King in a boat - Louis-Philippe and his family, afloat on the Seine

 

Le Retour en barque du château de Saint-Cloud au château de Neuilly du roi Louis-Philippe entouré de sa famille, figurés au clair de lune sur la Seine, pendant l’été 1840, by Joachim Issarti, circa 1840-44.

The Château de Neuilly was the favorite of the residences of le Roi Citoyen and his family which lay within the environs of Paris. Both this and the better known Château de Saint-Cloud, the declared point of departure in the above painting, are long since lost. The former was burned and pillaged on the fall of Louis-Philippe's "July Monarchy"; all that survives is a wing, now occupied by a convent. The latter burned in 1870 during the Franco-Prussian War, and was finally demolished in 1891.

Louis-Philippe et la famille royale en barque à Neuilly, by Adolphe-Eugène-Gabriel Roehn, circa 1845.

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Roehn's preparatory sketch for the above painting.

Quand il n'y a pas assez de souffle.... - two daughters of Louis-Philippe, by Louis Hersent, 1829

 

Born almost exactly a year apart, after their brother Ferdinand Philippe, the duc d'Orléans, the two sisters were the eldest of their parent's ten children, eight of whom survived to adulthood. The portraits were painted a year before the July Revolution of 1830, the event that raised their father to power, and made their close-knit family France's royal family.

Louise d'Orléans, before her marriage styled mademoiselle de Chartres.

Louise d'Orléans (Louise-Marie Thérèse Charlotte Isabelle; 3 April 1812, Palermo - 11 October 1850, Ostend) was the second child and eldest daughter of Louis-Philippe and Marie-Amélie, from 1830 to 1848 King and Queen of the French. In 1832 she became the first Queen of the Belgians as the second wife of King Leopold I. The marriage was a political arrangement between France and Belgium and Louise was unhappy to leave France and her family. Of a shy nature and a delicate constitution, she had little of a public role as queen. The couple had four children, three surviving to adulthood, but she died of tuberculosis at the age of only thirty-eight.

Marie d'Orleans, before her marriage styled mademoiselle de Valois.

Princess Marie of Orléans (Christine Caroline Adélaïde Françoise Léopoldine; 12 April 1813, Palermo - 6 January 1839, Pisa) was the third child and second eldest daughter of Louis-Philippe and Marie-Amélie. A talented sculptor and artist - she was a student of Ary Scheffer - she had her own studio installed in the Tuileries Palace. She was described as a lively character, interested in both society and politics. In 1837, she married Prince Alexander of Württemberg. A member of the cadet branch of a not very prestigious princely family, her new husband was nevertheless closely related to most of the crowned heads of Europe. They had one child together. But only six months later, after traveling to Italy in hopes that the climate would bolster her rapidly faltering health, she died of tuberculosis; she was only twenty-five.

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These two paintings reside somewhere in the collection of the vast, uninhabited palace of Caserta, some twenty-two miles north of Naples. Begun in 1752, the complex - the largest palace erected in Europe during the eighteenth century - was constructed for the House of Bourbon-Two Sicilies as their main residence as kings of Naples. At first I wondered what these portraits of two French princesses were doing in an Italian palace, until I remembered that their mother was actually born there; Marie-Amélie was the tenth of eighteen children of Ferdinand I of the Two Sicilies and Maria Carolina of Austria. 

The paintings, as seen in these images, look to be extremely dirty, discolored, and much in need of conservation. Hersent was a good painter, and even veiled with grime as they are, disfigured with neglect, the fresh, tender charm of the young girls - Louise was only seventeen, Marie sixteen - is clearly discernable. And to me, the rather wretched state of the portraits somehow adds another note of poignancy to the stories of the sisters, in some strange way aligning with their early deaths. Their youth was never quite lost, then, but buried. The paintings survive, but exist, entombed, in the airless shadows of that vast palace.

Being royal for a good cause - Fête Champêtre at Orléans House, 11 June 1864, photographs by Camille Silvy

 

The Duchess of St Albans' Stall. (Many of the figures in these images are impossible to identify, so I regret that I'm only able to name those of which I'm certain.)

Easily the most identifiable figure in these photographs is the host, the duc d'Aumale, standing at right.
I believe the two young men at left are his nephews the duc d'Alençon and the comte d'Eu, sons of the duc de Nemours.

At left is the Dowager Duchess of St Albans, née Elizabeth Catherine Gubbins, widowed in 1849 and remarried as Viscountess Falkland.

During the residency of the duc d'Aumale, beginning in 1852, a great many social events were held at Orléans House, including benefits for a range of causes. One such was a "grand fancy bazaar" in June of 1864, organized for the relief of French refugees. The "fête champêtre" was much featured in the Illustrated London News. And a portfolio of twelve photographs of the bazaar by French photographer Camille Silvy was published for the benefit of the Société Française de Bienfaisance.

The duc d'Aumale at right, with his sister, Princess Clémentine of Saxe-Coburg and Gotha and her children Princess Amalie and princes Philipp and Ludwig
August. Also, standing at back are, again, the duc d'Alençon and the comte d'Eu, as well as the duc de Penthièvre, son of the Prince de Joinville.

Among those pictured in Silvy's photographs are members of the extended Orléans family: The duc d'Aumale's brother, the duc de Nemours and his children, princesses Marguerite and Blanche, the comte d'Eu, and the duc d'Alençon; his sister Princess Clémentine of Saxe-Coburg and Gotha, her husband Prince August of Saxe-Coburg and Gotha, and their children Princess Amalie and princes Philipp and Ludwig August; his youngest brother the duc de Montpensier, his wife, sister of the Queen of Spain, and their daughters Maria Amelia and Maria Christina, Infantas of Spain; and his nephew the duc de Chartres and his wife, who was also the daughter of the duc d'Aumale's brother, the prince de Joinville; the latter's son, the duc de Penthièvre was also present. D'Aumale's son, the duc de Guise, who would die at the age of eighteen eight years later, the last of his father's surviving children, is also pictured.

Various members - all mentioned above - of the extended Orléans family...

 ... Including the children of the ducs d'Orléans, de Nemours, d'Aumale, de Montpensier, the prince de Joinville, and Princess Clémentine.

The lady at front is the duchesse de Montpensier, née Infanta María Luisa Fernanda of Spain; her husband, the duc de Montpensier,
stands behind her with their daughter Maria Cristina. The small boy seated in front is the duc de Guise, son of the duc d'Aumale.

At left, looking down, is Princess Clémentine of Saxe-Coburg and Gotha, beside her is the duc de Montpensier's daughter Maria Amelia, while
her own daughter Amalie is in the row behind. The duc de Nemours stands at right behind his two daughters, Marguerite and Blanche.
The duc de Chartres is at top left; his wife - and cousin - Françoise, daughter of the prince de Joinville, is seated in front.

 The St Albans stall, again, with Lady Diana de Vere Beauclerk (daughter of the 9th Duke of St Albans), Lady Dorothy Nevill, and the Honorable Miss White.

M. Jullien's orchestra.

The Marchioness of Ely's Stall.

Jane Loftus, Marchioness of Ely, née Hope-Vere, is possibly the figure standing at center right. Her daughter, Lady Marion Loftus, is seated in front.

The stalls.

Invitations to social events at Orléans House were extended to both English and French friends and members of society. And the gatherings were, of course, frequently attended by members of the duc’s extended family, several of whom lived close by. His mother, Queen Marie-Amélie, lived at Claremont House near to her former home in Twickenham, until her death in 1866. His two surviving elder brothers, François, prince de Joinville, and Louis, duc de Nemours, and their families both settled in the area, living at Mount Lebanon and Bushey House respectively. In 1864, the duc d'Aumale’s nephew the comte de Paris moved into York House, Twickenham. And Henri’s nieces Blanche and Marguerite, daughters of the duc de Nemours, were frequent visitors to Orléans House, and can be seen in photographs of some of the many festivities which took place.

Lady Marion Loftus at front right, Miss Moncrieffe, and Miss Gorges.

Prince August of Saxe-Coburg and Gotha, standing.

Silvy's studio.

(The light colored toilettes of the two ladies at left have been noticeably retouched to add back detail - including stripes on the one in front!)

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"A grand Fancy Bazaar at Orleans House, Twickenham in aid of the French Société de Bienfaisance." From the Illustrated London News, 11th June 1864.

Orléans House was a Paladian villa built by the architect John James in 1710 near the Thames at Twickenham, England, for the politician and diplomat James Johnston. Louis-Philippe, duc d’Orléans, later the "citizen King" of the French, lived here in exile with his wife and young family, from 1815-1817. He enjoyed the tranquility of Twickenham, writing: “I bless heaven, morning, noon and night that I am in my peaceful house in old Twick.” From his residency, the property was thereafter called Orléans House.

Painting by Joseph Nickolls, circa 1750.

Louis-Philippe and the Orléans family were forced into exile again during the revolution of 1848, settling once more in England. And while the king had given his name to the house, it was his fifth son, Henri, duc d’Aumale, who truly made it his home. The estate was acquired from the Earl of Kilmorey in 1852. (As a foreigner, property law prevented Henri from purchasing Orléans House directly, so it was bought on his behalf by Coutts bank.) He lived here for nearly two decades, until his return to France in 1871. He built a library adjacent to the house, as well as a gallery to display his extensive and important art collection, which included two paintings by Raphael and works by the French and Italian Schools; these are now in the Musée Condé at the Château de Chantilly.

In October 1844, Louis-Philippe, while king of the French, made a visit to the house accompanied by Queen Victoria. Colored lithograph by Édouard Pingret. 

In 1877, John Dugdale Astley purchased the house and converted it into a luxurious sports and social club; it was not a success and soon closed. The last private owners were the Cunard family. The eighteenth century house had remained virtually unchanged, but in 1910 the property was broken up and sold. The house itself was demolished in 1926, but the Octagon Room and some domestic buildings were saved. The last owner left the remains of Orléans House and her collection of eighteenth- and nineteenth-century paintings to the borough, and the existing buildings were converted into an art gallery; the Orleans House Gallery opened in 1972.

Orléans House during the demolition, 1926.

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Camille-Léon-Louis Silvy (18 March 1834, Nogent-le-Rotrou -2 February 1910, Saint-Maurice), French photographer, primarily active in London. Instructed in the techniques of photography by his friend, comte Olympe Aguado, in 1857, he became a member of the Société française de photographie the following year. Soon after, he moved to London and opened a portrait studio at 38 Porchester Terrace, Bayswater, becoming a member of the Photographic Society in 1859. Silvy's sitters included many prominent artists, celebrities of the day, the aristocracy and royalty; he photographed many members of the British royal family. The National Portrait Gallery, London, holds his studio's daybooks, which include details of some 17,000 sittings, with about 12,000 of these showing a resulting image from the sitting. In 1868 he closed his studio and returned to France. He came to believe that his nervous system had been damaged by exposure to potassium cyanide in the darkroom, but it is more likely that he suffered from bipolar disorder. The last thirty years of his life were spent in a succession of hospitals, sanatoria and convalescent homes.

Les guerriers élégants - British military portraits by Alexandre-Jean Dubois-Drahonet, 1831-34

 

 Sergeant John Hawkins, 7th (The Princess Royal's) Dragoon Guards.

Private John Flynn, 17th Lancers. "Fire."

Private John Burnside, 2nd Life Guards. "Royal Salute."

Lance-Sergeant Donald Cameron, 92nd (Highland) Regiment of Foot.

Kettle-Drummer George Augustus Lüdewig Rüngeling, Royal Horse Guards.

Major-General Sir James Cockburn, Bart, KCH, Paymaster and Inspector-General of Royal Marines.

Private Joseph Bednal, 12th (The Prince of Wales's) Royal Lancers.

Drummer William Cann, Scots Fusilier Guards. "Night Rounds."

Lieutenant-General The Marquess of Londonderry, GCB, GCH, Colonel, 10th (The Prince of Wales's Own) Royal Hussars.

Cymbalist Jean Baptiste, Scots Fusilier Guards.

Pensioner Joseph Burgin, Royal Hospital Greenwich. "Trafalgar."

Triangle-boy John Sheay, Royal Military Asylum.

 Corporal John McCain, 5th (Princess Charlotte of Wales's) Dragoon Guards. "Left Cut."

Seaman Charles Hiches, Royal Navy.

Yeoman Clark, The King's Body Guard of the Yeomen of the Guard.

Prince George of Cumberland, GCH, Colonel of the Hanoverian Guard Hussars.

Trumpeter Thomas Jagger, 1st Life Guards.

Drum-Major John McDermott, Royal Military Asylum. "Royal Salute."

Colour-Sergeant Joseph Miller, Rifle Brigade.

Lieutenant and Captain the Honourable Thomas Ashburnham, Coldstream Guards.

 Colour-Sergeant William Maundrell, Coldstream Guards.

Troop Corporal-Major Robert Goldie, Royal Horse Guards.

Private Alexander Ritchie, 79th Regiment of Foot (or Cameron Highlanders). "Receiving Rounds."

Regimental Corporal-Major John (or Corporal Robert?), Winterbottom, 1st Life Guards.

Colour-Sergeant Alexander McDonald, Scots Fusilier Guards.

 Corporal Jonathan Cory, Coldstream Guards. "Fire."

Private John Godfrey, Scots Fusilier Guards. "Who Comes There?"

Private Samuel Bowden, Royal Horse Guards. "Return Swords."

Sergeant Benjamin Gilliece, 5th (Princess Charlotte of Wales's) Dragoon Guards.

Captain George Elliott Baldchild, Royal Marines.

 First Lieutenant Wilbraham Spencer Tollemache, Rifle Brigade.

Private Owen Sweeny, 88th (Connaught Rangers) Regiment of Foot. "Receiving Cavalry."

Sergeant John Dixon, Royal Horse Artillery.

Unknown, The Honourable Band of Gentlemen Pensioners. (The only one of this group posed not on rough ground, but on carpet.)

Pioneer-Corporal William Swiffling, Coldstream Guards.

Captain Henry Keane Bloomfield, 11th (North Devonshire) Regiment of Foot.

Private John Kernan, 7th (The Princess Royal's) Dragoon Guards. "Handle Cartridge."

Major John Charles Hope, KH, Rifle Brigade.

Sergeant Alexander Jameson, 2nd (or the Queen's Royal) Regiment of Foot.

Captain James Edward Alexander, 42nd (The Royal Highland) Regiment of Foot.

Private William Cooper, 6th (Inniskilling) Dragoons. "General Salute."

Prince George of Cambridge, GCH, Colonel of the Hanoverian Jäger Battalion.

In-Pensioner Joseph Peaty, Royal Hospital Chelsea. "Holland Expedition... 1799." (I didn't notice the hook replacing his left hand for quite some time.)

Colour-Corporal Joseph Smith, Royal Military Asylum.

Private John Wallace, 2nd (Royal North British) Dragoons. "Fire."

Lieutenant-Colonel Charles Routledge O'Donnell (1796-1870), 15th (The King's) Hussars.
Yes, I purposefully left for last the dashing Lieutenant-Colonel O'DONNELL. I wonder how we're related...?

During the period of European peace following the Napoleonic Wars, increasingly elaborate - and often quite impractical - military attire was devised, particularly by George IV in Great Britain. By the time his brother William IV succeeded him in 1830, uniforms had become much too expensive and were consequently simplified and adapted once again, the result of these changes being codified in the 1831 Dress Regulations. Around that time, French portraitist Alexandre-Jean Dubois-Drahonet was commissioned by William IV to paint a series of one hundred pictures illustrating the uniforms of the British Army; the Royal Collection retains most of this series. The paintings were intended as a visual record of the recent changes to military dress, but their value is not merely historical. It is also aesthetic, as Dubois-Drahonet produced lively, expressive figures - nearly all elegantly elongated - presented in characteristic and dramatic poses. Even more, almost all are named portraits, the particular format dictating that the models are treated equally, regardless of status, from prince to private.

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Across the Channel, the newly-minted "Citizen King" quickly decided to follow suit, commissioning a similar series from the artist. Illustrating French military uniforms, the group may have been been intended for inclusion in Louis-Philippe's grand project, the establishment of a history museum at the Château de Versailles. The French series was completed by Paul Lecomte after Dubois-Drahonet's death in 1834.

Un jeune officier de la garde nationale.

Garde Municipale à cheval.

Garde Nationale à cheval - Trompette.