Oil Portrait of Duke Anthony Ulrich of Brunswick-lüneburg (1714–1774), Generalissimo of the Russian Army, Wearing the Sash of the Imperial Order of St Andrew the First-Called Circle of Georg Christoph Grooth c.1740

Portrait of Duke Anthony Ulrich of Brunswick-Lüneburg (1714–1774), Generalissimo of the Russian Army, wearing the sash of the Imperial Order of St Andrew the First-Called Circle of Georg Christoph Grooth, c.1740 Subject & Medium This important 18th-century German School portrait shows Duke Anthony Ulrich of Brunswick-Lüneburg half-length, turned three-quarter to the left, wearing full court and military dress with his Russian orders prominently displayed. The work is executed in oil on canvas, now relined, and presented in a later moulded gilt frame. The framed dimensions are approximately 97 cm high × 78 cm wide × 4.5 cm deep. The portrait is attributed to the circle of Georg Christoph Grooth (1703–1749), a German painter active at the Russian imperial court, and dates to around c.1740. Composition & Technique The composition is intentionally restrained and dignified. Anthony Ulrich stands out against a dark, neutral ground, allowing the light to fall clearly on his powdered wig, pale complexion and richly coloured costume. He wears a deep green coat magnificently embroidered with scrolling gold, over which is draped a crimson mantle lined with ermine. Across his chest runs the pale blue sash of the Imperial Order of St Andrew the First-Called, together with the dark blue collar of the order; on his left breast shines the radiating star with the saltire of St Andrew clearly visible in the medallion. In his right hand he grasps a dark field-marshal’s baton capped with a jewelled knob, the classic emblem of a generalissimo. Technically, the head is built up in cool, porcelain-like flesh tones over a light ground, with finely drawn eyes, nose and mouth and a gentle flush in the cheeks. The wig is described with neat, rhythmic strokes. In contrast, the lace cuff, fur and gold embroidery are painted with more lively, decorative brushwork that catches the light. The paint surface shows an attractive, age-consistent craquelure pattern typical of 18th-century continental canvases, adding to the character of the work. Artist – Stylistic Attribution Although anonymous, the portrait clearly belongs to the German–Russian court portrait tradition associated with Georg Christoph Grooth (1703–1749), a German painter active at the Russian imperial court, and is also influenced by the elegant Franco-German idiom of Antoine Pesne (1683–1757). The dark, uncluttered background, the cool and smooth modelling of the head, and the emphatic display of orders and baton recall Grooth’s work at the courts of Empress Anna and Elizabeth. The slightly idealised yet dignified treatment of the sitter, and the balance between decorative costume and calm facial expression, sit firmly in that Pesne–Grooth orbit. In the absence of a signature or documentary evidence, the painting is most responsibly catalogued as: Circle of Georg Christoph Grooth (1703–1749), German School, c. 1740. About the Sitter Anthony Ulrich (Anton Ulrich) (1714–1774) was a prince of the House of Welf, the second son of Ferdinand Albert II, Duke of Brunswick-Bevern. In 1739 he married Anna Leopoldovna, granddaughter of Tsar Ivan V of Russia, a union that drew him into the very centre of Romanov dynastic politics. When their infant son was proclaimed Emperor Ivan VI in 1740, Anthony Ulrich was created Generalissimo of the Russian Army, the highest military rank in the empire. His fortunes changed dramatically in 1741, when a palace coup placed Elizabeth, daughter of Peter the Great, on the throne. Anthony Ulrich, Anna and their children were arrested and confined in remote northern Russia. They remained prisoners for decades under often harsh conditions. The Duke, once portrayed with sash, star and baton as a figure of princely and military authority, died blind in captivity at Kholmogory in 1774. Historical Context The portrait belongs firmly to the world of mid-18th-century dynastic politics, in which the houses of Brunswick-Bevern, Romanov and Habsburg sought to knit together their interests through carefully arranged marriages and the conferral of prestigious orders. The Order of St Andrew sash and star proclaim Anthony Ulrich’s elevation within the Russian imperial hierarchy, while the field-marshal’s baton emphasises his brief command as generalissimo. Viewed with knowledge of what followed – the coup, the long years of imprisonment, the loss of sight and freedom – the painting becomes more than courtly display. It records the moment at which Anthony Ulrich stood at the apparent pinnacle of power, adding a subtle but powerful note of tragedy to the otherwise triumphant imagery. Signature and Inscriptions The painting is unsigned on the front, with no visible monogram. On the reverse of the relined canvas a later German inscription identifies the sitter as “Anton Ulrich, Prinz von Braunschweig-Wolfenbüttel” and summarises his life (born 1714; married to Anna, regent of Russia; appointed generalissimo in 1740; imprisoned in 1741; died 1775). The handwriting and ink appear to be of 20th-century date, serving as a historical label rather than a contemporary note, but they agree closely with the known biography and support the traditional identification. Frame The work is set in a later moulded and gilt wooden frame that suits the character and period of the painting. The frame shows typical signs of age and use – light scuffs, dust in crevices and small chips to the gilding at exposed edges – but remains structurally sound and presentable. It is ready to hang. Provenance Documented: The painting almost certainly originates in Germany, as indicated by the German inscription on the reverse, the sitter’s dynastic roots in Brunswick and the traditional note “Origin from Germany” in trade descriptions. The canvas was relined and mounted on its present stretcher, probably in the 19th or early 20th century, at which time the identifying inscription was likely added by a restorer, dealer or historically minded owner. By the early 21st century the portrait had entered the British art trade, where it was handled by a notable Scottish auction house (label verso) and curated by Cheshire Antiques Consultant LTD and marketed as an important 18th-century German School portrait of Duke Anthony Ulrich of Brunswick-Lüneburg, appearing on various online platforms under that description. It has since passed into the present collection. By Repute): Given its subject and character, it is entirely plausible that the painting was originally produced within the Brunswick-Welf or Russian court orbit, perhaps as a studio repetition or variant of an official likeness of Anthony Ulrich painted around the time of his appointment as generalissimo in 1740. From there, it may have hung for generations in a north-German aristocratic or high-bourgeois interior – an “ancestor gallery” or formal reception room – before being restored, relined, inscribed on the reverse and eventually dispersed into the wider European market. While this earlier chain remains unproven in the absence of documents, it fits well with the language, style, authorship and subject. Why You’ll Love It Strong visual impact: rich crimson, emerald, ermine and the pale blue sash of the Imperial Order of St Andrew, with the star and baton providing real courtly drama. A sitter with a story: Duke Anthony Ulrich of Brunswick-Lüneburg, generalissimo of the Russian Army, entangled in Romanov coups and long imprisonment – far more than a generic “man in a wig”. Credible attribution: firmly placed in the circle of Georg Christoph Grooth (1703–1749) and the mid-18th-century German/Russian court-portrait tradition, combining strong decorative presence with solid art-historical footing. Purchasing Ready to add to your collection or office. Visit Cheshire Antiques Consultant LTD to discover more carefully selected antique and decorative works of art. Questions and enquiries are welcome.