Henry Clarence Pitz

Spectators Overflow, Collier's Magazine Illustration

1955

Medium: Pen and Ink on Paper Signature: Signed Lower Left James Montgomery Flagg lived with gusto. He epitomized the public concept of the handsome, bohemian artist, surrounded ...

Engagements, Saint Valentine, LIFE Magazine Illustration Inscribed to famed Skippy cartoonist Percy Crosby and signed on bottom edge Signed Lower Cen...

Medium: Pen and Ink on Paper Signature: 11.00" x 11.50" Dimensions: Signed Initials Upper Right

This illustration was used in Toby Tyler or Ten Weeks with a Circus by James Otis. Published in 1937 by The John C. Winston Company - "The Children's Bookshelf" series. The book feat...

"Cherubs" (A) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...

Eva Bouzard-Hui (American, 1936-2023) "Evolutions Book Mark", Mixed Media on Paper and Glass, 1994, signed in pencil and dated "94" lower right, label with title and signature to ver...

We would like to thank Madame Beck-Saiello for confirming the autograph nature of this drawing after an in-person examination. It was probably during an excursion in the countryside near Avignon that Claude-Joseph Vernet executed this drawing, enhanced with pen and brown ink, depicting a mansion on a hilltop overlooking a small village with geometric shapes. 1. Joseph Vernet, a painter influenced by Italy Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron. As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard...

This finely executed drawing in pen and wash is typical of the work of Leonaert Bramer, one of the most fascinating yet little-known artists of 17th-century Holland. In a nocturnal ...