Lucien-Victor Guirand de Scévola

Guirand de Scevola (1871-1950) An actress in her dressing room, pastel

circa 1920

Louis Tinayre (1861-1942) An encampment of journalists in Chambéry, signed and titled lower left "Campement de journalistes à Chambéry" Ink on paper In quite good condition, a a visible vertical fold in the centre, some stains and foxings 21 x 29 cm Framed : 33.7 x 45.5 cm Louis Tinayre's background and adventurous life obviously inform this humorous and detailed scene. He demonstrates a remarkable sense of observation, capturing this scene of extraordinary life like a journalistic illustrator. A contributor, to whom I'd like to express my sincere thanks, sheds important light on the nature of this scene. It appears that this drawing is the draft for an illustration published in “Le Monde illustré” of August 4, 1888 (page 77), to accompany the article “Épilogue du voyage présidentiel” (Epilogue to the presidential trip) - president Sadi Carnot- en Savoie et en Dauphiné (p. 74), which ends with: “As a picturesque note, we enclose an improvised journalists' dormitory in Chambéry, where our colleagues deeply regretted the comfort of the special train”. As a quasi-ethnographic observer, Tinayre's interest lies in the journalists' camp, which he turns into a tender, comical scene. We understand him better when we know that he may have been similarly fascinated by the territories of Madagascar, the North Pole or the Far West that he painted and drew. Louis Tinayre was born on 14 March 1861 in Neuilly-sur-Seine. His mother, Victoire Tinayre, was a teacher and a member of the International Workers' Association. Louis was the son of a Communard couple. His father, Jean Joseph, known as Jules Tinayre (Issoire 1821 - Paris 1871) was shot during the Bloody Week. His mother, Victoire Tinayre, fled with her children. Louis was the first to be sent to Hungary, and the rest of the family (including his brother Julien) joined him there later. He studied Fine Arts at the Hungarian University of Fine Arts in Budapest. Returning to Paris in 1880 (after the amnesty), Louis Tinayre assiduously frequented Le Chat noir, where he met the positivists and Adèle Jacomet (Buenos Aires 1867-1946), whom he married in 1888. He became an animal painter and press illustrator and was sent by Le Monde Illustré to cover the second expedition to Madagascar (then under French protectorate) in 1895. He stayed there, fascinated, for six months and produced numerous drawings and photographs. Back in France, he created eight 5 x 4 meters dioramas presented at the National and Colonial Exhibition in Rouen in 1896. He returned to Madagascar in 1898 to prepare the creation of a giant panorama representing the surrender of Antananarivo in 1895. The Malagasy pavilion at the 1900 Universal Exhibition in Paris allowed him to admire the dioramas (on the ground floor) and the panorama (on the first floor). On his second trip, Tinayre took a Lumière cinematograph with him to document the daily life of the Malagasy people, no doubt to facilitate the design of the vast panorama. These short films were donated to the Cinémathèque française in 2009 by his grandson, Alain Tinayre. One of the admirers of Tinayre's drawings, watercolours, paintings and photographs at the Universal Exhibition was Prince Albert I of Monaco: from 1901 onwards, Tinayre accompanied him on his hunts, painting scenes in North Africa, Russia, the Far West (Wyoming) and the North Pole. Tinayre, the official painter of the Prince's scientific expeditions, left his name to a glacier. Together with the painter Alexandre Jean-Baptiste Brun, he painted the four murals in the large amphitheatre of the Oceanographic Institute in Paris. Louis Tinayre painted the figures while Alexandre Brun...

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...

French school 19th century, Court scene in front of a palace watercolor on paper 16.4 x 13.3 cm In good condition, some foxings Framed : 30 x 26.5 cm This enigmatic yet charming s...

18th Century Roman School A Palazzo with antiques Brown ink and pen, brown ink wash on paper 12.5 x 20 cm Framed : 28,5 x 35.5 This nice drawing represents a genre scene, with a nobleman, priests, a mother and her children...

oil on linen on mounted board outsider pastel on archival paper *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking f...

Sanatan Dinda - Ganesha - 28 x 20 inches (unframed size) Conte & Dry Pastel on Paper Proposed Frame Size : 3 inches mount on all sides and 1 Inch frame Supported by Artist's Authent...

Sanatan Dinda - Ganesha - 28 x 20 inches (unframed size) Conte & Dry Pastel on Paper Proposed Frame Size : 3 inches mount on all sides and 1 Inch frame Supported by Artist's Authent...

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...