Hubert-François Gravelot Drawings and Watercolor Paintings

Landscape is a beautiful drawing in watercolor and pencil on ivory-colored paper realized by Jan Peter Verdussen. In good condition; only a smallspots at the edges of the drawing an...

Garden's Flowers is a beautiful artwork realized by Jan Peter Verdussen. In good condition. Not signed. Passepartout included ( 48.8 x 33.8 cm). The artwork represents a Garden's...

Ancient Persian Miniature is an original China Ink and Watercolour realized by an artist of 19th Century. Good condition for a little brown ...

A lovely, early drawing of the Roman god Mercury. Pen and brown ink on cream laid paper, with a partial crown and shield watermark, 7 1/4 x 4 7/8 inches (184x 123 mm) (matrix). In go...

Circle of Giovanni Domenico Tiepolo (Venice 1727 – Madrid 1804) Hercules vanquishing a drakaina (half‑woman, half‑serpent) – interpreted either as Echidna or a personified Hydra c. ...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

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) 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...

An old master drawing that can live in a very contemporary environment! Remarkable use of line and expression - should be enjoyed in an important spot - can grace a kitchen or livin...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

STUDIO OF RAFFAELLO SANZIO, called RAPHAEL (Urbino 1483 – Rome 1520) Title The Holy Family with the Infant Saint John the Baptist Medium Pen and brown ink, brown wash, over black ch...

Baptism of Christ is a beautiful original drawing (pen and ink on paper) by an anonymous of the Neoclassical school of the beginning of the 19th century. A ...

Graphite, ink wash and watercolor on handmade laid paper with a large, indistinguishable ovoid watermark with a bunch of grapes, 8 7/16 x 12 5/8 inches (225 x 320 mm), signed in brown ink in the lower left. With the Henry Scipio Reitlinger oval stamp in brown ink on the verso (Lugt 2274a). The condition of the image and paper is consistent with age, there is minor toning on the recto and some attenuation of the green pigment. The drawing is laid down to an 18th century laid paper support and has a small pencil notation in the lower right corner (modern), and scattered notations in pencil on the verso of the support (also modern, perhaps auction/accession notes). On the paper support is an ink drawing in red and black of what appears to be the floor plan for the wing of a large building. The drawing is top-up, adhered facing the verso of the drawing. The architectural drawing on the support is visible through to the recto of the composition when the sheets are viewed through raking light. There is a small area of stipple point spotting in brown ink on the verso of the support. Examination under black light shows no indication of repairs or additions, expert or otherwise. Provenance: Henry Scipio Reitlinger was born in either 1882 or 1885, attended Kings College...