Annibale Carracci (after)

Madonna della Scodella

China ink and watercolor on paper. Hand dated. Conditions: Foxing on the top right of the paper

China ink and watercolor on paper. Conditions: Two cuts on the centre of the paper. Three holes on centre-right, botton-left and top-left of the paper. Worn on the top left of the ...

China ink and watercolour on paper. Realized in 1740 ca. Very good conditions. Includes passepartout.

Speech is an original and unique drawing in ink on paper realized by Jan Peter Verdussen, with sketches on the rear. The State of preservation is very good with the traces of time. ...

Woman In Costume is an original watercolor on ivory-colored paper, realized by Michela De Vito in the first half of XIX century. Good conditions exc...

Landscape is a beautiful drawing in watercolor and pencil on ivory-colored paper realized by Jan Peter Verdussen. In good condition; only a smallspots at the edges of the drawing an...

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bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1.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...

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...

This powerful pen and brown ink wash drawing is a study for an altarpiece depicting The Martyrdom of Saint Bartholomew. Signed and dated 1604, it was painted at the end of his life b...

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...

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...

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...