony. The shadows in "poinille", are blue, the hair rapidly painted in gouache. In almost all her works there is a dress, a cloak, or a drapery of a fine, intense blue."

Two nice three-quarter length examples of her work can be seen at www.cimec.ro/Monumente/her98/sibiu.htm and www.theantiqueslover.it/articoli.php?id=17

The identity of the young girl in this miniature is unknown. 1155

Juweel, H - portrait of a lady

2006-04-25T16:12:00.000-07:00

This is the oldest signed and dated miniature portrait in the collection. It is signed on the reverse "H Juweel pinxit Anno 1717". Juweel was an artist from the Netherlands, active in Rotterdam in the early 18C.

Miniatures by him are uncommon, but there are three miniatures on parchment (as this one is) by him in the Boymans Museum in Rotterdam.

The sitter is unknown. 612

Brenner, Elias - portrait of a man in a wig

2006-04-25T16:09:00.000-07:00

This unsigned miniature portrait is set into a bracelet fitting with ornate engraving on the reverse.

However, a kind visitor to the website has identified it as by a Swedish artist.

Judging by the style of the wig, it would seem to date from around 1715.

A likely artist seems to be the early Swedish miniature painter Elias Brenner (1647-1717).

There are quite a number of items by him in the Stockholm Museum which are of similar size and pose.

The sitter is unknown, although he does look a little like a Brenner miniature of Johan Vilhelm, Elector Palatine of Neuberg. 327

Pinhas, Jude Low - portrait of Frederick the Great

2006-04-24T20:20:00.000-07:00

Frederick the Great, King of Prussia, is the subject of this portrait. Although unsigned, it was originally attributed to Anton Friedrich Konig (1722-1787) who worked in Berlin and Potsdam.

However, a kind expert has now advised that it is probably by Jude Low Pinhas (1727-1793) who was born in Lehrberg, near Ansbach.

Schidlof comments "About 1769 he came to Bamberg where he worked as a miniaturist at the court. Thanks to the Duchess Friederike Wilhelmine he was able to do the portrait of Frederick the Great, of the Kronprinz, and of the Prince of Orange during his eleven month stay in Berlin. His miniatures painted in "pointille" very much resemble those of Anton Friedrich Konig."

Konig himself painted many miniature portraits of Frederick the Great for presentation to foreign ambassadors.

This one by Pinhas is believed to be a copy of a large portrait by Antoine Pesne. There is a similar style portrait of Frederick's brother, Augustus William in the Orange-Nassau collection, fig. 301. This even has same tiny horsemen in the background, but is on vellum.

The miniature shown here, is a large one for the period, being 135 mm x 115 mm. The frame is original and being made of silver, is quite a rare item in its own right. 1039

Le Feure - portrait of Duc de'Penthievre

2006-04-24T20:07:00.000-07:00

This miniature portrait has been attributed to Le Feure, but may be by another artist. Le Feure worked in France around 1750.

Schidlof says little about him, but does comment; "Skilful artist who painted in fine "pointille" in the style of Peters. His miniatures have light and pleasant colours, the background is executed in horizontal brush strokes."

However, recent research has brought to light his full name as Andre Claude Martin Lefevre d'Orgeval. Lefevre d'Orgeval is listed in the acts of bankruptcy in the Archives de Paris and his profession is recorded as Peintre en miniature. Until this discovery, little was known about the miniaturist who signed his works Le Feure.

Lefevre d'Orgeval is recorded as living at the quai Pelletier, in the Parish of Saint-Germain and was declared bankrupt on 8 March 1763. His list of badly paying clients including many of the leading aristocracy of the day; the duc de Brancas, the Prince of Anhalt, the princesse de Rohan, the princesse de Guemen‚e, the comte d'Egmont, Lord Hamilton and many others. It is tempting to believe that within this circle, Lefevre d'Orgeval would have also received Royal commissions.

The sitter in this miniature is Duc de'Penthievre (1725-1793), wearing the Order of the Golden Fleece, and portrayed as Admiral of the Fleet.

The Duke of Penthievre (1725-1793) (Louis Jean-Marie de Bourbon), was son of the comte of Toulouse, himself an illegitimate son of Louis XIV. The Duke was Lord high Admiral of France in 1734. He had the order of the Golden Fleece in 1738, and Holy Spirit in 1742. As he is wearing the blue Ribbon of the Holy Spirit in this miniature, he is 17 years old, although he looks younger.

His daughter and heiress, Louise Marie Adélaïde de Bourbon-Penthièvre, married Philippe (Egalite), Duke of Orleans.

It has been suggested that perhaps the miniature is based on a lost painting by Nattier or Tocque. For more about the Duke see Louis Jean Marie de Bourbon, duc de Penthièvre - Wikipedia, the ... and thePeerage.com - nil and others 908

Unknown - portrait of Mm Bissy and daughter

2006-04-24T19:57:00.000-07:00

This miniature portrait is unsigned. On the reverse there is a note that seems to read "Canaces Paris - copie per la D a le de Doudeauville nee Culbert M'elle des Bissy mere du General de Bissy tue en 1748; et sa fille". 738

Duvieux, Marie Adelaide - portrait of three ladies

2006-04-24T19:47:00.000-07:00

This miniature portrait is unsigned, but has kindly been attributed by an expert visitor to the website as by Marie Adelaide Duvieux (nee Landragin) (1770-?). She exhibited under Landragin in 1791 and 1793, but in 1795 under Duvieux and hence seems to have married.

Schidlof comments "Without being a first class artist, she was a miniaturist of talent, who did expressive and well drawn works. She executed the faces finely with brown shadows. Her way of painting the hair with little touches of white gouache is characteristic. Works by this artist are found very rarely." There is one miniature by her in the Louvre catalogue.

One reason for her apparent rarity may be due to mis-attributions. The expert visitor has even found and kindly provided, a previous reference to this miniature in the Schidlof sale of 6-7 June 1921, where it was featured on the cover, as shown in the image here and was being sold from the collection of Sigmund Mandl.

In the catalogue, the miniature was lot 151 where it was described as by Antoine Laurent (1763-1832). However, it is understood more recent scholarship has now attributed the portrait to Marie Duvieux.

The sitters are unknown. 289

Unknown - portrait of Peter the Geat

2006-04-24T19:41:00.000-07:00

This miniature portrait is unsigned. The sitter is Peter the Great of Russia. 844a

Unknown - portrait of Catherine I

2006-04-24T19:32:00.000-07:00

This miniature portrait is unsigned. The sitter is Catherine I of Russia. 844b

Unknown - Catherine the Great

2006-04-24T19:24:00.000-07:00

This miniature portrait is unsigned. The sitter is Catherine the Great of Russia. 868

Unknown - portrait of Count Kotchubey

2006-04-24T19:22:00.000-07:00

This miniature portrait is unsigned, but the sitter is believed to be the Russian Count Kotchubey. 1042

Unknown - portrait of a lady

2006-04-24T18:13:00.000-07:00

The artist and sitter are unknown. The portrait is thought to be European, but may be British. 454

Unknown - portrait of a man

2006-04-24T18:11:00.000-07:00

This miniature portrait is unsigned and the sitter is unknown. However, they may both be Spanish. 488a

Unknown - portrait of King Gustav III

2006-04-24T18:05:00.000-07:00

This miniature portrait is unsigned, but the sitter is King Gustav III of Sweden who reigned from 1771-1792. 875

Unknown - portrait of Queen Sophia Magdalena

2006-04-24T18:02:00.000-07:00

This unsigned miniature portrait is of Queen Sophia Magdalena of Sweden. 874

Unknown - portrait of a lady

2006-04-24T17:56:00.000-07:00

This miniature portrait of an unknown lady is unsigned, but does appear to be by the same artist as the adjacent portrait. As part of the packing there is part of a printed trade label that appears to read "T Joseph - doubl'ees en ecaille - Paris". This is believed to be the trade label of a maker of tortoise shell snuff boxes, but he has not been identified. 1001

Unknown - portrait of a man

2006-04-24T17:11:00.000-07:00

The artist and sitter are unknown, but the artist does seem to be the same as the painter of the adjacent portrait. 1015

Unknown - portrait of a girl

2006-04-24T15:15:00.000-07:00

This miniature portrait is unsigned and the sitter is unknown. It is a very skillfully painted enamel portrait, possibly based on an earlier original. 1055

Noortwyck, Franz Joseph - portrait of Princess Kunegunde

2006-04-22T21:56:00.000-07:00

This miniature portrait is attributed to Franz Joseph Noortwyck (1767-1788) of Anholt in Westphalia. At age 17 he was appointed miniature painter to Clemens Wenzelslaus (who features in the adjacent miniature), but Noortwyck died very young, only three years later.

Schidlof comments "Noortwyck was a miniaturist of quality, who painted in fine and regular "pointille". His works very much resemble those of Victorien Campana."

The sitter is Princess Marie Kunigunde of Saxony (1749-1826) , the sister of Clemens Wenzelslaus. For more about her see Princess von Saxony Kunigunde and also Women in power 1770-1800 where the following quote is from.

"1776-95 Princess-Abbess Maria Kunigunde von Sachsen of Thorn (The Netherlands)1776-1802 Princess-Abbess of Essen (Germany) - After the weddings plans with Empress Maria-Teresia's son the later Joseph II of Austria, she was elected Coadjutor of Essen and Thorn in 1775 with the right of succession, which took place the following year, after the death of Franziska Christine von der Pfalz-Sulzbach.

As Sovereign of the two Ecclesiastical Territories of Thorn and Essen in the Netherlands and Germany, she spend most of her time by her brother, Elector Klemens Wenzeslaus von Trier (see the adjcent portrait of her brother), and dominated the government here. France occupied Thorn in 1795 together with the rest of the Netherlands. Essen was secularized and became a part of Prussia 1803. Between 1807-13 it was part of France until it again became part of Prussia. She was the 14th and last child of the Elector of Sachsen and King of Poland and Lithauen, Friedrich August II and Maria Josepha von Habsburg. Her sister, Marie Christine, was Princess-Abbess of Remiremont from 1773."

The von Sachsen inventory number is 17805. 278

Noortwyck, Franz Joseph - portrait of Archbishop Clemens

2006-04-22T21:49:00.000-07:00

This miniature portrait is unsigned, but is attributed to Franz Joseph Noortwyck (1767-1788) of Anholt in Westphalia. At age 17 he was appointed miniature painter to Clemens Wenzelslaus (the sitter in this miniature), but Noortwyck died very young, only three years later.

The sitter is Archbishop Clemens Wenzel (Klemens Wenzeslaus) (1768-1802), the last Elector of Trier. His sister is the sitter in the adjacent portrait. The von Sachsen inventory number is 17802.

The Archbishop was a music lover who gave commissions to Antionio Rosetti. For more about him see WHKMLA : History of the Princebishopric of Trier, 1729-1815 279

Fuger, Heinrich Friedrich - portrait of Madame Royale

2006-04-22T21:38:00.000-07:00

This miniature portrait is unsigned. It is either by, or is a copy of a miniature by, Heinrich Friedrich Fuger (1751-1818). The sitter is Madame Royale, Marie Therese Charlotte (1778-1851), daughter of Marie Antoinette. She was the only member of the immediate French Royal family to survive the revolution after her parents were executed. She later became Duchess d'Angouleme. The portrait shows her just after she had been released from France and reached Austria.

For more about her see Princess Marie-Thérèse-Charlotte - Wikipedia, the free encyclopedia The von Sachsen inventory number is 17865. 280

Bencini, Antionio - portrait of Joseph II

2006-04-22T21:34:00.000-07:00

This miniature portrait is attributed to Antonio Bencini. The sitter is Joseph II (1741-1790) Emperor of Austria. He was the son of Maria Theresa and a brother of Marie Antoinette. The von Sachsen inventory number is 17828. 281

Unknown - lady of the Austrian Court

2006-04-22T21:30:00.000-07:00

The sitter in this unsigned portrait, is an unknown lady of the Austrian Court. The von Sachsen inventory number is 17825. 282

Unknown - portrait of Archduchess Maria Anna

2006-04-22T21:21:00.000-07:00

Although this miniature portrait is unsigned, when it was acquired the sitter was identified as Archduchess Maria Elinor.

A very kind visitor has sent me an image of an oil on canvas painting by Giovanni Battista LAMPI (signed and dated 1781) of Archduchess Maria Anna of Habsburg (1738-1789) who can be seen as the same sitter. The image of the oil painting was taken at a different angle, so it is not immediately obvious it is the same lady, but when the headdress and necklace are compared, it is clear that the miniature was copied from the oil portrait. 283

Bencini - portrait of Archduke Maxmilian

2006-04-22T21:07:00.000-07:00

This miniature portrait is in poor condition, but has been attributed to Antonio Bencini. The sitter is Archduke Maxmilian (1756-1801), Elector of Cologne, and Master of the Teutonic Order. He was the youngest son of Empress Maria Theresa and a brother of Marie Antoinette. The reverse also shows the inventory number from the von Saschen collection. 284

Unknown - portrait of a man

2006-04-22T21:05:00.000-07:00

Neither the artist or sitter are known. 325

Le Tellier, Jean-Bapiste Joseph - portrait of a soldier

2006-04-22T21:03:00.000-07:00

This miniature portrait is unsigned and the sitter is unknown, although he is obviously an army officer of some nature.

However, a kind visitor to the website has advised that the portrait is by Jean-Baptiste Joseph Le Tellier (1759->1812). He worked in Paris as a painter of miniatures on ivory, and on enamel, in the years before and after 1800, although his enamels appear to be rare. Seven miniatures by him appear in the Louvre catalogue.

The Louvre catalogue gives his birth date as 1759, but includes as fig. 431 a miniature by him, which is signed and dated 1770. Thus there must be some doubt, either about the date of his birth, or about the signature, as in 1770 he would have been aged only 11.

Schidlof comments that Le Tellier "was inconsistent in the quality of his works, but in his good pieces he showed a first class talent. They often have an appearance which reminds one of Dumont. However, it cannot be said that he imitated Dumont, for his much finer and more detailed technique differs entirely." 703

Berny, Charles - portrait of General Beauharnais

2006-04-22T16:10:00.000-07:00

This miniature portrait is signed "Ch Berny" for Claude Charles Antoine Berny d'Ouville (1775-1842) who worked in Paris. However, it is probably a 19C copy.

The sitter is General Alexandre de Beauharnais (1760-1794), who was the first husband of Josephinee Beauharnais who married Napoleon Bonaparte. General Beauharnais was executed on the guiltoine in 1794.

The portrait is copied from a profile portrait and was probably painted after 1810, when his reputation was somewhat restored as he was the grandfather of the future Napoleon III (1808-1873).

At Beauharnais, Alexandre de (18e s.) there is an engraving (and so the image is reversed) from the same source. For more about him see Alexandre, Vicomte de Beauharnais - Wikipedia, the free encyclopedia 1021

Freund, N - portrait of a man

2006-04-22T16:06:00.000-07:00

This miniature portrait is signed "N Freund 1790" for an artist who was active in Paris around 1800.

The miniature portrait is cracked, but is still interesting as the unknown sitter is wearing a blue and white scarf, possibly signifying that he was a Bourbon supporter.

Literature: Les Peintres en Miniature p 245. 997b

Rouvier, Pierre - portrait of a man

2006-04-22T15:47:00.000-07:00

This miniature portrait is signed and dated "Rouvier 1792" for Pierre Rouvier (1742-1815) who was born in Aix and worked in Paris. The miniature is set into the lid of a snuff box of the period, which is in excellent condition.

Schidlof comments "Rouvier is an excellent miniaturist, and although he is highly regarded by the amateurs, is still not given the attention he deserves. His miniatures show an assured and faultless drawing, a pleasant colouring in pastel shades and much expression. His technique is a cross between Sicardi and Campana, a little less precise than the former and less soft than the latter. In most cases the works of Rouvier are equal to those of Sicardi and almost always surpass those of Campana."

The Louvre Museum catalogue includes four miniatures by him and there is one in the Metropolitan Museum in New York.

The sitter is unknown but it is understood that in 1792 it was dangerous to be displaying Boubon symbols. The subject is a soldier wearing a sword, with a white cockade on his hat, and has a scarf showing the blue and white of the Bourbons.

There appear to be two possible interpretations of the portrait.

Firstly, the more obvious message of a man holding letters from a lover, together with a miniature portrait of her in a locket.

Secondly, in the opinion of this collector, a hidden message beyond the first message, pledging loyalty to the old calendar. This may sound odd, but the following should be noted.

In 1793 the new Revolutionary Calendar was adopted, with 1793 becoming Year 1, and the old style of year numbering was outlawed. (By way of example, the adjacent miniature by Berjon is dated 2e for 1794.) The right hand inside face of the open locket in this Rouvier miniature cannot be seen, but the left hand inside face has the letters "AD". Watches often had a cover to protect the glass face, but it was less common for a miniature portrait to be housed in locket with a hinged cover. Thus it seems the apparent locket is in fact a watch on a chain, with "AD" being a hidden message for Anno Domino, and Rouvier is using the miniature as a silent protest about the change.

Out of all the possible names that could be represented by two initials, no other pair of initials could represent the outlawed calendar, thus the probability seems that such a coincidence was planned, particularly given the date of the miniature as 1792 and the Bourbon symbols. Additionally, a lover would more likely seek to engrave the inside of a locket with her name, rather than her initials.

Therefore instead of love letters, the sitter is believed to be holding a copy of the old calendar in his right hand, with his hand on that and on his heart, to pledge loyalty to the old calendar and to the Bourbons. It even seems significant that he is holding the calendar in his RIGHT (i.e. symbolically correct) hand, not in his left hand. By not showing the other face of the watch, Rouvier would also be able to claim it was a portrait, if he was challenged by the authorities.

For more on the Revolutionary Calendar see The French Revolutionary Calendar

Literature: Les Peintres en Miniature p449. 883

Berjon, Antoine - portrait of a man

2006-04-22T15:41:00.000-07:00

This miniature portrait is set into the lid of a burr walnut snuff box and is signed "Berjon" for Antoine Berjon (1754-1843) who worked in Paris.

There is a miniature by him in the Louvre catalogue.

Schidlof observes; "He was a painter of flowers and a miniaturist of quality. Was also an engraver."

The miniature is also dated on the front using the Revolutionary Calendar "Ier Ven L'an 2e(?)". This is an abbreviation for Ier Vendemiaire L'an 2e(?) ,which was 1794 in the old calendar.

Literature: Les Peintres en Miniature p88. 1064

Noireterre, Marie Therese de - portrait of man with tricolor scarf

2006-04-22T15:34:00.000-07:00

This miniature portrait is unsigned, but has been attributed by a kind expert, to Marie Therese de Noireterre (1760-1819), a Paris artist active from 1785-1803. There are two miniatures by her in the Louvre.

Schidlof comments that she was trained by Mme Labille-Guiard. Also "her drawing is faultless and she captures the expression well. The only thing I can criticise her for is the rather dull colour of certain of her miniatures."

The sitter is unknown, however it is interesting to note that he is wearing a tricolor coloured neck scarf, the colours of which are a little brighter than appears in this image. This indicates he was a supporter of the revolution. 997a

Perez - portrait of a man

2006-04-22T15:29:00.000-07:00

This miniature portrait is signed "Peres" for a Spanish artist who was active as a miniaturist in Madrid from 1795 -1815.

However, little is known about the artist.

In commenting about a miniature by Perez dated 1802, Schidlof comments; "This miniature is skilfully painted, the face is executed with great fineness and is very well drawn. The shadows are greenish-maroon and rather light. In spite of that, this portrait does not lack expression or relief. The clothes and the linen are painted in gouache, executed by numerous very fine brush strokes."

Also; "It is the work of an artist of quality, who would deserve to be better known."

The sitter in this miniature is unknown. 253

As of September 2007, Boris Wilnitsky has a portrait by this artist on his website at Boris Wilnitsky Fine Art - Homepage

Unknown - portrait of girl with book and bust

2006-04-22T15:25:00.000-07:00

This miniature portrait is unsigned, but is probably Spanish or French. The unknown sitter is sitting holding a book and next to a bust. It probably means she was a student. 272

Lafond, P - portrait of a lady

2006-04-21T22:18:00.000-07:00

This miniature portrait appears to be signed "P Lafond", although it may possibly be F Lafond. P Lafond does not appear to be listed, but Francois Henri Alexandre Lafond (1815-1901) was active in Paris. 1153

Fuger, after - portrait of Maria Theresia

2006-04-21T21:59:00.000-07:00

This miniature portrait is unsigned. It is a copy based on Fuger's portrait of Empress Maria Theresia, second wife of Emperor Francis 1 of Austria. The original portrait appears as Plate L in "Portrait Miniatures" by Williamson and Home.

Another version, very similar to this one, appears in the British Royal Collection as Plate 721 in Walker, but there it is described as "Portrait of a Girl" and is attributed to Thomas Wright. 872

Fuger, Heinrich Freidreich - portrait of Countess Merveldt

2006-04-21T21:51:00.000-07:00

This miniature portrait is unsigned. It is either by Fuger or is a very good copy of a portrait by him. The portrait appears in reverse (because the engaving itself is the right way round) on the cover of the 1917 German edition of "Miniaturen und Silhouetten" by Max v Boehn. The sitter is Countess Merveldt. 877

Unknown -portrait of a lady

2006-04-20T18:29:00.000-07:00

This unsigned miniature portrait of an unknown lady is believed to be from Austria. 1151

Carriera, Rosalba - classical lady

2006-04-20T18:22:00.000-07:00

This miniature portrait is a 19C copy of a portrait by Rosalba Carriera (1675-1757), who is generally recognised as the first miniature painter to popularise the use of ivory as a base. 843

Domenichino (after) - Cumaean Sibyl

2006-04-20T18:18:00.000-07:00

This unsigned miniature portrait is a copy of the Cumaean Sibyl by Domenichino. 349

Ardelli (?) - classcial scene

2006-04-20T18:02:00.000-07:00

This miniature portrait appears to be signed "Ardelli". The scene is a copy of a larger painting and each of the ten dancers is named below in Greek. 726

Unknown - Venus and Mars captured by Vulcan

2006-04-20T17:58:00.000-07:00

This miniature portrait of a classical scene is unsigned. The subject is probably a copy of a large painting, but that has not yet been confirmed.

A kind visitor has left the attached comment describing the subject of the miniature as;

"This represents Venus and Mars who were lovers. Venus was married to Vulcan. The sun god Helios witnessed her infidelity and informed Vulcan who forged an invisible net. When the pair made love again they were caught in the net and unable to move. Vulcan then called the other gods to witness the shameful spectacle." 764

Unknown - Titus and Berenice

2006-04-20T17:48:00.000-07:00

This miniature portrait is unsigned, but it is engraved on the reverse "Titus and Berenice". 431

Sikora, A - portrait of the Penitent Magdalene

2006-04-20T17:44:00.000-07:00

This unusual miniature portrait is signed "A Sikora 1843". The artist appears to be unrecorded, but is possibly from Poland. The sitter is believed to represent the Penitent Magdalene. 735

Unknown - portrait of a man

2006-04-20T16:14:00.000-07:00

This miniature portrait is unsigned, but likely to be French. The sitter is unknown. 823

Unknown - portrait of a man

2006-04-20T16:08:00.000-07:00

The artist and sitter are unknown, but are likely to be either French or perhaps British. 329

Unknown - portrait of a man

2006-04-20T16:03:00.000-07:00

Both the artist of this unsigned miniature portrait and the sitter are believed to be from Sweden. 548

Unknown - portrait of a man

2006-04-20T15:59:00.000-07:00

This miniature portrait appears to be signed "Violet mich 1792", but that may be a later addition. There is an inscription on the reverse, which may identify the sitter, but it is indecipherable. 589

Unknown - portrait of a soldier

2006-04-20T15:56:00.000-07:00

This unsigned miniature portrait is believed to show a soldier from Sweden. 881

Wilander, Samuel - portrait of a man

2006-04-20T15:53:00.000-07:00

This miniature portrait is unsigned, but has been attributed to Samuel Wilander (1779-1832) of Sweden. The sitter is unknown. 1076

Unknown - portrait of a lady

2006-04-20T15:44:00.000-07:00

This miniature portrait is unsigned and it is believed to be a copy of another portrait. 797

Unknown - portrait of man and lady

2006-04-20T15:40:00.000-07:00

This double sided miniature portrait is unsigned and the sitters are unknown. 102a, 102b.

Vibert, Auguste - portrait of a man

2006-04-20T15:12:00.000-07:00

Although the sitter is unknown, this portrait is signed "A Vibert 1858" for Auguste Vibert (1805->1858) who worked in Paris.

Literature: Les Peintres en Miniature p 523. 1142

Sans - portrait of a girl

2006-04-20T15:11:00.000-07:00

This miniature portrait of an unknown young lady is signed "J M Sanz 1879", but no reference to the artist has yet been found. 1141

Sinz, Max - portrait of two children

2006-04-20T15:02:00.000-07:00

This miniature portrait on porcelain is signed "E M S". This may be for Max Sinz, as on the reverse of the portrait there is a printed label "T H. LICHTENBERG, MAX SINZ - DRESDEN".

The miniature appears to be a mourning portrait, but the sitters are unknown.

In Colliers' Guide to Dresden for 1910 there is a listing under ART-SHOPS for — Max Sinz, Mosczinskystrasse 1. From various Internet references it seems Max Sinz retailed various art works, including KPM plaques and art prints. Whether he actually painted the miniature or just commissioned it for sale in his art shop is unclear. 1051

Unknown - portrait of a man

2006-04-19T21:25:00.000-07:00

Both the artist and sitter are unknown. 1119

Hartmann, C - portrait of a lady

2006-04-19T21:21:00.000-07:00

This miniature portrait of an unknown lady is signed "Carl Hartmann fec 1839". Carl Hartman (1818-1857) was a German artist who also worked in Rome. 746

Capozzi, A - portrait of a man

2006-04-19T21:17:00.000-07:00

This miniature portrait of an unknown man is signed "A Capozzi d. 1842". Capozzi appears to be an unrecorded artist from Italy. 691

M R - portrait of a man

2006-04-19T21:14:00.000-07:00

This miniature portrait has a mother of pearl reverse and is believed to be French. It is signed "M R 1847" but there were several artists with these initials, including Marie Regnard, Marie Renaud, and Marie Rouchier. The sitter is unknown. 660

Weigel - portrait of 18C lady

2006-04-19T21:11:00.000-07:00

This miniature portrait is a well painted copy of a 18C miniature. It is signed "Weigel", but there were several artists of this name active in the late 19C. 357

Unknown - portrait of a soldier

2006-04-19T21:08:00.000-07:00

This miniature portrait is unsigned. The unknown sitter is believed to be a soldier from Austria. He is wearing a decoration of some type. 1150

Curiger, Joseph Benedict the Elder - portrait of man

2006-04-18T00:04:00.000-07:00

This wax miniature portrait is inscribed below the bust "Benedict Curiger fecit 1808". Joseph Benedict Curiger the Elder (1754-1819) died in Paris. Plate 63 in Pyke is similar. The sitter is unknown. 943

Salmson, Abraham - portrait of Carl XIII

2006-04-17T23:59:00.000-07:00

Although this wax miniature portrait is unsigned, the style is the same as plate 250 in Pyke. Charles XIII, King of Sweden and Norway is listed as one of the wax portraits he modelled. (The white mark is scanner glare.) 1085

Paulier, Joseph - portrait of a man

2006-04-17T23:55:00.000-07:00

This wax portrait miniature is impressed "Paulier" for Joseph Paulier (?-1826). A similar style portrait appears as plate 208 in Pyke. 921

Paulier, Joseph - portrait of a lady

2006-04-17T23:50:00.000-07:00

Although this wax miniature portrait does not appear to be signed, the style is so similar to the adjacent signed one by Joseph Paulier (?-1827) and also to plate 208 in Pyke, that it has been attributed to him. 923

Unknown

2006-04-17T23:48:00.000-07:00

Neither the wax modeller nor the sitter are known. 924

Kolbel, E - portrait of a lady

2006-04-17T23:44:00.000-07:00

This wax miniature portrait is impressed "Kolbel AD VIV Fec 1850". Neither the wax modeller, nor the sitter have yet been identified. 942a

Kolbel, E - portrait of a man

2006-04-17T23:38:00.000-07:00

This wax miniature portrait is impressed "1850 E Kolbel AD VIV Fec". Neither the wax modeller nor the sitter have yet been further identified. The sitter is wearing a decoration. 942b