Unknown

Spanish School, Academic Study (Male Nude)

c.1900

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...

Charcoal on paper, 60cm x 42cm, (74cm x 60cm framed). The picture is framed behind museum quality non-reflective UV glass. Drawings and paintings of the nude were central to academ...

Charcoal and gouache on paper, titled ‘Phil Richards’ and dated ‘Friday Dec 8 72’ (lower left), 64cm x 48cm (72cm x 56cm framed).(Provenance: the Artist’s estate (stamped verso)). the picture is framed behind UV glass Stonehouse had an extraordinary life. As a young art student studying fashion illustration, he joined the Royal Artillery at the beginning of WWII but soon became a part of the Special Operations Executive (SOE). He was sent to France as a radio operator but three and a half months later was caught by the Gestapo, tortured, given a death sentence and then selected for slave labour. He spent the subsequent war years in three French prisons and five concentration and labour camps, including Dachau. He still managed to continue to draw in some of the camps. Following the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist. His work is celebrated in Brian Stonehouse...

Charcoal on paper, 56cm x 38cm, (79cm x 60cm framed). Provenance: The Artist’s sister. From the mid-1940s to the early 1950s Colquhoun was considered one of the leading artists of his generation. Along with that of Robert MacBryde, another artist and Colquhoun’s partner, his work was regularly shown at the Lefevre Gallery in London. This early work is likely to be a drawing from when Colquhoun was at the Glasgow School of Art in the 1930s. Known as the ‘Two Roberts’, Colquhoun and MacBryde met at the Glasgow School of Art in 1932 and lived together until Colquhoun’s death in 1962. The pair also exhibited in several group shows at the Lefevre Gallery, including one in February 1946, alongside Ben Nicholson, Graham Sutherland, Bacon and Freud. Works were bought by the Arts Council, the British Council, the Contemporary Art Society and the Imperial War Museum. Major art patrons added their work to their collections, including Sir Kenneth Clark...

Charcoal on paper, signed (verso), and signed and dated ‘20th July 1878’, by R.A invigilator, E.B. Stephen A.R.A. (bottom left), 73cm x 46cm, (88cm x 60cm framed). The work is framed...

Black chalk heightened with white chalk on blue paper, 19cm x 15cm, (32cm x 27cm framed). First exhibiting at the Royal Academy in 1904, Philpot was elected as an Academician in 19...

Sleeping Boy is an original modern artwork realized in the 16th century by Giovanni Fontana. Ivory colored sheet attached on an ivory colored cardboard (...

Italian School, 16th Century Provenance: Private Collection, New York This intriguing drawing is a study by an anonymous 16th-century Italian artist after a vignette in Michelangelo’s fresco of The Last Judgement in the Sistine Chapel. The altar wall of the Sistine Chapel was already richly decorated when Pope Clement VII commissioned Michelangelo to paint his Last Judgment...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

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...

This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...

Louis-Félix de La Rue (1730-1777)  A Mythological scene Pen and black ink on paper Bears an old inscription with the name of the artist on the lower left bo...