Bernard Picart

Jupiter and Antiope

Femme nue de dos allongee Charcoal and white chalk on laid paper Signed in charcoal, lower right "Steinlen" (see photo) Note: Similar reclining nude drawing illustrated Slatkin No. 12 (See window on right) Similar drawing, same model, same media, Proute 1971, Catalog Dandre Bardon, no. 115 There also other similar finished drawings of nudes in similar poses and with the same couch, white blanket...

Signed lower right by the artist Note: Despiau was a highly regarded sculptor. In his youth, he worked in the studio of Auguste Rodin, who greatly influenced his mature style. Hi...

Tea at the Ritz, New York Colored chalk, 1912 Signed with the estate stamp verso. (see photo) Authenticated by the artist's daughter, Mme Paulette Johnston. Image size: 10 5/8 x 10 1...

Head of a Woman (Margaret) conte on wove paper, 1925 Signed and dated lower right Annotated "Margaret" in ink verso A portrait of Margaret Cassidy Manship ( d. 2012), daughter in law...

The Infant Jupiter Nursing from the She-Goat Amaltheia (The Birth of Jupiter) Red chalk and wash on off-white paper, c. 1700 Unsigned Attribuuted to Quaini by Dwight Miller, the sch...

Double sided crayon drawing: Front: Study for "The Shoe" Reverse: Studies of Figures Blue crayon, red and black crayons Image size: 19.25 x 15.375 inches Frame size: 30 x 25 1/2 inches Signed with the estate stamp, Lugt 2312b, recto and verso Annotated on verso in blue pencil: “On Demande des petites femmes...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...

"Mother & Child" French School, 19th century sanguine chalk drawing on paper, unframed painting: 23.25 x 17.75 inches Condition report: The painting i...

Francesco Zuccarelli RA (Italian, 1702-1788) Study of a seated man Red chalk 11.1/8 x 7.5/8 in. (28.3 x 19.3 cm.) Provenance; Colnaghi & Co, London Francesco Zuccarelli was born in ...

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...

Giovanni Battista Cipriani, RA, Italian 1727-1785 Sketch of a mother with three children; black and red chalk on laid paper with watermark '© TAYLOR', 22.4 x 17.5 cm. Provenanc...