Mackinnon Drawings

Nude male academy. Red chalk on paper. While the artist who drew this drawing is not known, the confidence in the trait along with the fascinating perspect...

Artist: Pedro Friedeberg (Mexican, 1936-) Title:Le Tombeau D'Hemingway Year: 1963 Medium: Ink and watercolor on paper: Size: 14 3/4 x 19 1/2 plus 3 inch frame Mark: upper lef...

Florentine or Flemish school 17th century study of the Medici Lion by Flaminio Vacca. Measures: Sheet 31.7 x 48.8 cm. (12.5 x 19.2 in.) Frame...

Set of 6 19th century McKenney and Hall portraits of Native Americans. Hand colored lithographs from: The history of the Indian tribes of North Ameri...

Intriguing painting of a sea view. Wonderful approach to water and sky. It is a gouache on paper, framed in a wooden gilded frame behind glass. Atm...

Large French painting dated 1899. Oil painting on canvas, first canvas, depicting a view of a country village with characters and animals of good...

This Mughal miniature was painted at one of the princely courts of India. It depicts a raven-haired princess in a gold-trimmed saffron-colored silk sari. Under a glowering evening sky she dawdles on a white marble terrace, with a pet fawn on a leash, before a landscape dotted with buildings nestled amongst trees beyond a river. Her hair, falling loosely about her shoulders, rather than carefully dressed on her head, indicates that she is a maiden. The overall mood is one of expectancy. Perhaps walking a pet and catching an evening breeze is a pretext to escape palace scrutiny for a lovers’ assignation. In Mughal India tender sentiments were a bridge to the erotic – and if this seems contradictory, so too is the balance of realism and caricature, and naturalism with the schematic. Both are hallmarks of miniatures painted in this place and time. The earliest Mughal Indian miniatures date to the 16th century. They were inspired by those painted at the refined Moslem courts of the neighboring Persian empire. They incorporated figures in spite of the Moslem faith’s proscription against depicting the human form. Such was the nature of sophisticated courtly life everywhere that beauty and pleasure trumped systems of morality. This was no less the case at the provincial Indian courts, where our miniature, marked by a charming pictorial naiveté, was most likely painted. Yet the artist was undeniably accomplished. His command of perspective, introduced by Jesuit missionaries in the 17th century, is seen in the landscape, which rolls back to a distant horizon, contrary to the flat two-dimensional ones following Indian-painting traditions. And if Mughal artists were influenced by Western art, the compliment was returned by Rembrandt and Sir Joshua Reynolds, among others, who collected Indian miniatures (as did, perhaps, Giovanni Bellini who painted in Mughal style the famous miniature of a Persian man...

This charming drawing is a preliminary study for the larger drawing, Trois etudes de femme assise, coiffee d'une fontange, in the British Museum. This little gem comes from Brooke A...

Evidence of Western Europe's fascination with Native American culture, dress and way of life for over a century, this vivid drawing uses watercolor, gouache and crayon to capture a g...

The Tomb of Caecilia Metella, Rome. Red chalk on paper. Provenance: H. Shickman Gallery, New York (D1311). Label verso where given to Hubert Robert. This sumptuous drawing is a ...

Neue Sachlichkeit drawing by Beeldens, unframed, pencil & charcoal on paper. Neue Sachlichkeit (The New Objectivity). New objectivity painters infus...

Drawing on paper under glass, framed, signed Luez, 20th century. View of an Oriental port. Measures: H: 24.5 cm, W: 30.5 cm, D: 1.5 cm.