Roberto Fabelo

Untitled

1994

Roberto Fabelo (born 1951 Camagüey, Cuba) is a contemporary painter, sculptor, and illustrator. Born in Guáimaro, Camagüey, Fabelo studied at The National Art School and at the Superior Art Institute of Havana. He was a professor and a jury member for very important national and international visual arts contests. The Cuban state awarded him a medal for National Culture and the Alejo Carpentier medal for his outstanding artistic career. Fabelo’s art consists of nude women, who often appear with bird-like features, including a beak and wings. He drew in textbooks, and created figures out of the pictures already in the textbook. Another example of his art was watercolor markers used to draw on silk embroidered fabric. His work is exhibited at the Museo Nacional de Bellas Artes in Havana, and in the Cuban embassy in Mexico. His 2009 sculpture of a group of human-headed cockroaches can be found climbing one of the walls of the Havana Fine Arts Museum, entitled Survival. He also illustrated a 2007 edition of Gabriel García Márquez’s novel Cien años de soledad. He was described by the Dallas Morning News in 2002 as “one of Cuba’s premier artists...

Miguel Padura Cuban Artist Latin American Artist “Untitled” 2020 Watercolor on paper 30 x 22 in Signed by the artist at the bottom of the dress

Beautiful watercolor painting by the artist Roberto Fabelo. Roberto Fabelo (born 1951 Camagüey, Cuba) is a contemporary painter, sculptor, and illustrator. Born in Guáimaro, Camagüey, Fabelo studied at The National Art School and at the Superior Art Institute of Havana. He was a professor and a jury member for very important national and international visual arts contests. The Cuban state awarded him a medal for National Culture and the Alejo Carpentier medal for his outstanding artistic career. Fabelo’s art consists of nude women, who often appear with bird-like features, including a beak and wings. He drew in textbooks and created figures out of the pictures already in the textbook. Another example of his art was watercolor markers used to draw on silk embroidered fabric. His work is exhibited at the Museo Nacional de Bellas Artes in Havana, and in the Cuban embassy in Mexico. His 2009 sculpture of a group of human-headed cockroaches can be found climbing one of the walls of the Havana Fine Arts Museum, entitled Survival. He also illustrated a 2007 edition of Gabriel García Márquez’s novel Cien años de...

Miguel Padura “Untitled” Watercolor on paper 18 ½ x 28 in Signed by the artist at the bottom left corner. Miguel Padura was born in Havana in 1957. “I was four years old when my fam...

Miguel Padura “Untitled” Watercolor on paper 22 x 30 Miguel Padura was born in Havana in 1957. “I was four years old when my family moved to Rodas, in the province of Las Villas. My...

Santos art education is worldly, and his work has been seen around the globe, from the Museum of Contemporary Art in Sicily, Italy and the Beijing museum in...

Due Angeli is an original artwork realized by Andrea Brustolon. Mixed media, ink and watercolor. The artwork rapresents two baroque angels, study realized by Brostolon for a sculpt...

Capriccio painting in a greek or Italian style with women around a river. Capriccio is a fanciful architectural landscape painting. It was popular in Italy in the 18th Century. Most ...

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...

Inscribed “55” and “218” in the lower right Watermark: Heawood 1351 Laid down on historic Cassiano Del Pozzo mount (Mount Type A, 531 x 402 mm) Provenance: Commissioned by Cassiano dal Pozzo (1588–1637) for his Museo Cartaceo (Paper Museum) and kept in the library of his palazzo, via dei Chiavari, Rome Transferred with the entire dal Pozzo collection by fidecommesso to his younger brother, Carlo Antonio dal Pozzo (1606–1689); by descent to his second son: Gabriele dal Pozzo (d. 1695); by descent to his wife: Anna Teresa Benzoni and after her remarriage in 1697, the Marchesa Lancellotti de’ Ginnetti (d. 1736); by descent to their son: Cosimo Antonio dal Pozzo (d. 1740); by whom sold with the Dal Pozzo library in 1703 to: Pope Clement XI for the Vatican Library; by whom transferred as part of the Museo Cartaceo in January 1714 to his nephew: Cardinal Alessandro Albani (1692–1779), Palazzo ‘alle Quattro Fontane’ in Rome; by whom sold in 1762 to: James Adam, agent for the British Royal Librarian Richard Dalton (1715–1791) King George III of England, Buckingham House Among the sheets of the ‘Museo Cartaceo’ appropriated by Richard Dalton during a reorganization of the drawings, circa 1786-1788; his estate sale, Greenwood’s, London, 11-19 May 1791; where acquired by: John MacGowan...

Provenance: Private Collection, USA. This drawing is by Ercole Procaccini the Younger, who represents the final generation of painters in the storied Procaccini family. The son of C...

Pierre Berchet, Drawing of Putti playing in a landscape, Painter of decorative history subjects; trained under La Fosse; worked in France and during the 1690s...