Edward Bainbridge Copnall Art

Conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York City. ...

Conté crayon on paper Signed, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York City. His works ...

Emil Faesch (1865 Basel - 1915 Basel). Sketch of a head. Charcoal on painting cardboard, 60 x 47.5 cm (folio size), signed and dated at lower right "E. Faesch. 1888.". Minor browning. - Carved in stone - About the artwork The life-size head has an immensely present presence. This effect is due to the fact that Faesch took his cue from academic classical...

Graphite and conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in Ne...

Master portrait artist and illustration legend Bob Peak captures the likeness, dignity and essence of Saudi Arabia's King Faisal for Time Magazine Cover ...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

Georges Scott (1873-1943) Portrait of Jules Lagorio 1893, signed, dated and annotated on the right : "A monsieur Jules Lagorio, Souvenir de notre excursion à l'Estaque 12 mai 1893" Pencil on paper 24 x 22 cm In fair condition : an horizontal crease in the middle of the shhet, stains ans other creases, trace of the mount (see photographs please) In its original vintage framing : 33 x 30 cm If not in perfect condition, this intimate portrait by the young artist is really intersting and charming. The mention of it as a souvenir of an excursion to l'Estaque is interesting too. L'Estaque, near Marseille was a famous place for painters of the time such as Cezanne, Braque and Renoir who painted there the sea and shores. The young Georges Scott wanted to keep the souvenir of the excursion with his friend, but we have to think of the place by the gaze of the model contemplating it. Georges Scott, or Scott de Plagnolle (his full name wasGeorges Bertin Scott de Plagnolle ), was born on June 10 1873 in Paris, he was a painter and illustrator. He studied at the Alsatian School in Paris, where he drew a lot: “I have always drawn […]. My father was a painter and illustrator. I was born in a workshop ”. Fatherless in 1884, he studied at the Beaux-Arts, then was one of the pupils of Édouard Detaille, he was a member of French artists outside the competition in 1897. Painter and illustrator, he worked for various periodicals, including Cocorico and L'Illustration where his first drawing was published on March 19, 1892 (“La catastrophe d'Anderlues”). In 1911, the Minister of War Adolphe Messimy asked Scott and Detaille for studies to renovate the uniforms of the French Army: if their projects were not adopted, some were published in newspapers such as L'Illustration in March 1912 he covered as a war correspondent for the newspaper the First Balkan War, with the Bulgarian Army. He returned to Thrace inJuly 1913 for the Second Balkan War, but with the Greek Army, meeting King Constantine. In September 1913, on the occasion of the King of Greece...

Conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York City. ...

Stately sanguine portrait of Leopold Hamilton Myers (Novelist) by Sir William Rothenstein (English, 1872-1945). Captured in Rothenstein's characteristic style, Myers looks directly at the viewer with a neutral expression. Although this portrait uses only two colors and minimal shading, the likeness of Myers is incredibly well captured. Leo (Leopold) Hamilton Myers (1881 – 1944) was a British novelist. Numerous examples like this one of the writer are in the Tate Museum. Initialed and dated in the lower right corner ("W.R. 1936") Inscription on verso indicating materials, subject, and artist. Presented in a new cream colored mat with foamcore backing. Mat size: 18"H x 12"W Paper size: 15.25"H x 10.75"W William Rothenstein (English, 1872-1945) was born into a German-Jewish family in Bradford, West Yorkshire. His father, Moritz, emigrated from Germany in 1859 to work in Bradford's burgeoning textile industry. Soon afterwards he married Bertha Dux, and they had six children, of which William was the fifth. Rothenstein was knighted in 1931. Rothenstein left Bradford Grammar School at the age of sixteen to study at the Slade School of Art*, London (1888-1893), where he was taught by Alphonse Legros, and the Académie Julian* in Paris (1889-1893), where he met and was encouraged by James McNeill Whistler, Edgar Degas and Henri Toulouse-Lautrec. Whilst in Paris he also befriended the Anglo-Australian artist Charles Conder, with whom he shared a studio in Montmartre. In 1893 he returned to England to work on "Oxford Characters" a series of lithographic* portraits. In Oxford he met and became a close friend of the caricaturist* and parodist Max Beerbohm, who later immortalised him in the short story Enoch Soames (1919). During the 1890s Rothenstein exhibited with the New English Art Club* and, in 1900, won a silver medal for his painting The Doll's House at the Exposition Universelle. In 1898 he co-founded the Carfax Gallery in St. James' Piccadilly with John Fothergill. During its early years the gallery was closely associated with such artists as Charles Conder, Philip Wilson Steer, Charles Ricketts and Augustus John. It also exhibited the work of Auguste Rodin, whose growing reputation in England owed much to Rothenstein's friendship and missionary zeal. The gallery was later the home for all three exhibitions of The Camden Town Group*, led by Rothenstein's friend and close contemporary Walter Sickert. Rothenstein is best known for his portrait drawings of famous individuals and for being an official war artist in both World War I and World War II. He was also a member of the International Society of Sculptors, Painters & Gravers. The style and subject of his paintings varies, though certain themes reappear, in particular an interest in 'weighty' or 'essential' subjects tackled in a restrained manner. Good examples include Parting at Morning (1891), Mother and Child (1903) and Jews Mourning at a Synagogue (1907) - all of which are owned by the Tate Gallery. The National Portrait Gallery owns over two hundred of his portraits. In 2011 the BBC and the Public Catalogue Foundation began cataloguing all of his paintings in public ownership online. Between 1902 and 1912 Rothenstein lived in Hampstead, London, where his social circle included such names as H.G.Wells, Joseph Conrad and the artist Augustus John. Amongst the young artists to visit Rothenstein in Hampstead were Mark Gertler...

Signed: by Richard Geiger (1870 – 1945), Austrian - Hungarian painter. Also pencils inscriptions on reverse with date 33 (1933). By the 1920s, he worked illustrating books, bookplates and posters. His paintings included portraits, nudes, genre paintings, and mythological scenes, but he was known for his illustrations, especially his carnival motifs. Spectacular masterwork. Size app.: 18 x 23.3 cm (roughly 7.1 x 9,2 in), framed 31.7 x 36.4 cm (roughly 12.5 x 14.3 in). Very Good condition, minimal age wear. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Please study good resolution images for overall cosmetic condition. Glass will be removed prior to shipment for safe transit. Weight of app. 0,5 kg (without glass!) is going to measure some 2 kg volume weight packed for shipment. R. Geiger was born in Vienna. He first attended a drawing school and then studied at the Academy of Fine Arts Vienna, where he studied under Christian Griepenkerl and August Eisenmenger. He studied sculpture with Fritz Klimsch at the Academy of Arts in Berlin. There he took part in the exhibitions of the Academy with his portrait busts and sculptures. In Paris he studied at the Julian Academy and worked in the studio of François Flameng...

Pastel and conté crayon with partial foil star on Rives BFK paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in ...

Charcoal with red and white conté crayon on Rives BFK paper Signed in pencil, l.l. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt L...