Portret Marii Klementyny Sobieskiej (1701 – 1735)

Francesco Trevisani. Portret Marii Klementyny Sobieskiej

Portret Marii Klementyny Sobieskiej, wnuczki Jana III Sobieskiego a córki jego syna, niedoszłego króla Jakuba Sobieskiego. Mariia Klementyna, poprzez więzy krwi, była osobą niezwykle ustosunkowaną z panującymi wówczas w Europie. Wyszła za mąż za księcia Jakuba Stewarda, pretendenta do tronu Anglii, syna obalonego króla Anglii Jakuba II Stewarda i miała z nim dwóch synów. Zmarła młodo w depresji i dewocji. Wiele znanych jest jej portretów. Ten jest wyjątkowo piękny. A może by tak władze polskie do Wilanowa kupiły?

Lot 12. FRANCESCO TREVISANI (KOPER 1656-1746 ROME). Portrait of Princess Maria Clementina Sobieska (1702-1735), wife of ‘The Old Pretender’, bust-length, in a gold dress and blue ermine-lined cloak, in a feigned oval, oil on canvas, 28 1/2 x 23 7/8 in. (72.4 x 60.8 cm.), inscribed with inventory number ’51’ (lower left); Please note this lot is the property of a private individual.; Provenance: The Dukes of Manchester, Kimbolton Castle, Huntingdonshire, and by descent to, Alexander Drogo Montagu, 10th Duke of Manchester (1902-1977), and by inheritance to the present owner. Estimate £10,000 – £15,000. Christie’s. 07/30/20

Maria Klementyna Sobieska (1701 – 1735). Portret


Lot 154. 18TH CENTURY ITALIAN SCHOOL “Maria Clementina Sobieska” portrait study, half length, oil on canvas, unsigned,80 cm x 65 cm (Princess Maria Sobieska,1702-1735, was the grand-daughter of the King of Poland, John III Sobieski, and the wife of James Francis Edward Stewart, the Jacobean Pretender to the British throne, and mother of Charles Edward Stewart (Bonnie Prince Charlie) and Henry Benedict Stewart, before dying aged 32 on 18th January 1735, and buried in St Peter’s Basilica, Rome)

Canvas has been relined. Painting has various repairs and some areas of repainting, including horizontal and vertical splits in central section of picture. Paintwork has quite extensive craquelure. Various areas of scuffing and flaking / missing paint including to her face. A large darker painted area to the left of her hair and neck. There is a grid-like / ridged effect to her face where the paint is worn away – possible the weave of the canvas showing through. Under UV light the repairs and repainting are apparent to the large vertical and horizontal splits to the centre which form two sides of a square, overpainting to the repaired area. There are also various other areas of touch-up paint to bottom centre, to folds to left of dress, and several small specks and small areas throughout, and an area of repair to the centre of her neck. A few small dots of touch up paint to her face, but the worn area to the right on her face where the canvas weave shows through, appears pale under UV light which would suggest that that area is worn rather than repainted. The larger darker area to the background to the left of her hair and neck shows up pale under UV light and appears of a similar pale milky colour to the rest of the background. There are some slightly darker areas throughout possibly where crazing and cracquelure have been stabilized and painting appears to have been revarnished. The frame has various chips, losses, regilding, cracks and some drilled holes.

Estimate 3,000 GBP – 5,000 GBP. Moore Allen & Innocent. 07/08/16






Tygodnik Ilustrowany,