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An important gilt-bronze mounted double-cased set of drawing instruments by famous Parisian luxury goods maker Alphonse Giroux (1775-1848), inset with
miniatures of the Duchesse de Berry (est. £45,000 – 70,000)
LONDON Tuesday 15th March 2011 – Sotheby’s is delighted to announce Noblesse Oblige,
SOTHEBY’S LONDON,
the sale of an exquisite selection of decorative and fine arts with remarkable links to some of Europe’s most
important aristocratic families on Thursday 14th April 2011. A highlight of the sale is the largest group of
property from the collection of the Duchesse de Berry to come to the market since her lifetime - which gives a
highly personal insight into the life of one of the most remarkable, unconventional and iconic women of the
19th century - in addition to property descended from the Royal Bourbon Family and the Austrian Imperial
Family, as well as an important group of property that represents the Neoclassical Grand Tour period in
magnificent form.
The sale comprises a total of 500 lots, estimated to fetch in excess of £2 million, and the furniture, paintings,
silver, ceramics and textiles embody the pinnacle of decorative arts from a bygone era - many of the pieces
carrying with them the remarkable histories of the notable homes and owners from which they originate.
Philipp Wurttenberg, Managing Director of Sotheby’s Germany said: “The sale of this significant group of
property from the collection of the Duchesse de Berry is testament to the exquisite taste and eye for the finest
objects that this extraordinary and rightly renowned lady possessed. They also reflect the quality and rarity of the
other items of aristocratic provenance to be offered – the entire sale is compiled of pieces that were originally
selected by European aristocrats and connoisseurs for their craftsmanship and beauty and will no doubt appeal to
discerning collectors today.”
She was the most portrayed Princess of her time, and thanks to the
new art form of lithography the Duchesse de Berry rapidly became
known throughout Europe. Poets and composers dedicated works
to her and her influence on the fashion of romanticism – on
romantic opera especially, on contemporary painters,
draughtsmen, miniaturists, cabinetmakers and porcelain
manufactures, whose works she acquired to expand the famous
collection of her late husband - was second to none. A highlight of the group of items to be sold from the
Duchesse de Berry’s collection is an important gilt-bronze mounted double-cased set of drawing instruments
(pictured on the first page, est. £45,000 – 70,000*) by
famous Parisian luxury goods maker Alphonse Giroux (1775-
1848). The set is inlaid on the front with miniatures of the
Duchesse de Berry (1798-1870) with her children Henri, Duc
de Bordeaux (1820-1886) and Louise de France, later
Duchess of Parma (1819 – 1864) by one of the most famous
miniaturist of the time, Joseph-Hippolyte Lequeutre (1793-
1877). Providing a further and particularly intimate insight into
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the Duchesse de Berry’s life is a set of eleven grisailles on the back of the case by Jean-Baptiste Isabey (1767
– 1855), depicting interior views of the Chateau de Rosny (est. £12,000 – 18,000). These grisailles are the
only known depictions of the Duchesse going about her daily life at her beloved Chateau de Rosny, showing
us how the rooms of Rosny were decorated after the extension of the castle in 1823. They allow us to visualise
the atmosphere of some rooms, especially of the big salon, the Billiard and the library.
Furniture with the inventory marks of Chateau de Rosny will also be included in the
sale, such as a set of mahogany seat furniture by Jacob, circa 1820, (est. £10,000
– 15,000), in addition to three Royal paintings by Vicente López y Portaña (1772-
1850), depicting of Don Francisco de Paula of Spain (1794-1865) (est. £15,000
– 20,000), his wife Princess Luisa Carlotta of Naples and Sicily (1804 – 1844)
(est. £12,000 – 18,000) and their daughter Isabel of Bourbon, Infanta of Spain
(1821-1897) when a baby. These paintings hung in the private apartments of the
Duchesse de Berry in the Pavillon Marsan in the Tuileries.
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Duchesse de Berry. The couple lived in the Élysée Palace before acquiring Chateau de Rosny, where they
spent most of their time and which quickly became their favourite residence, allowing them to escape the strict
etiquette of the Royal Court at Tuileries and live freely. A daughter was born and shortly after, but then on
13th February 1820 the Duke was murdered as he and his wife left the opera, and it appeared that with his
death the old line of the Bourbon dynasty had come to an end. But fate had a further twist when, seven
months after the death of his father, the desperately desired heir to the throne of France, Henri, Comte de
Chambord, Duc de Bordeaux, was born in September 1820. This birth was seen as a miracle, not least
because the little prince was born on 29 September, the feast of St Michael, the patron saint of France. The
population of France instantly fell in love with the child and his mother. From then on the Duchesse de Berry
became the undisputed social centre of the royal court, the most fashionable and most portrayed princess of
her time. Thanks to the new art form of lithography her image quickly became known throughout Europe. She
shortened her skirts, showed her ankles, dressed in menswear for horse riding and arranged fancy dress balls in
the Tuileries. Bored by the Empire style the duchess adopted the neo-Gothic, adored the Renaissance and
redesigned the castle and park of her beloved Rosny. Her influence on the fashion of Romanticism was
paramount in every sphere, from theatre and the romantic operas of Rossini to the contemporary painters and
draughtsmen whose works she acquired to expand the famous art collection of her husband, not forgetting
miniaturists, cabinetmakers, ivory carvers (!) and porcelain manufactories among many others. Famous poets
and composers dedicated works to the duchess and the French statesman François René de Chateaubriand
recounted her life story in his Memoirs from beyond the grave, which was to become one of the most widely-
read books of the 19th century, published in 14 languages.
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In 1904 Edmund W. Braun described the Sachsen Teschen service as the ‘second most important work of the
old-Viennese art of gold-and silver work’ (the gold breakfast garniture of Maria Theresa being the first), and
parts of this superb service were exhibited in the 2010 Metropolitan Museum of Art in the show Vienna Circa
1780: An Imperial Silver Service Rediscovered. The silver service was certainly used in Laeken Palace (the
present-day home of the Belgian royal family) whose opening festivities occurred in 1785. ‘Mimi’ was the only
child of Maria-Theresia allowed to marry for love rather than for reasons of state. The vast art collection the
couple assembled is today housed in the Albertina in Vienna. Much of the service was sold anonymously at
Galerie Fischer, Lucerne, 6th May 1947, but many of the numbers missing from the plates sold in the Lucerne
auction are found on the plates to be offered now.
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become Catherine I, was the first holder of the New Order designed exclusively for ladies
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