Figurative Drawings and Watercolors

A beautifully composed drawing of 'A Barry Jackson Xmas Play' by Dame Laura Knight executed in 1921. The work is signed and titled and is in good condition. The full details are as...

Original watercolor and gouache on paper of a busy street scene in India done in 1912 by the American artist, William Henry Drake. Copyrighted signed and dated 1912 lower left. Condition is good. Recently professionally matted. Unframed. Overall matte size is 12 by 16 inches. Provenance: A Long Island, New York estate. William Henry Drake Born: 1856 New York Died: 1926 Los Angeles Nationality: American Education: Académie Julian, Art Students League of New York Known for: Painting, illustration Awards: National Academy Biography: Drake studied at the Académie Julian in Paris, with Jean-Joseph Benjamin-Constant and Henri Lucien Doucet. Back from Europe, he studied at the Cincinnati School of Design, and would often go to the zoo, where he could draw the animals. He was then employed by the Museum of Natural History. He continued to study at the Art Students League of New York. In 1878 he worked as a freelance pen-and-ink artist for such periodicals as Century or Harper’s with animal studies...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

Louis-Félix de La Rue (1730-1777)  A Mythological scene Pen and black ink on paper Bears an old inscription with the name of the artist on the lower left bo...

"Portrait of Young Woman with Bonnet" is an original watercolor and graphite drawing on paper by Hannah de Rothschild. This artwork features a woman in a hat holding a ring. 10" x ...

Emile Fabry Profile of a lady Pastel on paper Signed ‘Emile Fabry’ (lower right) 15 x 12 in. (38.2 x 30.5 cm.) Emile Fabry was a highly regarde Belian symbolist painter who became a refugee in St. Ives during the first world war. This work is a study of a lady from St. Ives during this period. He was commissioned by University College Cardiff to paint two large canvasses...

Emile Barthelemy Fabry (Belgian, 1865 – 1966) Head study Pastel on paper Signed ‘Emile Fabry’ (lower left) 15 x 12 in. (38.2 x 30.5 cm.) £850 Emile Fabry was a highly regarded Belgian symbolist painter who became a refugee in St. Ives during the first world war. This work is a study of a lady from St. Ives during this period. He was commissioned by University College Cardiff to paint two large...

A Nymph and two Satyrs Signed lower right "................fecit" and dated 1778 Grey wash over charcoal and brown ink, on laid paper 27 x 40.5 cm / 10.5 X 16 inches Framed : 51 x...

This particular drawing is a study of the sculpture at the Medici Chapel in Florence, Italy. The artist creates a true to life representation of the sculpture in question by incorporating techniques of classical academic drawing such as cross hatching and gesture based mark making in order to create volumes and give the study an overall three-dimensionality. Christopher Ganz Dusk from the Tomb of Lorenzo di Piero de'Medici, by Michaelangelo, in Florence Ballpoint pen 24h x 13w in 61h x 33.29w cm CG0064 -ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation. -CV- EDUCATION MFA 2001 Printmaking Indiana University-Bloomington BFA 1995 Drawing and Printmaking University of Missouri-Columbia TEACHING/PROFESSIONAL EXPERIENCE 2002-13 Associate Professor, Printmaking and Drawing Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN 2002 Adjunct Professor: Lithography (instructor of record) Indiana University-Bloomington 1998-00 Associate Instructor: Beginning Drawing (instructor of record) Indiana University-Bloomington 1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in the production of an intaglio edition, Bloomington, IN SOLO OR SMALL GROUP EXHIBITIONS 2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN Feb. 5 – Feb. 21 2012 Dramatis Personae: Drawings and Prints by Christopher Ganz, University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012 2011 Christopher Ganz; Prints and Drawing Hendrix College, Hendrix, Arkansas, March 5 - 18 2009 Fall Season Exhibition, six drawings displayed Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24 South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media, six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23 Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago 2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center Covington, KY, March 9 - April 6 Alter Egos: Drawings and Prints by Christopher Ganz Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17 2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23 2004 Works on Paper: Christopher Ganz and Paul Schumann Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25 2002 Images by Christopher Ganz - Visual Arts Gallery Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11 2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery Indiana University, Bloomington, IN, March 27 - April 7 SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS 2012 International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing, “The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4 Reverse Watching, Invitational Print Portfolio Monoprint, “The Mind’s Eye" displayed at Mid America Print Council’s National Conference, Southeast Missouri State, Cape Girardeau, MO, Nov. 1 – 3 Contemporary American Realism: Fort Wayne Museum of Art 2012 National Biennial, Fort Wayne, IN, Aug.11-Oct. 28 32nd Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 13 – May 23 Juror: Ladislav Hanka, internationally exhibiting printmaker International Expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, “The Enigma” on display in Ann Nathan Gallery space, April 20-23 Spring Group Show, drawings, “Checking Out” and “The Enigma” displayed, April – May 2 Ann Nathan Gallery, Chicago 2011 Prints U.S.A. 2011 – National Juried Exhibition Springfield Art Museum, Missouri, Nov. 18 – Jan. 8 Juror: Elizabeth Wyckoff, Curator of Prints, Drawings & Photographs, St. Louis Art Museum International expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, Checking Out on display in Ann Nathan Gallery space, April 14-17 2010 Contemporary American Realism: Fort Wayne Museum of Art 2010 National Biennial, Fort Wayne, IN, Sept. 3 – Nov. 7; two pieces accepted Cultural Baggage, Invitational Print Portfolio Intaglio print, Super-Heroes go to Hell, after Dore’ displayed at Mid America Print Council’s National Conference, University of Minnesota Minneapolis, MN, Chicago, Oct. 13-16 Art Chicago: International Fair of Contemporary and Modern Art Drawing, The Cyclops on display in Ann Nathan Gallery space, April 29 - May 2 30th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 16 – May 26 Juror: Claudia Berlinski, Senior Lecturer of Printmaking at Akron University, Akron, OH 2009 Are you looking at me? Invitational Print Portfolio Color lithograph, Open and Shut, displayed at IMPACT 6: International Print Conference Centre for Fine Print Research, University of the West of England, Bristol, Sept. 16 – 19 Art Chicago: International Fair of Contemporary and Modern Art Drawing, Self-Checkout on display in Ann Nathan Gallery space, May 1 – 4 Identification Please, Invitational Print Portfolio Intaglio print, Good Cop/Bad Cop displayed at Southern Graphics Council National Conference, Columbia College, Chicago, March 25 – 29 Boston Printmakers 2009 North American Print Biennial – National juried printmaking exhibition Juror: Rebecca Waddell, Curator of Prints at the New York Public Library Boston University’s 808 Gallery, Boston, MA, Feb. 15 – March 30 22nd Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.18 - Feb. 19 Juror: Professor of printmaking at the University of Wisconsin - Parkside Portraits and Beyond, Ann Nathan Galley, Chicago, IL, Jan. 9 - Feb 19 2008 Contemporary American Realism: Fort Wayne Museum of Art 2008 National Biennial, Fort Wayne, IN, Sept13 – Nov. 2; two pieces accepted 28th Annual National Print Exhibition at Artlink - National Juried Exhibition 2008 Artlink Gallery, Fort Wayne, IN, April 11 – May 21 Juror: Mark Pascale, Printmaking Faculty, School of the Art Institute of Chicago and Curator of Prints and Drawing, Art Institute of Chicago “No Danger” - Invitational Portfolio Folded paper airplane lithograph, “The Dream of Flight” displayed at Richmond International Airport as part of the Southern Graphics Council National Conference Virginia Commonwealth University, Richmond, VA, March 26 – April 26 21st Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.20 - Feb. 21 Juror: Karla Hackenmiller, Printmaking Chair and Associate Professor, School of Fine Arts, Ohio University 2007 Singularities – Invitational group exhibit Joan Resnikoff Gallery, Roxbury Community College, Boston, MA Nov. 2 – Dec. 17 Hong Kong Graphics Art Festival 2007: Crossing Boundaries - Invitational international printmaking exchange exhibition School of Design Gallery, Hong Kong Polytechnic University, Kowloon, Hong Kong, China, Nov. 1 – Nov. 16 27th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Brett Colley, Assistant Professor of Art and Design, Grand Valley State University Boston Printmakers 2007 North American Print Biennial – National juried printmaking exhibition Boston University’s 808 Gallery, Boston, MA, Feb. 18 - April 1 Juror: Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books, The Museum of Modern Art, New York 2006 The Printed Image: The First Biennial Midwestern Graphics Juried Exhibition National Juried Printmaking Exhibition Alice C. Sabatini Gallery, Topeka & Shawnee County Public Library, Topeka, KS Aug. 11 - Sept 15 Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska- Lincoln 2006 National Contemporary American Realism: Fort Wayne Museum of Art's 2006 Biennial, Fort Wayne, IN, June 10 - Aug. 20; two pieces accepted 26th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Carolyn Autry, artist and Associate Professor of Art and Art History at the University of Toledo 19th University of Dallas Print Invitational - Traveling national invitational exhibition Haggerty Gallery, University of Dallas, Irving TX, Jan. 28 – March 6 three pieces accepted Texas A&M University – Corpus Christi, TX, Feb. 1 – March 9, 2007 Juror: Juergen Strunck...

18th Century french School, Courtyard of a ruined palazzo, An Architectural Capriccio, Pen and black ink and black ink wash on paper 17 x 12 cm In good condition Framed : 32 x 26 c...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

'Cain et Abel' Circle of Franois Devosge (1732-1811) French pencil drawing with watercolour wash on paper size: 12.25 x 9 inches private collection, France The painting is in overall...

Charles Spencelayh 1865-1958 British The Buttonhole Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of ...

Ernst Albert Fischer-Cörlin (1853 Körlin - 1932 Persante). Feeding the Kittens, 1893. Pencil on painting cardboard, 38 x 29 cm. Signed and dated by the artist at lower left "E[rnst] A[lbert] Fischer=Cörlin 1893". - Lightly stained, somewhat dusty and minimally foxed. - Little cat mother - About the artwork Daughter, mother and grandmother gather in the sunlight to feed a litter of kittens. The mother and grandmother hold the lively, playful animals in their arms, while the young girl feeds two of the four kittens with cookies. There is also a small bucket of milk and a bowl of milk. The women and the girl watch as the cute, still blind animals eat. It is a scene taken from everyday life, but it also has an allegorical dimension, bringing maternal care into the representation. Three generations are represented, with the grandmother and the mother already mothers. They not only offer the kittens to the youngest, but also proudly observe the maternal care that the youngest gives to the kittens. Like the kittens, she will grow up and become a mother herself, so the image is also an allegory of life's ever-new beginnings. In keeping with this, the morning sun shines into the picture from the right. Fischer-Cörlin has masterfully worked out the quality of the light, with its light and dark areas, with the pencil used...

Jules LAURENS Carpentras (Vaucluse), 1825 - Saint-Didier (Vaucluse), 1895 Pencil 29 x 23 cm (36 x 30 cm with frame) Signed and dated lower left "JL / 52" Modern frame Excellent condi...

Original watercolor and gouache on paper of a Tsingtao, China street scene in 1912 executed by the American illustrator, William Henry Drake. Copyrighted and signed and dated 1912 lower left. Condition is good. Recently professionally matted. Unframed. Overall mat size is 16 by 12 inches. Provenance: A Long Island, New York estate. William Henry Drake Born: 1856 New York Died: 1926 Los Angeles Nationality: American Education: Académie Julian, Art Students League of New York Known for: Painting, illustration Awards: National Academy Biography: Drake studied at the Académie Julian in Paris, with Jean-Joseph Benjamin-Constant and Henri Lucien Doucet. Back from Europe, he studied at the Cincinnati School of Design, and would often go to the zoo, where he could draw the animal...

Original pen and India ink drawing on heavy card stock of French soldiers on horseback by the well known French military artist, Edouard Detaille. Signed lower left and dated 1882. ...

Francesco Zuccarelli RA (Italian, 1702-1788) Study of a seated man Red chalk 11.1/8 x 7.5/8 in. (28.3 x 19.3 cm.) Provenance; Colnaghi & Co, London Francesco Zuccarelli was born in ...

Hildegard Miller (British, 19th / 20th Century) Studies of a Neo-Classical Hero Signed ‘HILDEGARD BMB MILLER’ (lower right) Crayon and light chalk 15.3/4 x 11.5/8 in. (40 x 29.7 cm.)...

Flemish school from the beginning of the 17th century (Circle of Martin DE VOS) Drawing Pen and wash 38 x 32 cm (58 x 52 cm with the frame) Inscription "Martin de Vos" Excellent cond...

This vigorous drawing is clearly inspired by the numerous compositions on the Ecce Homo theme which were produced by Titian and his workshop at the painter's maturity. However, the number of characters and their expressionist treatment, the many variations to Titian's paintings reveal a drawing made by an original artist, perhaps of foreign origin, belonging to the peripheral circle of the "Titian solar system”, as described by the art historian Enrico Maria del Pozzolo. 1. Titian, the leading artist of 16th century Venetian painting and his botteghe Tiziano Vecelli (or Vecellio), known as Titian, was born between 1489 and 1490 in Pieve di Cadore in the Veneto region of Italy into a wealthy family of soldiers and lawyers. At the age of 15, he joined the studio of Giovanni Bellini, where he became friend with Giorgione, ten years his senior. Giorgione introduced him to a new pictorial style in which forms are defined by colour and pictorial substance, freeing himself from the meticulous underlying drawings characteristic of Bellini's painting. Titian became the official painter of the Republic of Venice upon Bellini's death in 1516. In 1518, the completion of his Assumption for the church of Santa Maria Gloriosa dei Frari in Venice established his reputation as the leading painter of the Venetian school: throughout his career, Titian had a considerable impact on other artists of his time, whether they were direct collaborators, occasional contributors, or other artists under his influence. Considered one of the greatest portraitists of his time, his fame spread throughout Europe and he became the official painter of the greatest European families: the Gonzagas, the Farneses (Alessandro Farnese, of whom he executed several portraits, was elected pope in 1534 under the name of Paul III), the Habsburgs (he went to Augsburg in 1548 to paint the portrait of Charles V and King Philip II of Spain, his successor, later became the artist's main patron). As Titian almost reached the age of 90 years, he saw during his lifetime the death of many of his loved ones (his wife Cecilia, his brother Francesco and his son Orazio). A pathetic feeling appears in his late artworks, such as his famous Pieta, his last work intended to decorate his tomb which remained unfinished. Titian's success was also based on the establishment of a large and versatile workshop, which, alongside the traditional assistance in the production of certain paintings, ensured the publication of numerous woodcuts, allowing the master's works to be widely distributed. Long ignored by art historians, the individual stories of these various collaborators, the organisation of this workshop and the interactions of the collaborators with the master are at the heart of contemporary studies on the artist. 2. A complex composition with expressionist overtones Executed with great virtuosity in black chalk, the composition of our drawing is complex, even slightly confused and probably reflects several phases of execution, if not several hands. The scene is organised around the characters of Christ and an executioner wearing a Phrygian cap. Christ is presented at mid-body, slightly at an angle, his torso bare, his shoulders draped in a cloak, his hands clasped together and probably bound. His head, as if weighed down by the crown of thorns, is slightly bent forward. The eyes and mouth are hollowed out by the black chalk to better express his sorrow. The man wearing a Phrygian cap holds a whip in his right hand, while his left hand, barely outlined, seems to be pulling aside Christ's tunic as if he were about to scourge him. Two other men, who may have been added at a later stage, occupy the space between the executioner and Christ. One is depicted in profile, while the one behind Christ appears to be wearing a military helmet. In an indistinct gesture, his left arm is raised as if to strike Christ. Slightly behind Jesus on his left side, appears a bearded old man wearing a turban. With his left arm raised, he holds out the palm of his hand in a gesture of amazement. His face is finely executed and contrasts with the hand depicted in a rather crude manner. This character may also have been added at a later stage, as he does not fit in perfectly behind the group formed by Jesus and his executioner. This frieze is completed in the left foreground by two additional figures depicted in three-quarter view. Soberly sketched but with great fluidity, only their heads emerge, as if Christ and his executioners were situated on a pedestal above a large crowd. Finally, on the right-hand side of the composition, a second helmeted soldier is depicted. His musculature can be seen under his armour while he stares intently at Christ. He is smaller than the other figures, even though he appears in the front row, revealing a certain clumsiness on the part of the artist. 3. Ecce Homo, one of Titian’s favourite subjects in his twilight years In 1543, Titian tackled the theme of the Ecce Homo in a masterly composition now in the Kunsthistorisches Museum in Vienna. Christ is presented by Pilate, dressed in an antique costume, at the top of a staircase, in a large, highly architectural setting animated by a crowd of characters. The title of the painting refers to a passage from the Gospel of St John (19, 1-5): “Then Pilate took Jesus and had him flogged. The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe and went up to him again and again, saying, “Hail, king of the Jews!” And they slapped him in the face. Once more Pilate came out and said to the Jews gathered there, “Look, I am bringing him out to you to let you know that I find no basis for a charge against him.” When Jesus came out wearing the crown of thorns and the purple robe, Pilate said to them, “Here is the man!” From the 1540s onwards, Titian and his workshop repeatedly depicted the Christ of Sorrows for their principal patrons. In these paintings, Titian returned to the half-body format that he had practically abandoned since 1520 and refocused the composition (compared to the large 1543 Ecce Homo) on the figure of Christ, who is depicted alone or accompanied by a few figures. With his eyes lowered and his head slightly bowed, Titian's Christ seems calmly resigned to his fate. Powerless and submissive, he arouses deep pathos from the viewer. The tondo in the Louvre Museum shows Christ in a position very similar to that of our drawing, a position that will be found in most of Titian's Ecce Homo. To his right stands a helmeted soldier who seems to be baring his shoulder and to his left a servant of Pilate wearing a Phrygian cap. These two figures are reminiscent of the soldier in the lower right corner and the executioner in the left most part of our drawing. Various versions were executed by Titian and his workshop until the late 1560s, and the version that seems closest to the right-hand side of our drawing is the one in the Prado Museum. Although of uneven quality, it is interesting to note the gesture of Pilate's hand, holding out the palm of his left hand towards the viewer, as if to distance himself from the decision that the crowd will make. Recent X-rays of the painting have shown that the executioner on the right, depicted from behind, was originally depicted in profile (as in our drawing), and that the other two figures (Pilate on the left of Christ and a servant wearing a Phrygian cap on his right) were added later. The painting was then organised around the diagonal that crosses the canvas from left to right, emphasised by the light coming from the window, and centred on the exchange of glances between Christ and the executioner on his left. The profile of the old man in the foreground on the left could be inspired by that of the elderly Titian as it appears repeatedly in the painter's late artworks, such as the Madonna of Mercy in the Palatine Gallery. 4. A deeply original drawing, at the risk of confusion We saw in the last paragraph the various borrowings from Titian's depictions of the Ecce Homo that can be found in this drawing: the position of Christ, the presence of executioners wearing Phrygian caps and of helmeted soldiers, one of whom is looking at Christ in a position that evokes the repentance visible with X-ray in the Madrid painting...

William Moritz (1816-1860) An historical scene, signed lower left Brown ink and brown ink wash on paper 17 x 16.5 cm Framed : 27 x 23.5 cm The subject of this charming drawing remains unclear but it's really easy to identify Queen Anne of Austria...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

Herbert James Draper (British, 1863-1920) Puck Pastel Inscribed ”PUCK” (middle left) and further inscribed and signed `Study for Puck/ Herbert Dra...

This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...

Wonderful original orientalist gouache by the well known French artist, Paul B. Pascal. Signed lower right. Circa 1885. Condition is excellent. The scene depicts figures on camelback along the Nile with pyramids in the background. Newly professionally matted and framed in antique style frame. Under glass. Overall framed measurements are 11 by 13 inches. Provenance: A Sarasota, Florida estate. Paul B. Pascal (1839–1905) was a French landscape painter. He did landscape paintings of the Middle East and the Mediterranean coast with gouache. After he emigrated to the United States in 1893, he did paintings of the American wilderness...

Miss Twisty is a story of a young girl who leaves the big city to spend time in the country. The book is filled with insight and humor. This work is a deftly rendered black-and-wh...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

A fascinating allegorical scene by French master Paul-Louis Delance (1848–1924), an artist known for the allegorical and history paintings. His grandfather was the Count Joseph van R...

Original watercolor and gouache on archival paper by the American artist, Martin Louis Lindsay. Signed, titled and dated top right. Done in 1944. Condi...

New Orleans/Washington State artist Lue Isaac shows off her remarkable draftsmanship with this classical nude figure drawing. Note that this is from her ske...

Pencil on paper, dated (lower right), 55cm x 44cm (76cm x 64cm framed) Drawings and paintings of the nude were central to academic art training in Europe from the 16th century onwar...

Pen and ink, ink wash and pencil on paper, signed and dated (lower right), 38cm x 29cm (65cm x 55cm framed). This penetrating and wonderfully executed self-portrait, is all the mor...

1942 Calendar illustration featuring the First Lady of Haiti (Madame Elie Lescot]) rendered in a precise stipple effect and celebrating African-American women which was titled "Twelve American Women." It was executed during the hight of World War II. Lois Mailou Jones...

Original watercolor on archival paper of a mother and her children by the Japanese artist, Takashi Nakayama. Signed in watercolor lower left...

Beautiful orientalist original gouache by the well known French artist, Paul B. Pascal. Circa 1885. Signed lower right. Condition is excellent. The scene is of a Bedouin encampment at sunset. Newly professionally matted and framed in antique style frame. Under glass. Overall measurements are 11 by 13 inches. Provenance: A Sarasota, Florida estate. Paul B. Pascal (1839–1905) was a French landscape painter. He did landscape paintings of the Middle East and the Mediterranean coast with gouache. After he emigrated to the United States in 1893, he did paintings of the American wilderness...

Sir John Kyffin Williams, OBE, RA (Welsh, 1918–2006) Study for The Agony in The Garden Pen and ink Signed with initials `KW’ (lower right) 18 x 10....

This masterly frontispiece study, executed with a very sure hand, testifies to the survival of the great Baroque taste in 18th century Venice. It could be one of the very last works by Giovanni Antonio Pellegrini: the few lines that cross the papal arms evoke those of Benedict XIV, who became pope in 1740, one year before the artist's death. 1. Giovanni Antonio Pellegrini and the European influence of Venetian history painting in the 18th century Giovanni Antonio Pellegrini was born in Venice in 1675 and trained in the studio of the Milanese painter Paolo Pagani (1655 - 1716). Pagani, who had been living in Venice since 1667, took him to Moravia and Vienna from 1690 to 1696. After a stay in Rome from 1699 to 1701, Pellegrini married Angiola Carriera in 1704, the sister of the great pastelist Rosalba Carriera. From 1708 onwards, Pellegrini left Venice and began an extensive tour of Europe: he worked in England between 1708 and 1713, where he met great success, particularly at Kimbolton Castle and Castle Howard. He then worked in Germany and the Netherlands, then in Bohemia and Austria, before returning briefly to England in 1719. In 1720 he was in Paris where he decorated the ceilings of the Royal Bank for John Law...

"Mother & Child" French School, 19th century sanguine chalk drawing on paper, unframed painting: 23.25 x 17.75 inches Condition report: The painting i...

China Ink Signed H. Balslaecj (artist unknown from the gallery) and dated 1978 Pastel wooden frame with plexiglas Total size with frame: 75x57x6 cm

This framed 21" x 19" academic drawing by artist James Cobb, 'Erika in Gesture II,' captures a female model in a standing pose. Facing away from the viewer...

This early 20th-century drawing by German artist Richard Wintzer (1866-1952) depicts a lady standing before a bathing machine. It’s a risque portrayal ...

This 11.25 x 15.25 work on paper features a lone, seated, female dancer viewed from the back. The figure is twisting toward the viewer as she begins to look over her right shoulder. Her legs are pulled toward her body with the left leg crossed over the right. The isolation of the seated figure within the ground of the page lends a vulnerable quality to the work. The 16 x 20 dark brown mat has a window size of 11.25 x 15.25. Bio: Jim Cobb, until recently was hanging his work on Canyon Rd in Santa Fe, New Mexico. One-man shows have been hosted in Taos, New Mexico, Norman, Oklahoma and Oklahoma City, Oklahoma. When the Oklahoma Art...

Graphite on greenish gray wove paper. 15 1/4 x 11 5/8 inches (390 x 295 mm). Initialed "G. B." in pencil on the lower right recto. In generally good condition with some minor scattered surface soiling. Condition is consistent with age. ____ This drawing is closely related to two known mid 18th century oils...

This framed 21" x 19" drawing by artist James Cobb, 'Erika in Gesture I,' captures the female model in a seated pose. The model is seated with her legs tuck...

18th Century Roman School A Palazzo with antiques Brown ink and pen, brown ink wash on paper 12.5 x 20 cm Framed : 28,5 x 35.5 This nice drawing represents a genre scene, with a nobleman, priests, a mother and her children...

French school circa 1840 Portrait of a Lady watercolor on Bristol paper 25.5 x 20 cm oval in quite good condition : slightly yellowed by time, multiple little scratches, stains (see ...

Signed lower right, 'H. Hammond' for Horace Murray Hammond (British, circa 1879-1966) and dated 1921. A luminously painted, bucolic view of harvest time in England with the lilac of the evening casting a soft light over the contented horses and loaded hay-cart, as the harvesters come to the end of their day's labors. Son of the noted landscape painter, Robert John Hammond, Horace Hammond was born and raised in Warwickshire. In 1927, he moved, first to Worcestershire and then to London. Over the course of a long and successful career, Hammond exhibited widely, including at the Royal Birmingham Society of Artists, the Walker Art Gallery in Liverpool and at London's Royal Academy, among numerous other locations. A well-listed painter...

Original watercolor on archival paper laid down to heavy card stock by the American artist, Edward Loyal Field. The watercolor is of a European scene, perhaps Holland when the artist...

Black crayon and graphite with white heightening on blue handmade laid paper. Adhered at all four corners to a period support, on which the title and an illegible date (perhaps 1815) appear to be written in the artist's hand. ________ Aglio was born in Cremona is 1777 and his artistic talent was recognized early in his life. He was promised a place at the University in Milan by the Holy Roman Emperor, however, his formal education was upended before it even began by the invasion of Italy and Austria by Napoleon. Aglio joined the war effort and fought in a series of major battles near Venice before becoming seriously ill. At the age of about 23 he was released from duty, and traveled to Rome to focus on his health, and landscape painting. In Rome, Aglio studied with the renowned artist Campovecchio. At the invitation of well known British architect William Wilkins (designer of the National Gallery and University College London), Aglio relocated to London in 1803. He made London his permanent home, and married Letitia Clarke in 1805. He enjoyed a lucrative career painting frescoes in the interiors of high society townhouses, country manors, and major London concert halls and theaters. Most notably, Aglio painted multiple official portraits of Queen Victoria...

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

Circle of Nicolas Poussin (French, 1594-1665) Maiden’s harvesting flowers Sanguine on paper 8. ¾ in. (22 cm.) tondo

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

A lovely, early drawing of the Roman god Mercury. Pen and brown ink on cream laid paper, with a partial crown and shield watermark, 7 1/4 x 4 7/8 inches (184x 123 mm) (matrix). In go...

Work on paper without frame Framing possible Pour Elisabeth DE STOUTZ (1854-1917) Swiss artist famous on our different auction house

Graphite on hand made, fibrous wove paper, finished with gray wash. Unevenly trimmed sheet edges, non-archival tape remnants at all four corners, recto, well outside of image area. Horseshoe-shaped area of light discoloration that extends significantly into the figure's face, beneath the lips, and up over the rear of the head, dog-eared right lower corner with associated light discoloration at crease. DeMin and Belluno inscribed in graphite, verso. A detailed study showing 'primo pensiero' for Giovanni DeMin's large scale fresco, Assumption of the Virgin...

Sanguine and charcoal on paper without frame

English School early 19th century, Portrait of two children, Pencil and light heightenings of white and red gouache 29.5 x 23 cm In quite good condition : the pape is yellowed by time and there foxings and stains visible (please refer to the photographs) In a vintage frame (some minor damages) : 48.5 x 38 cm This charming drawing of children is typical of English portraiture as it had its heyday shortly before with Reynolds and Gainsborough. The codes required, for example, that the female sitter...