Studio of George Dawe

Previously in the collection of a German castle

There are four repairs to the reverse of the canvas. UV light reveals scattered retouching throughout, including some strengthening to the bodice, sweeping retouching to the lower right side of the work and minor retouching to the crown. Held in a simple frame. Unexamined out of frame.
"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."

George Dawe first came to St Petersburg on the invitation of Alexander I to work on commissions for the Imperial court. In addition to the 300 portraits which adorn the walls of the 1812 gallery, Dawe produced numerous portraits of the Imperial family and their close circle.

Among Dawe's finest compositions are the portraits of Nicholas Pavlovich, future Nicholas I, and his wife, Alexandra Fedorovna. Nicholas, had been introduced to Dawe during a trip the England and admired his work. In 1821 Dawe was commissioned to paint a pair of portraits of Nicholas and of his wife and children, which became official images, copied by Dawe as well as other artists of the day, in a variety of formats and media.

Less well-known are the magnificent, larger than life-size Coronation portraits of Nicholas and Alexandra, commissioned from Dawe by Nicholas' close friend and Ambassador to the Russian Empire, William Cavendish, 6^th  Duke of Devonshire (1790-1858). Nicholas' portrait was completed first and unveiled to great excitement by The Duke during a lavish commemorative ball in Moscow organised in August 1826 and sometime later, Dawe completed the pendant. Both are now in the collection of Chatsworth House in England.

Another version of Nicholas' portrait is in the collection of Middleton Place in South Carolina, USA, which were acquired by Henry Middleton, American Envoy to Russia from 1820 until 1830. It is likely that the offered work was one of a number of versions of the portrait of the new tsar's wife produced by Dawe's studio for foreign envoys to hang in their Embassies.

 

It has been suggested by Galina Andreeva that the hands and face of the offered work may have been painted by Dawe himself, and the remainder by Dawe's most talented Russian assistants, Wilhelm Golike (1802-1848), who worked closely with Dawe in the reproduction of his Imperial portraits.

The present lot is very close to Dawe's original which was lithographed by Alexander Sandomuri (1795 – 1833), but differs from the Chatsworth version in certain small details such as the background and carpet.