Ecole Napolitaine de la fin du XVIIIe siècle

Louis-Philippe, l’homme et le roi, 1773-1850, Paris, Archives Nationales, Hôtel de Rohan, octobre 1974 - février 1975, p. 63 n°217

To the naked eye: The painting appears in relatively good condition. It is painted on a non-cradled panel. The painting is stable. The painting appears under an old very dirty varnish. We notice two burn marks due to the closeness of two candles, in the centre on the background. We notice two small losses in the middle of the left border and some small losses on the lower right (all visible on the catalogue’s image). Under U.V. light: The painting appears under a uniform green varnish. We notice a trace of an old label on the upper left corner. We notice two small restorations on the centre to the right of Marie-Caroline of Austria (seated).
"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."

A droite de la composition se tient le jeune Roi Ferdinand (1751-1825) souverain du royaume étendu de la Sicile à Naples sous le nom de Ferdinand IV. Assise en blanc en train d’écrire se trouve sa femme Marie-Caroline d’Autriche (1752-1814), sœur aînée de Marie-Antoinette, Reine de France.
Autour deux, se trouvent réunis quelques-uns de leurs dix-huit enfants avec dans l’ordre, de gauche à droite : Marie-Amélie (1782-1866), future reine des Français par son mariage avec Louis-Philippe, Marie-Christine-Thérèse (1779-1847), Louise-Marie (1773-1802), Léopold-Michel, prince de Salerne (1790-1851), Marie-Antoinette de Bourbon des Deux-Siciles et François (1777-1830).
Au mur sont accrochés les portraits de François II, dernier Empereur du Saint Empire romain, gendre de Marie-Caroline d’Autriche et de Ferdinand IV par le mariage qu’il contracta avec l’une de leurs filles, Marie-Thérèse (1772-1807) représenté dans la peinture pendante.

At the right of the composition sits the young King Ferdinand (1751-1825), ruler of the kingdom of Sicily and Naples under the name Ferdinand IV. His wife, here engaged in writing, is Marie-Caroline of Austria (1752-1814), older sister of Marie-Antoinette, Queen of France.
Grouped around the couple are some of their eighteen children. Those present are, from left to right, Marie-Amélie (1782-1866), the future Queen of France through her marriage to Louis-Phillipe, Louise-Marie (1773-1802), Léopold-Michel, Prince of Salerno (1790-1851), Marie-Antoinette de Bourbon of the Two Sicilies and François (1777-1830).
A portrait of Francis II, last of the Holy Roman Emperors, hangs on the wall. He was the son-in-law of Marie-Caroline of Austria and Ferdinand IV through his marriage to one of their daughters, Marie-Thérèse (1772-1807), who is depicted in the pendant.