A Portrait of a Gentleman, Bust Length, Wearing a Black Coat with a White Chemise;
A Portrait of his Wife, Bust Length, Wearing a Black Satin Dress with White Lace Collar and Bonnet, and a Kashmir Shawl

Both signed with monogram upper right: P.C.W.F.
a pair, both oil on canvas, maroufl ? (laid down on board)
each: 63 by 52 cm.?(2)


According to the latest fashion of the second quarter of the 18th Century, the
lady here is wearing a ?neepjesmuts? and an exotic colourful wool Kashmir shawl.
As described by Rosalie Sloof in her essay of the recent monographic exhibition
on the artist in Utrecht, P.C. Wonder had a marvellous eye for fashion. These
exotic Kashmir shawls, of which the most beautiful examples were manufactured
in India, caused a true fashion hype after the empress Josephine de Beauharnais
turned out to be a great lover of these ?cachemires de l?Inde?. These kind of
precious shawls were even given as exclusive marriage gifts, and they were highly
praised and fl aunted by the ladies of the higher society (R. Sloof, in exhibition
catalogue, Utrecht, Centraal Museum, P.C. Wonder (1777?1852): een Utrechter
in Londen, 19 December 2015?13 March 2016, pp. 125?126).


Also her husband sports a nice set of side?whiskers, which were highly fashionable
at that time. Both portraits are datable to circa 1825?1849, and they
may represent an English couple, as from 1823 to 1831, P.C. Wonder worked in
England; there he became well?known as a portrait painter.


The recent exhibition in the Centraal Museum, Utrecht (op.cit.) on the artist
highlighted the fact that P.C. Wonder was largely self?taught. As an autodidact
he taught himself how to paint by making copies of Old Masters in various collections
at that time.


Both works are registered at the IB (Iconographical Bureau) of the RKD under nos.
83976 and 83977 as portraits of an unknown man and woman by P.C. Wonder.

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