Washi Paper Figurative Drawings and Watercolors

SILHOUETTE - This artwork on paper captures a sense of understated glamour. The blending of a textile texture and delicate gold detailing around the waist creates a refined and elega...

A beautiful 19th century copy by Giuseppe Rocchi of Baldassarre Franceschini's Sleeping Cupid, presented in a very attractive gilt frame with hand carved mouldings. A very peaceful i...

Ted Williams was an American professional baseball player and manager. He played his entire 19-year Major League Baseball career, primarily as a left fielder for the Boston Red Sox...

City is an original drawing in pencil made by the Hungarian artist Nicolas Czinober in the mid-20th century.The state of preservation is good, the paper presents some small stains. ...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

Figurative drawing with graphite, charcoal, and conte crayon on Arches paper 30 x 19 inches, unframed One piece of 30 x 19 inch Arches paper. Two drawings on opposite sides. These u...

If you are interested in African American Art and in Women in the Arts, I will certainly not need to introduce Lois Mailou Jones (1905-1988). Often associated with the Harlem Renaissance, her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection. I am proud to present an original watercolour painting by the artist which dates from the late 1940s or early 1950s. Jones was born in Boston, Massachusetts to a father who became the first African-American to earn a law degree from Suffolk Law School. Jones's parents encouraged her to draw and paint using watercolors during her childhood. She held her first solo exhibition at the age of seventeen in Martha's Vineyard. He career began in the 1930s and she continued to produce art work until her death in 1998 at the age of 92. Her style shifted and evolved multiple times in response to influences in her life, especially her extensive travels. She felt that her greatest contribution to the art world was "proof of the talent of black artists". Her work echoes her pride in her African roots and American ancestry. In 1937, Jones received a fellowship to study in Paris at the Académie Julian, bringing her to France for the first time. The French were appreciative of her paintings and talent and Loïs Mailou Jones was thrilled at the country’s racial tolerance, so different from her reality in the United States. She summered in France annually from 1945 to 1953, sharing studio with her lifelong friend Celine Marie Tabary in Cabris, France. It was during one of these sojourns that the lovely work presented here was created. Our painting depicts the village of Tourettes sur Loup, just north of Nice, in the Provence Cote d'Azur region, about 14 miles from Cabris. Please note its similarities with her painting "Arreau, Hautes-Pyrénées" in the National Museum of Women in the Arts. Her portrayal of the picturesque village nestled in a valley evokes landscape paintings by Paul Cézanne, a stylistic influence she acknowledged. Over the course of the following 10 years, Jones exhibited at the Phillips Collection, Seattle Art Museum, National Academy of Design, the Barnett-Aden Gallery, Pennsylvania's Lincoln University, Howard University, galleries in New York, and the Corcoran Gallery of Art. In 1952, the book Loïs Mailou Jones: Peintures 1937–1951 was published, reproducing more than one hundred of her art pieces completed in France.At the Barnett-Aden Gallery, Jones exhibited with a group of prominent black artists, such as Jacob Lawrence and Alma Thomas. These artists and others were known as the "Little Paris...

Old Master Drawing by the Circle of Lambert Lombard. Drawing/ Study of a Man in Renaissance Style, later signed "F. Floris". Study of a Man Lombard li...

This artwork showcases an elegant dress on paper, seamlessly blending paint and colour pencil. Delicate detail and intuitive mark-making create an outcome both expressive and refined...

This Fortuny style dress is an artwork on paper blending paint and color pencil. Composition, intuitive mark-making and delicate detail make for an...

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...

A brightly colored, Mid-Century, watercolor and charcoal on paper image of a boy by notable artist Margo Hoff, titled "Sun Child". Image size: 31" x 22". Framed size: 34" x 25". ...