Ghislaine Howard
Sale Coordinator
This auction has ended. View lot details
You may also be interested in
The Twinight Collection
Lot 111*
Moritz Michael Daffinger(Austrian, 1790-1849)A Lady, called Countess Perera (Pereira), full-length reclining on a chaise longue draped with a yellow cashmere shawl, in a white dress with a blue waistband, flowing dark hair, grey curtain background
4 July 2024, 12:00 BST
London, New Bond StreetSold for £7,040 inc. premium
Looking for a similar item?
Our European Ceramics specialists can help you find a similar item at an auction or via a private sale.
Find your local specialistAsk about this lot
Moritz Michael Daffinger (Austrian, 1790-1849)
A Lady, called Countess Perera (Pereira), full-length reclining on a chaise longue draped with a yellow cashmere shawl, in a white dress with a blue waistband, flowing dark hair, grey curtain background.
Watercolour and pencil on card, signed on the obverse, Daffinger, gilt-metal mount, later gilt-wood frame.
Rectangular, 144mm (5 11/16in) high
Provenance:
Ernst Holzscheiter Collection, Meilen; Part I, Sotheby's, London, 28 March, 1977, lot 167
Christie's London, 27 November 2012, lot 243;
The Twinight Collection
Exhibited:
Musée d'art et d'histoire, GenevaChefs-d'oeuvre de la miniature et de la gouache, 1956, no. 120 (lent by Ernst Holzscheiter)
Albertina, Vienna, Meisterwerke der europäischen Miniaturmalerei von 1750 bis 1850, 1965, no.65 (lent by Ernst Holzscheiter)
Royal Academy and Victoria and Albert Museum, LondonThe age of Neo-Classicism, the fourteenth exhibition of the Council of Europe, 1972, no.971 (as the Countess Perera, on vellum, lent 'from the Holzscheiter Collection')
Literature:
L.R.Schidlof, The Miniature in Europe, 1964, vol.II, p.938, no.278, ill.pl.150
Watercolour and pencil on card, signed on the obverse, Daffinger, gilt-metal mount, later gilt-wood frame.
Rectangular, 144mm (5 11/16in) high
Provenance:
Ernst Holzscheiter Collection, Meilen; Part I, Sotheby's, London, 28 March, 1977, lot 167
Christie's London, 27 November 2012, lot 243;
The Twinight Collection
Exhibited:
Musée d'art et d'histoire, GenevaChefs-d'oeuvre de la miniature et de la gouache, 1956, no. 120 (lent by Ernst Holzscheiter)
Albertina, Vienna, Meisterwerke der europäischen Miniaturmalerei von 1750 bis 1850, 1965, no.65 (lent by Ernst Holzscheiter)
Royal Academy and Victoria and Albert Museum, LondonThe age of Neo-Classicism, the fourteenth exhibition of the Council of Europe, 1972, no.971 (as the Countess Perera, on vellum, lent 'from the Holzscheiter Collection')
Literature:
L.R.Schidlof, The Miniature in Europe, 1964, vol.II, p.938, no.278, ill.pl.150
Footnotes
The son of Johann Daffinger, a painter at the porcelain factory of Vienna, Moritz Michael Daffinger entered the factory as an apprentice in 1801, training under Johann Weixlbaum. The following year he commenced studies at the Academy in Vienna, under Heinrich Friedrich Füger, winning a first prize for drawing in 1804. He worked at the porcelain manufactory until 1812, simultaneously pursuing a career as a a miniature painter. A commission in 1819 from Klemens von Metternich to make a copy in miniature of a painting by Sir Thomas Lawrence of the prince's deceased daughter Clementine had a profound impact on the style of his work- resulting in a richer colour palette and a more fluid painting technique. He received extensive patronage from the Imperial family and the most prominent members of the high aristocracy.
The powerful presence of the recumbent sitter is reminiscent of that captured by Francisco de Goya in the paintings La maja vestida and La maja desnuda (c. 1797–1800) and La marquesa de Santa Cruz (1805), in the Museo del Prado, Madrid (inv. nos 741, 742, 7070). The sitter has been previously identified as the Countess Perera (Pereira), however, at the time this miniature was painted the illustrious Portuguese family of Pereira was extinct. It is not inconceivable that the name was adopted as a soubriquet by a grande horizontale.
Additional information
Bid now on these items
