Unknown

Portrait of Old Giuseppe Garibaldi - Chalk, Charcoal and Oil Pastels - 1880

1880

Oil pastel on paper realized by Sirio Pellegrini in 1960s. Very good condition. Includes a coeval wooden frame cm. 52x61.5. Sirio Pellegrini, born in Rome on March 1, 1922, of Abr...

Portrait of man is an original modern artwork realized by Paul Ascan Demmé (Bern 1866 - 1953 Paris) in the early 20th Century. Pastel on board. Hand signed on the lower right marg...

Portrait is a drawing realized by Jean Lasnier in the Mid-20th Century. Oil pastel and watercolor ink on paper. Good conditions with slight foxing. The artwork is realized through...

Oil pastel and watercolor on paper realized by Sirio Pellegrini in 1975. Hand signed and dated. Includes a wooden frame realized by the Artist cm. 49x39. Sirio Pellegrini, born in...

In this collection, British painter Michael Pemberton (b. 1974) suggests we each have a personal HUMAN ATMOSPHERE. An ether where we truly exist, unseen by the naked eye but as real ...

Octave Denis Victor Guillonnet (1872 - 1967) A young woman seated signed lower leftt Charcoal, red and white chalks on thin paper transfered on cardboard 49 x 39 cm Framed : 55.5 x ...

Auguste Legras (1817-1887) Portrait of a young man in profile, signed lower right Charcoal, red and white chalks on paper 45 x 31.5 cm Framed : 52 x 39 cm This particularly evocati...

The work represents a carefully rendered and meticulously observed environmental portrait of a young girl absorbed in study in front of a book case. It celebrates the intelligence of womanhood from a woman's perspective. Initialed in cartouche lower right literature: "The Silver Pencil", Hardy, Harper's Monthly, June 1912, pg. 22 Elizabeth Shippen Green (September 1, 1871 – May 29, 1954) was an American illustrator. She illustrated children's books and worked for publications such as The Ladies' Home Journal, The Saturday Evening Post and Harper's Magazine. Education Green enrolled at the Pennsylvania Academy of the Fine Arts in 1887 and studied with the painters Thomas Pollock Anshutz, Thomas Eakins, and Robert Vonnoh.[2] She then began study with Howard Pyle at Drexel Institute where she met Violet Oakley and Jessie Willcox Smith. New Woman As educational opportunities were made more available in the 19th century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became “increasingly vocal and confident” in promoting women's work, and thus became part of the emerging image of the educated, modern and freer “New Woman”.[4] Artists "played crucial roles in representing the New Woman...