Albert Rosenthal

"Milliner's Shop, New York" Albert Rosenthal, Society Lady in a Hat Store

1914

"At the Opera" WPA Social Realism Mid 20th Century Modern Theatre American Scene John Winters (1904 - 1983) "At the Opera" 17 x 14 inches oil on canvas Signed and dated 1943 lower r...

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

WPA Mural Study 1940 American Scene Modern Social Realism Figurative Mid Century Michael Loew (1907-1985) Detail for Mural (Social Security Building Washington D.C.) 24 x 24 inches ...

"Old Shoemaker" Ashcan 20th Century Modernism 1924 California WPA Realism Worker. Signed “Otis Oldfield” lower left. 14 x 12 inches. Exhibited: Galerie des Beaux Arts, San Francisco, CA, 1925 Provenance: Estate of the Artist Born in Sacramento, CA on July 3, 1890, Otis Oldfield left high school at age 16 to work in a local print shop. In 1909 he arrived in San Francisco and enrolled at the Best Art School. After working for two years as a bellhop at the Argonaut Hotel and as a hat check boy at the Cliff House, he had saved enough money for further studies in Paris. In 1911 he sailed for France and enrolled at Académie Julian. Caught up in the activities of wartime Paris, he was an apprentice for a book...

"Audience" Mid 20th Century American Figurative Theatre Performance Contemporary Leon Bibel (1912 - 1995) "The Audience," 52 ½ x 41 ¼ inches. Oil on canvas, c. 1963. Signed lower right. Framed. BIO Painter, printmaker and sculptor, Leon Bibel was born in San Francisco in 1913. He trained at the California School of Fine Arts and received a scholarship to study under the German Impressionist Maria Riedelstein. He worked in collaboration with Bernard Zackheim, a student of Diego Rivera, to create frescoes for the San Francisco Jewish Community Center and the University of California Medical School. In 1936 Bibel moved from California to join the Federal Art Project at Harlem Art...

"Sock Hop" Mid-Century American Modernism WPA Female Artist 20th Century Realism. 30 x 24 inches. Oil on canvas. Signed on stretcher, c. 1940s. Frame is likely original to the painting. Realist painter-printmaker Kyra Markham...

1940s New York Interior -- An Evening Scene of Artist and His Wife Wonderful moody 1940s New York interior and figurative oil painting in Ashcan Schoo...

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

"Serena" by Megan Gibbons, oil on canvas, 48 x 36 inches, (gallery wrapped canvas) $3500. - My work focuses on the meaningfulness in ordinary moments. T...

"Shipwright" by Megan Gibbons, oil on canvas, 36 x 36 inches, (Framed Size: 37.5 x 37.5 inches) $3100. - My work focuses on the meaningfulness in ordina...

"Filter" by Megan Gibbons, oil on canvas, 48 x 36 inches, $3750. - My work focuses on the meaningfulness in ordinary moments. The beauty of common, tran...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...