Traditionally identified as a ‘Princess Galitzine’, the sitter depicted in this fine enamel portrait is almost certainly Princess Alexandra Petrovna Golitsyn (1774–1842). She was the daughter of Lieutenant-General Peter Stepanovich Protasov (1730–1794) and his wife Anna Ivanovna, both of whom died young, leaving their five daughters to be raised by their aunt Anna Stepanova Protasova (1745–1826), a maid of honour of Empress Catherine II (1729–1796). Under their aunt’s guidance the sisters were extremely well educated for the time, learning foreign and classical languages as well as studying history and religion; they were also elevated to the rank of countess. It is to be presumed that they also travelled in Europe, since the aunt and her nieces were painted by Angelica Kauffman (1741–1807), at that time living in Rome.

In 1791, Countess Alexandra married Prince Alexei Andreyevich Golitsyn (1767–1800), an imperial equerry and diplomat with artistic interests who was appointed Russian ambassador to the imperial court at Vienna, and within the nine short years of their marriage produced five children.

Taking into account the cut of the muslin gown and the way the sitter’s hair is dressed, reflecting the fashions of the early 1790s, it is likely that in this portrait by an unknown artist Princess Alexandra is depicted with her eldest son Peter (1792–1842). Slightly later, aged two, Peter was painted with his mother by Elisabeth Vigée Le Brun (1755–1842). In later years Princess Alexandra converted to Catholicism, influencing her children to convert also, several of whom later became missionaries and her only daughter a nun.

This snuffbox was undoubtedly a special commission, designed to accommodate the enamel portrait plaque. Both the form of the box and the fact that the image is inserted rather than painted en plein are atypical of the workshop’s production at this date. As might be expected of a bespoke work, notable attention has been given to small details: on the base the band of paired trefoil leaves executed in opaque blue champlevé enamel is highlighted with engraved arcs, while the impeccable opaque primrose-yellow enamel reserve is bordered with a repeat pattern of minute motifs, painted in black and finer than any paillon work. 

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