Adele Grasset

French 19th Century Romantic Period 1830s Paris Society Beauty Portrait

1836

A magnificent and sensitively treated line drawing in coloured ink, heightened with white. It depicts Argan, the hypochondriac from Molière's play of the same name. Dating from circa...

A virtuoso charcoal sketch by the Frech 19th Century master Gustave Jean Jacquet (1846-1904). It depicts a thoughtful woman (or woman in thought?) with her face resting on her hand...

An exceptional ink, wash and graphite portrait of a gentleman by Henri-Joseph Hesse, dating from circa 1820, the time of the Bourbon restoration in France. It depicts a dashing figur...

Superb original drawing in coloured conté pencils, heightened with white on oatmeal coloured vergé paper by Claudio Bravo. The work was created during the artist's Moroccan period, a...

French school circa 1880 Portrait of a boy holding a book graphite and white gouache on paper 39.5 x 32 cm oval view in good condition, slightly yellowed with age In its original ova...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

A charcoal portrait drawing of a young woman. "The emotional intensity found in Bauman’s figurative work is astounding. A hallmark of Bauman’s character portraits is that, somehow,...

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...