Francesco Zuccarelli RA

Italian 18th Century red chalk study of a seated man by Zuccarelli

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

Edmund Dulac (French, 1882 – 1953) A welcome refreshment Black crayon with a touch of white chalk Signed ‘E Dulac’ (upper right) 8.7/8 x 11 in. (22.5 x 28...

George Frederic Watts (British, 1817-1904) Christ in Glory Red chalk in an arched mount Inscribed verso, including a signed letter verso from R H Jefferies, Curator of The Watts Ga...

Pat Douthwaite (Scottish, 1939 – 2002) Seated Man Charcoal on paper Indistinctly inscribed, signed and dated ‘Douthwaite 71’ (lower right) 25.1/2 x 18.1...

Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

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...

Jean-Robert ANGO (Active 1759 – 1773) Man on Horseback Abducting a Woman Red chalk and white chalk 26.1 x 25.9 cm Provenance Libert-Castor sale, November 19, 1993 (lot no. 23, ill...

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...