Eugénie Morin Art

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 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...

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

"My Fair Lady" 1958 West End Theatre Costume Drawing Mid 20th Century Modern Cecil Beaton (1904 – 1980) "My Fair Lady," Pen and ink on paper. ...

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...

"Steel Factory" Cuban Mid 20th Century Modern Drawing WPA Latin Art Industrial Ink on paper. 12 x 19 inches. Pogolotti lived in Paris in the 1930s. The drawing here comes from the collection of his Parisian ophthalmologist, Dr. Prokopenko . Unfortunately, the artist lost his eyesight in 1938. Marcelo Pogolotti (1902–1988) was a Cuban painter...

“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...

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...

"Let's Make an Opera" Original Drawing NYT Published, Norman Del Mar Conducts Al Hirschfeld (1903-2003) "Let's Make An Opera" Ink on board 13 1/2 x 18 1/2, sight Framed: 22 1/2 x 27...

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...

This late 19th century French pen and ink drawing depicts the decoration of Monte Carlo by Lucas and George Clairin (French, 1843-1919). The price inc...