A Dresden art collector has made a remarkable discovery that sheds light on the fate of lost cultural treasures from World War II. Sebastian Müller-Lißner, a passionate enthusiast of Saxon history and art, recently acquired a fragment of a historic portrait through an online advertisement, setting off a quest to reunite the scattered pieces of what was once a significant royal painting.

The portrait depicts Prince Maximilian of Saxony, born on April 13, 1759, as the youngest son of Saxon Elector Friedrich Christian and his wife Maria Antonia of Bavaria. The painting shows him with snow-white hair, alert eyes, and a gentle smile – a dignified representation of a man from a bygone era. Prince Maximilian was originally designated as heir to the throne but later renounced his claim in favor of his eldest son Friedrich August. He died in 1838 and was buried in the Wettin crypt of the Catholic Court Church in Dresden.

The artwork now rests on Müller-Lißner's living room table, representing just a fragment of what was once a much larger masterpiece. The Dresden collector, who is also a member of the Friends Circle of the Green Vault in Dresden, discovered the painting through an advertisement on specialized internet sites just a few weeks ago.

The portrait was originally painted by Carl Christian Vogel von Vogelstein, a contemporary of the famous Caspar David Friedrich. Vogel von Vogelstein found his calling in portrait painting and immortalized nearly all members of the Saxon royal family in oil on canvas, achievements that eventually earned him elevation to the nobility.

What makes this discovery particularly intriguing is that the piece Müller-Lißner acquired is not a complete painting but rather a cut-out fragment. The portrait section, which was obviously extracted from a much larger composition, measures approximately 30 by 43 centimeters. However, Müller-Lißner estimates that the complete original painting was likely 1.20 by 1.40 meters in size. His assessment is based on a 1906 collection of princely portraits from the House of Wettin, published by Jean Louis Sponsel in Dresden, which shows the complete portrait of Prince Maximilian seated with a coffee cup in his hand.

The painting belonged to the Wettin family until it went missing in 1945, with its last known location being Moritzburg. This detail has prompted Müller-Lißner to launch a public appeal, hoping that other parts of the painting might still exist somewhere, perhaps forgotten on an attic or stored away unrecognized since the main subject was cut out.

'I'm still hoping for clues from people in Moritzburg, from witnesses of that time,' explains Müller-Lißner, who is actively seeking information about the painting's whereabouts during and after the war years. It's possible that the entire painting was transported to Eastern Europe during the post-war period and was only dismantled there, or that pieces might still remain in Germany.

The Ukrainian couple living in Austria who sold the fragment to the Dresden collector were not particularly forthcoming about the painting's provenance. Despite this lack of information, Müller-Lißner remains optimistic about finding additional pieces. A search conducted through Saxony's Palaces organization has so far proved fruitless, but the collector speculates that the frame with remaining canvas pieces might still be stored in the palace.

Müller-Lißner is eager to have the portrait professionally restored, but he believes this investment would only be worthwhile once he can be reasonably certain that all surviving parts of the painting have been located. The restoration of incomplete fragments would be less meaningful than working with a more complete work.

Interestingly, the painting has an indirect connection to the regional newspaper itself. In the original complete portrait, Prince Maximilian is shown sitting before an open window through which a palace can be seen. This palace would have been located approximately where the Press House on Ostraallee stands today.

The collector has generous plans for the restored artwork's future. Should the restoration be completed successfully, Müller-Lißner intends to offer the painting as a loan to the Saxon Art Collections, provided there is interest from the institution. However, such an arrangement would also require approval from the Wettin family, as the rightful owners of the original work.

This discovery highlights the ongoing challenges and opportunities in recovering cultural artifacts displaced during World War II. Countless artworks were scattered, hidden, or transported during the chaos of the war years, and many remain missing or fragmented. The case of Prince Maximilian's portrait represents both the loss of cultural heritage and the dedication of individuals working to preserve and reunite these important historical pieces.

The search for the missing portions continues, as Müller-Lißner hopes that publicity about his find might prompt others to come forward with information or additional fragments. The story serves as a reminder of the complex journey that many artworks have taken through decades of upheaval, and the ongoing efforts required to piece together the cultural puzzle of Europe's artistic heritage.

Any individuals with information about the original portrait are encouraged to come forward, as each piece of the puzzle brings the art community closer to understanding the full scope of wartime cultural displacement and recovery.