European Miniature Portraits - 1

Artist "J T A" - portrait of Crown Prince Willhelm of Germany

2008-12-11T23:48:00.000-08:00

This miniature portrait is quite large for a miniature on ivory, being 98mm x 144mm.

Unfortunately, at present the artist is identified only as "J T A 1914" or perhaps "T A 1914". It is hoped a kind visitor may be able to identify the artist.

However, the sitter can be identified by his uniform and comparison with other similar images.

For example the photograph is circa 1912, and is of Crown Prince Wilhelm of Germany and Prussia (1882 - 1951) as a Lieutenant in the Prussian Guard Regiment. He was the son of Kaiser Wilhelm II, the leader of Germany during World War I and a great-grandson of Queen Victoria.

The similarity of uniform is apparent, although the miniature shows the Crown Prince as a higher rank and must have been painted around the outbreak of World War I. It is quite possible the miniature was painted to mark his naming as Commander of the 5th Army in August 1914, shortly after the outbreak of World War I. Thus his rise from Lieutenant in just two years was rapid!

He led the 5th Army until November 1916, a two-year period which included the battle of attrition known as the Verdun Offensive. From April 1916 onward he tried in vain to convince the supreme command that the Verdun offensive no longer made any sense, but the campaign continued until September 2nd of that year.

During World War I he was belittled as the "Clown Prince" by the British soldiers; that nickname was adopted by the American forces in 1917.

A most unusual feature of the miniature can be seen in the close up of his hand, where the Crown Prince is holding a cigarette. In current day terms, this is a most odd combination of casual and formal in a portrait, but must have been acceptable in 1914.

One of the decorations he is wearing is the Order of the Black Eagle, the highest order of chivalry in the Kingdom of Prussia

Frederick William Victor Augustus Ernest (German: Friedrich Wilhelm Victor August Ernst) (6 May 1882 – 20 July 1951) of the House of Hohenzollern was the last Crown Prince of the Kingdom of Prussia and the German Empire. He was colloquially known as William or Wilhelm.

After the outbreak of the German Revolution in 1918, both Emperor William II and the Crown Prince signed the document of abdication. The Crown Prince went into exile to the isle of Wieringen, in the Netherlands.

In 1923, he returned to Germany after giving assurances that he would no longer engage in politics. The former Crown Prince held some political ambitions, and was reportedly interested in the idea of running for Reichspräsident as the right-wing candidate opposed to Paul von Hindenburg in 1932, until his father forbade the idea.

The Crown Prince supported Hitler for some time, hoping and announcing in public that this man would do for Germany what Mussolini had done for Italy - making an end to all Bolshevist/Marxist influence. He had connections with some organizations, more than loosely connected with the National Socialist Party (Nazi Party) and allowed himself to be used by the Nazi government in various symbolic actions.[citation needed]. After the murder of his friend, the former Chancellor Kurt von Schleicher in the Night of the Long Knives (1934), he retreated from all political activities. Most of his efforts from 1919 until 1934 had been directed to make a return of the Hohenzollerns to the throne viable option again, and he had assumed that Hitler would give this idea his support.

William lived as a private citizen on his family's estates throughout World War II. Upon his father's death in 1941, William succeeded him as head of the House of Hohenzollern, the former German imperial dynasty. In 1951, the former Crown Prince died of a heart attack in Hechingen, in the ancestral lands of his family in Swabia, as the family's estates in Brandenburg had been occupied by the Soviet Union.

William married Duchess Cecilie of Mecklenburg-Schwerin (20 September 1886 - 6 May 1954) in Berlin on 6 June 1905. Cecilie was the daughter of Grand Duke Frederick Francis III of Mecklenburg-Schwerin (1851-1897) and his wife, Grand Duchess Anastasia Mikhailovna of Russia (1860-1922). However during the early stages of this marriage the crown prince had a brief affair with the American opera singer Geraldine Farrar.

Their eldest son, Prince Wilhelm of Prussia, was killed fighting for the German Army in France in 1940.

The Crown Prince and his wife are buried at Hohenzollern Castle. 1356

Coincidentally, in 1910, the Crown Prince is recorded as having played tennis with the British brother of a new addition to this collection, see Unknown - portrait of Fanny Goschen

Unknown - portrait of a Italian family

2006-11-08T19:40:00.000-08:00

This miniature is unsigned. Initially it was thought to be French or perhaps Spanish in style and probably painted around 1820. However, it is now thought to be Italian.

The frame is not shown here, but is perhaps the most expensive wooden frame in the collection. It is extremely well made of veneered and inlaid rosewood. The veneering even covers the complete rear of the portrait. At each corner of the rear, there are "butterfly" dowels to hold it together.

As the portrait is of five family members it would have been expensive when it was painted. Miniature painters often doubled their standard price when there were two sitters in a portrait, and here we have five.

The girl on the left is holding a string tied to a butterfly, which can be seen silhouetted against the baby's collar.

More recently, I have become aware that there is a miniature shown here and painted by the Italian artist Giambattista Gigola in 1807, which is in the collection of the Museo Poldi Pezzoli of Milan, Italy.

The pose and style is completely different, so there is no real similarity, except that miniature also features four children, one of who is also holding a butterfly on a string. Later copies of the Gigola miniature show the butterfly replaced by a string of pearls, so it seems there may have been a reaction against the practice.

Nevertheless, these are the only instances I am aware of where a child has a butterfly on a string and hence that makes them unusual. Thus it seems probable the miniature shown here is Italian in origin, rather than French or Spanish. 1182

Unknown - portrait of King Albert of Saxony

2006-06-21T16:02:00.000-07:00

Although the artist is unknown, the portrait was initially thought to be of Emperor Franz Joseph of Austria (1830-1916).

For more about him see Franz Joseph I of Austria - Wikipedia, the free encyclopedia 1165

However, from the comments below, left by kind visitors, it is now suspected to be King Albert of Saxony (1828-1902) who reigned from 1873-1902 and is shown here in several different images.

Albert, was born April 23, 1828. Prince Albert's education, as usual with German princes, concentrated to a great extent on military matters, but he attended lectures at the University of Bonn.

King Albert was noted for his military ability. At the age of 21, he served as a captain in the army of the duchies of Schleswig and Holstein in their war against the Danes.

In 1866, during the Seven Weeks' War between Austria and Prussia, Albert commanded a Saxon corps, which distinguished itself at the decisive Battle of Königgrätz by a firm stand against the Prussia

Although even then, it is conceded the man in the miniature does not seem to have enough medals, and it is probable many officers of the time adopted a similar appearance!

Karmanski, Ignaz - portrait of a lady

2006-06-21T15:54:00.000-07:00

This miniature portrait is signed in gold letters "Ig Karmanski 1831" for Ignaz von Karmanski an Austrian artist who was active in Vienna 1830-1832. He was trained at the Vienna Academy.

Schidlof was obvioulsy not impressed with his work as he comments "Rather mediocre artist"!

The sitter is unknown. 1164

Bouchardy - portrait of a man

2006-05-18T19:50:00.000-07:00

This miniature portrait is signed "Bouchardy", probably for the artist of that name who was active in Paris from 1770-1799. He was noted at the time for his use of the physionotrace, see Precursors of photography: Early Visual Media - Physionotrace ... He may have also been the father of the better known artist Etienne Bouchardy (1797-1849).
The sitter is unknown, but it is interesting that he was demonstrating his loyalty to the revolution by wearing a tricolor neck scarf.
Elsewhere in the collection there is a miniature portrait by Marie Noireterre of a man wearing a similar tricolor scarf which was painted around the same time. 1145

Bourgeois, Charles - portrait of young man

2006-05-01T21:23:00.000-07:00

Painted in 1801 is this miniature portrait signed "C Bourgeios an 9", for Charles Guillaume Alexandre Bourgeois (1759-1832).

The wording "an 9" refers to year 9 of the Revolutionary Calendar that was used in France from 1793 to 1804. Thus this miniature was painted in 1801.

There are several miniatures in this style by Bourgeois in the Louvre.

For more about him see Charles Guillaume Alexandre Bourgeois - Wikipedia, the free ...

Literature" Les Peintres en Miniature p119. 1154

Unknown - portrait of a lady

2006-04-24T16:57:00.000-07:00

This miniature portrait is signed and dated 1810, but so far the signature has not been deciphered. The sitter is unknown, but it seems to be either a copy of a 17C portrait, or perhaps a 19C nun. 952

Soiron, Jean Francois - portrait of Joseph Chinard

2006-04-07T22:38:00.000-07:00

This miniature portrait on enamel is by Jean Francois Soiron (1756-1813) a Swiss artist who worked in Paris and was noted for his enamel portraits.

It is set into the top of a green lacquer snuff box with gold inlay (apologies for the scanner glare) and the miniature itself is only 43mm in diameter.

The counter enamel is inscribed "Chinard celebre sculpteur membre de l'Institut National de France, & de l'Athenee de Lyon. Peint en Paris par son ami Soiron de Geneva Van 1801 an 9". (Chinard, celebrated sculptor and member of the National Institute of France and the Athenum of Lyon. Painted in Paris by his good friend Soiron of Geneva in 1801, year 9).

Dating of the miniature is interesting as it is dated in both the normal calendar as 1801, and also in the French Revolutionary Calendar which commenced in 1792, thus "an 9" was 1801.

The Bourgeois miniature in this collection is also dated "an 9".

Enamel miniatures by Soiron are rare, but for another example of a miniature by him see Jean François Soiron - Museum Briner und Kern

Joseph Chinard (1756-1813) was a famous French sculptor. This miniature is believed to be the only contemporary portrait of Chinard and hence is an important historical item.

Although the image itself does not appear, this miniature of Joseph Chinard is described in the book; "Les Peintres en Miniature actifs en France 1650-1850". The reference is towards the end of the section illustrated here.

The Frick Museum describes Chinard as one of the greatest portraitists of 18C and early 19C France, see ARCHIVED PRESS RELEASE from THE FRICK COLLECTION

Acquired subsequently for this collection, was this medal of Joseph Chinard by Torcheux.

The obverse and reverse views of the medal are shown here with the obverse depicting Joseph Chinard.

The reverse depicts Chinard's famous sculpture of the Empress Josephine which is in La Malmaison.
The medal is 67mm in diameter and is signed "A H Torcheux", for Andre-Henri Torcheux (1912-?) who is shown in the photo.

Torcheux seems to have made a number of medals commemorating various prominent French citizens from the 19C and 20C.

At present the actual date and the reason for striking this medal is unknown.

A bust of the Empress Josephine was sculpted in Milan in 1805 when she accompanied Napoleon to that city for his coronation as the King of Italy.

A slightly different terracotta version, with shoulder ruffs on the dress, is currently housed in the collection of the Cleveland Museum of Art in Ohio.

For more about Chinard, including details of his works in the Getty Museum see Joseph Chinard (Getty Museum)

Also shown here is another miniature portrait by Jean-Francois Soiron. This one of Napoleon was displayed in an exhibition at Somerset House entitled 'France in Russia : Empress Josephine's Malmaison Collection' which ran from 25 July to 4 November 2007.

The exhibition explored the history of Empress Josephine’s Malmaison collection, purchased by Alexander I in 1815 and now held by the State Hermitage Museum in St Petersburg, Russia. 884

More about Joseph Chinard

Born in Lyon on February 12, 1756, Chinard entered the studio of Barthélemy Blaise (1738-1819) around 1770. By 1880 he had received commissions for statues of The Four Evangelists for the Church of St. Paul in Lyon (destroyed) and other religious works followed. An early Narcissus in marble, is reproduced in Les Arts (November 1909), along with The Death of the Centaurs and several other works. Baron La Font de Juys, a patron of Pierre Julien (1731-1804), advised Chinard to study in Italy and provided the funds for him to do so. In return, Chinard finished copies of Antique originals: Bacchus, Ariadne, Homer, Germanicus, etc., while he was in Rome (1784-87). In addition, he entered a competition at the Accademia di S. Luca, submitting a first prize-winning terracotta Perseus and Andromeda (several versions are known: see Rocher-Jauneau, 1961 and Worley, 1989).

A profile portrait medallion of Louis XVI, signed and dated 1789, suggests that Chinard did not immediately take to the Jacobin ideas that were blowing in the wind. However the sculptor erected a colossal statue of Liberty a year later on the occasion of the Fête de la Fédération, then returned to Rome in 1791 where he developed new and highly radical Revolutionary themes, such as Jupiter Striking Down Aristocracy and Apollo Trampling Superstition at His Feet (both from 1791; Musée Carnavalet, Paris). The latter was considered to be an outrage against the Catholic Church since Chinard chose a veiled female figure of Religion (complete with a crucifixion) to represent Superstition. Chinard was arrested in the middle of the night and thrown in the Castel Sant’Angelo in September of 1792. Back in Paris, Chinard’s wife alerted Jacques-Louis David who appealed to the Convention, then the papal authorities were warned by the French Republic. Chinard was released but had to leave Rome immediately. Later he would receive an indemnity for the possessions he had to abandon. Yet apparently, his terracottas were not proof enough of his republican zeal, for his subsequent works in Lyon were overly scrutinized. For example, the figure of Liberty, carved for the pediment of Lyon’s City Hall, was criticized for holding a civic crown too far back into space, and his statue of Fame was misinterpreted as summoning the emigrants to return from Switzerland. Again Chinard was placed under arrest (1793). While in prison, he modeled Innocence Taking Refuge in the Bosom of Justice (unlocated), sort of an artist’s statement of self defense, then he was acquitted. No wonder Chinard decided to specialize in portraiture.

In 1795 Chinard was elected to the Institut, though he continued to reside in Lyon. He continued to produce portraits, light mythological themes and Revolutionary allegories. Only a few of his many portraits (including numerous medallions) can be listed here; the reader is urged to consult Lami’s catalogue and Rocher-Jauneau’s many articles. The latter, still regarded as the Chinard authority, states that Chinard’s portraits are marked by “a sensitive and very personal realism.” There are several portrait busts of Napoleon, Josephine (Château de Malmaison), Prince Eugène de Beauharnais, General Desaix (Salon of 1808), Empress Marie-Louise, and fellow artists (Girodet, Boilly, Isabey). The Rhode Island School of Design has Chinard’s marble bust of Madame Récamier (1802). The sculptor was named professor at the Ecole spéciale de Dessin in Lyon in 1807. On 20 June 1813 Chinard passed away. He would be remembered as one of the greatest portraitists during the French Empire and Lyon’s premier Neoclassical sculptor.

Sources:
De la Chapelle, Salomon. “Joseph Chinard, sculpteur, sa vie et ses oeuvres.” Revue du Lyonnais 2 (1896): 77-98, 272-291, 337-357 (1897): 141-157; Tourneux, Maurice. “La collection de M. Le comte de Penha Longa.” Les Arts (November 1909); Saunier, Charles. “Joseph Chinard et le style Empire à l’exposition du Musée des Arts Décoratifs.” Gazette des Beaux-Arts (January 1910); Schwark, Willi G. Die Porträtwerke Chinards. Freiburg-im-Breisgau, 1929; Dorner, Alexander. “Portrait Bust of Mme. Récamier.” Rhode Island School of Design Bulletin 26 (1938): 13-19; Zimmermann, H. “Joseph Chinards Terrakottabüste von Mme Récamier.” Berliner Museen 7 (1957): 42-47; Rocher-Jauneau, Madeleine. “Persée et Andromède de Chinard.” Bulletin des Musées et Monuments Lyonnais (1961): 350-352; Boyer, Ferdinand. “Projet d’un monument de la Victoire par Chinard pour Marseille en 1812.” Bulletin de la Société de l’Histoire de l’Art Français (1962): 263-264; Rocher-Jauneau, Madeleine. “Chinard and the Empire Style.” Apollo 80 (1964): 220-226; Perez, Marie-Félicie. “L’exposition du ‘Sallon des arts’ de Lyon en 1786.” Gazette des Beaux-Arts 86 (December 1975): 199-206; Rocher-Jauneau, Madeleine. L’oeuvre de Joseph Chinard au Musée des Beaux-Arts de Lyon. Lyon: 1978; Skulptur aus dem Louvre. Exh. cat. Duisburg, 1989, cat. nos. 68, 84, 87; Worley, Michael Preston. “Persée et Andromède de Chinard: Une fausse attribution?” Revue du Louvre et des Musées de France (October 1989): 249-252; Rocher-Jauneau, Madeleine. “Chinard, Joseph.” From David to Ingres: Early 19th Century French Artists. The Dictionary of Art series. London and New York: Grove Art, 2000, pp. 54-55.

Bossi, Domenico - portrait of Carl-Ludwig

2006-04-07T22:33:00.000-07:00

Although unsigned, a kind visitor to the website has advised this miniature portrait can be attributed to Domenico Bossi (1765-1853), an Italian artist who worked in many European cities. For more about Domenico Bossi, see the portrait in this collection by him of Baroness Neuwall.

The sitter is Carl-Ludwig (1755-1801), Hereditary Prince of Baden. There is another version of this miniature by Bossi in the National Museum of Warsaw, Poland. 492

Unknown - portrait of a 19C lady

2006-04-07T22:29:00.000-07:00

This miniature portrait is set into the top of a snuffbox. It is in the style of Domenico Bossi, but at present it is thought unlikely to be by him. The sitter is unknown.

Bossi, Domenico - portrait of Baroness Leopold Neuwall

2006-04-07T22:25:00.000-07:00

This miniature portrait is signed "D Bossi p 1816", for Domenico Bossi (1760-1853). Although he was born in Italy, he worked in many of the major European capitals and there are 36 works by him in the Stockholm National Museum.

Schidlof comments "Bossi can be considered 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 (and) light parts. The hair is painted in gouache rapidly, with great steadiness. Later he stumps (sic) the change from light to shadow carefully, which makes his portraits more pleasant, sometimes mawkish, and takes away from them much of their vitality. The clothes are always very well painted in his second period with many details. The background, almost always brown or blue-grey, is sometimes executed in gouache, but more often with very regular crossed stokes."

This particular miniature is mentioned in Schidlof, where it is stated it was exhibited at Reichenberg in 1903 and Berlin in 1906, as item 548.

Although unidentified when purchased for this collection, the sitter was able to be identified with very kind assistance from a portrait miniature expert, who found a photo of the miniature which appeared in a Schidlof, Vienna auction catalogue of 5-9 April 1921.

At that time it was being sold from the Simon Ritter v. Metaxa collection and the sitter was described as Baroness Leopold Neuwall, but the sitter had then "lost" her identity in subsequent years.

It is thus an important miniature that had "disappeared" from view for eighty years, until it was acquired for this collection.

Baroness Neuwall was the wife of a very wealthy Austrian banker, Marcus Leidesdorf, who was raised to the nobility in 1817, after being a key supplier during the War of Liberations in 1813-14. He was Jewish, but previous to 1817, Jews were prevented from owning land, thus earlier requests to be raised to the nobility were declined.

While Marcus remained Jewish his entire life, the glamour of nobility caused Marcus’ children to convert to Christianity during his lifetime. This must have been very difficult for him to deal with, see Nobility

Literature: Les Peintres en Miniature p111. 290

Unknown - mourning scene

2006-04-07T22:20:00.000-07:00

This unsigned miniature portrait shows a mourning scene and is set into the top of a horn snuff box. The tombstone has the letters N H and an inscription around the edge which reads 'HONOR ET AMICITIA". 1108

Fraenckel, Liepmann - portrait of 19C lady

2006-04-07T22:15:00.000-07:00

This miniature portrait is unsigned, but has been attributed to a Danish artist, Liepmann Fraenckel (1772-1857). The sitter is unknown.

Schidlof comments "The miniatures of Liepmann Fraenckel have a vague resemblance to those of Bernard de Guerad, but are often harder and have less quality. The expression is often set, the folds of the clothes lack naturalness."

The miniature was attributed by comparing the close likeness of two very similar portraits of other ladies by Fraenckel, in Volume II of Swedish and Other Nordic Miniatures by Olausson, and which are illustrated there on pages 298 and 300.

However, the distinctive "spotty" manner of painting the background does also have a close similarity to some of the work of the Swedish artist Johan Erik Bolinder (1759-1830), see the lower portrait in Vol I of Olausson, page 133 and the bottom portrait on page 136. 408

Unknown - mourning scene

2006-04-07T21:52:00.000-07:00

This minature portrait of a mourning scene is by an unknown German artist. The lady is leaning on a tombstone and an anchor. This suggests her lover has been lost at sea.

There is an inscription in German on the tombstone that is indistinct, but appears to read "Wie iel.lsh/werf ...../ivis .or./wv kring/Thrane m/fliessen.ob/16 dec 1815".

It has been suggested that the latter part may actually read "Wo keine Traenen fliessen", which translates as "where no tears are shed". 1011

Unknown - portrait of a child

2006-04-07T21:46:00.000-07:00

This miniature portrait by an unknown French artist is set into the top of a blue horn snuffbox. The sitter is not known. 1117

Delatour, Alexandre - portrait of 19C lady

2006-04-07T21:40:00.000-07:00

This miniature portrait is signed "Delatour 1812", for Alexandre Delatour (1780-1858) (aka Alexandre De Latour), who was born in Brussels and worked in Paris, Amsterdam, and Antwerp.

He became painter in miniature to King William I as well as the Prince of Orange.

There are several miniatures by him in the Orange-Nassau collection.

Schidlof comments "The technique of Delatour is strongly influenced by Augustin. Like his master, he painted very finely, mixing gum with his colours, which gives them a soft surface like enamel. He is very far from matching Augustin and rather inconsistent in his works, however certain of his miniatures have much merit".

The sitter is unknown.

Literature: Les Peintres en Miniature p188. 1013

Unknown - portrait of Marshal Ney

2006-04-07T17:42:00.000-07:00

This miniature portrait is unsigned. It appears to be a late 19C copy of an earlier portrait of Marshal Ney who was famous as Napoleon's cavalry commander. Ney was tried for treason after Waterloo and sentenced to death. Some people are of the opinion that he escaped the firing squad and fled to the United States, where he lived for many years.

Unknown - portrait of a naval officer

2006-04-07T17:35:00.000-07:00

This miniature portrait is unsigned. It had been tentatively attributed to Carl Johan Frederick Viertel (1772-1834), a Danish artist, but a kind visitor to the website feels it is not by him, but is more likely to instead be by a Swedish artist.

A search of the Stockholm catalogue by Olausson has not revealed any obvious Swedish artists, although Anders Gustaf Andersson (1780-1833) and Lorentz Sparrgren (1763-1828) are possibilities. There are few rectangular shaped miniatures in the catalogue from the period around 1814. None of those appear to have the vertical shading in the rear, and very few have a similar pose.

There is an inscription on the reverse which appears to be in Swedish and read as follows, "officer vid marinen namnet okand ohterfange teas englesmannen 1814". This partially translates as a naval officer of unknown name.

The sitter is unknown. 963

Unknown - portrait of a French general

2006-04-07T17:31:00.000-07:00

This miniature portrait is by an unknown artist. The sitter is a French general, but so far he has not been identified. 920

Stobwasser - portrait of Ferdinand VII

2006-04-07T17:25:00.000-07:00

This miniature portrait is on the cover of a paper machie snuff box which is signed "Stobwasser". There were several members of the Stobwasser family who painted portrait on snuff boxes and this one may be by Christian Heinrich Stobwasser (1780-1834). The sitter is Ferdinand VII (1784-1833) King of Spain.

For more about him see Ferdinand VII, king of Spain 90.

Unknown - portrait of Alexander I

2006-04-07T17:22:00.000-07:00

This miniature portrait is by an unknown artist, but it is a copy of a well known portrait of Alexander I (1777-1825) of Russia. For more about him see Alexander I and Alexander I of Russia - Wikipedia, the free encyclopedia 1120

Unknown - portrait of Nicholas I

2006-04-07T17:17:00.000-07:00

This miniature portrait is by an unknown artist, but it is a copy of a well known portrait. The sitter is Nicholas I (1796-1855) of Russia.

For more about him see Nicholas 1058

Beaux, Raymond - portrait of Duc d'Orleans

2006-04-07T17:12:00.000-07:00

This miniature portrait is signed "R de B" for the artist Raymond de Baux who was active in Berlin from 1816-1860.

The sitter is Duc d'Orleans (1810-1842). It can be seen that he has more hair in this portrait, compared to the adjacent one of him, which is a similar pose.

On his birth, he was heir to the French throne, but Ferdinand Philippe d'Orleans (1810-1842) died in a carriage accident.

For more about him see Ferdinand Philippe d'Orléans, Duc d'Orléans

Literature: Les Peintres en Miniature p81 (without image). 686

Talen, Michel - portrait of Duc D'Orleans

2006-04-07T17:06:00.000-07:00

This miniature portrait is signed "van der Talen" for the French artist Michel van der Talen, who was active in Paris around 1880-1887. It is a portrait of Duc d'Orleans. 851

Unknown - portrait of French officer

2006-04-07T16:58:00.000-07:00

The painter of this miniature portrait is unknown, as is the sitter.

However a kind visitor has recognised one of his decorations as the Order of Westphalia.

Some French decorations can be seen atCambaceres (Decorations) 1138