Guglielmo Innocenti Art

Feeling of spring. Paper, pastel 21x23 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painte...

This exquisitely detailed drawing by Swedish artist Oscar Lycke captures a rustic settlement nestled in the golden highlands of northern Sweden, most likely depicting the traditional...

Signed "Nell Blaine" upper left in pencil. Signed, titled, dated verso on sheet. Signed, titled, dated verso on backing panel. The artist. Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Purchased by private collectors c.1994. By descent. Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). From her November 15, 1996 NYT obituary: Nell Blaine, a widely respected New York landscape painter and watercolorist, died yesterday at Mount Sinai Hospital. She was 74 and had homes in Manhattan and Gloucester, Mass. Ms. Blaine, who had been hospitalized since July, had been confined to a wheelchair since 1959, when she contracted polio. Ms. Blaine was born in Richmond, Va., in 1922, and first studied at the Richmond School of Art, now part of Virginia Commonwealth University. She moved to New York in 1942 to study painting with Hans Hofmann and later studied etching and engraving at Atelier 17 with Stanley William Hayter. During her first years in New York, her work, which had previously been tightly realist, turned abstract, inspired by Mondrian, Leger and Jean Helion. At one time she was the youngest member of the American Abstract Artists. She was also a founding member of the Jane Street Gallery, one of Manhattan's earliest artists' cooperatives, and had her first solo show there in 1945. Just as Ms. Blaine was becoming known as a promising abstract painter, and gaining the admiration of such critics as Clement Greenberg, she started to shift back to representation. Inspired in part by a trip with Larry Rivers in 1950 to Paris, where she was especially impressed by the work of Vuillard and Bonnard, she immersed herself in the tradition of 19th-century European painting. From the mid-1950's, she cultivated an increasingly painterly and colorful style, usually working directly from nature, or still life, with particular emphasis on the forms and hues of flowers. Her work retained a sense of all-over structure and pulsating energy that she nonetheless credited to abstract art. ''It all goes back to Mondrian,'' she would say. In the 1950's, Ms. Blaine was prominent among a circle of New York artists and poets that included John Ashbery, Frank O'Hara, Kenneth Koch, Mr. Rivers, Jane Freilicher, Leland Bell, Louisa Matthiasdottir, Robert De Niro Sr. and Rudy Burckhardt. She had her first solo show of representational work at the Tibor de Nagy Gallery in 1953 and was represented by the Poindexter Gallery until it closed in 1978, and, in recent years, by the Fischbach Gallery. During the 1950's she supported herself as a commercial artist, designing brochures for art galleries. In 1955, she designed the original logo, column heads and layout for The Village Voice. In 1957, Ms. Blaine was featured in Life magazine as one of five leading young female artists in America. In 1959, after several months of traveling and painting in Greece, she contracted severe bulbar polio on the island of Mykonos. ''To Nell Blaine,'' an exhibition organized at Poindexter to raise money for her hospital bills, included the work of 79 artists, including Saul Steinberg, Robert Motherwell, Elaine and Willem de Kooning, Philip Guston, Mr. Rivers, Ms. Freilicher and Robert Rauschenberg. After eight months in a New York hospital, including five months in an iron lung...

Academic Study of a Clenched Hand, Tuscany, mid-19th century, 29 × 23 cm Pencil on slightly grey paper Academic study depicting a clenched male hand, executed with close attention t...

Giovanni Battista (Italian, 1860-1925) Untitled (Italian Coast, likely Naples), c. 19th century Watercolor Sight size: 13 1/4 x 20 Framed: 22 1/2 x 29 1/2 in. Signed lower left: G. ...

Charcoal and graphite on grayish laid paper, 10 1/2 x 7 3/4 inches (265 x 195 mm), the full sheet. Scattered light, minor and unobtrusive foxing, several non-archival cellophane tape...

Allegory of summer. A fine Italian watercolor and sepia drawing with people harvesting, eating and drinking in a hilly landscape, probably by Antonio Grano (c.1669-1718). In the fro...

A detailed landscape of the Gulf of Naples, with Mt. Vesuvius on the precipice of an eruption. Graphite on light-weight cream wove paper, 10 x 30 1/2 inches (254 x 775 mm), the full...

An Italian red chalk drawing depiction on paper, probably 17th or 18th century, illustrating the dramatic scene of Polyphemus hurling a boulder at Acis and Galatea. Attributed to an...

Red chalk on cream laid paper, 7 1/4 x 9 3/8 inches (182 x 236 mm), the full sheet. In very good condition with minor toning and two small nicks in the top sheet edge. Some modern no...

Architectural Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf wood framed as is.

Italian Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf wood frame (as is).