(Haina 1722–1789 Kassel)
Portrait of Christiane Henriette, Princess of Waldeck and Pyrmont, née Princess of Pfalz-Zweibrücken-Birkenfeld (1725–1816), in an ermine lined pelerine, half-length,
oil on canvas, 69 x 62 cm, framed

Provenance:
possibly sold in 1820 as part of the collection of the late Princess in Arolsen;
Cosby Family collection, Stradbally Hall, Leix, Ireland (according to labels on the reverse)

We are grateful to Anna-Charlotte Flohr for endorsing the attribution of the present painting after examining it in the original and for her help in cataloguing this lot. Her written analysis accompanies the present lot.

In a significant move away from the traditions of princely iconography, especially considering the relatively early date of circa 1765, the present portrait, hitherto unknown and recently rediscovered by Anna-Charlotte Flohr, represents a distinct shift from the formalised aristocratic grand state portrait of the late baroque towards a more intimate and private likeness, both in scale and in the almost complete lack of attributes of the sitter. The rich and velvet-like ermine that lines the elegant pelerine and the mouf are the only indications at her princely status, whereas the elegant and delicate striped white veil covering her head would appear to allude to her widowhood and role as regent of her principality.

Tischbein had worked for the family of the Princes of Waldeck on numerous occasions. It is very likely that he was introduced to them through the family of the present sitter, who was born a Princess of Pfalz-Zweibrücken. Count Stadion, Tischbein’s early patron, was well connected at the different courts of the Palatinate through his son-in-law, Karl Theodor Schall von Bell, Reichsgraf von Schall-Riaucour, who was secret privy counsel to the elector Karl Theodor of the Palatinate. Tischbein had also portrayed the Princess Christiane Henriette before. Indeed, an impressive state portrait, now in the Stiftung des Fürstlichen Hauses zu Waldeck und Pyrmont, Bad Arolsen (oil on canvas, 230 x 143 cm, dated 1756), depicts her in all the splendour of a late baroque princess, reminiscent of the unique blend of French and Italian influences that made Tischbein’s contribution to German and European portraiture so distinct (see A. Flohr, Johann Heinrich Tischbein d. Ä. [1722–1789] als Porträtmaler mit einem kritischen Werkverzeichnis, Munich 1997, pp. 190-91, Kat. Nr. G 51). Certainly, this early portrait in Bad Arolsen was popular with its sitter and with other patrons, for a large-scale replica was commissioned by the Landgrave of Hesse-Kassel in 1757 (Schloss Wilhelmsthal, Calden, inv. no. SM 1.1.426 1757).

Though both early portrait variants show the Princess at a slightly younger age, the identification of the sitter in the present painted is aided by the presence of a mole on the left-side of her nose. No other portrayed woman, let alone a princess, in Tischbein’s ouevre, shows this singular physiognomic characteristic in such a manner. Furthermore, the Princess is depicted with a very similar physiognomy in Tischbein’s most important commission for the House of Waldeck, a large-scale family portrait (Stiftung des Fürstlichen Hauses zu Waldeck und Pyrmont, Arolsen, oil on canvas, 230 x 143 cm), that was also painted in 1756 and a highlight of German Rococo portraiture.

An undated portrait by Johann Georg Ziesenis (1716–1776), that would appear to have been commissioned at about the same time as the present portrait, presents the Princess in a similarly striped white veil covering her hair and an almost identical physiognomy (see fig. 1). The white veil was to become a characteristic article of clothing for the Princess who, following the death of her husband, Karl August, Prince of Waldeck and Pyrmont (1704–1763), ruled the principality of Waldeck from 1764 to 1766 as Regent until the coming of age of her eldest son, Friedrich Karl August (1743–1812). The colour white, along with mauve, were considered acceptable for widows in the eighteenth century.

Married to Karl August in 1741, Christiane Henriette was considered highly educated in arts and sciences by her contemporaries. A close friend of the anthropologist Johann Friedrich Blumenbach, she collected a comprehensive library, which by 1788 included about 6,000 volumes. She also maintained an art and natural history collection. At the time of her death in 1816, Christiane left behind a considerable debt, which is why parts of her library and art collection had to be auctioned off in 1820. Given the small format of the present painting, it might have well been part of the Princess’s private collection that was dispersed following her death.

The ‘Kasseler Tischbein’ numbers among the most gifted and influential members of this prolific family of artists. His patron, Count Stadion, enabled him to study in Paris for a period of five years, where from 1743 onwards he worked in the studio of Charles Vanloo. Together with Johann Christian Fiedler, Christian Bernhard Rode and Januarius Zick, Tischbein was one of the first German artists to travel to Paris to further develop his artistic education. Between 1748 and 1751, Tischbein was in Italy, where he sojourned in Venice for several months, briefly visited Bologna and Florence, and lived in Rome for two years. After his return from Italy, Count Stadion recommended the artist to Landgrave William VIII of Hesse-Kassel, who appointed him court painter in April 1753. Following William’s death, Tischbein continued to be senior court painter to his successor, Frederick II. The artist started teaching drawing and painting at the Collegium Carolinum in 1762. In 1776, he became professor for painting at the Kassel Academy and simultaneously held the position of director. In 1779, he was appointed honorary member of the Accademia Clementina in Bologna. Tischbein is the author of important history paintings, yet today is primarily known for his courtly and elegant portraits.