18th Century Art

Original engraving, hand-colored at the time of publication, after the work of George Edwards from "Sammlung verschneider auslandischer und seltener Vogel" by Johann Michael Seligma...

Mickalene Thomas Portrait de Priscilla Le Petit Chien, 2012 Pigment print on 100% cotton rag paper Edition 148/150 Frame included with official COA affixed to the back Hand numbered from the edition of only 150 with plate signed official Certificate of Authenticity on the verso of the frame. This exquisite print, published in 2012, is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. Highly acclaimed contemporary art star Mickalene Thomas created this collage specifically for children- though adults will appreciate it as well - as will pet lovers! Portrait de Priscilla Petit Chien features Priscilla, Thomas' own dog who frequently attends the artist's photoshoots. This limited edition archival pigment print is printed on cotton rag paper and accompanied by a plate (facsimile) signed and uniquely hand numbered certificate of authenticity. It is matted and comes in a 1"-deep wooden frame with Plexiglas®. Wired for hanging. Edition of 150. This professionally framed limited edition pigment print on 100% cotton rag paper is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. The print is matted and comes in a white wooden frame (16" x 19" x 1") with Plexiglas, wired for hanging. Dimensions: 11" x 14" sheet, 9-1/4" x 12" image. Mickalene Thomas Biography: Mickalene Thomas (b. 1971, Camden, NJ; lives and works in Brooklyn, NY) makes paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense of self are informed by the ways women are represented in art and popular culture. Rhinestones—the artist’s signature material and a symbol of femininity—serve as an added layer of meaning and a metaphor of artifice. Thomas uses rhinestones to shade and accentuate specific elements of each painting, while subtly confronting our assumptions about what is feminine and what defines women. Thomas has drawn inspiration from multiple artistic periods and cultural influences throughout Western art history, particularly the early modernists such as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse, Edouard Manet, and Romare Bearden. She models her figures on the classic poses and abstract settings popularized by these modern masters as a way to reclaim agency for women who have been presented as objects to be desired or subjugated. Though Thomas draws from a number of time periods and genres, her use of pattern and domestic spaces often references various periods throughout the 1960s to the 1980s. This was a time of immense social and political conflict, change, and transformation—the civil rights movement, the black is beautiful movement, and the second wave of feminism—during which many women, particularly African-Americans, rejected and redefined traditional standards of beauty. Thomas received a BFA from the Pratt Institute, Brooklyn, NY, in 2000 and an MFA from Yale University School of Art, New Haven, CT, in 2002. Solo exhibitions of her work have been organized at The Dayton Art Institute, OH (forthcoming, 2018); Henry Art Gallery, Seattle, WA (forthcoming, 2018); Pomona College Museum of Art, Claremont, CA (forthcoming, 2018); Georgia Museum of Art, Athens, GA (forthcoming, 2017); Newcomb Art Museum, Tulane University, New Orleans, LA (2017); Spelman College Museum of Fine Art, Atlanta, GA (2017); Museum of Contemporary Art, Los Angeles (2016); Aspen Art Museum, CO (2016); Aperture Foundation, New York (2016); George Eastman Museum, Rochester, NY (2014); Brooklyn Museum, New York (2012-13); Santa Monica Museum of Art (2012); Institute of Contemporary Art, Boston (2012); Hara Museum of Contemporary Art, Tokyo (2011); and La Conservera Centro de Arte Contemporaneo, Ceuti, Spain (2009). Select group exhibitions featuring her work include Third Space / Shifting Conversations About Contemporary Art, Birmingham Museum of Art, AL (2017); Constructing Identity: Petrucci Family Foundation Collection of African-American Art, Portland Art Museum, ME (2017); The Color Line: African American Artists and the Civil Rights in the United States, Musée du quai Branly, Paris (2016); SHE: International Women Artists, Long Museum, Shanghai (2016); No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, traveled to the National Museum of Women in the Arts, Washington, DC (2015); 30 Americans, Corcoran Gallery of Art, Washington, DC (2011), which has traveled extensively around the United States (2011-2017, ongoing); and Americans Now, National Portrait Gallery, Washington, DC (2010). Thomas’ work is in numerous international public and private collections, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo. Thomas has been awarded multiple prizes and grants, including the USA Francie Bishop Good & David Horvitz...

'Insubria' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches ...

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

Antique American school modernist landscape with male figures. Really well painted and a very interesting composition. Impressive giltwood frame as well! Signed and dated lower ri...

'Sicilia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches c...

Belleza (The Art of Beauty) Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed...

Antique French impressionist portrait oil painting of two young girls. Oil on board. No signature found. Framed. Image size, 10L x 18H.

'Africa' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches co...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

'India' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches con...

Winter Shadows 35 by Eleanor Woolley [October 2021] original Oil Paint on Canvas Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:15 cm x W:15 cm x D:3.8cm Sold Un...