Raimundo de Madrazo

Commissioned by the family of Mercedes de Heeren; thence by descent to the present owners

Possibly Paris, Exposition Universelle, 1878

Original canvas. There is a faint horizontal stretcher mark in the centre of the work, and some scattered craquelure, notably in the deeper cobalt blues in the edge of her jacket and skirt (visible only under close inspection). There is a tiny spot of impasto loss to the right of her left hand, and 2cm perforation near the lower right edge with some attendant scratches (just visible in the catalogue illustration). The colours in the original are fresher than in the catalogue illustration, but the work would benefit from a light clean.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted circa 1874.

Mercedes de Heeren (1869-1934) was the daughter of Conde Christian Arturo Juan Antonio de Heeren (1844-1920), a wealthy industrialist born in Hamburg. Her mother, Virginia González de Candamo e Iriarte (1849-1929), came from an important and affluent Chilean family.

Both of Mercedes' parents collected paintings by Mariano Fortuny and his friends, amongst them, Raimundo de Madrazo, his brother-in-law. The most important teacher of his generation, Fortuny's influence is clearly visible in the present work in the delicacey of the sitters face and hands, the wealth of detail and mastery of colour and texture in the flowers to either side of Mercedes and the richness of the drape on which she sits. 

Raimundo was the third generation of Madrazo portrait painters, following in the footsteps of his father Federico and his grandfather José. The most commercially successful of the three he was also became one of the most distinguished figures in the 'Spanish School' in Paris. Settling in the French capital in 1862 he specialised in female portraiture, surrounding his sitters with typically exquisite surroundings.   

The present portrait may have been exhibited in the Paris Exposition Universelle of 1878. There, Madrazo exhibited a rich group of paintings (as did his friends Fortuny – posthumously - and Martín Rico), amongst them, three portraits titled in the catalogue as 'Mlle X'.