Edward Robert Hughes Art

An early work on paper, by American Impressionist painter, Ben Fenske. It's rare to see a drawing like this from Fenske, especially of a self portrait. Fenske uses classical draftin...

19th century French school Drawing Trois crayons on paper Alleged portrait of chapelain William Rounseville Alger (1822-1905) 25 x 20 cm (28 x 23 cm with the frame) Very good condit...

Boleslaw Cybis (1895-1957). Taos (Timeless Ritual), Indian Negro Series, 6 of 18. Conte on paper, sheet measures 18 x 23 inches. Small tear in sheet left margin. Evidence of alteration of image lower left where writing was probably removed before photographs require to create lithograph. The area has oxidized consequently. Signed by the artist some years after its creation in blue ink, lower left, ca. 1950's. the sheet is hinged at top margin, not glued down to backing board. Provenance: Cybis Archive. This original drawing was created in 1939-40 during an extensive visit to the Southwest US. The artist created 18 portraits and titled the series "Indian Negro Serie". Of the 18 images, 9 were selected to be included in a limited edition lithographic series some 30 years after creation. 1000 editions were printed. This is the original drawing upon which one of the images is based, and is thus unique. Of the 18 original drawings, 2 are owned by the polish government, 5 are in our collection and the other 11 are whereabouts unknown. The artist and his wife opened a porcelain factory in the 1950's, Cybis Studios. The only non-porcelain retail offering from the Cybis studio was a 1970s art issue called the Folio One. This was a limited edition reproduction series taken from nine conté drawings of Native Americans made by Boleslaw Cybis in 1939. Conté is the name of a type of crayon made of compressed charcoal or graphite mixed with wax or clay. The artist Georges Seurat was particularly fond of using conté for his drawings. Boleslaw Cybis was fascinated by the Native American (then typically referred to as American Indian) culture and peoples. This may seem odd when you consider that much of his ceramic-based works were distinctly Rococo and/or Old World European in style….a pretty stark contrast, I’d say! But Cybis was nothing if not eclectic in his tastes. The originals were reproduced as color lithographs, in an edition of 1000, in 1970. This meant “1000 of each individual print.” At present its original issue pricing is unknown, but a Spring 1972 dealer price list shows the full set of nine at $500. Individual prints could also be purchased at either $50 (for Comanche, Shoshone, or Apache) or $65 (for any of the other six)… representing a $40 savings when buying the entire folio at once versus singly. The Spring 1981 price list is the final one that shows the Folio One set for sale, still at the same price ($500) as it was a decade earlier. Individual prints are not available on that list. According to the 1979 Cybis catalog text “Each of the 12″ x 20″ prints is hand-numbered on heavy Beckett rag-content paper, with a specially designed validating hallmark in the lower right-hand corner, and carries an accompanying page with a brief tribal history.” The hallmark is blind-embossed, not surface printed. However, the Spring 1972 dealer price list cited above described the prints as being 17″ x 23″ in size. Checking past auction listings for the set, the actual prints are indeed 17″ x 23″, which means that the 12″ x 20″ size probably refers to the image area. The overall size of the set’s burlap-covered box is 18.5″ x 24.5″. These nine portraits represent seven different tribes: the Comanche, Shoshone, Taos, Apache, Hopi, Mohave, and Yuma. A bit of trivia is that only two of those tribes (Apache and Shoshone) were featured within the modern studio’s North American Indians porcelain...

Roman School (circa 1590–1620) Study of a Male Executioner Black chalk on laid paper, 275 x 199 mm Unsigned Formerly Giancarlo Sestieri Collection This dynamic figure study, exe...

“Study for Neobule, 1894” by Sir Edward John Poynter (English, 1836-1919) This exquisite 1894 study by Sir Edward John Poynter (1836–1919) serves as a preparatory drawing for his pa...

Auguste Legras (1817-1887) Portrait of a young man in profile, signed lower right Charcoal, red and white chalks on paper 45 x 31.5 cm Framed : 52 x 39 cm This particularly evocati...

La Bella Attrice, 2018 Graphite and White Chalk on Toned Paper, 7.75 x 5.5 inches Exemplifying the essence of Renaissance poise, La Bella Attrice showcases Justas Varpucanskis’s e...

Karl Parsons English 1884 - 1934 Head of a Young Woman Graphite on paper Signed and dated '(19)07' lower left Image size: 6 1/4 x 8 1/2 inches (16 x 21.5 cm) Contemporary Pre-Raphaelite style frame One of Britain's leading stained glass designers during the early decades of the 20th century, Karl Parsons drew portraits invariably for pleasure rather than commissions, throughout his life, and it is in these that one sees most clearly the influence of some of the artists whom he most admired, notably Botticelli, Rossetti and Burne-Jones. Though harkening back to these illustrious forebears, both technically and compositionally, this portrait also epitomises the type of portraiture that was fashionable in British high society at the start of the 20th century. Karl Parson's technique here, with delicate shading and strong outlines, is certainly comparable to Gerald Leslie Brockhurst's graphic style. It is clear that Parsons took delight in demonstrating his skill at sculpting human forms through gentle shading. Karl Parsons was an English stained glass artist associated with the arts and craft movement. Parsons was born in Peckham in Surrey in 1884, the 12th child of Arthur William Parsons...

Edwin Long 1829 - 1891 Portrait Studies Graphite on paper Image size: 4 x 8 inches (10 x 20.5 cm) Framed Edwin Longsden Long RA (1829-1891, British) wa...

FREDERIC JAMES SHIELDS, ARWS (1833-1911) Ellen, A Greek Model Signed and indistinctly inscribed with the name of the sitter on the reverse Chalks on blue/green tinted paper 37 by 28.5 cm., 14 ½ by 11 ¼ in. (frame size 63.5 by 54.5 cm., 25 by 21 ½ in.) Provenance: The Artist’s estate; Private collection. Shields was born in Hartlepool and brought up in extreme poverty with most of his family succumbing to TB. Employed by a commercial engraver he studied at evening classes in London and then in Manchester, where he settled in 1848. He was greatly impressed by the works of the Pre-Raphaelite Brotherhood, which he saw at the Manchester Art Treasures Exhibition in 1857. The quality of his illustrations for Defoe’s History of the Plague (1862) and Bunyan’s Pilgrim’s Progress...

MAXWELL ARMFIELD, RWS. (1882-1972) Siegfried Signed, inscribed and dated l.c.: MAXWELL ARMFIELD/MDCCCCIV [1904] PARIS;SIEGFRIED/ACT III Pencil and watercolour on paper Framed 24 by 16 cm., 9 ½ by 6 ¼ in. (frame size 42.5 by 34.5 cm., 16 ¾ by 13 ½ in.) Provenance: Fine Art Society, London, 1979. Born at Ringwood, Hampshire, of Quaker parents, his father being a milling engineer, Armfield studied at the Birmingham School of Art under Arthur Gaskin and Joseph Southall who taught him the tempera technique he was to practice for the rest of his life. In September 1902, after visiting Italy at the suggestion of Gaskin, he went to Paris, enrolling at the Academie de la Grande Chaumiere and sharing a studio with three other students – Norman Wilkinson (also from Birmingham), Keith Henderson and the sculptor Gaston Lachaise. Returning to London the following year, he embarked on the series of one-man exhibitions that were henceforth to mark his career, showing first at Robert Ross...

Ritratto di Noemi, 2019 Graphite and White Chalk on Toned Paper, 7 x 10 inches “Ritratto di Noemi”, a captivating portrait, by artist Justas Varp...