Drawings

It is not easy to find this kind of hand drawed and hand-made French wallpaper in good conditions. The shining turquoise and the scenes of the games of the characters and jugglers i...

Step into the refined world of 18th-century elegance with our captivating Sanguine Drawing, delicately portraying an "Elegant Lady with Turban and Feather." Originating from France, ...

A framed Baroque pencil study for a Diana and Endymion composition attributed to Giovanni Battista Cipriani Attributed to Giovanni Battista Cipriani Probably London, England; third ...

A framed Rococo melodramatic European drawing of a Woman with her Back Turned by Nicolas Lancret Nicolas Lancret Paris, France; first-half of the 18th century Black crayon on paper ...

Important ink drawing representing animated landscape with ruins and aqueduct in the background Venetian school Every item of our Gallery, upon request, is accompanied by a certific...

18th century German, a hand-colored engraving of a dressage horse and rider from Description du Manège Moderne by Friedrich Wilhelm, Baron Rais d' Eisenberg (German, ca. 1700-ca. 1770). Engraved by Bernard Picart (French, 1673-1733). Titled "Le Brillant", this dressage engraving is plate XXXIII. There is a gallery label verso. The print is matted and framed under UF-3 plexiglass, which offers the maximum amount of UV protection (approx. 97%). This print was originally part of an illustrated book Baron d'Eisenberg made describing the art of the cavaliers and depicting the different breeds of horses- The full title of the book is L'Art de Monter a Cheval: ou Description du Manége Moderne, Dans sa Perfection, published in Leipzig: Arkstée et Merkus, 1747). A set of 7 framed engravings from the same book sold at Sotheby's for $9,500 (plus tax and buyers premium). Reference: The author, a German horseman and artist, spent some of his youth at the manège of Saxe-Weimar before entering into the service of the Emperor. He then spent six years in Naples as the Master of Horse of the Viceroy before returning to Vienna where he studied under M. de Regenthal, the imperial Master of Horse. He participated in the coronation of the Emperor Charles V at Frankfurt in 1711, then spent some time in England, but was back in Germany before 1753. He probably died in Tuscany where he was Director and Master of the Horse at the Academy in Pisa. Brunet II, 957; Mennessier de la Lance I, p. 438. The Baron wrote several important and lavishly illustrated books on horses: his Description du manège moderne dans sa perfection, London 1727, and Dictionnaire des termes du manège moderne, 1747, being the best well-known. He dedicated Description du Manège Moderne to King George II and to his son, His Royal Highness the Prince of Wales. Subscribers to the book included royalty and nobility from all over Europe. The engraver was Bernard Picart, born in Paris in 1673. He gained honors at the Academy of Paris at the age of sixteen. He was a master designer and engraver and worked in Paris and Amsterdam until his death in 1733. Dimensions: 9"h x 12"w (sight), 16.5"h x 19.25"w (frame) Condition: Good, some rippling to sheet, not examined out of frame. Provenance: Lombard Antiquarian Maps & Prints, Cape Elizabeth...

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

Detailed 18th century style framed pastel bouquet drawing. Intricate burlwood and ebonized wood period frame. Very decorative.

A rare 18 century perspective view engraving of the Salon de la Menagerie at Versailles, attributed to Antoine Aveline retailed in Paris by Nicolas Langlois and executed with the per...

Three small 18th century engravings of fountains at the gardens of Versailles by renowned Parisian engraver Antoine Aveline. All three are pr...

Portrait crayon copper engraving of Johannes Ewald (1743-1781) by Johan Terkel Kleve (1743-1797) Engraving on paper, approx. 1770. Measures incl. frame 24 cm.

Pair of French School drawings in 18th century style. Hand drawn in Old Master Technique. Boucher School style Pair of Trompe l'Oeil Three-drop Panel...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

Drawings, one representing San Geremia on the Grand Canal, the other La Salute on the Grand Canal. Both drawings are in a style evocative of Francesco Guardi (1712-1793) specialist o...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). An allegory of the love Omnia vincit amor...

Nude male academy. Red chalk on paper. While the artist who drew this drawing is not known, the confidence in the trait along with the fascinating perspect...

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

Lovely etching on paper in back ink by Giovanni Antonio Canal (Canaletto). Measurements: 22" x 15" Hand-numbered in pencil at the bottom right with the number 6. Part of a co...

Original Drawing, Circle of Giovanni Battista Tiepolo 1696-1770 Venice, Italy Although we offer this old master drawing as circle of Tiepolo, we are convinced, based on the composi...

Drawing of children playing besides a basin of water. Framed in a Louis XVI giltwood frame. Typical of the style and subjects of Francois Boucher. Chalk and pencil on paper.

French engraving in a 19th century entitled "Le Premier Pas A La Fortune" on hand-laid paper with a decorative giltwood frame. A charming double-entendre scene of seduction. Du Bois ...

Venetian Capriccio, after Francesco Guardi (Italian, 1712-1793) Unsigned, with a label from Wandenberg Freres (Paris) affixed to the back of the mat.

Detailed 18th century style framed pastel bouquet drawing. Intricate burlwood and ebonized wood period frame. Very decorative.

Red chalk Old Master Sketch of a Battle Scene after Maarten van Heemskerck Follower of Maarten van Heemskerck Netherlands; ca. 1600 Red chalk on l...