Luigi Quaini Art

1626 dated Red chalk drawing on paper, 28 x 20 cm on the reverse collector's stamp of H(einrich) Lempertz (unfortunately not traceable in the catalogue of his auctioned collection...

The drawing, pencil on laid paper 29 x 27 cm, represents a moment of rest during the Flight to Egypt. It's a study on an etching ispired by a Guido Reni's painting, made by him durin...

This fresh sanguine sheet presents various studies placed next to each other in no apparent order. Two of the feet studies are preparatory to the first major commission received by the young Baldassare Franceschini, shortly after his installation in Florence, the frescoes for the Medici Fastes. This cycle was executed between 1636 and 1646 for the Villa La Petraia, a Medici villa on the outskirts of Florence, which allows us to date this sheet to the artist's youth. 1. The Medici Fastes, the first major commission for a young artist Born in Volterra in 1611, the town from which he took his nickname, Baldassare Franceschini apprenticed with his father, a sculptor of alabaster, one of his home town's specialities, and studied with Cosimo Daddi (1540-1630), a local artist. The Marquis Inghirami, who spotted his talent, sent him to the workshop of Matteo Rosselli (1578 - 1650) in Florence, which was also attended by Francesco Furini (1603 - 1646). In 1636, Lorenzo de' Medici, the youngest son of Ferdinand Ier and Christine of Lorraine, chose the 25-year-old artist, again on the advice of the Marquis Inghirami, to decorate with frescoes the loggias of the inner courtyard of the Villa La Petraia, which he had just inherited on the death of his mother. The project lasted about ten years and included ten scenes placed symmetrically in two loggias on either side of the courtyard: four main scenes and six placed above the doors, each to the glory of a member of the Medici family. This decoration was his major secular project, but Volterrano also executed several religious frescoes and a few easel paintings, often with less success. Among the religious commissions, we can cite the dome of the Colloredo chapel dedicated to Saint Lucy...

Capriccio painting in a greek or Italian style with women around a river. Capriccio is a fanciful architectural landscape painting. It was popular in Italy in the 18th Century. Most ...

Jean-Pierre Norblin de La Gourdaine (Polish: Jan Piotr Norblin; 15 July 1745 – 23 February 1830) was a Polish-French painter, draughtsman, engraver and caricaturist. Born in France, from 1774 to 1804 he resided in the Crown of the Kingdom of Poland, where he obtained citizenship. He is considered one of the most important painters of the Enlightenment in Poland. He achieved great success in Poland. Given many commissions from some of the most notable families of the country, he stayed there for many years, not returning to Paris until the early 19th century. His style showed the influence of Antoine Watteau, and combined the Rococo tradition of charming fêtes galantes and fêtes champêtres with a panorama of daily life and current political events, captured with journalistic accuracy. He created a gallery of portraits of representatives of all social classes in the last years of the Polish–Lithuanian...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

Pierre Berchet, Drawing of Putti playing in a landscape, Painter of decorative history subjects; trained under La Fosse; worked in France and during the 1690s...

Watermark: the arms of Amsterdam Provenance: Christie’s, Amsterdam, 1 December 1986, lot 46; where acquired by: Private Collection, New York Literature: Roger Adolf d’Hulst, “Jordaens Drawings: Supplement II,” Master Drawings, vol. 28, no. 2 (1990), pp. 153-156, no. A237a, fig. 17. Matías Díaz Padrón, Jacob Jordaens...

Heinrich Adam Elias Borny (German, 1742-1778) • Late baroque Ink and pen drawing on laid paper (no watermark) • Sheet, ca. 29.4 x 22.7 cm • Imag...

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...

Poussin’s subject is the abduction of the Sabine women. Historically, this subject was known as The Rape of the Sabines (rape being derived fro...

French (?) school circa 1770 Portrait of a Lady in a Tondo, red chalk on paper 20 x 29 cm Numbered 25 on the upper left Little holes in the bottom (intended for binding) Not framed ...