Prince Paul Troubetzkoy

Overall the condition of the bronze is very good, with minor dirt and wear to the surface consistent with age, with particular dirt in the crevices. There is some rubbing to the patina at some of the high points, in particular the hair, the tip of the nose, and to the proper right hand; this is an attractive feature which adds to the patina. There are a few spots of greening in areas, notably to the terrasse. There is a small nick to the patina on the dress around the proper right lower leg.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Prince Paul Troubetzkoy was uniquely placed to capture the glittering world of the international elite at the turn of the nineteenth to twentieth centuries. His father was an aristocratic Russian diplomat, his mother an American opera singer. He was born at Lake Maggiore in Italy and he spent his professional life between Moscow, Paris and New York. His social status and artistic accomplishment made him a celebrity in his own right and he was very much part of the world he depicted.

The society portrait was his especial preserve, with a particular emphasis on the seated figure. The pose was an awkward proposition in three-dimensions and in the relatively small dimensions of a statuette, but Troubetzkoy mastered it with aplomb and it became a trademark of his work. The present bronze is a fine example and can be compared to the well-known After the Ball, a portrait of Adelaide Aurnheimer, which the sitter won as a prize for the best costume at a ball in 1897. In these seated portraits the ease and informality of the pose allows the artist to capture the evanescent charm of a privileged age.

Instead of modelling in clay, Troubetzkoy prepared his figures using a non-drying compound of clay and wax called plastilene. It gave his finished works a great impression of immediacy. The present bronze is no exception. Troubetzkoy’s fluid modelling technique can be seen here in the swift and confident manipulation of the material, leaving clear thumb prints to be seen in the folds of drapery around the base.

Also included in the sale is a standing portrait of the artist’s cousin, Princess Gagarina with her Child, from the same collection. It belongs to a group within Troubetzkoy’s oeuvre of mothers and children, depicted with a tenderness and simplicity quite distinct from the poise and glamour of his society portraits.

RELATED LITERATURE
J. Grioni, ‘Un ritrattista cosmopolita: precisazioni critiche e biografiche’ G. Piantoni et al., Paolo Troubetzkoy 1866-1938, exh. cat., Museo del Paesaggio, Verbania Pallanza, 1990, pp. 227-229; O. Wooton, Prince Paul Troubetzkoy: The Belle Epoque Captured in Bronze, exh. cat. Sladmore Gallery, London, 2008, pp. 6-15, no. 5