Unknown

Death of the Virgin (Old Master drawing)

ca. 1700

Roland Ayers (1932-2014). Time Shelters Memories: Doors, 1975 Ink on paper, 23 × 29 inches. Measuring 29 × 35 inches in acid free matting. Signed and dated. Exhibited: Woodmere ...

Roland Ayers (1932-2014). Transformation, 1977. Ink on paper, 23 × 29 inches. Measuring 24 × 32 inches in custom matting. Signed and dated. Exhibited: Woodmere Art Museum, 1967...

Roland Ayers (1932-2014). Peaceful Island, 1968. 17 inches diameter on a panel measuring 19 × 23 inches. Signed and dated. Artist and art educator, Roland Ayers was born on Jul...

Roland Ayers (1932-2014). Earth River Flowing, 1979-86. Ink on paper, 22 ¾ x 15 7/8 inches; measuring 22 × 28 inches in matting. Signed and dated. Exhibition History: Roland Ay...

François Boitard (1670-1715) Abraham and the Three Angels, Signed lower left "F Boitard (...) fecit (...)" 28 x 44 cm Pen and ink on yellow prepared paper...

Hubert-François Gravelot (1699-1773) Two Allegories : Vigilance and Faith Pen, black Ink, and black wash on paper 7.9 x 4.8 each one Framed 22 x 26 cm Old framing that needs to be...

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bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1.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

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...