The Estate of Marguerite Davis 
Gifted from the above in 1963 

Lined. Finely patterned craquelure is visible throughout and concentrated along the edges. Frame abrasion visible along the top edge. Under UV: spare dots and dashes fluoresce throughout with more pronounced areas in each of the corners.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present work has previously been attributed to Franz Xaver Winterhalter, though a name has not been attached to this impressive work. The sitter has traditionally been identified as Maria Sophie of Bavaria, Queen Consort of Naples and the Two Sicilies (1841 - 1925). The sitter bears a strong resemblance to existing portraits of Maria Sophie; furthermore, the background has been identified as the Bay of Naples, with Mount Vesuvius faintly visible at the lower left of the composition. Stylistically, this work is similar to many of the portraits of royal and noble women that are fully attributed to Winterhalter, who painted the present sitter’s sister, Empress Elisabeth of Austria, on three occasions. Many of Winterhalter’s portraits have a similar composition of an elegantly dressed lady standing in three-quarter length against a very minimal landscape or atmospheric background. Though the present work is unfinished, the sitter’s face, pearls and the gauze-like, diaphanous qualities of her fashionable white gown have evidently been painted by a skillful hand. It is possible that the work was left unfinished by the artist due to the overthrow of Maria Sophie and her husband, King Francis II, in 1860 by revolutionist republicans under the Italian nationalist Giuseppe Garibaldi. This resulted in the monarchs having to suddenly flee their court at Naples. 

We are grateful to Dr. Eugene Barilo von Reisberg for his assistance with the cataloguing of this work.