Giovanni Colacicchi Drawings and Watercolor Paintings

Male Nude pencil drawing on wove paper (circa 1900-1920), by Bernard Sleigh, RBSA (Provenance: from the artist's studio). An exquisite drawing which is possibly a study for a larger ...

'Modern Dancers', pastel, ink and gouache on fine art paper by French artist, singer and sculptor, Mick Micheyl (1964). Two elegant young men are depicted in a graceful dancing pose, arms outstretched, their lithe bodies so agile and limber. Perhaps one of the dancers was her friend, Philippe, to whom the painting is dedicated on the bottom. The dedication says: 'For you Philippe, all my friendship'. Signed: 'Mick Micheyl'. The work has been newly framed and glazed after having been acquired in the S. of France. It is in fair vintage condition commensurate with age showing minor blemishing on the paper. Upon request a video of the piece can be provided. Dimensions with Frame: H 75 cm / 29.5" W 61 cm / 24" Dimensions without Frame: H 56 cm / 22" W 42 cm / 16.5" About the Artist: Mick Micheyl (1922 - 2019) was born in Lyon and had a busy and rewarding artistic career as a singer, producer, reviewer, metal sculptor, artist. After having received training at the School of Fine Arts in Lyon she became a painter and decorator in the theatre but then commenced a career in the musical activities of a theatrical troupe. She won the ABC competition in Paris in 1949 with a song, Le Marchand de Poésie, which she composed herself. She then performed in many cabarets: L'Échelle de Jacob, Harlequin and Liberty's. In the 1950s she was one of the most important French cabaret singers of that period. One of her titles, 'Un Gamin de Paris', became one of the French standards and also performed by Yves Montand and Robert Clary...

Juventus 1995-96 - The Embrace of Victory Artist: Marco Silombria (Savona, 1936 - Albissola, 2017) Medium: Charcoal on paper Dimensions: 101 x 72 cm Signed: Lower right, "Si...

Duchándome, May 28th by Celso Castro-Daza From the Duchándome Series Watercolor and ink on an archival paper Individual size: 19.5 in. H x 13.75 in. W Sheet Size: 19.5 in. H x 27.5 i...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Robert Noel Blair (American, 1912-2003) was an American artist, painter, sculptor, printmaker and teacher. He is best known for his rural life & desert landscapes and World War II sc...

John Brock Lear, Jr., an American Modernist artist from Philadelphia, Pennsylvania. His works are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, the D...

Antoniucci Volti (French, 1915-1989) Untitled, 1969 Ink on paper 11 x 14 3/4 in. (each panel) Signed: Volti Sculptor, painter, and printmaker Antoniucci Volti was born in Albano, Italy, in 1915. His family lived in there until 1920 when the family moved to France to stay. Volti studied at the Ecole des Arts Decoratifs in Nice from 1928 to 1920. By 1932 the young artist had won a gold medal for two polychrome bas-reliefs before going to Paris, where he entered the studio of Jean Boucher at the Ecole Nationale des Beaux-Arts in Paris at the age of only fifteen. After serving in the Second World War, when he was interned as a prisoner of war in Bavaria, he returned in poor health to Paris, only to find his studio destroyed. From 1947 he showed work at various Paris Salons and, in 1954 and 1955 at the Brussels and Antwerp Biennales. In 1957 a retrospective of his work was organized at the Museum Rodin in Paris. He died in Paris in 1989 Works by Volti are in leading museums such as the Musee National d'Art Moderne, Paris. Antoniucci Volti is one of the most important Late Modern sculptors...

1948 Nude Study of woman's back with sanquine and charcoal. Titled "Diana" by Carlo Taliabue (Italian/American). Signed and dated lower right corner. Titled upper right corner. Image...

Constance-Marie Charpentier (1767–1849) Academy Drawing of a Man Black and white chalk on paper 56 x 43 cm Provenance: Private collection Constance-Marie Charpentier, a student of Jacques-Louis David, distinguished herself in late 18th- and early 19th-century Paris as a highly skilled portraitist. Despite the obstacles faced by female artists of her time, Charpentier gained recognition and was even awarded a gold medal at the 1814 Salon—a rare and significant honor. This work, a male nude academy...

Antoniucci Volti (French, 1915-1989) Untitled, 1969 Red chalk on paper 14 3/4 x 11 in. Signed: Volti Sculptor, painter, and printmaker Antoniucci Volti was born in Albano, Italy, in 1915. His family lived in there until 1920 when the family moved to France to stay. Volti studied at the Ecole des Arts Decoratifs in Nice from 1928 to 1920. By 1932 the young artist had won a gold medal for two polychrome bas-reliefs before going to Paris, where he entered the studio of Jean Boucher at the Ecole Nationale des Beaux-Arts in Paris at the age of only fifteen. After serving in the Second World War, when he was interned as a prisoner of war in Bavaria, he returned in poor health to Paris, only to find his studio destroyed. From 1947 he showed work at various Paris Salons and, in 1954 and 1955 at the Brussels and Antwerp Biennales. In 1957 a retrospective of his work was organized at the Museum Rodin in Paris. He died in Paris in 1989 Works by Volti are in leading museums such as the Musee National d'Art Moderne, Paris. Antoniucci Volti is one of the most important Late Modern sculptors...

This captivating charcoal drawing depicts the upper half of a nude African American woman adorned with a wrapped headscarf. The contrast between the delicate curves of her bare shoul...