Art & Ornament Brochure

Detail of the “Green Man” from the Marie Antoinette Ballroom.

We are happy to announce a downloadable PDF file of our new trifold brochure, “Art & Ornament in the Davenport Hotel.” Click on the brochure icon at the right to view this document. The map icon below that will take you to downloadable PDFs containing maps of the main Hotel areas.

We believed the time had come for a more accurate guide to the Davenport Hotel’s features than currently existed. Our brochure includes information about the Hotel’s 2000-2002 renovation, as well as historical information about the art and ornamentation of its interior.

We hope to eventually produce an expanded souvenir booklet that will include more detail, anecdotal accounts, and more photos. Until then, we hope this will suffice for the casual tourist, the historic preservation advocate, or even the serious Davenport aficionado.

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The “Isabella” Portrait

Presumed portrait of Ferdinand and Isabella of Spain, said to be in the collection of the Convent of the Augustinian Nuns, Avila

 The colorful portrait on the end wall of the Isabella Room is an original fixture of what was initially the Davenport Hotel’s Dining Room. In Pride of an Empire, the hotel’s guide book published in 1915, it is described as being by “Nattier,” which is to say the French artist Jean-Marc Nattier (1685-1766), though it bears little resemblance to his highly refined style and the attribution cannot be verified. A specialist at one of the leading auction houses suggested to the author that the painting was in the style of Largillière, which is also hard to support. The unsigned painting is certainly 18th-century French in style and has no connection with Queen Isabella ofSpain, after whom the room was named, who had died over 200 years earlier. A double portrait said to represent her and her husband Ferdinand is in keeping with the costume style of the Castilian queen’s time period.

 During restoration, when the painting was out of the frame, it could be seen that it had been cut down to some degree (how much cannot be determined) because the painted image was partially wrapped around the stretcher frame. Cutting paintings down to fit picture frames was not an uncommon practice in the past.

Dating the painting is difficult. It has the age cracks one expects from old oil paintings. Auction house specialists and at least one conservator at the Getty Museum felt that, while 18th century in style, it is likely a 19th century production.

The author believes that may be open to debate because it is painted using 18th century techniques. One of these is the practice of applying a unifying colored glaze to a much brighter underpainting, a historically documented technique. In this case, for example, the woman’s dress was originally a shockingly bright pink but was subdued by a harmonizing transparent layer of gray, which had been applied essentially to the entire figure and drapery.

Evidence for this was determined during the cleaning process. The painting had become dark due to surface grime and brown, discolored varnish. The cleaning process revealed that there had been at least two “restorations,” a crude recent one and a somewhat more sophisticated old one. The former involved broadly slapping some thick oil paint over some damaged areas, while the earlier one evidences an old varnish removal and attempts to cover up over-cleaning that took off original paint. A detailed account of the restoration can be found by clicking on the picture at the left.

The fact that the picture had gone through an old restoration suggests an older than late 19th century date. The exact provenance of the picture is unknown but it seems likely that it was touched up before whatever dealer sold it to whoever bought it for the Davenport. It takes more than 50 years for natural resin varnish to darken to the degree that it needs removal. One may deduce that the portrait must be before 1850 at the latest and by that time this was already a long out-of-date style.

The final question is what the picture represents. The woman is unknown. It is suggested here that the aristocratic lady with the basket of flowers is an an 18th Century style allegorical portrait of an individual in the guise of  the goddess Flora, holding an idealized, symbolic garden tool.

(For a detailed report on the restoration of the “Isabella” portrait, visit The Artist’s Gazing Ball.)