778 - Clemence M.C. (1809-?) and Mathilde T.M.G. de Ghellinck d'Elseghem (1811-1840): Two animated river landscapes, pencil on paper, dated 1828

Clemence M.C. (1809-?) and Mathilde T.M.G. de Ghellinck d'Elseghem (1811-1840): Two animated river landscapes, pencil on paper, dated 1828 Work: 28 x 19 cm Frame: 46 x 37,5 cm Clémence Marie Colette (1809-?) and Mathilde Thérèse Marie Guislaine de Ghellinck d'Elseghem (1811-1840) are the daughters of Charles Louis Joseph Jean de Ghellinck d'Elseghem (1782-1862) and Reine Marie Joséphine de Potter (1784-1861). Knight Charles Louis Joseph Jean de Ghellinck d'Elseghem obtained recognition of hereditary nobility in 1826. He served as 'maire' during the French period and as mayor of Elsegem under the United Kingdom of the Netherlands; he held a doctorate in law and became director of the Royal Academy of Painting and Architecture in Ghent. In 1808, he married Reine de Potter (1784-1861). Like his brother, he had three daughters, but also two sons. It was they who ensured a numerous progeny bearing the names de Ghellinck d'Elseghem and de Ghellinck d'Elseghem Vaernewyck. Ref.: - On the Ghent Art Academy and drawing instruction for noblewomen, see: Tim De Doncker, 'Hupsicheyt en hantgedaet. Kunstacademie en ambachtsgilden te Gent ca. 1748-1800', Ghent, 2013, pp. 100-103: Drawing was regarded as a mark of good breeding, refinement, and elegance. Taking drawing lessons was considered a genteel and virtuous pursuit that served to ward off idleness; after all, taste was valued as an important virtue, and the ability to appreciate beauty was seen as a crucial moral quality. One could cultivate taste either by collecting art or by practicing it. Around 1780, the concept of the 'amateur' gained currency -no longer merely denoting an art enthusiast, but also someone who actively practiced the arts, albeit without the aim of financial gain. Significantly, these amateurs did not seek to rival professional artists in terms of technical skill; rather, the wealthy middle class viewed drawing as a means to demonstrate their own respectability and social standing by emulating practices established among the upper echelons of society. Provenance: - Ex-collection Kasteel Herlegem te Kruishoutem - Herlegem Castle in Kruishoutem - Château d'Herleghem à Kruishoutem (Family van Pottelsberghe de la Potterie-de Lanier). The castle estate dates back to its first mention in 1419. Since 1662, the estate has been in the hands of the van Pottelsberghe de la Potterie family. The castle was built in 1711 on the foundations of an older farmhouse. It has remained in the family's possession ever since, and the art collection has been systematically expanded. For more information, see: Madame Claude van Pottelsberghe de la Potterie née Carine Ramon, 'La Famille van Pottelsberghe' - 'La famille van Pottelsberghe de la Potterie', Rotterdam, 2025, 2 vols. The absence of a condition report does not imply that a lot is in perfect condition. Condition reports are provided on request. They will be made available, together with additional images, on our website at www.coronariauctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.coronariauctions.com/en/condition-report/48 Further questions are always welcome at info@coronariauctions.com