Bamboo Paper Paintings

Beautiful and interesting watercolor painting on paper attributed to the great Neapolitan artist Domenico Morelli. It depicts one of his favorite subjects, namely an oriental woman c...

Lovely and authentic all original mid 19th century pair of small Chinese Pith Paintings; under glass and double matted in a single plain narrow black straight reeded trimmed wooden f...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

The Market, (fauvist painting of NYC scene) 1940's. image is 10X 11.5 inches. Hand signed lower right Lower East Side Tenements Pushcart Market Watercolor on paper board. Samuel G...

This circa 1855 Chinese hand painted pith painting portrays a Chinese tradition of a celebratory warrior dance to display fighting dominance; the two parties being a typical warrior ...

“Six Figures, c. 1965-70” by Sakti Burman (b. 1935). A wonderful example of Burman’s distinctive fusion of Indian folkloric imagery with European surrealist and fantastical sensibil...

Difficult to find set of six diminutive mid 19th century Qing Dynasty hand painted Chinese Pith watercolor paintings; prepared for the tourist trade; depicting mores and customs of C...

Fine quality three character mid 19th century (circa 1850) watercolor on pith paper; a Chinese painting; depicting an Emperor with. perhaps, a concubine by his side and a page or eun...

In this painting the artist uses gestural brushstrokes, which causes distortion and exaggeration for emotional effect. Andre Elbaz uses as his subject figures walking in old city Jer...

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

A rare and ambitious work from one of Ohio’s most distinctive mid-century painters, Principles of Democracy is an extraordinary four-panel watercolor composition that functions as a ...

Superb quality to this mid 19th century Chinese watercolor pith painting depicting a consort (perhaps one of Emperor Xianfeng's), being served tea by her personal and loyal eunuch; b...