Albert Al Hirschfeld Interior Drawings and Watercolors

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...

Attributed to Francesco PENNI (1488 – 1528) Study for a fresco Pen and brown ink, brown wash heightened with white on prepared paper 14 x 12 cm Unsigned On the mount, handwriting ...

A modern illustration by American artist Ray Quigley depicting two men inside of a church.

A sensitively drawn and highly-detailed study for a three-panel set of stained glass windows showing the ascension of Jesus by angels and mortals. Initialed, lower right, 'EB-J', an...

“Old love, new love” Drawing, acrylic, ink and colored pencils on paper. I developed a drawing technique based on natural pigments from leaves, flowers and bark with which I intend t...

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...

'Figural Interior' by André Dignimont. Paris, Académie Julian, Salon D’Automne, Benezit, Bordello ---- Signed lower right, "Dignimont" for André Digni...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Jules Andre Smith (American, 1880-1959) In the Art Gallery, 1936 Watercolor and pen and ink Signed Andre Smith, 1936 lower right 10.75 x 8.5 inches 20.25 x 17.25 inches, framed Jule...

Graphite and grayish ink wash on bluish wove paper, 7 x 10 1/2 inches (177 x 265 mm) (matrix). Scattered surface soiling, adhesive residue, dog-eared corners, and scattered edge tears along left margin, outside of image area. Paper is braced on the verso with two pages from a mid 19th century book with illustrations by C.Perrin. One image depicts a scene of a group of soldiers representing the Holy Roman Empire...

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...

French School 19th Century Episode of the Franco-Prussian war of 1870, a cantonment of soldiers during the siege of Paris Pen and brown ink on paper 15 x 23 cm Annotated on the lower...