Null Atribuido a Edward Matthew Ward, RA,
Británico 1816-1879-

Dos elegantes da…

Description

Atribuido a Edward Matthew Ward, RA, Británico 1816-1879- Dos elegantes damas en un interior; óleo sobre cartón, con la inscripción "E.M. Ward RA" a lápiz en el verso, 15,4 x 19,3 cm. Procedencia: Colección privada, Reino Unido.

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Atribuido a Edward Matthew Ward, RA, Británico 1816-1879- Dos elegantes damas en un interior; óleo sobre cartón, con la inscripción "E.M. Ward RA" a lápiz en el verso, 15,4 x 19,3 cm. Procedencia: Colección privada, Reino Unido.

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Estim. 2 000 - 2 500 GBP

Círculo de JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Purísima. Óleo sobre lienzo. Revestido. Medidas: 141 x 96 cm; 163 x 118 cm (marco). José Antolínez fue uno de los artistas más interesantes de su generación que, debido a su temprana muerte, no pudo alcanzar la espléndida madurez que su formación presagiaba. Ello no impide que se le considere un gran representante de la plena corriente barroca que renovó la pintura en la corte española durante el tercer cuarto del siglo XVII. En su obra se percibe la exquisita sensibilidad para la recreación costumbrista de Tiziano -siempre tan presente en la pintura española de su tiempo- combinada con la recepción de la pintura elegante de los maestros nórdicos Rubens y Van Dyck, y la captación de la atmósfera de Velázquez. Así, su técnica es suelta y vibrante, singularmente seductora en el uso de tonos fríos, que se despliegan en composiciones llenas de vigoroso movimiento e inestable actividad. Conocemos el trabajo de su padre como carpintero artesano, cuando la familia se estableció en la madrileña calle de Toledo, aunque con casa solariega en la localidad burgalesa de Espinosa de los Monteros. Palomino nos ha transmitido la imagen de una persona de carácter altivo y engreído, tan consciente de su propia valía que a menudo se mostraba arrogante, actitud que le ocasionaría numerosos roces y rencillas con otros colegas. Fue discípulo de Francisco Rizi, con quien también se enemistó, lo que no impidió que su pintura fuera muy apreciada por sus contemporáneos. Cultivó todos los géneros: la pintura religiosa, el paisaje -del que no se conservan ejemplos-, la mitología, el retrato y la pintura de género. En el campo del retrato destacan también los dos retratos de niños del Museo del Prado. Son obras en las que se aprecia tanto la cercanía veraz de las figuras como la captación de la atmósfera que las rodea, hasta el punto de que fueron consideradas obras de Velázquez hasta hace poco, cuando fueron atribuidas a Antolínez por Diego Angulo. De los lienzos del Museo del Prado, "El tránsito de la Magdalena" y los dos retratos infantiles proceden de las colecciones reales y dos de la Inmaculada pertenecían al Museo de la Trinidad, mientras que el tercero fue adquirido en 1931 con los fondos legados por Aníbal Morillo y Pérez, IV conde de 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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