Giorgio Morandi

Giorgio Morandi, Landscape of Grizzana, 1932, Ink on paper, signed and dated

1932

This is drawing is signed and dated on the bottom right side "Colacicchi Firenze 1924". It's an Academia, depicting a nude male model sitted, holding a stick. The portrait is influenced by Metaphysical...

This painting is a quite elaborate and finished study of the figure of the decimvir Appius Claudius and of his entourage with the lictors, who stand out on the left side of the monumental canvas of the Death of Virginia painted by Vincenzo Camuccini between the 1799 ad the 1804, today housed in the Museum of Capodimonte in Naples. In respect to the painting in Naples and the very beautiful signed d’apres held in the Museo Nazionale di Palazzo Mansi in Lucca (in all ways identical to the painting in Capodimonte), this small canvas-cropped on all sides by approximately 1 cm by an old reframing around which is stretched the original canvas-shows few but significant compositional variations. There is a different composition and totally different progression to the figures faintly outlined with very thin oil in white and pale blue in the background on the right. The fasces held by the lictors of Appius Claudius also seem slightly varied in number and style in respect to the painting in Naples. The figure at the left shoulder of Appius Claudius in second position, for example, holds just one in his hands, while in the final painting there would be two. Other small discrepancies can be found in the faces and emotional states of the squad of figures by the right shoulder of Appius Claudius. However, the variation most important to understanding the value of the drafting of this painting within the long creative process that led to the definitive work today seen at the Capodimonte, although of feeble visible evidence, is that which regards the rendering of a head that falls exactly at the height of the left hand of Appius Claudius, just to the side of the throne in which the decemviro is seated and on which is designed the Roman She-wolf. The figure, whose body is completely hidden by the bearded man with the green tunic...

The painting–thin oil on canvas, in some parts unfinished−can be referred to the hand of the German painter Johann Heinrich Wilhelm Tischbein. It should be dated in the years between...

This marble bust, signed S. Albano dated 1890, belongs to his adult age and to the last years of his life, when he was already very requested and he had a prolific workshop in Florence. It represents a young peasant, portrayed with a simple handkerchief covering her hair and a shirt opened on the neckline to let us a see the crucifix cross, symbol of a sincere and innocent faith (the necklace appears in other is Albano’s works, like in the artist’s sister, Evangeline, Marguerite busts and in the Marguerite sculpture, all of them in private collections). The simple and tender subject is made with an exquisite technique, still quoting De Gubernatis “he can be enviable because he gives to the modelled flesh a singular transparency”, as we can see in the delicacy of the cheeks, nose, chin. His skills especially appear in the details: the locks naturally coming out, the light signs of the eyebrows, handkerchief with his thin folding line, the collar of the shirt bending on itself, the use of the drill for the rendering of the curly hair. Born in a small town in the deep South of Italy by a decent but very modest family, he developed artistic inclination since he was a child by modelling Nativity Scene characters for the people of his neighbour until the1858 when, thanks to the help of some oh his fellows recognising his talent, he moved to Naples to follow the lessons of the sculptor Antonio Sorbillo before starting his training at the Fine Art Academy with Tito Angelini...

Terracotta statue representing a putto blowing with a cloth around his leg. It's inspired by the putto with dolphin by Andrea del Verrocchio, mad...

This terracotta represents a mythological scene, in which we can see a centaur kissing with passion a lady, while a man is playing the Pan flute. On the back...

The pretty boats is an artwork realized  by Giovanni Omiccioli (February 25, 1901 – March 1, 1975). Etching on cardboard. The artist wants to define a well-balanced composition, th...

This image is the 3rd etching created by Arms. It was printed byGrederick Reynolds in an edition of 116. Referenced as Fletcher #3 the image is the second in his Gable series. Lis...

This image is by America's greatest etcher, John Taylor Arms. The Spanish cathedral in Zamora is an impressive example of Romanesque architecture located on the hilltop by the river ...

Alington in Wiltshire (The First Swallow). 1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In state iv, the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. Garton writes, page 11: "The design was based on the Anglican chapel-of-ease is the farmyard of Bulisge at Allinston near Chippenham....The print was originally entitled The First Swallow, but the swallow was burnished out before the 1927 edition....Fifty years later new work was effected in the worn-out areas of the sky and distance to produce prints which, in his opinion, were better than those of the original edition." Robin Tanner was an English artist, etcher, and printmaker. He followed the visionary tradition of Samuel Palmer and English neo-romanticism. His etchings began following night-school classes at Goldsmiths College, London. He had been inspired by the major Samuel Palmer retrospective exhibition organized by Martin Hardie...

Twixt Day and Dawn. 1919. Aquatint. Hardie catalog 165 state ii. Image 9 7/8 x 11 1/2 (sheet 13 9/16 x 16 7/8). A masterly inked impression produces subtle lighting variations throu...

Demolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression with tonal wiping...