Landscape B/W
charcoal on Paper ( Fabriano Elle Paper’s 220 gr)
100×70 cm
2023
original art
one-of-a-kind

Marilina Marchica, born in Agrigento, where she works and lives,
she graduated in Painting at the Academy of Fine Arts in Bologna in 2008.
Her research is oriented towards a reflection on the theme of subtraction and on the aesthetics of the sign at the limit of abstraction thanks to an investigation of architecture and the wall as an internal / external diaphragm. The dividing surface, in particular, “the wall or border” takes on a marked symbolic value in relation to collapses and demolitions as a metaphor for a universal and existential dimension.

Antique 19th C. Realist Female Nude Study, Signed (Charcoal on Wove Paper). Nude study of female sitting on stool. Signed in the upper right corner. Charcoal on cream wove paper with deckled edges. In good condition with wear consistent with age. Small pin marks in the corners. Please refer to pictures for details.

Size: 24.75 x 18.5 in

Antique 19th C. French Charcoal Study of the Louvre’s Diadumenos Sculpture, Signed. Charcoal sketch on Canson And Montgolfier wove paper of Greek male torso. Signed in the lower right corner. Charcoal on cream wove paper. In good condition with a dog eared corner in the bottom left. Wear along the edge near signature.

Size: 19 x 25 in

Original charcoal drawing/painting signed by artist lower right. Antique piece, circa 1940s (France), recently professionally re-framed under archival linen mat and displayed in antique wood frame. Evocative delicate artistry with fine use of toothy paper that highlights every stroke.

A 1960s charcoal drawing of a man by the American artist James L. Bruch (1942-2023). The sketch depicts an abstract profile portrait of a man wearing a hat with a long beard and wide collar. The drawing is displayed in a cream mat and a wooden frame and is estate stamped to the verso.

Born in Kenosha, Wisconsin, James Bruch (1942-2023) pursued his artistic talents at the University of Notre Dame, graduating cum laude with a Bachelor of Fine Arts in 1964. Thereafter, he received his Master of Fine Arts from the University of Southern California in 1967. While in school, Bruch focused his attention on painting bright scenes and recreating masterworks in pencil. From the ‘70s-’90s, he built his advertising career, garnering recognition for his efforts along the way. Upon retirement, Bruch immediately returned to decades-old ideas of colorful abstraction, which he had reimagined throughout his lifetime.

Bruch started his career designing for Montgomery Ward in Chicago, where he would meet, and settle down with, his wife Amy. He would continue his career at the prestigious institution of Leo Burnett as an art director and later as vice president. Following his retirement from the industry in 1999, Bruch was reinvigorated as an artist. He began to rediscover old concepts from his time in art school, reworking them, painting and repainting layer after layer, no piece ever truly finished in his eyes. He was a very reserved man after his retirement and following the death of his wife. This resulted in his work not being exhibited or sold during his lifetime.

Still life with tulips, watercolor around 1940, framed. Spots on the cardboard and on the bottom of the paint. Composition, colored bohemian decoration. Blown glass.

30cm by 35cm for the frame, 23.5 in 28.5cm for painting. 2cm thick.

Pair of pastels on paper depicting a “young brown young man” and a “sleeping young man” attributed to the artist Pietro Antonio Rotari (Verona 1707 – St. Petersburg 1762). The paintings are accompanied by a critical card by Professor Ferdinando Arisi, a scholar and art critic.
Painted size (LXH) 40 x 31.5 cm.
Painted size (LXH) 44.5 x 36.5 cm. I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
from
misattribution

An original c.1806 watercolour painting, Elizabeth Walpole, Portrait of Catherine Margaret & Thomas Walpole.This charming picture is one of a pair of intimate portraits that we have for sale depicting children of the important Walpole family, by their aunt, Elizabeth Walpole (1759–1842). In the 18th and 19th centuries the Walpoles were one of England’s most influential families.The children depicted are Catherine Margaret (1804–1876) and Thomas Walpole (1805–1881), children of Thomas Walpole (1755–1840) and his wife Lady Margaret (Perceval), who was sister of Prime Minister Spencer Perceval (1762– 1812). The ages of the children date the watercolour to around 1806.Sir Robert Walpole, Britain’s first Prime Minister—who served George II for over twenty years— was great-uncle to the artist Elizabeth Walpole (and great-great-uncle to the sitters). His son, Horace Walpole, is well known for being a politician, writer and thought leader, who built Strawberry Hill in Twickenham.The artist’s father was Thomas Walpole (1727–1803), a director of the East India Company and a very influential politician before his career collapsed following a financial scandal, causing him to sell his house in Carshalton, Surrey. His son, also Thomas (1855-1840)—the two children’s father—was British Ambassador to Munich. The children are likely depicted at their family home, Stagbury on Outwood Lane at Chipstead in Surrey.This portrait, and its pair, represent a much more intimate view of the family than is normally witnessed through grand commissioned oils hanging on the walls of the Walpole estates. The composition and costumes are relatively humble—the children captured in a passing moment, playing by a basket of pots.Catherine Margaret Walpole went on to marry James de Teissier, Baron de Teissier. Thomas Walpole would become Rector of Alverstoke in Hampshire.The corners of the paper are clipped as shown. On paper laid down on backing paper.All artworks come with a Certificate of Authenticity. Signed: No. Inscribed: Inscribed lower left. Height: 11.1cm (4.4″) Width: 16cm (6.3″) Condition: Some age toning, foxing and marks. Please see photos for detail. Presented: Unframed.

Original lithography of the 70s by Françoise Muller (1949.), painter and lithographer. Aluminum frame 65.5×50.5 cm, thickness 3 cm. Leaflet 46×33 cm on woven paper. Numbered 149/300 at the bottom left, with the lead mine. Signed at the bottom right to the lead mine. This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

Vintage French Charcoal Study of Hand and Foot, Signed (Charcoal on Paper). Initialed in the lower right corner on each sheet. Signed illegibly en verso. In good condition with wear consistent with age. Please refer to pictures for details.

Size: 7.18 x 9.385 in (each)