Henry Soulen

The Easter Candle, Ladies Home Journal, 1931

1931

Medium: Oil on Board Signature: Signed Lower Right Sight Size 30.00" x 27.00", Framed 38.00" x 35.00" Saturday Evening Post Cover, May 16, 1931 From the Estate of Charles Martignett...

Medium: Oil on Canvas Signature: Signed and Dated Lower Left: Frank / Bensing / 31 Sight Size 33.00" x 28.00;" 31.50" x 37.00" The Country Gentleman...

Illustration for “Women America Remembers: Peggy O’Neil” by Arthur D. Howden Smith for The Red Book Magazine, published March 1930, illustrated pages 20-21. This painting by Mead Schaeffer depicts a romantic encounter between Peggy O'Neil and her first husband, John Timberlake. The accompanying caption reads: "It was inevitable that Peggy should fall in love—and she did, with John Timberlake, who had little besides his face to recommend him." It was created in 1930 for the third installment of The Red Book Magazine’s “Women America Remembers” series, which features stories of women famous for “personality, beauty, wit or audacity, or because of the tragedy left in their train.” Margaret ("Peggy") O'Neil Eaton remains a figure of historical intrigue, primarily for her central role in the "Petticoat Affair," a significant political scandal during Andrew Jackson's presidency. The circumstances surrounding Peggy’s marriage to John Eaton, occurring shortly after the death of her first husband, John Timberlake, and her family’s background as tavern-keepers, coupled with her perceived impudent personality, subjected her to intense social scrutiny in Washington D.C. Upon John Eaton's appointment as Secretary of War, Peggy faced social ostracism led by Floride Calhoun, wife of Vice President John Calhoun...

Medium: Oil on Board Dimensions: 18.00" x 14.00" Signature: Signed Lower Left Biblical illustration.

Study for Scenography is a painting in watercolor realized in the 1920s by Erminio Loy. Hand-signed on the lower right. Good conditions. The artwork represented through harmonious...

This painting is as much about the artist's brilliant painting skills and technique as it is about the subject matter. Sundblom's quick bravura brush strokes seem abstract on close i...

ALBERT RUTHERSTON, RWS (1881-1953) Tailpiece – Illustration for The Tragedie of Cymberline Signed with initials l.r. AR; also signed with initials and inscribed beneath the mount: Tailpiece for end/of play {Cymberline}/No Reduction unless/”lay out”should make/necessary AR Pen and ink Unframed 6 by 10 cm., 2 ½ by 4 in. (mount size 36.5 by 25.5 cm., 14 ½ by 10 in.) Provenance: Estate of the artist Exhibited: London, Sally Hunter Fine Art, Albert Rutherston, Drawings, Theatre Designs and other Treasures, 2016, no.66 The present work was illustrated in Cymbeline, published by Ernest Benn in 1923. The series was a collaboration between Rutherston and Harley Granville-Barker following on from their work together 11 years earlier at the Savoy Theatre and celebrating the quatercentenary of the Shakespeare Folio edition. Born Albert Daniel Rothenstein, he was the youngest of the six children of Moritz and Bertha Rothenstein, German-Jewish immigrants who had settled in Bradford, Yorkshire in the 1860s. He and his siblings proved to be a hugely talented and artistic family, his elder brother became Sir William Rotherstein (1872-1945), the artist and director of the Royal College of Art; two of his other siblings, Charles Rutherston and Emily Hesslein, both accumulated major modern British and French art collections and his nephew Sir John Rothenstein was direct of the Tate Gallery. He was educated at Bradford Grammar School before moving to London in 1898 to study at the Slade School of Art where he became close friends with Augustus John and William Orpen. He met Walter Sickert during a painting holiday in France in 1900 and by introducing Sickert to Spencer Gove became instrumental in the beginning of the Camden Town Group. He was one of Sickert’s most frequent companions and was one of the original members of the Fitzroy Street Group. Rutherston had a sociable and attractive personality, he frequently travelled abroad with other artists including Max Beerbohm, Spencer Gore, Walter Russell and Edna Clarke...

Sympathy is a watercolor on paper realized by Pierre Laurent Brenot (1913-1998). Good conditions, aged. Included the Passepartout: 32 x 24. There is the lithograph of the same artwork included: 18.4 x 14. Here the artwork represents a couple sitting together in a candlelight. The artwork is depicted skillfully through confident and soft strokes in a well-balanced composition and harmonious colors. Pierre-Laurent Brenot (1913-1998) In 1928, he entered the École Estienne where he attended classes for three years. Then he continued his training as a designer with Fernand Hertenberger. Pierre-Laurent Brenot's gifts of observation and precision in his pencil stroke were immediately noticed.During the fashion years (from 1936 to 1950),he was hired by Monsieur Chatard, a great tailor for men and women, in his Fashionable store, at number 16 boulevard Montmartre. He then created a line of men's suits. On his momentum, he produced numerous fashion designs for other great couturiers (Christian Dior, Jacques Fath, Cristóbal Balenciaga, Nina Ricci, Jeanne Lafaurie...