18th Century Drawings and Watercolor Paintings

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

The painting is signed and dated 1858 Felix Schlesinger (1833-1910) was a German painter known for his charming and detailed portrayals of domestic ...

Collections: Henry Scipio Reitlinger (1882-1950); Private collection, UK to 2019 Framed dimensions: 14.50 x 15.38 inches This drawing is one of only two known portrait drawings by Romney (as opposed to preliminary studies for portraits) and is dated by Alex Kidson as being executed no later than 1769. It is likely that the present drawing was originally part of a sketchbook, now largely dismembered (Abbot Hall Art Gallery, Kendal), which Kidson notes, contained some of Romney’s most beautiful early drawings. This drawing, and a second sheet formerly with Andrew Wyld, have been identifying as depicting the Rev. William Atkinson...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Italian artist (18th-19th century) - Study for a St. Sebastian. 28 x 22 cm. 50 x 35 cm with passepartout. Ink and pencil drawing on paper, without frame. Condition report: Good st...

Eruption of Vesuvius 14 December 1776. Gouache and watercolor on paper, by an unknown, possibly Swedish, artist. This highly decorative and captivating view of the Bay of Naples cen...

French School 18th Century Portrait of a Young Man Charcoal and pastel on paper Image size: 11 x 7 inches Contemporary gilt frame

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

Cornelis Johannes de Bruyn (c. 1763- c. 1828) A lovely pair of 18th century Dutch still life watercolors depicting assorted flowers in a glass vase. Watercolor on paper 13 5/8 x 9 5/8 inches (34.6 x 24.4 cm) each Framed: 23 x 18 1/2 inches each Signed: J.C.J. Bruyn 1797 G (Please request photos of the actual frame) Johannes de Bruyn made his debut as a flower and fruit still life painter in the 19th century in Utrecht. He was a student of the painter G.J. van Hulstyn. In our pair of flower still lifes, Cornelis Johannes de Bruyn has depicted two bouquets of colorful flowers set in a stone niche. They are delicate, highly detailed, realistic pieces painted in the vein of seventeenth century Old Master works. Each bouquet is arranged in a low glass bowl on a small marble pedestal...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

circa 1750. Gouache and ink with heightening in gold on brown laid paper, 12 1/2 x 8 1/4 inches (317 x 210 mm), with a floral-motif border painted in blue and gold, the full sheet. With extensive inscriptions in Persian written in black ink on the verso. In good condition with extraordinary color. We see Empress Nur Jahan making an offering to a sage in his hut, as Emperor Jahangir looks on from a tree stand. Nur Jahan was fond of hunting and often went on hunting tours with her husband and was known for her boldness in hunting ferocious tigers. She is reported to have slain four tigers with six bullets during one hunt. According to Sir Syed Ahmad Khan this feat, inspired a poet to declaim a spontaneous couplet in her honor: "Though Nur Jahan be in form a woman, In the ranks of men she...

Pietro Fancelli (Italian 1764 - 1850) bio details attached to the frame 'St. Anne & The Virgin' ink with watercolor wash on paper, framed framed: 22 x 16 inches image: 11 x 6.5 inche...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

Follower of Zacharias Wagener (1614-1688) Tamanuâguasû (Giant Anteater) On Italian 17th or 18th-century paper, H. 28 x W. 43.5 cm ​The present painting is a copy after Wagener’s painting of the anteater, Tamanduá-bandeira, which is illustrated in his “Thier Buch”, with 109 drawings of Brazilian fish, birds and mammals, published in Amsterdam c. 1641, in German. ​ Zacharias Wagener, or Wagenaer in Dutch, (Dresden 1614 – Amsterdam 1668) was a real adventurer who became Opperhoofd on Deshima and Governor of the Cape of Good Hope in the service of the VOC. During the Thirty-Year War in Germany Wagener tried his luck in Amsterdam where he worked for the map-maker Willem Blaeu. In 1634 he joined the WIC and left for Dutch Brazil where he worked as writer and painter, together with Frans Post...

Sul cartoncino applicato nella cornice è riportata l'annotazione, a penna e in grafia Kurrent, "Urgroßvater Ludwig Fr(ei)h(e)r(r) von Keller" "Urgroßmutter ...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Collections: Commissioned by Andrew Corbett, husband of the sitter; The Venerable Stuart Corbett; Sir Stuart Corbett; By descent to 2002; Sotheby’s, London 21 March 2002, lot.104; Lowell Libson...

Collections: Russell sale, Christie’s, 14 February, 1807: ‘John Russell, Esq., R.A. deceased, crayon painter to His Majesty, the Prince of Wales, and Duke of York; and brought from his late Dwelling in Newman Street’, lot 92, ‘St Peter’, bt. Thompson (£1.13s); Anonymous sale; Sotheby's, London, 25th September 1980, lot 113; Private collection, UK, 2016. Literature: Martin Postle, 'Patriarchs, prophets and paviours: Reynolds's images of old age', The Burlington Magazine, vol. cxxx, no. 1027, October 1988, pp. 739-40, fig. 9; Martin Postle, Sir Joshua Reynolds: The Subject Pictures, Cambridge, 1995, p.136, repr.; Neil Jeffares, Dictionary of pastellists before 1800, online edition, J.64.2928. Signed and dated: J Russell/ fecit 1772 (lower right) Framed dimensions: 25 x 31 inches John Russell was admitted to the Royal Academy in March 1770, at the same time as Daniel Gardner. The nascent Academy Schools were still establishing their teaching structures, but central to the syllabus were the twin components of drawing after the antique and from life models. By 1772 Russell had already been awarded a silver medal and progressed to the life academy, where he produced this remarkable pastel study of George White. White was the most famous model employed by the Royal Academy and prominent artists in the second half of the eighteenth century. A paviour – or street mender –by profession White had been discovered by Joshua Reynolds, who in turn introduced him to the Academy. Russell’s striking head study demonstrates his abilities as a portraitist and pastellist, at the same time showing his interest in the Academy’s preoccupation with promoting history painting. George White was one of the most celebrated models in eighteenth-century London. According to the painter Joseph Moser: 'Old George…owed the ease in which he passed his latter days, in a great measure to Sir Joshua Reynolds, who found him exerting himself in the laborious employment of thumping down stones in the street; and observing not only the grand and majestic traits of his countenance, but the dignity of his muscular figure, took him out of a situation to which his strength was by no means equal, clothed, fed, and had him, first as a model in his own painting room, then introduced him as a subject for the students of the Royal Academy.' As Martin Postle has pointed out, whilst characterful studies of old men posed as biblical figures, prophets or saints by Continental old masters were readily available on the art market – Reynolds himself had copied a head of Joab by Federico Bencovich in the collection of his friend and patron, Lord Palmerston - finding a model in Britain from whom to execute a painting was more difficult. White therefore offered a rare opportunity for artists to combine portraiture and history painting, by painting a model in the guise of an historical or literary character. In 1771 Reynolds showed at the Royal Academy a picture of White entitled Resignation. It was engraved in 1772 and accompanied by a stanza from Oliver Goldsmith’s Deserted Village, implying a literary context to what is essentially a portrait. In his annotated Royal Academy catalogue, Horace Walpole noted: ‘This was an old beggar, who had so fine a head that Sir Joshua chose him for the father in his picture from Dante, and painted him several times, as did others in imitation of Reynolds. There were even cameos and busts of him.’ White sat to, amongst others Johan Zoffany, John Sanders, Nathaniel Hone and the sculptor John Bacon...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

Pen and brown ink and brown and grey washes on paper Signed top middle Image size: 10 x 3 3/4 inches (25.5 x 8 cm) The sketch is a useful example of Bigari's work in the late-Baroqu...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

THE HON. MARY SHUTTLEWORTH, NÉE COCKBURN (D. 1777) and her sister ANNA MARIA, 9TH BARONESS FORRESTER (D. 1808) Pastel and gouache on paper laid on canvas, on their original backb...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

PRICE IS FOR EACH FRAMED PRINT "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origina...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, presented in hand- made, parcel-gilt, ebonised and decalcomania...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

Sullo sfondo di un paesaggio dai tratti centro-settentrionali europei-in cui si riconoscono una cappella e il profilo di una città dagli alti pinnacoli-si svolge una scena di svago, ...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

"Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with original hand-colouring after the drawi...

Attributed to Charles-Joseph NATOIRE (Nîmes 1700 – 1777 Gandolfo) Academy Study of a Seated Male Figure Seen from the Back (Youthful study executed around the 1720s–1730s, likely du...

Black chalk, partly washed, on paper, sheet 27.5 x 19.7 cm Plain gold moulding, 44.8 x 36 cm The Rhenish still life painter Johann Martin Metz was ...

This widely referenced pair of paintings is one of Francesco Conti’s most successful productions. Francesco Conti is one of the finest painters of 18th-century Florence. In the shimmering colors typical of his best work, he represents two opposite characters from the Bible: the virtuous Judith, whose courage saves her people by cutting off the head of the invader Holofernes, and the depraved Salome, who under the influence of her mother becomes responsible for the beheading of the prophet John the Baptist. The artist's talent lies in his ability to treat these two macabre subjects with a light touch, presenting us with two attractive women who seem to twirl with glee amidst the severed heads... 1. Francesco Conti, the “Florentine Tiepolo” Francesco Conti is a major painter of the Florentine school of the 18th century; he can even probably be considered, along with Giovanni Domenico Ferretti (1692-1768), as one of the two main painters of the second quarter of the Florentine 18th century. Born in Florence in 1682, Francesco Conti began his apprenticeship in the workshop of Simone Pignoni (1611 - 1698), a disciple of Francesco Furini; he was also influenced by the Venetian Sebastiano Ricci. A protégé of Marquis Riccardi, he accompanied him to Rome between 1699 and 1705, where he frequented Carlo Maratta's studio. He settled permanently in Florence in 1705. Painted exclusively on canvas, the majority of his work consists of religious subjects, altarpieces or private devotional works. It is likely that Conti himself was a devout churchgoer, as evidenced by his affiliation, in the third decade of the eighteenth century, to the Society of the Disciples of Saint-John-the-Baptist, and his entry, at the end of his life, into the fraternity of the Venerable Society of the Holy Trinity. In Florence, Conti worked for the Grand Duchy's major patrons, including the last Medici - in particular Giangastone and Annamaria Luisa, Electress Palatine - and confirmed his role as a reference painter under the Lorraine Regency, as master of the Public Drawing School, which was closely linked to the institute responsible for the manufacture of semi-precious stone mosaics, then located in the Uffizi complex. Matteo Marangoni, an art critic of the early 20th century, praised his "brushwork full of elegance and true spirit of the 18th century", pointing out that Conti was "probably one of the best colorists" of the Florentine school of his time. These two characteristics led the art historian Paolo dal Poggetto to nickname him the "Florentine Tiepolo". 2. Judith and Salome, two biblical characters opposing each other These two paintings form a pair presenting two biblical episodes, which have in common the depiction of a "heroine" carrying the severed head of a man. While the Salome episode might at first appear to be an echo of the Old Testament story of Judith, each character is the exact opposite of the other. Judith, whose story is told in the Book of Judith, is a beautiful young widow from Bethulia who, accompanied by her maid, went into the camp of the invading Assyrians and won the confidence of Holofernes, the general commanding the enemy army. Invited to a great feast on the fourth evening, she took advantage of Holofernes' drunkenness to cut off his head. “She went up to the bedpost near Holofernes’ head, and took down his sword that hung there. She came close to his bed, took hold of the hair of his head, and said, “Give me strength today, O Lord God of Israel!” Then she struck his neck twice with all her might, and cut off his head. Next she rolled his body off the bed and pulled down the canopy from the posts. Soon afterward she went out and gave Holofernes’ head to her maid, who placed it in her food bag...

Art Sz: 4 1/4"H x 3 1/2"W Frame Sz: 8"H x 7"W Paul Sandby RA (1731 – 7 November 1809) was an English map-maker turned landscape painter in watercolours, who, along with his older b...

Red chalk on paper Image size: 9 x 7 inches (23 x 17.75 cm) Acid free mount The Greek god Attis was the spouse of Cybele, the fertility goddess.  He was from Phrygia, a kingdom in c...

Though he is most celebrated today for his extraordinary work as an artist of ornithological and zoological subject matters, Schouman was also a prolific documenter of landscape in his native Holland. The present drawing, which depicts a view of the Castel of Vianen, fits securely into a corpus of drawings Schouman produced on the same scale and in the same distinctive combination of media, examples of which are today housed in the collection of the Koninklijk Zeeuwsch Genootschap der Wetenschappen, Middelburg. Castle Batestein (also called Batenstein ) is a castle disappeared from the Netherlands . It was built on the banks of the Lek in the small town of Vianen, then in the province of South Holland (now in the province of Utrecht ). The castle was burned down in 1696 and then demolished. Remains only the Hofpoort (or castle gate...

The pair consists of the present work and an engraving after it by the hand of Giles DeMarteau (Liège 1722 – 1776 Paris) titled Woman in Fantasy Costume, after Jean Baptiste Le Prince, and measuring, 10 ⅜ x 8 ⅝ inches (26.5 x 22 cm). DeMarteau's engraving is inscribed at the bottom: Le Prince inv. del. / Demarteau sc. / A Paris ches Demarteau Graveur du Roi, rue de la Pelterie à la Cloche...

Unknown Artist, French School 18th Century, Circle of Mallet? Scene taken from the Decamerone. Old Master Drawing

Carle Vernet (French, 1758 – 1836) ‘La Marchande de Coco’; and ‘La Tour de Babbe d’un Charbonnier’ Ink, watercolour on paper Both signed C Vernet and Carle Vernet (lower left and lower right respectively) 12.1/4 x 9 in. (31 x 22.8 cm.) A pair Vernet was born in Bordeaux. At the age of five, he showed an extraordinary passion for drawing horses, but went through the regular academical course as a pupil of his father and of Nicolas-Bernard Lépicié. Strangely, after winning the grand prix (1782), he seemed to lose interest in the profession, and his father had to recall him back from Rome to France to prevent him from entering a monastery. In his Triumph of Aemilius Paulus, he broke with tradition and drew the horse with the forms he had learnt from nature in stables and riding-schools. His hunting-pieces, races, landscapes, and work as a lithographer were also very popular. Carle's sister was executed by the guillotine during the Revolution. After this, he gave up art. When he again began to produce under the French Directory (1795–1799), his style had changed radically. He started drawing in minute detail battles and campaigns to glorify Napoleon. His drawings of Napoleon...

Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...

Georg Philipp I RUGENDAS (1666-1742) Frederick I of Prussia Red chalk, ink and brown wash on paper 45x42 cm This drawing has been long considered representative of Charles VI. In r...

Graphite and grayish ink wash on bluish wove paper, 7 x 10 1/2 inches (177 x 265 mm) (matrix). Scattered surface soiling, adhesive residue, dog-eared corners, and scattered edge tears along left margin, outside of image area. Paper is braced on the verso with two pages from a mid 19th century book with illustrations by C.Perrin. One image depicts a scene of a group of soldiers representing the Holy Roman Empire...

This rare drawing by Nattier is part of a set of preparatory studies executed in 1717 for one of the painter's first commissions, the painting commissioned by Tsar Peter I of Russia ...

Sir Thomas Lawrence PRA 1769-1830 Portrait of a Young Officer Pastel with touches of black chalk on paper Signed and inscribed on an old label verso: "Be pleased to keep away / from the Damp & from dust / T Lawrence AE 13. / 1783." Wash mount and gilt frame Provenance W.E. Spooner; Anonymous sale, Phillips London, 17 April 2000 lot 196 Sothebys, Old Master & Early British Paintings, 14 April 2011 • London Lot 246 Old label verso describes how this was drawn in 1783 at the age of 14! This is a portrait of an officer from the Irish Volunteers. The Irish Volunteers was a part-time military force raised by local initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War. As a young boy Thomas Lawrence lived with his parents who ran a coaching inn near Bath. Clearly talented from this young age, he drew the passing travellers who stopped at the inn and this soldier may have been one such sitter. Lawrence was only 13 years old when he drew this work. To capitalise upon their son's talents, the family later moved to Bath and sent Lawrence to London in 1787 where he entered the Royal Academy schools at the earliest possible age. Works from such an early period of Lawrence's creativity are rarely to be found today. This rare early portrait drawn in Bath shows the level of technical skill that Lawrence had reached at 14 years old. His use of colour and tone to depict flesh and all the subtle variations in the texture and pigmentation of his sitter’s face, powdered hair and clothes show how Lawrence conceived pastel as a form of painting and partly explains how he could have made the smooth transition to oil painting so soon afterwards. When he arrived in Bath from Devizes in 1780, eleven-year-old Thomas Lawrence (1769–1830) was promoted as a natural-born genius like his Renaissance predecessor Raphael. The local press announced the arrival of the boy wonder and his ‘Striking Sketches’, inviting the ‘Nobility and Gentry’ to sit for their portraits. Thomas Lawrence was a prodigious portraitist from the age of just eight, when he began to draw his first portraits in pencil...

A romantic late 18th-century pastel portrait, attributed to the German portraitist Johann Heinrich Wilhelm Tischbein (1751-1829). Exquisitely presented in its original giltwood frame...

Pastel on paper Image size: 13 x 17 1/2 inches (33 x 44.5 cm) Mounted and framed This original pastel drawing by Thomas Frye is a half-length portrait of a man dressed in a turban. This drawing is the original sketch for one of the heads depicted in Frye's collection 'Twelve Mezzotint Prints' of 1760 and it can be assumed that this pastel work was created earlier of this same year. Two versions of the print, created from this original work, are currently held in the collection of the National Portrait Gallery and the Metropolitan Museum of Art. Frye's evocative figures, although presumably based on living models, exceed the conventions of portraiture, and also function as character studies. The man shown here - dressed in the fashionable 'Turkish' manner - turns with parted lips as if poised to speak, while raising the elegant fingers in one hand in a rhetorical gesture. His long eyelashes and smoothly rendered wrinkles and dimples are hallmarks of Frye's refined style. The Artist Thomas Frye (c. 1710 – 3 April 1762) was an Anglo-Irish artist, best known for his portraits in oil and pastel, including some miniatures and his early mezzotint engravings. He was also the patentee of the Bow porcelain factory, London, and claimed in his epitaph to be "the inventor and first manufacturer of porcelain in England," though his rivals at the Chelsea porcelain factory seem to have preceded him in bringing wares to market. The Bow porcelain works did not long survive Frye's death; their final auctions took place in May 1764. Frye was born at Edenderry, County Offaly, Ireland, in 1710; in his youth he went to London to practice as an artist. His earliest works are a pair of pastel portraits of boys...

Atul Bose - Portrait of a Young Man Pencil on Paper 8 x 6 inches, 1935 (Unframed & Delivered) In this delicate pencil portrait, Atul renders the profile of a young man with remarkab...