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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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 ...

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.

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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