Giovanni Giuseppe Del Sole

17th Century Italian Old Master drawing of three angels, a study for larger work

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

Hubert Robert (French, 1733 – 1808) Figures in the Roman ruins Sanguine on paper 29.6 x 35.6 cm. Bearing watermark from ‘Jan Honig & Zoonen, Amsterdam’ Provenance: Hal O’Nians, Fine...

Carle Vernet (French, 1758 – 1836) ‘La Marchande de Coco’; and ‘La Tour de Babbe d’un Charbonnier’ Ink, watercolour on paper Both signed C Vernet and Carle Vernet (lower left and lower right respectively) 12.1/4 x 9 in. (31 x 22.8 cm.) A pair Vernet was born in Bordeaux. At the age of five, he showed an extraordinary passion for drawing horses, but went through the regular academical course as a pupil of his father and of Nicolas-Bernard Lépicié. Strangely, after winning the grand prix (1782), he seemed to lose interest in the profession, and his father had to recall him back from Rome to France to prevent him from entering a monastery. In his Triumph of Aemilius Paulus, he broke with tradition and drew the horse with the forms he had learnt from nature in stables and riding-schools. His hunting-pieces, races, landscapes, and work as a lithographer were also very popular. Carle's sister was executed by the guillotine during the Revolution. After this, he gave up art. When he again began to produce under the French Directory (1795–1799), his style had changed radically. He started drawing in minute detail battles and campaigns to glorify Napoleon. His drawings of Napoleon...

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 ...

Andre Derain (French, 1880 – 1954) Lady in a dress Pencil on paper Signed with atelier stamp (lower right) 14.5/8 x 9.3/8 in. (37 x 23 cm.) André Derain (10 June 1880 – 8 September ...

Attributed to Steven Spurrier RA (British, 1878 – 1961) Fun at the lido Pencil and watercolour on paper Signed in pencil ‘Spurrier’ (lower left) 11.1/8 x 14.1/4 in. (28.2 x 36.2 cm.)

Joseph-Marie Vien (1716-1809) ‘Ambassadeur de Siam’ and ‘La Sultana Reine’ Both titled lower centre, the drawing of the ambassador inscribed with colours intended for the prints, e...

FRANÇOIS MATHURIN ADALBERT, BARON DE COURCY (1805-1839) 'Le Negrito à l’ancre. Dans le port de la havanne' Indistinctly signed lower left Titled on the mount Pencil and watercolour, heightened with white, on paper, 24.8 x 34.6 cm Literature: The present watercolour will be illustrated in: - Prof. Manuel Garcia’s projected book on the disease and the slave trade provisionally titled “Fighting the Yellow Demon of Fever: The Struggle against Disease in the Illegal Slave Trade”. - Prof. Micael Zeuske’s forthcoming Global history of slave trade. Exhibited: Mexico City, 1998, Palacio Virreinal, El Barón de Courcy, illustrationes de un viaje, 1831-1833, no. 108 Note: Baron de Courcy was in the Caribbean in late 1832 and early 1833, following his tour of Mexico in 1832, on the last leg of his “Grand Voyage...

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...

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...

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...

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...