Italian School, early 19th Century
ROYAL OCCASIONS 'My grandfather's contacts with Queen Mary did not come only from the racing world. The Queen was a very ardent and compulsive collector of antiques and her magpie tastes had added all sorts of trifles to the royal collection and caused any number of London dealers to raise royal arms over their doors. The Queen craved the society of other collectors and gathered round herself at Buckingham Palace, connoisseurs who could help her with her own impulsive and rather unformed type of collecting. Her chief lieutenant in all these matters was H. Clifford Smith, a friend of my grandfather's who had won the Queen's confidence after publishing his monumental Buckingham Palace, Its Furniture, Decoration and History in 1931' 'Once inside the house, the Queen's formidable cross-questioning began, nothing escaped her notice and she was hungry for dates, facts and previous histories in her rather gruff Germanic manner. My grandfather was hardly able to return replies before the Queen supplied her own or rushed on to the next question. She was engrossed in anything German, for example a beautiful neo-classic watercolour of Countess Tiesenhausen which she pronounced excellent, and anything unusual. S. Houfe, The Professor
Italian School, early 19th Century

Portrait of Countess Catherine Tiesenhausen (1803-1888), seated at the piano in an elegant salon in her family's residence at Lake Garda

Details
Italian School, early 19th Century
Portrait of Countess Catherine Tiesenhausen (1803-1888), seated at the piano in an elegant salon in her family's residence at Lake Garda
with inscription 'This picture was greatly admired by H.M. Queen Mary on her visit to Avenue House in May 1934' (on a typed label on the backboard)
pencil, pen and black ink, watercolour, with touches of bodycolour
11½ x 15½ in. (29.2 x 39.5 cm.)
Literature
S. Houfe, Sir Albert Richardson, The Professor, Luton, 1980, p. 132.

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Lot Essay

This picture was one of the first things coveted by Queen Mary, during her 1934 visit to Avenue House.
The pianist seen from behind in this charming drawing is Countess Catherine Féodorovna Tiesenhausen (1803-1888), the daughter of Count Ferdinand von Tiesenhausen (1782-1805) and Princess Elizabeth Koutouzova (1783-1838). Ferdinand von Tiesenhausen followed his father-in-law, the distinguished General Prince Koutouzov, into a military career and rapidly rose to become aide-de-camp to Alexander I of Russia. He was mortally wounded at the Battle of Austerlitz in 1805, when his daughters Catherine and Dorothea, or Dolly (1804-1863), were still in their infancy; his dashing career would later provide Tolstoy with the inspiration for Andrei Bolkonsky in War and Peace. Ferdinand's widow Elizabeth remarried in 1811, taking as her second husband Count Nicholas Hitrovo, who was the Imperial Envoy to the Grand Duchy of Tuscany. The family, including Catherine and Dolly, accompanied their mother and stepfather to Italy in 1815, where their primary residence was in Florence and, although Count Hitrovo died in 1819, Elizabeth and her daughters remained in Italy until 1827. During their sojourn, Elizabeth kept up a lively correspondence with the poet Pushkin, a close friend of the family, which offers glimpses of the family's everyday life. On their return to Russia, Catherine became a lady-in-waiting at the Imperial Court, while the beautiful and elegant Dolly - who had married Count Charles Louis de Ficquelmont, Austrian envoy to the Kingdom of the Two Sicilies, in 1821 - established herself at the heart of St Petersburg society. Catherine herself never married, although it was rumoured that she had once been engaged to a member of the Russian embassy in Vienna named Obrezkoff, a romantic attachment which was eventually broken off.

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