Null Attributed to Edward Matthew Ward, RA,
British 1816-1879-

Two elegant ladi…

Description

Attributed to Edward Matthew Ward, RA, British 1816-1879- Two elegant ladies in an interior; oil on card, inscribed 'E.M. Ward RA' in pencil verso, 15.4 x 19.3 cm. Provenance: Private Collection, UK.

376

Attributed to Edward Matthew Ward, RA, British 1816-1879- Two elegant ladies in an interior; oil on card, inscribed 'E.M. Ward RA' in pencil verso, 15.4 x 19.3 cm. Provenance: Private Collection, UK.

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CALLOT - COLLIGNON. Veduta di Roma. View of Rome.XVII century Etching and burin. 102x250mm. Small margins. Laid paper. Composition framed by a thin line. Bottom left: 'Israel ex. cum privil. Regis'. Good specimen. Magnificent general view of Rome. In the background the Roman countryside; to the right, a very high wall, the bastion of Castel Sant'Angelo, surmounted by a sentry box under which is the Pope's coat of arms; near the sentry box, there is a soldier looking over the wall. At the back of this wall are seated two men and, towards the center, two other smaller ones, who are also seated. A little further to the left, and in the background, we see a church with a quadrangular bell tower surmounted by a dome; is the church of San Girolamo. Finally, on the far left, there is a building, pierced by numerous windows, above which appear the two bell towers of the Church of the Trinity of the Mount. In between various houses and trees.The engraving has been attributed, by Faucheux, to J.B. Collignon, a pupil of Callot, based on a design by Silvestre. The British Museum, however, attributes the engraving to Callot: "This plate was published as part of Callot's set of 12 landscapes made in Florence (Lieure 268-277). The series is problematic: see comment on 1861,0713.1318. Mariette and Meaume both attribute the execution of the set to Collignon, and the design of the present plate to Silvestre." According to Faucheux, it is part of Sylvestre's suite 'Diverses vues de Rome et des environs'.

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A writing set Silver 833/000 Comprising of inkwell, sand pot, container, bell dome and two quill holders Shells reliefs decoration Lisbon assay-mark (1870-1879) and goldsmith's mark attributable to Victor Ângelo Dinis (1825-1857) (missing bell, dents to sand pot) 12x16x11 cm 350 g - - - Literature: ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, L-47 and L-613.

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Way of Vicente Macip, Important Saint Matthew the Evangelist next to the Angel, Valencian school of the Macip of the 16th century Oil on panel, this lot is paired with lot 82. Panel measurements: 65 x 52 cm, framed measurements: 75 x 63 cm. Provenance: Madrid palace, private collection, El Viso. Juan Vicente Macip, known as Vicente Macip, sometimes transcribed Masip or Maçip (Andilla, ca. 1475-Valencia, 1545) was a Spanish Renaissance painter, father of the illustrious painter Vicente Juan Macip, better known as Juan de Juanes. He is considered a painter of the 19th century influenced by the works of Paolo de San Leocadio and Rodrigo de Osona. The primitive 19th-century appearance of his early works is due to them, such as the Porta-Coeli altarpiece in the Museum of Fine Arts of Valencia. The arrival in Valencia of some works by Sebastiano del Piombo will mark his later work, as is evident in the most notable of them, the old altarpiece of the main altar of the Segorbe cathedral, which he took charge of between 1529 and 1532, perhaps already counting on the collaboration of his son, which would explain the change in the orientation of his painting. The altarpiece of the Virgen del Remedio in the Church of San Bartolomé in Benicarló is also attributed to him. It is a painting with the Virgin and Child sitting on the throne, surrounded by different saints. The Prado Museum has, among others, two of his paintings in a circular format, representing the Visitation and the Martyrdom of Saint Agnes, painted for the chapel of Saint Thomas of Villanueva in the convent of Saint Julián in Valencia. Provenance: important private collection, El Viso, Madrid. which would explain the change in the orientation of his painting. The altarpiece of the Virgen del Remedio in the Church of San Bartolomé in Benicarló is also attributed to him. It is a painting with the Virgin and Child sitting on the throne, surrounded by different saints. The Prado Museum has, among others, two ...

Starting price 80 EUR

H. MEYER (1780) after BURNEY (1760), Charlotte of Wales and Leopold of Saxe-Coburg, 1816, Stipple Henry Meyer (1780 London - 1847 ) after Edward Francis Burney (1760 - 1848 ibid.): Princess Charlotte of Wales and Prince Leopold of Saxe-Coburg, 1816, Stipple engraving Technique: Stipple engraving and Etching on Paper Inscription: At the lower part signed in the printing plate: "Burney delin. / Meyer Sculp.". At the lower part inscribed in the printing plate: "Princess Charlotte of Wales and Prince Leopold of Saxe Cobourg". At the lower part dated: "Leeds Published by Edwd. Baines Novr 1. 1816". Date: 1816 Description: The artwork presents two portraits, framed in an oval frame, decorated with draping fabric and floral motifs. On the left is a male figure with military insignia, characterised by seriousness and dignity. On the right is the image of a lady of youthful grace, adorned with contemporary jewellery. Classical temple architecture is visible in the background, creating an ideal, historically respectful atmosphere. Keywords: Portraits; Oval frames; Draping; Floral decoration; Military uniform; Orders; Seriousness; Feminine grace; Contemporary jewellery; Classical temple architecture; Historical; Respectful; Idealised representation; Work of art; Double keyword list, 19th century, Romanticism, Portraits, United Kingdom, Size: Paper: 26,5 cm x 21,1 cm (10,4 x 8,3 in), Plate: 24,7 cm x 19,1 cm (9,7 x 7,5 in)

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