Provenance

Eric Gillis & Associates

Gillis/Goldman Fine Art
AGNEWS

Explore selected works

See all 35 works of art
The image shows an engraving of a man depicted from the waist up. The man is positioned facing slightly to the right with his body angled to one side, and his head turned towards the viewer. He has a full beard and mustache, with distinctive facial features, including slightly furrowed brows. His hair is covered by an elaborate turban or headpiece crowned with a small cross. The man is dressed in a heavy robe with a prominent collar, adding to his regal appearance. He holds a staff or scepter in his right hand. The background features a draped curtain on the right side and a heraldic shield featuring a cross on the left. The text below the engraving reads “IL PRETEIANNI, RE D’ETHIOPIA."
Luca Ciamberlano, Giovanni Orlandi, Il Prete Ianni, Re d'Ethiopia (Prester John, King of Ethiopia), 1599, engraving on laid paper, Ailsa Mellon Bruce Fund, 2024.116.1

Il Prete Ianni, Re d'Ethiopia (Prester John, King of Ethiopia)

Luca Ciamberlano, Giovanni Orlandi · 1599 · engraving on laid paper ·  Accession ID  2024.116.1

The image features multiple stylized figures dominating the scene. In the center, a seated figure is depicted from the waist up, facing slightly to the right. The figure has abstract facial features and hair tied up. They wear a flowing garment. Other figures are depicted around them, mainly from the shoulders up, with dark, flowing forms and fabrics. One figure to the right is seated at a table with small objects and glasses. The background is neutral with subtle texture, emphasizing the figures. The scene evokes a gathering or social setting, with a sense of complexity and intrigue.
Armand Séguin, Le Café, 1893, softground etching with roulette, printed in brown-black on laid paper, Purchased for the Virginia and Ira Jackson Collection, 2021.124.1

Le Café

Armand Séguin · 1893 · softground etching with roulette, printed in brown-black on laid paper ·  Accession ID  2021.124.1

The image shows a person wearing a tall hat leading a horse on a path. The perspective is slightly elevated, showing the figure and animals clearly. The horizon is high in the scene, with open land to the left. The sky on the right is depicted with expressive lines suggesting cloud formations. The etching technique is visible in the fine and bold lines rendering the landscape and figures with varied textures. The color palette is monochrome with dark lines against the light paper, creating a stark and graphic quality.
Edgar Degas, Two Sportsmen Mounting Their Horses, 1856, etching on China paper, Purchased for the Virginia and Ira Jackson Collection, 2021.124.3

Two Sportsmen Mounting Their Horses

Edgar Degas · 1856 · etching on China paper ·  Accession ID  2021.124.3

This is a drawing of figures gathered in an intimate setting. The composition captures a group of stylized figures in close proximity. The etching predominantly employs darker tones and sharp lines to define the figures, resulting in a sketch-like effect with visible facial expressions and gestures. The setting appears to be a social gathering or a seated arrangement, where the characters are intricately detailed, with particular attention to facial features and clothing folds. There is a sense of movement and emotion conveyed through these interactions. The background remains abstract and undefined, focusing the viewer’s attention on the dynamic characters.
Armand Séguin, Le Bar, 1893, softground etching with aquatint and roulette, printed in brown on laid paper, Purchased for the Virginia and Ira Jackson Collection, 2021.124.2

Le Bar

Armand Séguin · 1893 · softground etching with aquatint and roulette, printed in brown on laid paper ·  Accession ID  2021.124.2

This is a drawing of a large group of people gathered around a rocky landscape with a city in the background. The scene is densely populated with figures engaged in various activities, predominantly centered around the action of several figures carrying a large wooden cross up a hill, accompanied by armed guards on foot and horseback. The landscape is detailed with rocky formations and a few trees scattered throughout. There are many small groups of figures, some of whom are gathered around what appears to be an open tomb in the foreground. In the background, a cityscape is visible with various buildings and spires silhouetted against a clouded sky. The complexity of the drawing consists of intricate line work and detailed characterization of each figure, presenting a vivid narrative scene.
Giovanni Battista Fontana, Battista Mondella, The Bearing of the Cross, c. 1569/1573, etching and engraving on two joined sheets of laid paper, Ruth and Jacob Kainen Memorial Acquisition Fund, 2020.124.1

The Bearing of the Cross

Giovanni Battista Fontana, Battista Mondella · c. 1569/1573 · etching and engraving on two joined sheets of laid paper ·  Accession ID  2020.124.1

The image displays an abstract border design with various bell-shaped patterns on the top and right sides of the frame. In the upper left corner, there is an abstract figure resembling a face surrounded by bell shapes. The bottom part features small human-like figures appearing to form a line. These elements create an abstract composition framing an empty central space.
Pierre Bonnard, Intervalles, 1891/1893, pen and black ink with wash over graphite on wove paper, Purchased for the Virginia and Ira Jackson Collection, 2016.88.1

Intervalles

Pierre Bonnard · 1891/1893 · pen and black ink with wash over graphite on wove paper ·  Accession ID  2016.88.1

The image shows a woman from the waist up, seated in a slightly reclined position facing right. Her head is turned toward the viewer, holding a pencil to her chin. She has delicate facial features with a composed expression, neat hair partially covered by an elaborate hat, and wears a high-collared, long-sleeved dress with a voluminous skirt. She sits at a desk with papers. There is no visible jewelry. The background is plain, highlighting the woman as the central subject.
Norbert Goeneutte, The Letter (Reflexion, ou la lettre), c. 1887, drypoint on laid paper, Purchased for the Virginia and Ira Jackson Collection, 2018.72.3

The Letter (Reflexion, ou la lettre)

Norbert Goeneutte · c. 1887 · drypoint on laid paper ·  Accession ID  2018.72.3

The image shows an aerial view of marching soldiers stretching into the distance. A village with a church and rooftops is visible on the horizon. The artwork features intricate linework and expressive brushstrokes capturing the movement of the soldiers. The color scheme is monochromatic with black and white tones, emphasizing detail and creating a striking visual impact. The soldiers are shown marching along a path, diminishing in size towards the horizon. The landscape includes a winding path with groups of soldiers moving through it.
André Devambez, Cover for Douze eaux-fortes [La Guerre 1914-18] (Twelve Etchings [World War I]), 1915-1917, etching on wove paper, Ailsa Mellon Bruce Fund, 2019.65.1.1

Cover for Douze eaux-fortes [La Guerre 1914-18] (Twelve Etchings [World War I])

André Devambez · 1915-1917 · etching on wove paper ·  Accession ID  2019.65.1.1

This is a drawing of a large gathering or camp scene. The image shows a wide section of land populated by many uniformed figures, campfires, and tents, suggesting a military camp. Some figures appear to be resting or engaging in activities on the left, while an orderly formation is seen on the right. The background features trees and hills, indicating an outdoor setting in the countryside. The detailed linework emphasizes the busy and lively atmosphere of the camp.
André Devambez, The Reserves (Les Réserves), 1915-1917, etching on buff wove paper, Ailsa Mellon Bruce Fund, 2019.65.1.7

The Reserves (Les Réserves)

André Devambez · 1915-1917 · etching on buff wove paper ·  Accession ID  2019.65.1.7

The image depicts a view from an elevated position overlooking a rugged shoreline with rocky formations. The horizon line is faint, positioned near the top third of the image, where the ocean meets the darkened sky. Details are indistinct due to the monochromatic color palette. The work features broad, textured brushstrokes with diffused, shadowy tones. The area closest to us is filled with intricate rocky textures in varying shades of black and dark gray. In the distance, the sea extends towards the horizon with subtle shading. The overall color palette is monochrome, dominated by blacks, grays, and deep browns.
André Devambez, Cold (Le Froid), 1915-1917, etching with aquatint on buff wove paper, Ailsa Mellon Bruce Fund, 2019.65.1.2

Cold (Le Froid)

André Devambez · 1915-1917 · etching with aquatint on buff wove paper ·  Accession ID  2019.65.1.2