Adolphe Monticelli

Elégantes avec leur chien

1870

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

Excellent condition. Signed G. Laeverenz München.

Pristine condition.

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

Margaret Maitland Howard. English ( b.1898 - d.1983 ). Pan, God Of Nature, Playing Panpipes. Oil On Canvas. Signed Lower Left. Image size 22.6 inches x 18.1 inches ( 57.5cm x 46cm ). Frame size 26.8 inches x 22.2 inches ( 68cm x 56.5cm ). Available for sale; this original oil painting is by the English artist Margaret Maitland Howard and dates from the 1930s. The painting is presented and supplied in a sympathetic contemporary frame (which is shown in these photographs), mounted with new fixtures. The canvas has been lined and mounted on a newly constructed custom made stretcher. The painted surface has benefitted from cleaning and conservation, all of which was performed on our instruction, supervision and approval. This vintage painting is now in very good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower left. Margaret Maitland Howard was an accomplished and versatile English artist whose works spanned the early to mid-20th century. Known for her evocative and often mythologically inspired oil paintings, Howard’s work reflects a deep engagement with classical themes and her knowledge of nature, and the human form. She was also proficient working in watercolours and pastels and an accomplished sculptor. Margaret, who was always known as “Marjorie” was born in Friern, Barnet, London on 31 July 1898, the daughter of artist and civil servant Henry James Howard. She grew up at Sutton, Surrey, where she spent most of her life. She spent many years living and working from St. Katherine’s, Malgrave Road, Sutton, Surrey. She was educated privately, at the Byam Shaw and then attended the Vicat Cole School of Art, completing her studies at the Royal Academy Schools, where she won five silver medals and other awards. She was also the recipient of a British Institute scholarship and extension and won the 1926 prize for her portrait work at the National Welsh Eisteddfod in Swansea. She exhibited paintings at the Royal Academy, showing at least ten works of classical and biblical themes at Summer Exhibitions between 1923 and 1935. She was one of the early group of women who painted nudes, a practice which was considered somewhat risqué and vulgar in the early twentieth century. She also exhibited at other leading galleries and in the provinces and consistently pursued her art despite the challenges posed by the societal norms of the time. Howard had a significant professional career for a woman of her generation. Just after World War II she was appointed draughtsman to the Institute of Archaeology at London University where she worked from 1948 to 1960. This is now part of University College, London. Here, she worked as an illustrator and sculptor, creating models for Professor Frederick Zeuner to use in his lectures. She also illustrated one of his important books (Zeuner, F.E. Dating the Past, London: Methuen). She also created the bust of Gordon Childe, now in the Institute’s Library. After her retirement from the Institute of Archaeology she collaborated with Ian Wolfran Cornwall on his series of books about the prehistoric world. In 1956, whilst working for the British Institute for the Study of Iraq, she moved to Balawat and supervised the archaeological work at the site of an ancient Assyrian city in northern Mesopotamia. She subsequently prepared drawings of the Balawat Gates, which was significant and technical work. In addition to illustrating various books on ancient history and anthropology, Howard was also known as an illustrator of fictional books, producing an illustrated edition of the Fables of Aesop that was published by John Lane at The Bodley Head in 1926. She also illustrated Elizabeth Ward...

Pair of paintings each in original American Federal Period white pine gilded scoop frames with inner row of beads. Framed Dimensions: 24 x 29 1/2 inches. Provenance available upon request. Michele Felice Cornè, considered to be Salem, Massachusetts’ most versatile early nineteenth century artist, painted this remarkable pair of paintings about a decade after he arrived in America from Naples, Italy. Cornè worked and lived in Salem from 1800-06 when he moved to Boston. During his Boston tenure (1807-22) the artist was noted for painting portraits of Boston ships and naval battles of the War of 1812, as well as taking on major mural commissions. This charming pair of paintings, each of two children playing, were possibly intended as overdoor decorations for a Federal period house. Cornè’s most ambitious decorations were the wall murals which he painted for the Sullivan Dorr house in Providence in 1810. And this pair of paintings seems to date from about the same period. From 1822 to his death in 1845 he lived in Newport, Rhode Island. The pair of paintings of Children playing was long in the famous Americana collection of Benjamin Flayderman. Flayderman was said to have set the standard for collecting in American furniture and decorative arts in the 1920s. Much of his collection was sold at a legendary sale at the American Art Association-Anderson Galleries (predecessor of Parke-Burnet and Sotheby’s, New York) in April of 1931. These paintings, however, were retained by Flayderman and descended in his family. Cornè was instrumental in transferring current Neapolitan painting techniques as well as Italian landscape themes to America. On the subject of Cornè's non-marine work, Nina Fletcher Little, the Cornè expert, stated: “Although Cornè's claim to twentieth century recognition has rested chiefly on his marine subjects, it is becoming increasingly apparent that he was equally successful in the charming landscapes he placed upon overmantles, fireboards, and framed canvases. Many depict the rolling countryside of his native Italy, which he copied from romantic engravings. These compositions, featuring grazing cows and frolicking peasants, are extremely colorful and picturesque. Arched bridges, steepled churches, crenellated castles, and round stone towers form most decorative backgrounds.” The two paintings: Two Children at Play with a White Bird and Two Children Playing recall earlier European and Italian models. Cherub paintings were popular throughout western Europe in the last quarter of the 18th century. But these Cornè paintings also recall the Renaissance paintings of putti such as the little angels by Raphael, painted as part of his Sistine Madonna, and lately enjoying greatly renewed popularity and notice. Cornè often used Italian old master models as a basis for landscape or figure paintings. Cornè was born on the island of Elba in 1752. During the Napoleonic Wars, he sought refuge and sailed to America on the ship Mount Vernon commanded by Elias Hasket Derby, Jr., at whose father's house Cornè resided in Salem. The artist arrived in Salem, Massachusetts in July of 1800. Derby, impressed by the Neapolitan marine paintings that he had seen and collected during his Mediterranean voyages of the late eighteenth century, sought to make the same skills available in Salem by encouraging Cornè to live and work in that town. Cornè was quite successful in transferring the current Neapolitan decorative painting to America, and his popularity grew rapidly. Cornè attracted the patronage of many in Salem, and was introduced to Samuel McIntire with whom he worked on many of Salem's houses. Between 1807 and 1809 he was at 27 Hanover Street in Boston, but by 1810 the city directories list him at 61 Middle Street. By 1822, he was settled in Newport, Rhode Island and received enough patronage to support him the rest of his life. Cornè is well represented in public and private collections including the American Antiquarian Society, Worcester, Massachusetts, the Peabody-Essex Museum of Salem, Bowdoin College Museum of Art, Boston Museum of Fine Arts, New Haven Colony Historical Society, the New York Historical Society, Newport Historical Society, Redwood Library and Athenaeum, Rhode Island Historical Society, the Smithsonian Institution, the Society for the Preservation of New England Antiquities, the United States Department of State, the United States Naval Academy...

Girl with horse. 2004. Oil on canvas, 65x75 cm

Violet Melody (Accordion time). 2014. Oil on canvas, 50x60 cm