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.

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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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Estim. 2 000 - 2 500 GBP

Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Purísima". Oil on canvas. Relined. Size: 141 x 96 cm; 163 x 118 cm (frame). José Antolínez was one of the most interesting artists of his generation who, due to his early death, could not reach the splendid maturity that his training foreshadowed. This does not prevent him from being considered a great representative of the full Baroque current that renewed painting at the Spanish court during the third quarter of the 17th century. In his work we can perceive the exquisite sensitivity for the recreation of Titian's manners - always so present in the Spanish painting of his time - combined with the reception of the elegant painting of the Nordic masters Rubens and Van Dyck, and the capture of the atmosphere of Velázquez. In this way, his technique is loose and vibrant, singularly seductive in the use of cold tones, which unfold in compositions full of vigorous movement and unstable activity. We know of his father's work as an artisan carpenter, when the family was established in Madrid's Calle de Toledo, although with a manor house in the village of Espinosa de los Monteros in Burgos. Palomino has conveyed to us the image of a person of a haughty and conceited nature, so aware of his own worth that he was often arrogant, an attitude that was to cause him a great deal of friction and quarrels with other colleagues. He was a pupil of Francisco Rizi, with whom he also fell out, although this did not prevent his painting from being highly appreciated by his contemporaries. He cultivated all genres: religious painting, landscape painting - of which there are no surviving examples - mythology, portraiture and genre painting. Also worthy of note in the field of portraiture are the two children's portraits in the Museo del Prado. These are works that show both the truthful closeness of the figures and the capturing of the atmosphere that surrounds them, to such an extent that they were considered works by Velázquez until recently when they were attributed to Antolínez by Diego Angulo. Of the canvases in the Prado Museum, "The Transit of the Magdalene" and the two children's portraits come from the royal collections and two of the Immaculate Conception belonged to the Museo de la Trinidad, while the third was acquired in 1931 from the funds bequeathed by Aníbal Morillo y Pérez, 4th Count of Cartagena.

Estim. 7 500 - 10 000 GBP

JR LOSADA POCKET WATCH Nº9205 Sabonet pocket watch manufactured by JR LOSADA with manual winding mechanical movement Nº 9205, Victorian style dial made of silver decorated with gold, Roman numerals with auxiliary dial for the seconds hand located above the number VI, blued steel hands, inscription "JR LOSADA 105 REGENT ST. LONDON N.9205" (identical in machinery). Box numbered 10782 with hallmarks corresponding to 18 kt gold. (English royal crown and 18), the city of London (leopard head), typesetter (FM) - possibly Frederick Samuel Matthews - and the year of manufacture, 1876, (letter A), covers with chiseled decoration of plant motifs, palmettes and intertwined garlands of initials JPM, smooth duster, bombe crystal and fluted crown. Running condition that requires review. Weight: 126.15 gr. / Diameter: 50 mm. It is presented in an original leather case with gold embossing with the inscription "JR LOSADA 105 REGENT ST. LONDON", purple velvet and white silk interior with a logo after the London Exhibition of 1862. It is accompanied by a royal spring, two complementary crystals, Replacement dial in black and white enameled copper with Roman numerals and purchase invoice for £35 dated July 14, 1877 with an apocryphal signature of Jose Rodriguez de Losada. Reference bibliography: Moreno, R. Jose Rodriguez Losada - Life and work, Ed. Fundacion Juanelo Turriano, Madrid, 1995, pp. 83-91. Provenance: Madrid, DURAN SUBASTAS, lot 82 from undetermined auction (possibly 70s-80s); Bilbao, private collection. Jose Rodriguez Losada (Iruela, 1797-London, 1870) can be considered the most famous Spanish watchmaker of the last centuries. Once his watchmaking business was established, he quickly began to be known in London, receiving numerous commissions from the Spanish and Latin American markets, as well as from the Spanish Royal House. He was appointed chamber watchmaker to Queen Elizabeth II and timekeeper to the Spanish Navy. Losada died in London in 1970, bequeathing his fortune and businesses to his sisters, nephews, personal doctor and servants. The famous watchmaker had his nephews Miguel, Francisco and Norberto as apprentices, the first of them being the trusted man of Losada until he was disinherited in 1868 due to disagreements with his uncle. Given this fact, “the house, factory and firm JR Losada are inherited in their entirety by that of his nephew Norberto.” The youngest of his nephews took charge of the business until the end of the century, losing the property due to financial problems in favor of his brother Miguel, later associated with Francisco. Norberto de Riego y Rodriguez de Losada did not respect the numbering of his uncle's clocks close to number 6275 in 1870 - the year of his death -, marking a new one around 10,000. This fact makes us see how the watch with number 9205 was made in 1877, a time when the watchmaking manufacture fell to Norberto de Riego,It is especially curious how he keeps the invoices and documentation associated with his uncle's watches, even signing apocryphally as JR Losada. The watch, its case and the associated documentation represent a first-class testimony for the study of Spanish and British watchmaking of the 19th century. It must be taken into account that there are not many perfectly documented artifacts from Norberto de Riego that are preserved. Nor are there cases from this context, such as the one preserved in the collection of Jose Daniel Barquero (ref. OR-016 JDBC from MIARB) or the invoice, closely related to the one preserved by the current Relojeria Losada in Madrid.

Estim. 8 000 - 12 000 GBP

The Two Loves - Attributed to Alexander Roslin (Malmö, Sweden, 1718 - Paris, 1793) Swedish or French Neoclassical School of the late 18th century early 19th century Decorative and elegant oil painting on canvas measurements: 62 x 50 cm, measurements with frame from the same period: 85 x 70 cm. Provenance: important private collection from Seville. Old noble collection, Seville, Spain. Alexander Roslin (Malmö, July 15, 1718 - Paris, July 5, 1793) was a Swedish painter, specialized in portraits, of the Rococo period. He trained in his native country, Sweden. For two years he was working at the court of the Margrave of Bayreuth (1745-47). Afterwards he passed through Italy, where he was able to study the mannerist painters (Tiziano, Veronese) and the classicists (Carracci, Guido Reni). In 1752 he went to Paris, thanks to the recommendation of Louise Isabella of France, Duchess of Parma. There he became famous as a portrait painter. He portrayed the European aristocracy of the mid-18th century. He married in 1759 Marie-Suzanne Giroust. He enjoyed Boucher's friendship. From 1750 onwards he worked mainly in Paris, but there were periods when he worked in other places, called by the courts: Stockholm (1774), St. Petersburg (1775, where he painted a series of portraits of statesmen of Imperial Russia, including those of Iván Betskoi and Iván Shuválov), Warsaw and Vienna (1778). Bibliography: Walter, Ingo F. (editor), The Masters of Western Painting, Taschen, 2005, ISBN 3-8228-4744-5

Estim. 1 000 - 1 500 GBP

Attributed to James Stark RA (1794-1859) British, a large pastoral landcape with figures and cattle beside a river, oil on canvas, 90 cm x 128 cm in contemporaey, heavy wood frame.

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