Prima donna - portraits of Adelina Patti, elegant and common

Adelina Patti (10 February 1843, Madrid – 27 September 1919, Craig-y-Nos Castle, Wales), Italian-French opera singer who, along with Jenny Lind, was the most celebrated soprano of the nineteenth century. World famous and world traveled, she first sang in public as a child in 1851, and gave her last performance before an audience in 1914. She possessed a warm, crystalline, wide-ranging and very agile high soprano voice. Regarding her technique, scholar Rodolfo Celletti wrote, "Her voice was a technical marvel. The staccatos were marvels of accuracy, even in the trickiest intervals, her legato was impressively smooth and pure; she connects the voice from note to note, phrase to phrase, lifting and gliding with an exceptional virtuosity. Her chromatic scale was deliciously sweet, and her trill was wonderful and solid." She was nearly as famous for her business acumen as for her voice; at the height of her career, she demanded to be paid five thousand dollars a night, in gold, before any performance, and her contracts were extremely particular about what was due her and what would or wouldn't be required of her. Along the way, she amassed a large fortune which allowed her to spend her declining years in great comfort. In addition to her work on the opera stage and concert hall, another source of income was the lending of her portrait and endorsement to various products; several of the images here are examples of these no doubt lucrative testimonials.

Unidentified artist, circa late 1860s-early 1870s. (The signature and date are indecipherable.)

1863.

Franz Xaver Winterhalter, 1863.

Circa 1860s.

Franz Xaver Winterhalter, 1863.

Circa 1860s.

Circa 1860s.

Gustave Doré, circa 1860s.

Gustave Doré, circa 1860s.

Karoly Marko, circa late 1860s. (It took me forever to figure out what it was hanging across her sleeve... her skates!)

Ludovic Durand, 1869.

In the role of Esmeralda, circa 1870.

Raimundo de Madrazo y Garreta, 1873.

Circa 1870s.

Circa 1870s.

Friedrich Karl Steinhardt, circa 1870s.

In the role of Aïda, 1879.

Friedrich August von Kaulbach, circa 1870s-80s. (Though this is identified as Patti all over the internet, it doesn't
really resemble her at all; that said, Kaulbach was pretty lousy at getting a likeness, so who knows...!)

Circa 1870s-80s.

Circa 1880s.

Circa 1880s.

Circa 1880s. (A painted-over tintype.)

Circa 1880s. (By the details of the dress and hair, this image and the one above look to be taken from the same source.)

Circa 1880s.

1887.

Circa 1890s.

1894.

James Sant, 1886.

Years of marriage, years of exile - portraits of the duc and duchesse d'Aumale

The duchesse d'Aumale, by James Sant, circa 1855.

The duc d'Aumale, by James Sant, circa 1855.

Henri Eugène Philippe Louis d'Orléans, duc d'Aumale (16 January 1822, Paris - 7 May 1897, Lo Zucco, Sicily), fifth son of Louis-Philippe I King of the French and Queen Marie Amélie. At the age of eight years old, only three weeks after his father was proclaimed king, he inherited a vast fortune, including the Château de Chantilly and other estates, from his godfather, Louis Henri de Bourbon, the last prince de Condé. At the age of seventeen he entered the army with the rank of a captain of infantry, and later distinguished himself during the French invasion of Algeria; in 1847 he became lieutenant-general and was appointed Governor-General of Algeria, a position he held until his father's abdication the following February.

Detail of above.

By Joseph-Nicolas Robert-Fleury, 1831.

By Winterhalter, 1840.

Miniature by François Meuret, after Winterhalter, after circa 1840.

On 25 November 1844, in Naples, he married Maria Carolina Auguste di Borbone, principessa delle Due Sicilie (26 April 1822, Vienna - 6 December 1869, Twickenham), the only surviving child of Prince Leopold of Bourbon-Two Sicilies, Prince of Salerno and his wife (and niece) Archduchess Maria Clementina of Austria, daughter of Francis II, Holy Roman Emperor. The bride and groom were first cousins; her father was the brother of Queen Marie Amélie. There was a shortage of marriageable Catholic princesses at the time, and Maria Carolina - called "Lina" from birth - had had several suitors. Typically, the union wasn't a love match; the groom was unenthusiastic, but his parents forced the issue. The couple would nonetheless form a bond of mutual respect, and by her kindness and charm, she would gain the love of her adopted family.

Detail of above.

The duchesse as an infant, unknown miniaturist, circa 1822.

Watercolor by Josef Kriehuber, 1842.

By Franz Schrotzberg, 1842.

Miniature by François Meuret, circa 1845.

The miniature by Meuret has been set into a fabric and gilt metal casket.

Miniature by John Simpson, after Meuret, 1849.

Miniature by François Meuret, 1846.

Miniature of the duchesse with the prince de Condé and with the duc de Guise on her lap, by Sir William Ross, circa 1854-55.

The duchesse d'Aumale would give birth seven times, but the story of her children is a tragic one. A daughter and two sons were stillborn, another son would only live for a month, a fourth son would only live for three months. Her eldest son, Louis, prince de Condé, having been in ill-health, began a long sea voyage in 1866, at the age of twenty. At first, the journey - through Egypt, to Ceylon, and on to Australia - produced the hoped for improvement in his health but, later, his condition rapidly deteriorated, and he died in Sydney. At the news, his mother plunged into a deep depression from which she never fully recovered. After a long illness, she died of tuberculosis three years later at the age of forty-seven. Finally, three years after that, the couple's only surviving child, François, duc de Guise, died at the age of eighteen.

Detail of above.

Studio of Winterhalter, after circa 1843. Winterhalter painted many portraits of the French Royal family, of which numerous copies were made.

Studio of Winterhalter, after circa 1845.

Half-length variant of the above, studio of Winterhalter, after circa 1843.

Half-length variant of the above, studio of Winterhalter, after circa 1845.

Miniature by Jean-Baptiste-Joseph Duchesne (aka Duchesne de Gisors),
after Winterhalter, after circa 1843.

Miniature by Jean-Baptiste-Joseph Duchesne (aka Duchesne de Gisors), after Winterhalter, circa 1845.

An overdoor with a portrait of the duchesse, by Eugène Lami, circa 1846.

At the fall of his father's so-called "July Monarchy" in 1848, the duc d'Aumale and the extended Orléans family had fled to England. The deposed King and his relatives had many connections there, not least due to a previous exile; the house in Twickenham, London which Louis-Philippe rented for a few years during the Napoléonic régime had been renamed Orléans House. They also had close family ties to Queen Victoria and Prince Albert. The former now lent them Claremont House and, four years later, the duc and duchesse d'Aumale purchased Orléans House as their residence in exile.

Drawing of the duchesse by her brother-in-law, the prince de Joinville, 1850.

By Victor Mottez, 1853.

The duchesse and her son, Louis, prince de Condé, by Victor Mottez, 1851.

By Charles François Jalabert, 1866.

By Charles François Jalabert, 1866.

Seven months after the death of the duchesse d'Aumale, at the outbreak of the Franco-Prussian War, her husband volunteered for service in the French army; his offer was, unsurprisingly, declined. After the fall of the Second Empire, the duc d'Aumale and his surviving son were allowed to return to France, where the duke was soon elected deputy for the Oise département. The following year he was reinstated in the army; his military career continued until 1879, at which point he was made Inspector General of the Army. Royal princes were banned from positions in the military in 1883, and he retired from public life. And in 1886, due to continuing worries about pro-monarchist elements, the government decided to expel from French territory the heads of former reigning families and declared that all members of those families should be disqualified for any public position or election to any public body. He protested, but was expelled to Belgium. Ironically, in that same year, as a widower with no living heirs, he rewrote his will leaving Chantilly and his quite remarkable collection to the French state; today, is is one of France's most important palace art museums.

By Léon Bonnat, 1880.

Studio of Bonnat, after 1880.

By Léon Bonnat, 1890.

By Henri Cain, 1893.

By Jean-Joseph Benjamin-Constant (aka Benjamin Constant), 1896, the year before his death.

Three years after the commencement of his second exile, he was allowed to return to France, where he resumed his scholarly and benevolent pursuits. He died eight years later, at the age of seventy-five. Today, his remains rest with those of his parents, his wife, his children, among many others in the Chapelle royale de Dreux, the necropolis of the Orléans royal family.

The tombs of the duc and duchesse in the Orléans' Chapelle royale at Dreux.

The duc d'Aumale's eye, unknown miniaturist, date unknown.

The duchesse d'Aumale's eye, unknown miniaturist, date unknown.