Megan Gibbons

Serena

2022

"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...

"Origin: How God And I Created The World" acrylic on canvas, 45.5 x 61.5 inches (unframed), $9,500 Tony Smith’s paintings are works in motion. They are tho...

A Fete For Spring, oil on linen, 22 x 28 inches (Framed size: 28 x 34 inches), $4,500 Simone Simonian studied under the enigmatic and formidable Alvin Gittins at the prime of his ca...

Abstract Woman I, acrylic on canvas, 20 x 20 inches (painted orange sides), $750 Randee Levine’s work follows the abstract expressionist movement allow...

"White House, Blue Roof" by Kathleen Peterson, oil, 18 X 18 inches Kathleen Peterson was born the third child of a third child to school teacher par...

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...

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...

Exhibited: National Academy of Design, New York, 1906 (as no. 101) Art Institute of Chicago, 1908 (as no. 74)

"The Music Room (interior with Piano)" Original painting. Size 39x23.5in / 100x60cm . Oil on canvas. Interior. "The Music Room" was part of Mixed Moods, solo show in September 20...

Thomas Pollock Anshutz (American, 1851-1912) Sewing by the Hearth, c. 1884 Original frame Oil on canvas, 17 x 24 inches; Framed: 34 x 27 inches Label (handwritten in ink) on stretcher verso: “Artist Thos Anshutz” Label on backing verso: (printed) “PORTLAND MUSEUM OF ART”; [...] (typewritten) “Thomas Pollock Anshutz/American, 1851 1912/INTERIOR/oil on canvas/stretcher: 17 x 23 15/16 inches/not signed/COLLECTION OF MRS. NORMAN B...

Oil on canvas