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Joshua Reynolds, Dionysius Aeropagites. Oil on canvas, 30 x 25 inches, circa 1772. Photo: Courtesy of Lowell Libson.

NEW YORK, NY.- The tenth edition of Master Drawings in New York January 24 – February 1, 2015 promises to be the best ever. More than thirty of the world’s leading dealers are coming to New York City to offer for sale master art works in pencil, pen and ink, chalk and charcoal, as well as oil on paper sketches and watercolours, created by iconic artists working in the 16th to 21st centuries. Each exhibition is hosted by an expert specialist and many works on offer are newly discovered or have not been seen on the market in decades, if at all.

In addition, Margot Gordon and Crispian Riley-Smith, co-founders of Master Drawings in New York, announced that John Marciari, the new head of the Department of Drawings and Prints at the Morgan Library & Museum in New York, will provide the introduction for the 2015 Master Drawings in New York brochure.

Highlights at the 2015 edition of Master Drawings in New York include….

A major rediscovered masterpiece by Sir Joshua Reynolds, listed as missing since 1905, and a star attraction at the exhibition of London gallery LOWELL LIBSON LTD. “’Dionysius Aeropagites’ has only been known from an 18th century engraving,” according to Libson. It depicts Reynolds’ favorite model, a street mender from York, George White. The painting perfectly communicates Reynolds’s ambitions as a history painter shortly after the founding of the Royal Academy.” Painted in emulation of an Italian old master, the powerful head was published shortly after its completion and given the title identifying the sitter as a follower of St. Paul. Libson is also featuring works by William Blake, John Singleton Copley, Thomas Jones, Samuel Palmer, Simeon Solomon and a fascinating group of British portrait drawings of the 1830s and 1840s depicting Queen Victoria, Talleyrand, Chopin and Paganini. Plus Sir Thomas Lawrence’s portrait of the Duke of Wellington’s nieces and J.M.W. Turner’s Alpine tour watercolor, The Val d’Aosta looking towards Sallances.


Thomas Gainsborough RA (1727-1788), A Family Outside a Cottage Door, circa 1775-6. Pen and ink, grey and pink washes over pencil, 7⅝ x 9 ¾ in (194 x 247 mm). Photo: Courtesy of Lowell Libson.


Edward Lear (1812 – 1888), The Cedars of Lebanon. Inscribed, dated and numbered: ‘The Cedars / Lebanon / 20 . 21 May 1858 (193)’, pencil, pen and ink and watercolour, (14 ¾ x 21 ¼ in) 375 x 540 mm. Photo: Courtesy of Lowell Libson.

Also recently discovered is a magnificent Federico Zuccari drawing from an important private collection that is said to be unique. It is likely a preparatory sketch for the Escorial in Madrid, and is being offered at the exhibition of Italian dealers Mattia e Maria Novella Romano. They also are featuring a Vincenzo Gemito Portrait of a Young Girl from a private Naples collection.


Francesco Salghetti Drioli (1811 – 1877), Hector reproaches Paride. Pen and brown ink, brown wash, heightened with white, on paper, signed and dated ‘F. Salghetti f.1831 Roma’, 9 ¾ x 13 ¼ in (236 x 336 mm). Photo: Courtesy of Mattia e Maria Novella Romano

Returning exhibitor David Tunick is showing a major gouache by Fernand Leger, Les Constructeurs of 1950, publicly shown only once before at the Grand Palais in Paris in 1971. The definitive study for the painting of the same subject in the Sonja Henie-Onstad Art Centre Museum in Oslo, it last was on the market in 1980. Tunick says, “We were very pleased that the executors of the estate handling the Leger chose to go with us instead of the auction route.”


Fernand Léger, Les Constructeurs, 1950. Study for painting in Oslo museum. Gouache and pencil, 369 x 458mm. Photo: Courtesy of David Tunick.

Gunther Gerzso’s “Surrealist Sketchbook” is among the star attractions at Mary-Anne Martin Fine Art. The hardcover sketchbook is a work from the artist’s estate and has never before been exhibited. It includes 55 original drawings mostly done in the carbon transfer technique some with frottage and many augmented with pen, India ink and colored pencils. Some are experimental, reminiscent of Miro and Matta, others depict pre-Columbian clay fertility figures in Surrealist settings. Plus seven sketches related to well-known paintings from his Surrealist period, such as a portrait of Benjamin Peret. Martin also is showing a group of drawings by Frida Kahlo made between 1928-1946 including an academic study of a Greek Mask, two political drawings representing Kahlo’s “redesigns” of the Statue of Liberty, and a tender portrait of “Tonito” Frida’s nephew, Antonio Kahlo, drawn c1940.


Elena Climent, Mexican, b. 1955, Alebrije Cat in Oaxaca, 8 x 10 3/16 inches (image), iPad drawing digitally printed on rag paper, 2012. Photo: Courtesy of Mary-Anne Martin Fine Art


Elena Climent, Mexican, b. 1955, Tin Cactus and Old Leaves, 8 x 11 inches (image), iPad drawing digitally printed on rag paper, 2012. Photo: Courtesy of Mary-Anne Martin Fine Art

A small group of noteworthy David Cox watercolours Martyn Gregory is bringing to New York includes a very large one that is completely fresh to the market. Gregory says it is interesting as it is made on several sheets of the “Scotch” paper Cox used later in his career, which he had carefully pieced together to make a much larger sheet. It is an interesting reworking of watercolour of one of Cox’s favorite subjects Betwys-y-Coed in North Wales. Gregory is also showing 18th and 19th century British watercolours including Richard Parkes Bonington’s The Ruins of Chateau d’Harcourt near Lillebonne, a pencil and watercolour dating to 1821-22 when Bonington made his first tour of Normandy, a 1793 watercolour by British artist William Alexander showing Chinese Barges of the first British embassy preparing to pass under a bridge, led in 1792-4 by Lord Macartney, and a highly detailed wash drawing, John Hood’s The East Indiaman Essex in three positions.


James Ward, RA (1769-1859), Study of two stags’ heads. Oil over pencil on paper. Signed in monogram ‘JWD. RA’, 10 ⅞ x 17⅜ in (275 x 440 mm). Photo: Courtesy of Martyn Gregory


Joseph Mallord William Turner, RA (1775-1851), A windmill with cottage and wagons. Pencil and watercolor, 7 x 9 ¼ inches (178 x 235 mm). Photo: Courtesy of Martyn Gregory

Frist time exhibitor at MDNY, Eric Gillis Fine Art, is showing a top-quality selection of 19TH century French drawings including an outstanding Seurat work of 1881-82 that once belonged to Paul Signac, The Reader, and a very rare group of drawings from the finest late 19th century Belgian artists, including examples of symbolism and expressionism. Exceptional among these are works by Leon Spilliaert, such as Bird of Prey, and Henry van de Velde, whose Two Haymaker Women which will be among the highlights.

Dalva Brothers are also exhibiting at MDNY for the first time showing a collection of small scale graphite drawings by William Trost Richards (1833-1905) depicting plant studies, rocky shorelines and pastoral scenes from the 1850s through the 1860s, among them views of Atlantic City and Maine.

talian drawings by Domenico Piola and Orazio Samacchini take center stage at Christopher Bishop’s exhibition. Piola, a Genovese artist of the 17th century, drew Angels with Doves presumably for a fresco in the Palazzo Rosso in Genoa. Bishop says The Adoration of the Magi by Orazio Samachini, the late 16th century Bolognese artist, is an exciting find as it is a completely unknown drawing preparatory for a painting which was recently discovered and auctioned off at the Dorotheum in Munich.


Pietro Antonio Novelli (1729-1804), Diana at her Bath. Pen and grey washes, 11 1/4 x 8 1/8 in (287 x 205 mm). Photo: Courtesy of Christopher Bishop Fine Art


Giovanni Francesco Barbieri, Called il Guercino (1591-1666), Study of a Woman with a Hand held to her Breast. Brown ink and brown washes, 5 11/16 x 6 1/2 inches (145 x 165 mm). Photo: Courtesy of Christopher Bishop Fine Art

Pandora Old Masters is showing interesting political drawings by Giovanni Costetti (1874-1949) of Hitler and Molotov. The recto, The Mask, from 1939, shows them when they signed the non-aggression pact, and the verso, The Face, from 1941, portrays Hitler and Molotov when the Nazis invaded the Soviet Union.

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Giovanni Costetti (Reggio Emilia 1874 – 1949 Settignano), La Maschera e il Volto (The Mask and the Face) [recto]- Hitler and Molotov [verso]. Colored chalks and watercolor on japanese paper. Inscribed and dated in black chalk on the recto “1939 NON INTERVENZIONE” and “LA MASCHERA E”. Inscribed and dated in black chalk on the verso “1941 IL VOLTO”. 250 x 370 mm (9 13/16 x 14 9/16 inches). Photo: Courtesy of Pandora Old Masters

Among important 20th century artists being featured at the BARBARA MATHES gallery, you will see Agostino Bonalumi’s 1971 Progretto, a mixed media on paper, and Sophie Taeuber-Arp’s Badnes, Cercles et Lignes, dating to 1932.


Robert Rauschenberg (1925-2008), Spring Clearance, 1961. Solvent transfer, ink, gouache, and graphite on Strathmore paper, signed and dated on verso: Rauschenberg 1961, 23 x 29 in (584 x 737 mm). Photo: Courtesy of Barbara Mathes Gallery


Jan Dibbets (b. 1941), Wien, 1990-91.Color photo, watercolor on paper on cardboard, signed, titled, and dated on verso: Jan Dibbets, “Wien,” 1990/91, 24 x 24 in (610 x 610 mm). Photo: Courtesy of Barbara Mathes Gallery

London specialist Stephen Ongpin Fine Art always manages to acquire new-to-the-market works by the most iconic names in fine art including Edgar Degas, Thomas Gainsborough, Paul Klee, Henri Matisse, Edvard Munch, Signac, Thiebaud and Odile Redon. This year’s exhibition won’t disappoint as Ongpin is showing Gainsborough’s Travellers Passing Through A Village, Klee’s Night impression of a Southern Town, Degas’s A Seated Young Woman Plaiting her Hair, Matisse’s Standing Female Nude, Munch’s Rocks on the Edge of a Sea, Paul Signac’s Still Life with a Bowl of Fruit, Wayne Thiebaud’s Ice Cream Cone and Redon’s A Face in the Window.


Nicolas II Huet (c.1770-1828), An Indian Elephant. Pen and brown ink and watercolour, with touches of gouache on vellum laid down on board. Signed and dated huet fils 1810 at the lower right. 312 x 446 mm. (12 ¼ x 17⅝ in.). Photo: Courtesy of Stephen Ongpin Fine Art


Claudio Bravo (1936-2011), A Seated Man Seen from Behind. Pastel on buff paper. Signed and dated ‘CLAUDIO BRAVO / MCMLXXXIII’ in red chalk at the upper right. 381 x 300 mm. Photo: Courtesy of Stephen Ongpin Fine Art

New exhibitor PRPH Rare Books is offering an album of 70 uncensored 16th century drawings after Michelangelo’s Last Judgment in the Sistine Chapel. The original figures depict genitalia and other “lewd” elements which were later censored and painted over at the Church’s direction. These were generally unknown until the restoration of the work in 1980-84. They are bound in 18th century calf and were in the collection of Count Leopold Cicognara (1767-1834), the leading Italian art historian of his time. PRPH is also showing a highly important complete set of 50 engraved fortune telling cards (Northern Italy 1465) by the Master of the ‘Mantegna’ Tarocchi – E-series, rebound in 18th century cartonnato.

Sigrid Freundorfer Fine Art is showing a wonderful selection of contemporary watercolour, gouache and graphite drawings by American artist Scott Kelley (b. 1963) taken from the Legends of Gluskap, the cultural hero of the Wabanaki the five tribes of Maine, where Kelley lived. His heartfelt animal depictions of bears, rabbits, beavers and deer portray Gluskap’s relationship with animals and their importance to mankind and his teachings on how to live together with nature.


Merce Cunningham (1919-2009), Untitled (Grasshopper), 1998. Ink and colored pencil, 9 x 12 in. (230 x 305 mm.). Photo: Courtesy of Sigrid Freundorfer Fine Art


Merce Cunningham (1919-2009), Untitled (Grey Bird), 1998. Ink and colored pencil on paper, 12 x 9 in (305 x 230 mm.). Signed lower center. Photo: Courtesy of Sigrid Freundorfer Fine Art

London dealer Guy Peppiatt brings over wonderful British works including artworks by one of the most important British topographical artists of the late 18th century, Edward Dayes, whose Carlsbrooke Castle Isle of Wight, dating to 1788, is featured at MDNY. Also featured is a William Callow R.W.S. watercolour A Spring Day at Florence from San Miniato, dating to 1882, and Thomas Rowlandson’s pen, ink and watercolour, The Mid-day Rest.


Samuel Palmer (1805-1881), View on the Devon Coast. Watercolour over pencil heightened with touches of bodycolour, 7 ¼ by 10 ½ in. (187 x 269 mm). Photo: Courtesy of Guy Peppiatt


Francis Towne (1740-1816), Ludlow Castle, Shropshire. Signed lower left: F. Towne/delt. 1777/no 46 and inscribed verso: a view of Ludlow Castle, Shropshire./ Drawn on the spot/ by/ Francis Towne July 21st 1777. Pen and grey ink and watercolour on five sheets of paper joined on original washline mount, 11 ¾ by 22 ¼ in. (30 x 57 mm). Photo: Courtesy of Guy Peppiatt

Pia Gallo is offering a Salvator Rosa (1615-1673) Study for the Figure of Scylla in pen ink and wash that is a study for the painting Glaucus and Scylla at the Brussels Musee des Beaux Arts. The drawing that was once owned by Queen Christina of Sweden. A second artwork offered shows an 1800 Italian school hand painted fan shaped gouache meant to be mounted as a fan, Veduta del Sepolcro della Sacerdotessa Mammia a Pompejano.

New York dealer L’Antiquaire and The Connoisseur is showing Daniel Dumonstier’s (1574-1646) black chalk and pastel A Portrait of a Young Woman in a Ruffled Collar. Dumonstier retained his celebrity undertaking portraits under the reigns of Henry IV and Louis XII. He was renowned for his prodigious memory and gallant and humorous repartee. He was the appointed painter to King Louis XIII who granted him land and titles.


Daniel Dumonstier (1574–1646), A Portrait of a Young Woman in a Ruffled Collar. Medium: Black chalk and pastel, 10 ¼ x 7⅝ in. (260 x 192 mm). Photo: Courtesy of L’Antiquaire and The Connoisseur


Octavianus Monfort (active in Turin, 2nd half 17th century), Still life with pomegranate, apple, peach, pears, plums and gourd; with carnation and hyacinths, resting atop a ledge. Tempera on parchment, 8 x 9½ in. (204 x 242 mm.). Photo: Courtesy of L’Antiquaire and The Connoisseur

Crispian Riley-Smith of London has titled his exhibition, “Flights of Fancy: Birds and Animals by Aert Schouman and his contemporaries in 18th century Holland.” On view are six Aert Schouman watercolours, including five from the collection of the late Lord Fairhaven, and four watercolours by Abraham Meertens. Plus master drawings by Bandini, Benso Hackert, Zuccarelli and Van Goyen.


Gaetano Gandolfi (1734-1802), A Sheet of studies of Six Fantastical Heads, circa 1780s. Pen and brown ink on paper, 213 x 211mm. (8½ x 8⅜ in). Photo: Courtesy of Crispian Riley-Smith Fine Arts Ltd


Aert Schouman (1710-1792), A Black tailed Godwit [Limosa Melanura]. Pencil, pen and ink and watercolour and gum arabic, 357 x 247 mm. (14 x 9 ¾ in.). Photo: Courtesy of Crispian Riley-Smith Fine Arts Ltd

Margot Gordon Fine Arts is staging a show titled “Five Centuries of Faces and Figures.


Raffaello Sanzio, called Raphael (1483-1520), Two Putti Supporting a Beam or a Plaque, circa 1517/18. Pen and brown ink, over black chalk, 4 1/2 x 2 3/4 in (114 x 69 mm). Photo: Courtesy of Margot Gordon Fine Arts

Mia Weiner is showing selection of important works by Gaetano Gandolfi, including Studies of Two Angels for L’Immacalota Concezione, a lovely double sketch preparatory for the flanking angels in the 1780 altarpiece “Immaculate Conception” in S.M. Lambarun Coeli. She also offers an intriguing red chalk drawing by a student of the Carracci closest in technique to Annibale, drawing a fellow student as he works from model sheets of facial features made by Agostino. Plus 19th century landscape oil sketches by Northern European artists including Filippo Lauri’s Allegorical Figures Frolicking in the Flowers, Daniel Israel’s Portrait of a Bearded Man, Jan Van Kessel’s Butterfly, Moth, Rose and Spring of Gooseberries watercolour, Salvator Rosa’s Study of a River God for The Dream of Aeneas,”, a study for the same figure in a painting at the Metropolitan Museum and Carl Friedrich Heinrich Werner’s watercolour, A Beautiful Water Carrier which Weiner says is a stunning example of the artist’s work.


Attributed to Giovanni Battista Baiardo (circa 1620–1657), Christ Restoring the Heart of St. Catherine of Siena, The Blessed Ludovica Albertoni. Pen and brown ink , brush and wash, 15 ½ x 10 ¼ in. (394 x 261 mm.). Photo: Courtesy of Mia N Weiner


Josephus Augustus Knip (1777 – 1847), Landscape with Ruins of a Monastery by a River. Signed Lower left ‘J.A.Knip’ and inscribed by the artist, pencil under drawing, pen and grey ink, brush and watercolour, 14⅞ x 20 in. (377 x 500 mm.). Photo: Courtesy of Mia N Weiner

VAN DOREN WAXTER exhibition is titled Emil Nolde and Die Brucke and includes works by Ernst Ludwig Kirchner and Emil Nolde. Nolde’s Meer, also titled Welle, dates to 1926 and Kirchner’s 1912 watercolour and pencil is titled Gerda mit Tanzer.


Emil Nolde (1867-1956), Young Woman with a Big Hat. Watercolour on paper, 5⅜ x 3⅞ inches (137 x 99 mm). Photo: Courtesy of Van Doren Waxter

Leonard Hutton galleries showing Fernand Leger study for“La Gare,” a 1918 pencil on paper.


Joan Miró (1893-1983), Le numéro de music hall, 10 November 1938. Gouache and pencil on cardboard, 10 x 7 ½ in (254 x 191 mm). Photo: Courtesy of Leonard Hutton Galleries

Mireille Mosler is showing artworks spanning five centuries including works by Zacharias Blijhooft, Pieter Holsteyn II, Francois Bonvin, John Constable, Jules Bastien-Lepage, Willem van den Berg, Leo Gestel, Jan Sluyters, Jan Toorop and Jacobus van Looy. The earliest 17th century drawings exhibited are a group of 15 small animals and insects that once belonged to a larger album in the possession of the Earl of Arundel 1585-1648 known as “The Collector Earl.” John Constable’s 1810 “En plein air” East Bergholt depicts the surroundings where he grew up. A Francois Bonvin Study for Le Couvreur tombe dating to 1877 is a recently rediscovered study of a now lost important Salon painting of the same year.


Jacobus van Looy (1855- 1930), A Water Carrier in Tangier. Signed ‘Jac.v. Looy’. Pastel on paper, 320 by 250 mm. Photo: Courtesy of Mireille Mosler


Nicolaas Struyk (1686-1769), Lizards and crustaceans. Bodycolor and grey wash on paper, 380 by 262 mm. Photo: Courtesy of Mireille Mosler

An Antonio Campi (1522-1587) chalk drawing of a Head of a Child is a standout at Nissman-Abromson Ltd. exhibition.


Francesco Fontebasso (1707 – 1769), Study of Heads. Pen and brown ink with umber and brown washes and traces of red chalk. 8 x 10¼ in. (204 x 260 mm.). Photo: Courtesy of Nissman, Abromson Ltd


Giorgio Morandi (Bologna 1890 – 1964 Bologna), Still Life. Graphite. Signed: Morandi / 1941. 6 3/8 x 8 5/8 in. (163 x 220 mm.). Photo: Courtesy of Nissman, Abromson Ltd

Jill Newhouse gallery is showing a selection of works by Georg Sand, Pierre Bonnard, and others. Only one other similar study for Bonnard’s 1893 Study for Conversation is known and it is in the collection of the Museum of Modern Art, New York. Newhouse says the sense of flattened space and perspective for which Bonnard is known is evident in this drawing, and the entire scene is a whirl of tight, energetic marks. Bonnard created the lithograph with the intent of having it published in the weekly satirical magazine L’Escarmouche but the magazine was only published from November 1893 to January 1894. On the verso of the present drawing appear studies of a robust stranding man and a woman singing, figures which evoke the theater and cabaret performances that Bonnard loved to depict. The George Sand watercolor and collage dates to 1855 and is titled Aristolocha Pistolochia. Sand was a watercolorist as well as a writer, much in the same vein as Victor Hugo.


Pierre Bonnard (1867-1947), Woman Painting, 1944. Pencil on paper, signed lower center, 6 ⅞ × 5¼ in (176 × 132 mm). Photo: Courtesy of Jill Newhouse gallery

Les Enluminures is offering a full page frontispiece miniature showing St. Jerome giving his epistle to a messenger, in French. Jerome, Letter LIV to Furia, on the Duty of Remaining a Widow, in the translation by Charles Bronin, has one full-page miniature. It dates to 1500-1510. Also being exhibited is Catherine D’Amboise Complaint of the Fainting Lady against Fortune with 8 large miniatures by the artist of Paris, Mazarine, dating to 1525-30; the Francois Fortin Hours Use of Lisieux and Rouen in Latin and French with 11 miniatures, by a follower of the Master of the Echevinage of Rouen, dating to 1480; and a Noted German Hymnal, Nonnenarbeitern Nuns’ Work, dating to 1460-80, in Latin with a historiated initial R.


Italy, Lombardy [Santa Maria di Monte Oliveto di Baggio near Milan?], c. 1439-1447, Olivetan Master (Frater Jeronimus?), detail from f. 9v, Monks singing the Office; Decorated Initial A[sperges me…]. Gradual, (Use of the Olivetan Benedictines), in Latin, illuminated manuscript on parchment, 23 1/2 x 17 1/8 in. (595 x 435 mm). Photo: Courtesy of Les Enluminures


France, Paris, c. 1320-1330, 169v, The Ascension of Christ, St Taurin Missal (Use of the Benedictines). In Latin and French, illuminated manuscript on parchment, 15 large historiated initials by an artist in the circle of Jean Pucelle, signed by the scribe Jean de Massingy, 8 5/8 x 6 1/4 in. (225 x 157 mm). Photo: Courtesy of Les Enluminures

Founded in 2006 as a way to draw upon and buttress the presence of collectors and museum officials during the important January art-buying events, including the Old Master auctions and The Winter Antiques Show, MASTER DRAWINGS IN NEW YORK has become an important part of the winter art scene in its own right, attracting the most influential dealers not only in New York but in England, France, Italy, Germany and Spain who each stage a themed exhibition in more than two dozen Upper East Side galleries between East 63rd and 93rd Streets.

Master Drawings in New York has received critical acclaim for orchestrating a showcase for fine art works that cut across the full range of styles, centuries, mediums and genres, and for providing greater accessibility to fine art at price points that range from several thousand dollars to several million.

New York Old Masters specialist Margot Gordon, who organized the first Master Drawings in New York event ten years ago says, “We are delighted to see how well known Master Drawings week has become as it has matured, with probably the most diverse array of representative artworks created between the sixteenth and twentieth centuries presented in both a lively and informative manner.

London drawings dealer Crispian Riley-Smith coordinates New York’s week-long event as well as its sister event during London Art Week each July. He says, “By agreeing to coordinate their exhibitions during a single week in galleries on New York’s Upper East Side, the world’s most respected dealers in master drawings have made it easier for both private and institutional clients to see the newest items on the market from the very top tier of specialists. For individuals interested in learning more about the quality and range of drawings on offer, there’s simply no better way to expose yourself to the very finest examples during a single week each year.”

Over the years both founders of Master Drawings in New York have seen that visitors are “surprised to see that not all our drawings date to the early centuries. We have member dealers who specialize in modern and contemporary works too. From illuminations drawn during medieval times, to preparatory studies for iconic masterworks by artists of the renown of Raphael, Titian, and Gainsborough, to sketches by Picasso and Miro, and wonderful modern and contemporary drawings. What visitors love is that they can enjoy the full range of drawing options in the course of an afternoon visiting a handful of East Side galleries. »