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Raphael Sanzio (Urbino 1483-1520 Rome), Attributed, Seated figure. Red chalk on old laid paper, c. 1503. Inscribed "Raphael 103" top center; initialed "J. F." in black ink lower left corner. Provenance: letter from Edward G. Hawks, a lawyer from Buffalo NY dated 12/25/1898 to James Dudley Hawks of Detroit MI, describing finding this and two other drawings loosely inserted in a 4-volume set of engravings of Herculaneum (Rome, 1789) with a note on the inside front cover, "Maria Denman–from her affectionate Brother [in-law] and Friend, John Flaxman." Flaxman (1755-1826) was a member of the Royal Academy, a successful sculptor and draftsman; he provided drawings to be engraved by artists (including William Blake) illustrating various texts including the Iliad, the Odyssey, the works of Aeschylus, and the Divine Comedy. Flaxman was in Rome from 1787 to 1794, where he would have had access to drawings by Raphael; Flaxman's own drawings, "unusual at the time for being conceived almost entirely in terms of outline," (Grove Dictionary of Art 11: 162-65; here at 163) might well have made Raphael's drawings of interest to him not just aesthetically but also practically. According to Hawks, he sent this drawing and two others (one of which, The Adoration of the Magi, here attributed to Parmigianino, Hawks calls the "The wise man's offering," misreading the title written on the verso in Flaxman's hand, "The wise men's offering," we have also purchased) to his brother, "hoping they will afford you amusement and profit." Image size: 136x90mm. Price: $950,000.

The color is slightly off in our photograph: the background is slightly lighter and the "red" chalk is slightly browner.

The drawing seeems to relate to Raphael's drawings made at Pinturicchio's request (c. 1504) for him to use in his fresco cycle on the life of Pope Pius II in the Duomo in Siena (Vasari, II: 223 [Everyman edition]). In particular, see the 4th fresco, in which the future Pope Pius II is sent by the Emperor Frederick III to Pope Eugenius IV. The fresco shows Aeneas Silvius kneeling in front of the Pope to kiss his slipper; on either side of the Pope there are five seated clerics wearing robes similar to those worn by the figure in our drawing. In an essay published in The Cambridge Companion to Raphael, Bette Talvacchia uses Vasari's Life of Giulio Romano, Raphael's former chief assistant, to suggest what Raphael's workshop practise must have been like: "In assigning his assistants a more substantial role in the labor-intensive procedure of turning out hundreds of preparatory drawings for frescoes, Raphael initiated them into a rigorous working method, which they perpetuated as independent masters. The process devised by Raphael was to execute preliminary, rough sketches, proceed with further consideration of the groupings and individual figures through studies from life (often garzoni in appropriate poses), and then combine the compositional arrangements with the figural studies to form modelli" (p. 178); for an example of using memebers of his workshop as models, see Thomas P. Campbell, Tapestry in the Renaissance: Art and Magnificence (NY: Metropolitan Museum of Art, 2002), figure 21, p. 208; for the process by which the tapestries were designed and realized for the tapestry makers in Brussels, see pp. 189ff . Our drawing seems to be just such a rough sketch (perhaps of one of the workshop assistants), to get the feel of a seated figure seen from the side. For a similar use of chalk to outline a figure, see Joannides 1983 #17, upper left. For the Pinturrichio frescoes, see either The Piccolomini Library in the Cathedral of Siena: The History of Pope Pius II in the Ten Frescoes of Pinturicchio (Siena, 1938) or Pietro Scarrpellini, Pintoricchio all Libreria Piccolomi (Milano: Fratelli Fabbri, 1965), p. 22. For additional seated cardinals in similar garb (though in different postures, see p. 38). For a reproduction of one of Raphael's cartoons, see Rhoda Eitel-Porter, ed. From Leonardo to Pollock: Master Drawings from the Morgan Library (NY: The Pierpont Morgan Library, 2006), pp. 26-27.

Giulio Romano (Giulio Pippi; Rome 1499-1546 Mantua), attributed, Scipio rewarding his soldiers. Drawing in pen and brown ink with brown wash. Although he may have begun working on the story of Scipio Africanus as early as 1522-23, at some time prior to 1532 Giulio accepted a commission to design 2 sets of tapestries for François I, King of France on the theme of the Deeds and Triumphs of Scipio. A 22-piece set was made in Brussels between 1532 and 1535 and delivered in parts as they were finished during those years. Another payment was made to Giulio's pupil Francesco Primaticcio, who had arrived at Fontainebleau shortly after 22 March 1532 to travel from France to Flanders, "where he had to carry a modello of the story of Scipio the African, intended for a tapestry that the king was having made in Brussels, and to bring back the cartoon of the said story" (cited in Campbell 343). Campbell's figure 150 shows a preparatory drawing by Giulio that the Musée du Louvre dates c. 1522-1523(?) and that shows The Capture of Carthage in pen and brown ink with brown wash similar to ours. Another of Giulio's drawings for the Acts, The Triumphal Feast of Scipio, is published in Martin Clayton, Raphael and his Circle: Drawings from Windsor Castle (London: Merrell Holberton, 1999), plate 37. Aside from several wormholes lower right corner, center-left bottom, in the thigh of the left-most soldier, in the base of Scipio's throne, and top right and center right, all repaired and all backed with tinted paper, the sheet is in very good condition. For Diana Scultori's engraving of The Clemency of Scipio after Giulio Romano, which may be based upon another of the Acts of Scipio, click here. Image size: 276x184mm. Price: $87,500.

Perino del Vaga (Pietro Buonaccorsi; Florence, 1501-1547 Rome), attributed, Fortitude. Pen and brown ink and wash on heavy laid paper, c. 1545. Perino joined Raphael's workshop around 1516, working on the Vatican Loggia. Vasari notes that Perino's studies (especially his studies of Michelangelo's cartoons in the Sistine Chapel), soon led him to become "the best designer in Rome, with a better understanding of the muscles and the difficulties of nude figures than any, perhaps even among the best masters" Lives, trans. A. B. Hinds, 4 volumes (London: Everyman, 1970), III, 122. It also led Raphael, hearing his praises from Giulio Romano and Gio. Francesco il Fattore, to employ him in the Vatican (Vasari, III, 122). After Raphael's death, he worked on several fresco schemes in Rome before being captured in the Sack of Rome and being forced to pay a huge ransom that impoverished him and led him to move in 1528 to Genoa in the service of Andrea Doria and then to Pisa (c. 1534). About 1537, he returned to Rome and become Pope Paul III's principal painter (Michelangelo's efforts on The Last Judgment for the Sistine Chapel and The Crucifixion of St. Peter for the Pauline Chapel not permitting him time to do anything else for the Pope). Perino executed frescoes of the Four Cardinal Virtues in the Sala Paolina in the Castel Sant'Angelo in Rome. No other studies of Perino's Fortitude are known, although the Met owns his drawing of Prudence in a niche (see J. A. Gere, Drawings by Raphael and his Circle from British and North American Collections (NY: Pierpont Morgan Library, 1987), plate 78. Along with several other drawings, Fortitude and Prudence share a wide, flat big toe; see also Bernice F. Davidson, Mostra di Disegni di Perino del Vaga e della sua cerchia (Florence: Leo S. Olschki, 1966), plates 5, 44, and 45; similar toes may also be found in Perino's drawings reproduced in Gere, plates 67, 71, and 77; for additional examples, click here). For Vasari, in his Life of Perino, the dual tragedies of his life were that "he loved designing better than executing works" (III, 137) and that his poverty forced him to accept so many commissions that he could only do the drawings and was forced to let others paint them: "Having undertaken so much, and being infirm, he could not support his labor, being compelled to work day and night to satisfy the needs of the palace, designing numerous ornaments for the Farnese and other cardinals and lords. He never had an hour's quiet, his mind being constantly occupied, and he was always surrounded by sculptors, stucco-workers, wood-carvers, tailors, joiners, painters, gilders and other artisans [looking for employment]" (Lives, III, 139). On 26 January 2011, The Metropolitan Museum of Art set a new world record for a drawing by Perino by paying $782,500 for a drawing for a tapestry of "Jupiter and Juno Reclining in an Alcove." The prior auction record for Perino was $374,000. (PS: The next day, the Met bought The Holy Family With the Infant St. John the Baptist,” a painting by Perino for $2 million. It had been expected to bring $300,000 to $400,000. Image size: 377x173mm. Price: $175,000.

Parmigianino, attributed to, The Adoration of the Magi. Pen and brown ink and wash, c. 1526. For a drawing of c. 1526 that exhibits the same look and feel as ours, see plate 37, Christ Healing the Sick, in the new catalogue raisonné of Parmigianino's drawings, by Beguin et al (2000; this is also Popham 5). The drawing is a quick and lively study of the layout of the work in which Parmigianino does not take time to sketch in the features of the individual figures but is more concerned with setting the scene of the appearance of the Magi in a stable surrounded by farm animals and an infant in his mother's arms to which their royalty pays homage. Provenance: John Flaxman R.A., English, 1755-1826; Flaxman worked in Rome 1787-1794. On the provenance, see the letter below and the reproduction of the verso of the drawing below that, where it is titled "The wise men's offering" in what looks like Flaxman's handwriting. Image size: 88x110mm. Price: $57,500.

Our drawing is a variant of a drawing in the Louvre by Paolo Cagliari called Veronese (c. 1528-1588), titled "Pittura Quarta," and titled variously Virgin and Child with Musical Angels in the Wilderness (Richard Cocke, Veronese Drawings. A catalogue raisonne [London: Sotheby Publications, 1984], n. 19, p. 76) or The Madonna as a Seamstress (W. R. Rearick, The Art of Paolo Veronese 1528-1588 (Washington DC: National Gallery of Art, 1988). Brown wash base with pen and brown ink and heightening in white body color. Our drawing is on cream laid paper with a watermark close to Briquet 7112 (Salerno 1570) and 7113 (Ferrarra 1570) and a worn collector's mark on verso.

The Louvre's variant, "Pittura Quarta," depicts the Virgin and Child surrounded by six angels in a rectangular format. The Virgin holds what Cocke describes as the same "strange implement (a Pair of tongs?)" while Jesus reaches up to caress her face. On the left side, three musical angels in similar positions in a similar arrangement are serenading them; on the right, three more angels play for her, one of whom, seated playing a lute is close to ours, the only one on the right side of our drawing. In the background are the ruins of a building (perhaps the manger). Cocke dates the "splendid series of finished chiaroscuro drawings catalogued together (numbers 17-42) as independent works produced in the 1550s and early 1560s" [p. 21]). Rearick dates it 1583-84 and reproduces it as the frontispiece of The Art of Paolo Veronese 1528-1588 in a full-page illustration and discusses again on pages 164-65 with a smaller illustration. Our drawing is circular, the Louvre's is rectangular. Both are beautiful and well-executed drawings, ours, perhaps a presentation drawing, seems more brilliant, finished and assured. According to Cocke (p. 77, note 7), the Louvre's Veronese remained in Veronese's studio during the artist's lifetime: "That it remained in the studio may be confirmed by the painting in the collection of Antonio Zecchini in Pescara, which measured about the same size as the drawing and was, to judge from the engraving by Diogini Valesi, a studio derivation from the drawing." Our Veronese shows precisely the characteristics that Cock praises: "independent works in preparatory drawings and executed with a brilliance and fluidity in the white heightening that was copied but never equalled." Rearick identifies the "strange implement" as a pair of shears, with which the Virgin is trimming Jesus' garment. This makes sense of the little basket sitting next to Jesus' feet as her sewing basket. His arguments for the later date can be found on p. 165. Rearick's later date finds at least some support in Annalisa Scarpi's remarks on a drawing in pen and brown ink with white lead heigtening that Veronese prepared in connection with his Triumph of Venice for the ceiling of the Sala del Maggior Consiglio above the Doge's throne commissioned 1579 and completed by 1582 (see Giandomenico Romanelli et al, Veronese: Gods, Heroes and Allegories [Milan: Skira, 2004], p. 140; see also p. 142, where Scarpi dates another of the chiaroscuro drawings, The Triumph of Fame over Evil to the 1580s).

Cocke's comments on these chiaroscuro drawings are useful: "The independent chiaroscuro drawings were among the most admired of Veronese's drawings, being the only ones mentioned by his first biographer Ridolfi in 1648. Ridolfi's enthusiasm is understandable, for they were planned as independent works in preparatory drawings and executed with a brilliance and fluidity in the white heightening that was copied but never equaled. Veronese here turned to an older tradition of Venetian drawing with a sense of invention in conventional subjects, both religious and allegorical and in unusal variations on well-established themes (p. 71). If Rearick is correct in his dating and the date of ours is close to the year in which the paper was manufactured, ours is either a variant of another drawing of the scene not yet published or it is the original version of the Louvre's drawing.

One of Veronese's small ink drawings sold at auction at Christie's London on Dec. 5, 2006 for £180,000 (then $356,148). We offer ours for a bit less than that price. Image size: 285mm diameter. Price: $275,000.

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Paolo Veronese, attributed, Pentecost. Pen and brown ink and wash on cream laid paper, c. 1545-55?. Old collector's mark lower left. On the verso are 6 studies of heads looking upwards and a study of feet and legs, possibly a study for a crucifixion. The heads show through on the left side and the bottom of this sheet. If one compares this drawing with Durer's Pentecost in the Small Woodcut Passion, it is clear that Veronese was working with it close at hand. Image size: 215x165mm. Price: $17,500.

VERSO: Paolo Veronese, attributed, Studies for a Crucifxion?. Pen and brown ink and wash on cream laid paper, c. 1545-55?. Old collector's mark verso lower left. On the verso is a study of Durer's Pentecost from the Small Woodcut Passion showing the Virgin and the Apostles receiving the Holy Spirit on Pentecost. Image size: 215x165mm.

In his introduction to W. R. Rearick, The Art of Paolo Veronese 1528-1588 (Washington DC: National Gallery of Art, 1988), Teresio Pignatti observes that one of the ways in which Veronese differs from his contemporaries is "his exceptional virtuosity in drawing," which was based "not only on direct acquaintance with the paintings to be seen in Mantua and Parma, but also on his familiarity with drawings and engravings by or after Parmigianino and his Venetian followers such as Schiavone" (p. 6). According to Pignatti, early critics of Veronese, starting with Vasari, stressed Veronese's graphic skill as "an essential aspect of an artist they viewed almost as repudiating the reigning principle in Venice, color." Pignatti notes that in 1556 Francisco Sansovino, the first critic to describe the paintings in the Sala del Consiglio dei Dieci in the Palazzo Ducale, affirmed that " 'Paolo is beginning to make himself known as something rare in his profession' and that his work proves him 'truly possessed of disegno [design, drawing] and delicacy.' " Pignatti also reminds us that Ridolfi's mid-17th century study of Veronese stresses that Veronese "used to train his hand by copying Durer's engravings and prints, and perhaps as well certain drawings by Parmigianino that he found in an album owned by the Muselli family in Verona" (p. 6). We may observe this in the drawing after Durer's Pentecost from his Small Woodcut Passion above left.

Guercino, attributed, St. Paul. Brown chalk drawing on laid paper with no watermark laid down upon a heavy sheet of laid paper with an irregularly-drawn decorated border, perhaps for mounting in an album. St. Paul sits at a desk, writing one of his epistles, the sword of his martyrdom leaning against the table upon which he works; an inkpot sits by his book within easy reach. The same sword is visible in Guercino's large 1644 oil painting of St. Paul in the Cuppini Collection in Verona (see David M. Stone, Guercino: cataloge completo die dipinti [Cantini 1991], n. 188 on p. 203). The elaborately-feathered quill pen that St. Paul uses seems to be, if not the same then at least very similar, although the treatment of the saint is different (in the painting he faces to the left at a 45 degree angle and is much more heavily bearded. Image size: 208x279mm. Price: $50,000.

For more drawings by Guercino and selected bibliography , please click here.

Matteo Rosselli (Italian, 1578-1651), attributed, Woman and child asleep in a landscape. Red chalk on cream laid paper, c. 1610. Image size: 285x443mm. Price: $12,500.

Maarten de Vos (Netherlandish, 1531-1603), Allegory of Abundance and Prosperity. Pen and brown ink and wash on cream laid paper. Abundance smiles from the left of the drawing, holding a cornucopia full of the fruits of the harvest, while Prosperity siting at a low table with a bowl of fruits and vegetables, turns to look at her. Behind Prosperity, a group of men and women are feasting, reaching out to grasp the last of what must havebeen full platters, since they all seem content. I cannot find an engraving after this drawing; perhaps it was to serve as a model for a painting; perhaps it was a presentation drawing. Ex-collection Victor Winthrop Newman (Lugt 2540, drystamp lower right recto). Image size: 170x232mm. Price: $8650.

Abraham Bloemaert (Dutch, 1566-1651), attributed to, The Penitent Magdalene. Pen and brown ink heightened with white on gray paper, early 17th c. By the beginning of the 17th century, Bloemaert was the leading master in Utrecht. He was a prolific draftsman who executed over 1500 drawings, many of which served as models for prints. Image size: 130x90mm. Price: $8850.

Rembrandt School (mid-17th century, Landscape with farmworker, windmill in the background. Pen and brown ink on laid paper, c. 1660. A very similar piece is shown in Drawings of the Rembrandt School, vol. 10, p. 5458, where it is attributed to Pieter de With, a painter and etcher active during the 1660s. Its similarities to a number of drawings by Rembrandt (e.g. Slive, Dover edition, numbers 62, 63, 73, 80, 126-27, 477, and 515, are apparent. Image size: 159x242mm. Price: $7850.

Nicolaes Maes (Dordrecht 1634-1693 Amsterdam), The Prophet Nathan rebukes David. Pen and brown ink and wash on laid paper, c. 1650-1660. From the roof of his palace, David sees Bathsheba engaging in her ritual purification bath at the end of her period. He sends for her, seduces her, and she conceives a child. Her husband Uriah the Hittite, one of David's captains, comes home, but will not sleep with his wife while his comrades are in battle (and thus making it impossible for David's child to be passed off as his), so David orders Joab to set up a way of getting him killed in battle. After Uriah's death, David then marries Bathsheba. The situation depicted in this drawing is described in 2 Samuel 1-15. God sends the Prophet Nathan to call David back to obedience. Nathan tells David a story about a rich man who kills his neighbor's only lamb to feast a traveller even though he is rich and his many sheep of his own. David condemns the rich man to death only to have Nathan tell him, "You are the man! Thus says the LORD, the God of Israel: I anointed you king over Israel, and I rescued you from the hand of Saul; I gave you your master’s house, and your master’s wives into your bosom, and gave you the house of Israel and of Judah; and if that had been too little, I would have added as much more. Why have you despised the word of the LORD, to do what is evil in his sight? You have struck down Uriah the Hittite with the sword, and have taken his wife to be your wife, and have killed him with the sword of the Ammonites" (7-9). Maes has illustrated the moment when David cowers in fear of the Lord's wrath and repents. Our drawing is illustrated in Walter Sumowski's Drawings of the Rembrandt School, 10 vols. (NY: Abaris Books, 1979-1992), vol. 8, p. 4298-99, catalogue n. 1922x. It has also been published in William W. Robinson, Rembrandt's Sketches of Historical Subjects (1987), p. 256, fig. 22. Image size: 102x160mm. Price: $12,750.

Jean François de Neufforge (Comblain-au-Point, 1714-1791 Paris), Woman with pearl necklace looking down. Red and black chalk on laid paper. This piece shows de Neufforge's use of the trois-crayons technique, the combination of red, black, and white chalks that Rubens himself used for many of his studies. Image size: 450x305mm. Price: $4000.

For the remainder of the 22 drawings by de Neufforge that we own, see the links to the three pages on our website devoted to his works by clicking here.

Marianne von Rohden (German, 1785-1866), View from a grotto. Brush, brown ink, and wash. The artist was a painter. She married the painter Ludwig Hummel, Their daughter, Suzette Hauptman, was also an artist and she too married an artist. Her brother, Johann Marten Rohden was also a painter. This family network suggests the kinds of tightly-knit communities that seem to support artists. Image size: 191x247mm. Price: $1275.

Eva Gonzalès (French, 1849-1883), An actress with a mask (detail as matted). Brush and black ink and wash with white gouache heightening and black chalk on tan wove paper. Initialed in pencil upper right recto with a small "E" within a large "G"; signed "Eva Gonzales" verso in pen (see below). Vertical tear top center; diagonal tear bottom right. Paper losses at corners. Image size: 296x220mm (11-3/4x8-3/4 inches). Price: $275,000.

Gonzalès was Manet's only pupil. She showed regularly until her untimely death in childbirth. A recent show of "Impressionist Women: Mary Cassatt, Eva Gonzalès, and Berthe Morisot" at the Musée Marmotan in Paris and the accompanying book suggests that she indeed belongs in the company in which the show placed her. See the page dedicated to Gonzalès on our website for additional information.

Henri-Edmond Cross (French, 1856-1910), Swans. Original ink drawing, c. 1899. Stamped with the Cross estate's studio stamp to indicate it was part of the estate at the time of the artist's death. There is also an unreadable inscription in ink left center. Image size: 170x98mm. Price: $3750.

Akt und sitzenden Weib / Nude and sitting woman. Pen and ink onlight tan paper, 1917. Signed and dated 1917 in ink lower left. For other examples of Kirchner's signature on ink drawings see, for example, Karlheinz Gabler, E. L. Kirchner Zeichnungen, Pastelle, Aquarelle (Aschaffenburg: Museum der Stadt Aschaffenburg, 1980), p. 129. Image size: 190x135mm. Price: $18,500.

Roman Norbert Ketterer's commentary upon Bathers in a Tub, a 1914 Kirchner drawing, seems very much to the point in suggesting a way of approaching our drawing of a standing male nude approaching a seated female, so I quote at some length: "In these quickly drawn scenes, in which an instantaneous impression was captured often in a matter of only a few minutes, a moment is represented. Much is superfluous and insignificant or implies something that was not actually seen. Kirchner is trying out a drawing style. The figures and their progressive movements are described differently than before. The lines are thin and long. They do not describe specific parts of the body but rather enclose the figures within a relatively common contour. . . . The lines cross, touch and move apart but nevertheless describe limbs. They serve simultaneously as contours which form the figure and enclose it within a geometric shape, and extend beyond the description of pure physicality or the pure outline of the body to merge with other linear configurations. It was only in 1914 that Kirchner began to employ this compositional achievement. The linear system in which the outline of a body is simultaneously a compositional contour continuously takes up the linear system which is imposed upon the entire drawing. It seems as though a carefully ordered framework has been superimposed on the entire drawing. The figures are elongated and attenuated, almost Mannerist in feeling" (in Roman Norbert Ketterer and Claus Zoege von Manteuffel, Ernst Ludwig Kirchner: Drawings and Pastels (NY: Alpine Fine Arts Collection, 1982), pages 118-19). From the fall of 1913 to 1915, when the final painting in the series was completed, Kirchner had been obsessed with his paintings, drawings, and prints of the Berlin Street Scene and of the prostitutes who met their customers before taking them off to their rooms. Also in 1915, Kirchner enlisted in the German Army and became an ambulance driver for an artillery regiment, but soon was diagnosed with a debilitating nervous condition and spent time in several sanitariums. He was discharged as unfit for service and, in 1916, he was rehospitalized for treatment in Germany. In 1917, he traveled to Davos, Switzerland for treatment and made it his permanent residence for the rest of his life. Our drawing may mark a moment in which he is revisiting the period immediately before his breakdown as a way of trying to recapture the creative energy of that period before he went to war. For the Berlin Street Scenes, see the catalogue of the recent spectacular show at the Museum of Modern Art by Deborah Wye, Kirchner and the Berlin Street (NY: MoMA, 2008); it is from this that I have taken the chronology above (see pages 129-30).

For additional drawings by German Expressionist artists, please click the links for Hannah Hoch, Rudolf Schlichter, and Georg Tappert.

Pierre Alechinsky (Belgian, b. 1927), Escalier / Man on a staircase. Ink drawing and collage on aged letter paper, 1986. The red element in the center of the image is the wax seal originally affixed for privacy purposes, now serving to anchor the composition. Image size: 260x210mm. Price: $25,000.

Claude Garache (French, b. 1929), Epiaire (Y. 18053). Charcoal drawing, 1973. Garache was the subject of a monograph by Jean Starobinski and his drawings were recently the subject of a book by Jacques Dupin, perhaps the world's leading expert on Joan Miró, who, along with Marc Chagall, recommended Garache to Aime Maeght back in 1966, beginning an association that lasted over 30 years with Galerie Maeght and its successor Galerie Lelong. Spaightwood Galleries has shown Garache's work since 1982. For other drawings by Garache, click here. Image size: 650x500mm. Price: SOLD.

Gérard Titus-Carmel (French, b. 1942), Eclats: Petit Chrome 1 (see (Reperes 1, p. 32). Mixed media, 1982. Combining mine de plomb, encre de chine, crayon sanguine, and crayon de couleur (graphite pencil, sanguine, conte crayon, and ink). Between 1980 and 1982, Titus-Carmel worked on a series of large mixed-media drawings based upon reflections in a lamp. The series was first shown at Galerie Maeght in Paris and was featured in the first issue of repères: cahiers d'art contemporain, published by Galerie Maeght and devoted to Titus' Eclats & Caparacons 1980/1982. Our drawing, reproduced in black and white, serves as the frontispiece to the catalogue. The series of Eclats consisited of 3 sets of 10 drawings ranging from large to very, very large and three small etchings (Machida 128-130). Signed, titled, and dated center bottom. Image size: 655x800mm. Price: $20,250.

For other drawings by Titus-Carmel, please click here.