Old Masters Drawings and Watercolor Paintings

'Insubria' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches ...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

Christ on the Cross attributed to Jan Luyken (Dutch, 1649–1712) inscribed 1674 upper corner pencil drawing, watercolor and ink wash on paper over oard, framed framed: 12 x 11 inches ...

'Mgnaminia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Roman School, 17th century, circa 1606 to 1630 Circle of Giovanni Baglione (Rome, 1566 to 1643/44) The Penitent Saint Peter, also known as Saint Peter and the Rooster Pen and brown...

'Providenza' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inche...

Circle of Leonardo da Vinci (Vinci, 1452 – 1519, Clos-Lucé) First half of the 16th century Study of a Bearded Man in Profile, Facing Right Red chalk on paper 8 × 6 cm Unsigned Provenance: Private collection This delicate drawing belongs to the Lombard school and was created by an artist working under the influence of Leonardo da Vinci, very likely within his close circle. The profile recalls the Apostle at the far left of The Last Supper, and may even derive directly from Leonardo’s own compositional sketches for the mural (Gallerie dell’Accademia, Venice, inv. 254). While Leonardo’s version carries a profound religious and political message, this sheet reveals a more naturalistic interpretation. The precise outlines and the controlled hatching distinguish it from the master’s hand, yet the subtle modeling of the face in red chalk shows clear echoes of Leonardo’s refined technique. Comparable examples are preserved in the Royal Collection Trust, Windsor, including The Head of an Old Man Crowned with a Wreath of Laurels (recto) and The Head of an Old Man in Profile, both originally from Francesco Melzi...

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A fine work with masterful detail by an exceptional artist whose name is lost to history. European School, 17th century Ink and wash in black, sepia and grayish brown ink with white...

Italian School, 17th century Study for the Vision of Saint Anthony Red chalk on paper 247 x 185 mm Unsigned Provenance Private collection, Paris Collection of Count Alessandro Mag...

GIOVANNI FRANCESCO BARBIERI, known as GUERCINO (1591-1666) Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso) Black chalk heightened with white on light blu...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

Graphite on greenish gray wove paper. 15 1/4 x 11 5/8 inches (390 x 295 mm). Initialed "G. B." in pencil on the lower right recto. In generally good condition with some minor scattered surface soiling. Condition is consistent with age. ____ This drawing is closely related to two known mid 18th century oils...

The Hunting Party Attributed to Dirk Maes (1659-1717) Dutch. Figures in a Classical Landscape, Watercolour and wash on paper, Mounted, unframed image 6.75" x 9.75" (17.1 x 24.7cm)...

Rembrandt van Rijn 1606–1669 Dutch Jan Cornelis Sylvius, Preacher New Hollstein Dutch and Flemish (Rembrandt) 235, state 2/2 Bartsch 280 Printed by Rembrandt Signed and dated "Rem...

'Napoli' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Pen and brownish black ink on grayish-cream laid paper, 6 1/2 x 8 inches (165 x 175 mm), irregular hexagonal sheet with margins. Some archival repairs along the top sheet edge, scatt...

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

Inscribed on the verso: EE 27/10

Drink Seller (Venditore di Bibite) is an original gouache drawing on paper realized by Michela De Vito, Naples. Hand-signed on the lower center. Titled on the lower center. The wor...

Italian School, 16th Century Studies of Figures Pen and ink on paper, 23 × 24 cm Unsigned A finely executed sheet presenting vigorous figure studies, drawn with assured pen strok...

A rare and charming study of cows by 18th Century French painter, engraver and designer Jean-Baptiste Huet. The details are: Jean Baptiste Huet (French, 1745 – 1811) Study of cows P...

Flemish school from the beginning of the 17th century (Circle of Martin DE VOS) Drawing Pen and wash 38 x 32 cm (58 x 52 cm with the frame) Inscription "Martin de Vos" Excellent cond...

GIACINTO BRANDI (Poli 1621 – 1691 Rome) The Discovery of Moses Pen and brown ink, brown wash 43.2 x 29 cm Bears an inscription at the lower edge “Agostino Tassi” and on the revers...

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

Late 18th Century French Jean-Baptiste Perronneau Credited Pastel on Paper This not signed work, is a portrait of a woman, traditionally attributed to Jean-Baptiste Perronneau (1715–...

STUDIO OF RAFFAELLO SANZIO, called RAPHAEL (Urbino 1483 – Rome 1520) Title The Holy Family with the Infant Saint John the Baptist Medium Pen and brown ink, brown wash, over black ch...

Woman In Costume is an original watercolor on ivory-colored paper, realized by Michela De Vito in the first half of XIX century. Good conditions exc...

Giacomo Cavedone (Sassuolo 1577 – Bologne 1660) Head of an Old Man, probably Saint Joseph Black chalk with white heightening on brown prepared paper 381 × 273 mm (15 × 10¾ in) Unsi...

China ink and Watercolour. With handwritten notes, indicating the place and date of the artwork in lower margin: "Fait proche de Turin, ce 13 Juin 1744". Numbered on the lower right ...

This drawing by Johann Rudolf Feyerabend, known as Lelong, is a finely executed still life that captures a rustic yet elegant composition. The detailed rendering of objects—such as t...

Studio of Carlo Maratti (or Maratta) Camerano 1625 – Rome 1713 Studies of a kneeling female figure, an arm, a hand, and a head in profile Red chalk on paper 43.4 x 26.6 cm Unsigne...

18th Century french School, Courtyard of a ruined palazzo, An Architectural Capriccio, Pen and black ink and black ink wash on paper 17 x 12 cm In good condition Framed : 32 x 26 c...

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...

Inscription ‘Henriette de/ Balzac maitresse/ d’henry 4’ (upper left) Otherwise unsigned The physiognomy of the sitter is close to another anonymous portrait by Dumonstier, more det...

Louis-Félix de La Rue (1730-1777)  Putti playing around a sculpture, a mythological scene Pen and brown ink on paper 15.4 x 31 cm In good condition The ancient mount has has a smal...

Circle of Nicolas Poussin (French, 1594-1665) Maiden’s harvesting flowers Sanguine on paper 8. ¾ in. (22 cm.) tondo

Anthonius VAN DYCK (1599–1641) A portrait study of a standing man Black and white chalk on bluish green paper, 25.4 × 17.5 cm Unsigned Provenance Collection Julius Samuel Held (1...

Giovanni Benedetto Castiglione, called Il Grechetto (Genoa 1609–1664 Mantua) The Raising of Lazarus Brush drawing in red and brown oil paint, heightened with blue and white, on laid...

In this double-sided red chalk study, Simone Cantarini offers us a double reflection on the theme of the Judgment of Solomon. This sheet reveals his precise style and his sense of de...

Roman School (circa 1590–1620) Study of a Male Executioner Black chalk on laid paper, 275 x 199 mm Unsigned Formerly Giancarlo Sestieri Collection This dynamic figure study, exe...

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...

Italian School, 17th century Study after Bernardino Lanino’s Frescoes in Santa Caterina, Milan Red chalk on paper 297 x 186 mm Annotated on the verso: “Vani” (otherwise unsigned) ...

Italian School, 18th century, circle of Giovanni Battista Piranesi Capriccio con arco (verso: study of a man) Brown ink on paper, 39 x 24.5 cm Unsigned Provenance: Private collec...

French School, 18th century Circle of Hubert Robert (1733–1808) Landscape with Antique Ruins Red chalk on paper, 31 x 20.5 cm Unsigned Collector’s stamp lower left, very faint: “L...

Benedetto Caliari (Verona 1538 – 1598 Venice) Portrait of a Woman Pen and brown ink, brown ink wash, heightened with white gouache, on prepared brown paper 22.4 × 30 cm Provenance...

French School 18th Century, Le Rire, Laughter as a form of expression, Titled on the lower right "Le rire N°12" Black chalk on paper 43 x 29 cm In quite good condition, stains vsibl...

Louis Lesueur (1746-1803) A Fantasy Landscape with ancient ruins, 1789, signed and dated "L Lesueur 1789" in the bottom centre Pen and ink and ink wash on paper 14.8 x 22 cm In goo...

Follower of Giovanni Francesco Barbieri, called Il Guercino (Cento 1591 – 1666 Bologna) Sibyl or bust-length woman, seen in profile to the left, wearing a turban Red chalk on paper,...

Collections: J. Goodfriend, USA. Brown wash and pencil on laid paper Framed dimensions: 13.25 x 11.75 inches This powerful drawing was made at the time that Romney was painting the famous group portrait of the Gower Children now in Abbot Hall Art Gallery, Kendal. Romney was a bold and incisive draughtsman who made numerous rich brown ink studies, principally for historical compositions; by contrast, comparatively few studies linked directly to his portraits survive. The existence of a group of studies for the Gower Children underscores its importance to Romney. The sitters were the five youngest of the eight children of Granville, 2nd Earl Gower who, at the time the portrait was commissioned, was President of the Council in Lord North’s government and one of the best-connected and most influential people in England. The present drawing which is a large scale treatment of the composition in its final form perfectly distils Romney’s conceit: the younger children dancing whilst their elder sister, in the guise of a Bacchante plays the tambourine. The bold and dramatic study underlines both the artistic confidence and classical grandeur Romney gained during his trip to Italy between 1773 and 1775. The commission from Granville, 2nd Earl Gower to paint five of his children came shortly after Romney’s Continental tour. The initial idea, as represented by the present drawing, seems to have been to paint Lady Anne, the figure on the right of the composition playing the tambourine, who was the youngest of Gower’s first four children by his second wife Lady Louisa Egerton and who married the Rev. Edward Vernon Harcourt, later Archbishop of York, with three of her younger half-siblings by Gower’s third wife, Lady Susanna Stewart: at the left Lady Georgina, who became Countess of St Germans following her marriage to the Hon. William Eliot; at the right Lady Charlotte Sophia, later Duchess of Beaufort and in the centre Lady Susanna, later Countess of Harrowby. Romney added a fifth child to the finished portrait, Gower’s son: Lord Granville, later created Viscount Granville and Earl Granville. In Italy Romney had produced a large number of studies of classical antiquities and old master paintings. The commission from Gower offered Romney the opportunity to explore a complex multi-figural group, putting into practice the kind of ambitious classical quotations that Reynolds was currently exploiting. In 1773 Reynolds had completed the remarkable group portrait of the Montgomery Sisters, now in the Tate Gallery, London, which showed them adorning a herm of the Roman god Hymen; the composition used a garland to link the three figures who were shown in classical costume dancing at the foot of a Roman sculpture. Scholars have long pointed to a similar sources for the two compositions: the works of Nicolas Poussin. Whilst the Montgomery Sisters is based, in part, on a Bacchanal now in the Musée des Beaux-Arts, the Gower Children has always been associated with Poussin’s Dance to the Music of Time, now in the Wallace Collection, London. It seems more likely that Romney was looking to an antique source in the form of the Borghese Dancers, a Roman relief, then in Palazzo Borghese in Rome. Romney would have seen the relief of interlocking, dancing maidens and would also have known Guido Reni’s Aurora...

We would like to thank Mrs. Ursula Verena Fischer Pace for suggesting the attribution to Donato Arsenio Mascagni. We were immediately seduced by the rich tonalities of this allegory...

FEDERICO BAROCCI (Urbino 1526-35 - 1612) Study of bearded man Black and red chalk, stumping, pastel heightened with white on brown-prepared paper 15 3/8 x 10 5/8 in 39 x 27 cm Unsi...

Attributed to Jacob JORDAENS (Antwerp 1593–1678) Study of Feet and a Figure Sketch Red and black chalk on laid paper 25.9 × 18.4 cm (10¼ × 7¼ in.) Unsigned Minor losses, folds, an...

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...

Artus WOLFAERTS (1581-1641) Study of a head Oil on paper, transferred on panel. 39,5 x 29 cm Unsigned Provenance Private collection, France Firstly thought to be from Rubens’s S...

DENYS CALVAERT (Antwerp c. 1540 – 1619 Bologna), ATTRIBUTED TO Screaming Face Red chalk on paper 17.5 x 14.5 cm After 1608 Unsigned Provenance: Unidentified collection (Lugt L.2339...

Giovanni Francesco Barbieri Guercino Italian 1591-1666 Portrait of a Merchant Sanguine on laid paper Image size: 12 ¾ x 16 inches (32 x 40....

Attributed to Gabriel-Jacques de Saint-Aubin (Paris, 1724 – 1780) Le Menuet, circa 1765–1770 Red chalk on paper 13 3/8 x 8 1/4 in (34 x 21 cm) Verso: black chalk and red chalk Unsi...