Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

ÁCS Piroska: Aranyszelence IV. György angol király udvarából

18. A. Macco, 1826-27 (half-portrait -51 by 40 cm) - Bamberg, Castle; enamel miniature of W. Essex (17621830) (3.2 by 2.8) - V&A Museum, Inv. No. 638-1882 - Jones Coll.; on March 1. 1879 there appeared at the Christie's auction a further copy in the name of the Earl of Lonsdale; vax portrait - V&A Museum, Inv. No. A 73-1965. 19. Brighton Art Gallery (No. 336), 267 by 150 cm; Buckingham Palace, 61 by 42 cm; Chatsworth (threequarter portrait), 139 by 109 cm; Croft Castle (halfportrait), 91 by 71 cm; Kennebunkport (three-quarter portrait) 127 by 101 cm; Kimbridge House. London Foster's, July 6, 1938: item No. 195 (full-size portait); the auction hall of Lowther Castle April 29, 1947: item 1794, (three-quarter portrait (140 by 112 cm; New York, auction of Clendenin J. Ryan, January 19, 1940: item 212 (half portrait) 91 by 71 cm; New York auction of Parker-Bernet, December 3. 1942: item 39 (half portrait 91 by 71 cm; Ragley (bust) 73 by 63 cm; Wistow Hall (half portrait) 91 by 71 cm. 20. Birmingham, around 1825. On the inside of the lid the incriplion says: „J. Machin. Union Commercial Room S. Raven Pinxt". Presently in the V&A Museum (Dept. of Woodwork: W 57-1928. Diam.: 13.5 cm. Gift of Mr. P. A. S. Phillips). Raven first appeared on the list of incorporated firms of his town in 1815, under the designation ..painter". During his successful career he had two high-rank patrons, the Earl of Sussex, son of George III and Leopold, count of Saschsen-Coburg, son-in-law of George IV and the first King of Belgium from 1831. The artist signed his works made between 1815 and 1831 only. 21. It was auctioned on July 4, 1934 at Sotheby's, London. (Item 176) 22. It was auctioned on July 6, 1981 at Sotheby's, London. (Item 10) 23. His known works are following: - In private collections: 1/ a square, so-called freedom box (gold, oak), length 8 cm, London, 1805-6; 2/ a round casket (gold, tortoise-shell with piquet inlay), diameter 8.1 cm, height 2 cm, London, 1811 (the tortoise-shell is probably from the eighteenth century); - In the collection of Queen Elizabeth II: a square casket (gold), 9.2 by 7 by 2.5 cm, London. 1913-4 (the hunting scene on is lid is by Kirstenstein, Strasbourg); - Los Angeles County Museum of Art, Gilbert Collection - 1/ a square casket (gold, enamel, glass, miniatures) 9.2 by 6.9 by 2.5 cm, London, 1817-8 (miniatures: French school, late seventeenth century); 2/ an oval casket (gold, ivory) 9.2 by 7.1 by 4.1 cm, London, 1825-6 (the ivory plaque is probably from Augsburg, around 1700, and represents the Rape of Io, after Correggio's painting); - V&A Museum: a square casket (gold, enamel miniature), London, around 1821 (the miniature portrait of George IV is probably Henry Bone's work). - British Museum: a square casket (silver), London, 1828-9, 9.8 by 7 by 2.2 cm, Inv. No. MLA OA 4604 (the enamel miniature is by William Bone, after Titian's painting) 24. See Arthur G. Grimwalde: London Goldsmiths, 1697-1837: Their Marks and Their Lives. London, 1976, p. 368; Charles Truman: The Gilbert Collection of Gold Boxes, Los Angeles. 1991, p. 337. 25. In the accounts books from the years between 1793 and 1808 of Wakclin & Garrard - C. Truman, ibid. 26. Would like to thank Lilla Tompos for her help with the description of the coat-fo-arms, sec also The Oxford Guide to Heraldry, Oxford, 1990, pp. 190-1. 27. Here originally was the silhouette of the golden crown of Charlemagne, then, from 1801 on, the electoral head-dress of the Hanover Electorate. When, in 1816, Hannover became a kingdom, the head-dress was replaced by a crown again. This form of the coat-ofarms existed until 1837, the ascension of Queen Victoria. She, as a woman, did not inherit the throne of Hannover. 28. He - in contrast to Theed - was not a fellow entrepreneur of the then partners, Philipp Rundell. John Bridge, Paul Storr and E. W. Rundell. 29. As a childhe became friends with Mrs. Mathcw (the wife of the Reverend Anthony Stephen Mathew, and a contemporay bluestocking), who called his attention to classical authors; it was then that his first Homer illustrations were born. In 1775, he became designer for the Wedgwood works; from among his strictly linear drawings only a few have survived. In 1787. with the material help of Wedgwood and others, he went for a long journey to Italy which was to make a decisive impact on his later style. He returned to London in 1794. He made illustration for Homer, Aeschylus and Dante, and parallel with that his career as a scupltor began (his main works were mostly sepulchral monuments). 30. Athough the Regency period de facto lasted for nine years, the personal taste, love and support of art of King George IV had an impact for a much longer time. 31. He first got came Paris as a subordinate to Metternich, and returned to Vienna in his entourage, in 1809. After that he had various tasks, he, for instance negotiated with the Prince of Neufchatel concerning the marriage of Napoleon to Mary Louise. In 1813 he was active in Dresden, where he tried to break the alliance betwen Saxony and France. In 1814, during the time of the Congress of Vienna, he worked at the imperial headquarters (organizing for instance a meeting between Mary Louise and her father. Emperor Francis, on the commission of Metternich). 32. This ended with the complete failure of Napoleon on June 18, 1815; against his 260.000 soldier his opponents were able to put 900.000 into the field.