This is a fine line drawing in pencil on white paper that shows a group of four figures of various ages. One is seated and the others are gathered around her chair, looking out at the viewer. They are dressed in early 19th c. European clothing. The central figure is a mature woman who embraces a young girl at her side. There is a boy and young woman standing behind her.
This is a portraiture of Chang Ku-nien's elder son and daughter. It's spring time. The setting may be in a garden with beautiful apricot flowers, lush pine trees and stone table. Pink and green colors used brightens the painting, suggesting a happy marriage.
Portrait of artist's elder son Cheng-yang and daughter-in-law Shirley to celebrate their twentieth anniversary of marriage. In the painting, Shirley is playing a kind of zither and her husband standing beside in a caring and appreciative manner.
annotated "left to right Shorty Goff, Harvey Goff + Deb Goff" in ink, verso
7.62 x 12.7 cm (3 x 5 in.)
Three men seated on a bench. The man in the center is in a sailor's uniform, the man on the left in a suit and hat and the man on the right in a suit jacket, shirt and overalls. They are all posing for the camera.
In this idyllic scene, the goddess Parvati offers her husband Shiva a drink, as they enjoy a quiet moment together. Their children, the elephant-headed Ganesha and Skanda, play inside a tent made from the hide of an elephant demon that Shiva had slain. Both parents are clothed in animal skins, the garb of mountain-dwelling ascetics, while Shiva is further adorned with a long necklace of skulls and a snake.
The narrative and iconographical elements of this scene alludes to multiple aspects of Shiva’s character—as lover, family man, destroyer of evil, and supreme practitioner of austerities—but, as is typical of Kangra painting, the overall mood is one of tranquility and domestic harmony.
Kangra was a small Rajput state in the Punjab Hills, which lie at the foot of the Himalaya in the far north of India. From the mid-eighteenth century, artists in this region began to adapt certain features of European painting, as filtered through Mughal painting. That impact is seen here in the naturalistic palette and treatment of forms, especially the animals and tree.
Paper size: h 33 3/5cm x tw 42 1/2cm & bw 42 3/10cm. Image size: h 22 7/10cm x w 31 2/5cm.
This lithograph is printed is tones of brown ink on cream colored paper. There is a large dappled horse standing in a stall with its left rear hoof raised. On the left, a man, standing with feet braced and muscular arms extended, uses tools to attach a shoe to the horse's hoof. Steam billows from the hot metal shoe. On the right, a man stands leaning against the stall and a small child reaches up toward the horse's head. The horse bends its head down toward the child. There is an English inscription below this scene that identifies the artist, title and publisher.
A talented painter of horses, Géricault’s equine works received fresh stimulus from the work of English artists such as David Wilkie’s genre and hunting scenes and James Ward’s heroic paintings of horses. Following his 1820 visit to England, Géricault executed a number of lithographs showing horses being shoed and coal carts with their robust draft horses.
The Flemish Farrier conveys the close quarters and dark working conditions of a blacksmith’s shop as the horse is restrained while being fitted for shoes. Both the horse and the smith have tensed muscles and the subject recalls Géricault’s earlier exploration of the relationship between man and horse in the Barberi riderless horse race in Rome (see double-sided drawing 1984/1.286). In those earlier works, the arcs of arms and necks and their related forces take on a geometric purity; here the greater realism of this farrier at work shows the two not straining against one another as much as sharing the same tense musculature. This print is a particularly luminous image; the steam and smoke and the delicate gradations in values in this lithograph evoke a rich palpable atmosphere.