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拍品专文
The portrait depicts a young lady at three-quarter-length, seated, in a sharp turn to the right; with her face turning nearly enface to meet the viewer’s gaze. Her hair is parted in the middle and dressed to frame her face. It is smoothed over the ears and is most likely fastened into a chignon or a plaited bun on the nape at the rear. She is wearing an outdoor day dress of grey satin with white stripes, with a matching shawl thrown over her shoulders. A chemise either with a lace collar or a lace fichu is fastened with a striped red and white ribbon culminating in a bow just below her neck. Apart from gold earrings, set en tremblant with green enamel pendants of naturalistic design, no other jewelry is visible. The woman is posed against a background of shrubbery, with a glimpse of a lake on the right.
The portrait is unsigned. However, the visual examination of the style, the overall composition, the drawing of the figure, the brushwork, the treatment of highlights, and the scumbling to block in the background landscape correspond with the comparable, authenticated works by Winterhalter. The painting belongs stylistically to the late 1840s, which corresponds with the inscription on the label on the stretcher, according to which the portrait was painted in 1848. A number of portraits of the era feature a similar rapidly brushed-in background; a very similar pose will be utilized by Winterhalter in his portrait of Queen Adelaide, of 1849, and of Mme Delessert, of 1851. Admittedly, similar poses and compositions with rapidly sketched-in landscape backgrounds appear in Winterhalter’s paintings of the late 1860s and early 1870s; the hairstyle and the garments of the model, however, are unmistakably those of the 1840s.
We are grateful to Dr. Eugene Barilo von Reisberg for confirming the authenticity of this work and for contributing the catalogue note.
The portrait is unsigned. However, the visual examination of the style, the overall composition, the drawing of the figure, the brushwork, the treatment of highlights, and the scumbling to block in the background landscape correspond with the comparable, authenticated works by Winterhalter. The painting belongs stylistically to the late 1840s, which corresponds with the inscription on the label on the stretcher, according to which the portrait was painted in 1848. A number of portraits of the era feature a similar rapidly brushed-in background; a very similar pose will be utilized by Winterhalter in his portrait of Queen Adelaide, of 1849, and of Mme Delessert, of 1851. Admittedly, similar poses and compositions with rapidly sketched-in landscape backgrounds appear in Winterhalter’s paintings of the late 1860s and early 1870s; the hairstyle and the garments of the model, however, are unmistakably those of the 1840s.
We are grateful to Dr. Eugene Barilo von Reisberg for confirming the authenticity of this work and for contributing the catalogue note.