Edwin Frederick Holt

By the Fireside, Victorian Late 19th Century British Oil

1877

Oil on canvas, monogrammed lower left and inscribed on reverse Image size: 20 x 24 inches (51 x 61 cm) Original gilt frame Provenance Mrs. Georgina Gale (Artists Widow) Bristol, Br...

This grand scene depicts the interior of Knole House, a country house and former archbishops palace. Situated within the 1,000 acre Knole Park the house ranks in the top five of Engl...

Oil on canvas Image size: 25 x 31 inches (62.5 x 79 cm) Hand made contemporary frame This painting depicts the artists fellow conscientious objectors who were all part of the Non Co...

Oil on board, signed lower right and titled and dated lower left Image size: 19 1/2 x 16 3/4 inches Contemporary hand made frame

Oil on board, signed & dated lower right Image size: 4 x 4 inches  (10 x 10 cm) Handmade frame

Oil on board, signed and dated Image size: 13 1/2 x 7 3/4 inches (34.25 x 19.5 cm) Original gilt frame Arthur Wardle Wardle, who was self-taught, began painting very young and almo...

Provenance: Palazzo Pisani at San Stefano, Venice Mrs. F. Craighead (possibly Mrs. Fay Stinson Craighead, Evansville, Indiana) Sale, Sotheby Parke Bernet, New York, 7 June 1978, lot 310, as Bonifazio Veronese Daniel M. Friedenberg, New York, until 2011; and by descent to: Russell Friedenberg, until 2014 Literature: Giuseppe Pavanello, Gli Inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia, Venice 2006, pp. 132, 140, as no. 10 in Pietro Edwards’ inventory of the Palazzo Pisani: “Giuseppe che fugge dalla moglie di Pitifarre” by Bonifacio Veronese. Philip Cottrell and Peter Humfrey, Bonifacio de’ Pitati, (forthcoming), cat. no. 166h. Antonio Palma is the least well-known member of the illustrious Palma family of Venetian painters of the 16th century. He was the nephew of Jacopo Palma—Palma il Vecchio—and upon his uncle’s death in 1528, he began to work with Palma Vecchio’s principal student and the inheritor of the elder artist’s studio, Bonifazio de’ Pitati (Bonifazio Veronese). Antonio worked with Bonifazio as his principal assistant and right-hand man until Bonifazio’s death in 1553, after which he continued his independent career. He married a niece of his master, and their second son, Jacopo, born in 1648, would achieve fame as Palma il Giovane...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Albert Benaroya (Israeli) Red Tulips oil on canvas 81x56 cm Born in Istanbul, Benaroya is an Israeli artist, a master of depiction in hyper - realism...

Chani Cohen Zada Afterbirth , 2018 oil on canvas 100 x 100 cm 39 x 39 in Exhibited: 'Between Holy and Mundane', Lewinski College, Tel Aviv. Israel 11.1-...

Albert Benaroya (Israeli) Red an Purple Orchids oil on canvas 81x56 cm Born in Istanbul, Benaroya is an Israeli artist, a master of depiction in hype...

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...