Gustav Klimt's painting "Portrait of Prince William Nii Nortey Dowuona," long thought lost, has resurfaced, creating waves in the art world. The stunning portrait, depicting a West African prince, was displayed for the first time in decades at the TEFAF art fair in Maastricht, Netherlands, on March 21, 2025, where it is priced at €15 million (approximately $16.3 million).
Wienerroither & Kohlbacher, the Viennese gallery offering the painting, shared that the work had been brought to them by a couple who initially had no idea of its significance. "It was a huge surprise for us," said Alois Wienerroither, managing director of the gallery. Even with 25 years of experience dealing in Klimt's art, the gallery's team failed to recognize the jewel hidden beneath its grime and poor framing at first. "We looked at the painting, it was dirty and also had a bad frame, it didn't look like Klimt at all," Wienerroither added.
The painting depicts Prince William Nii Nortey Dowuona, the nephew of the Osu king, who represented the Osu tribe from what is now Ghana. In 1897, the prince had visited Vienna as part of a group exhibition which notoriously showcased Africans in what were deemed 'human zoos.' This kind of display, while shocking by today’s standards, drew thousands of visitors intrigued by exoticism.
Recent findings suggest that Klimt painted the portrait during the time of these exhibitions, offering a rare glimpse into the representation of African subjects in early 20th-century European art. According to Klimt scholar Alfred Weidinger, "The portrait of the Ghanaian prince marks the transition to a new stage in his artistic development," highlighting a shift in style and perspective.
The rediscovery of the painting has shed light on a significant aspect of Klimt's oeuvre and has profound implications about the history surrounding the representation of African subjects in European art. The details surrounding how Klimt met the prince have also come to light; in 1897, representatives of the Osu tribe were invited to Austria by the director of the Vienna Zoo.
The painting itself had a tumultuous fate after Klimt's death in 1918. Ernestine Klein, the Jewish art collector who acquired it, bought Klimt's studio-containing works in a 1923 auction. However, after the annexation of Austria by Nazi Germany in 1938, she and her husband were forced to flee, leaving their possessions—and the painting—behind.
The painting re-emerged in a 1928 Klimt retrospective but vanished again after Klein's flight. Recognition of its unique background was rekindled when the painting was presented at the TEFAF fair, which is renowned for prioritizing provenance and historical significance.
According to Lui Wienerroither, co-founder of the gallery, they are currently in "active negotiations with a major museum" for the sale of the painting. "Processes of due diligence have to be followed," he noted, emphasizing the time needed to trace ownership and establish agreements among Klein's heirs.
This painstaking review is crucial, as artworks such as Klimt's that were subject to contested ownership issues during the Nazi era require careful scrutiny before being put on the market. The gallery had intended to showcase the painting at last year’s TEFAF but withdrew it due to uncertainties regarding the contract and potential claims by other heirs.
Despite its transitional significance, the painting is less ornate compared to some of Klimt's iconic larger works, leading to a more modest asking price. Comparatively, a later painting by Klimt featuring similar motifs was sold for $37 million just a year prior.
The gallery hopes to not only finalize the sale of this important work but also hopes to reconnect it with the legacy of Prince Dowuona, whose descendants are still living in Ghana. Wienerroither mentions that Alfred Weidinger has tracked down the prince's family, and an exciting meeting has been planned between them, potentially exploring the cultural and historical ties originally captured in the painting.
Furthermore, their story is set to be told in a forthcoming 50-minute documentary, highlighting the intersections of art, colonial history, and personal stories that continue to resonate through generations.
The rediscovered portrait of Prince William Nii Nortey Dowuona is not just an important art piece but a cultural artifact that challenges viewers to reflect on the historical contexts surrounding its creation. Klimt’s nuanced approach to the portrait suggests an early recognition of the beauty and complexity of African identities in a time dominated by colonial narratives.
