Charles Sheldon Art

Red Grooms (American, b. 1937) Jackson Pollock, 1986 Pastel on paperboard 9 1/4 x 9 1/4 inches Signed and dated lower right Provenance: Hirschl & Adler Modern, New York Charles Rog...

Lone figure with glasses

Realism Portrait Drawing

Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Jose el velezolano Sabado 25 de junio, 2016 by Celso Castro Crayon and pastel on cardboard Image size: 40 H in. x 29 in. W Unframed ____________ Undefined by medium, Celso Castro’s...

Georges Antoine Rochegrosse (1859-1938) A man sitted, Study for the decoration of the Salle des fêtes (Ballroom) of the Exposition Internationale, Paris 1900 Pencil and charcoal on thin yellow paper 29.5 x 20 cm In acceptable condition : Tears and creases as visible on the photographs. In a modern frame : 46 x 36.5 cm Annotations on the back of the mount (now under the modern frame) that identifiy this drawing as a preparatory study for the decoration of the Salle des fêtes (Ballroom) of the 1900 Paris Exposition Internationale. It's also indicated that Henri Bataille...

Contemporary realistic figurative mixed media drawing on cardboard by Polish artist Andrzej Szypluk. Monochromatic drawing of a female in nude. PROVE...

Study for Yves Saint Laurent and Mick Jagger, 2024 by Manuel Santelices From the Fashion series Unframed The artist have covered the New York Collections for over 16 years and inter...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...