André Minaux Paintings

Signed lower right “Henningsen” and dated 1881 at reverse. Attributed by Erik Ludvig Henningsen (1855 - 1930) was a Danish painter and illustrator. Masterly painted genre scene “testing grandfather’s pipe” depicting lively domestic moment. The little prankster wants to be like his grandfather, but how can he not try his grandfather’s pipe, which he loves so much and does not let go of even in his sleep. The curious and brave sly man, despite the consequences, took off his shoes to approach quietly... One can imagine his disappointment and emotions after he accomplished what he had planned... The boy's faithful friend, a small dog, looks at all this with interest and curiosity. Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing. Antique oil painting on canvas, signed, framed. Size: 43 cm x 35 cm (roughly 16.9 x 13.8 in), frame 52 x 43.5 cm (roughly 20.5 x 17.1 in). Very Good pristine condition with minimal wear. Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 1 kg is going to measure some 2 kg packed for shipment. Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more. Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large...

Charles HERMANN-LÉON (born Léon Charles Sigismond HEMRMANN) (Le Havre 1838 - Paris 1908) Portrait of a young woman Oil on canvas H. 54 cm; L. 41 cm Signed and dated upper right - 187...

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...

Portrait of a lady as Flora Robert Le Vrac Tournieres (1667-1752) First half of 18th century French School Oil on oval canvas, Dimensions: h. 27.2 in, w. 21.7 in Magnificent original...

L. FROSSARD (active in Vienna around 1870) Portrait of Adelina Patti (1843-1919) Oil on canvas H. 100.5 cm; L. 73.5 c Signed lower left If the artist maintains a certain discretion ...

Oil on canvas. Signed Aress. Oil mesures 33x24 cm. Frame mesures 48x39 cm.

Louis Joseph César DUCORNET (Lille 1806 – Paris 1856) Portrait of a young girl Oil on canvas H. 92 cm; L. 73 cm Signed upper left, dated 1837 When he came into the world in Lille in...

Charles FRÉCHOU (Paris 1820 – Paris 1900) Portrait of a child with a cat Oil on canvas H. 41 cm; L. 33 cm Signed lower left and dated 1849 Apart from participation in the Salon betw...

Lady's portrait - Nicola del Basso Italia 2011 - Oil on canvas cm. 100x80 In this painting we admire a noblewoman sitting at her writing desk, looking for inspiration to compose a lo...

Oil on canvas Image size: 21 1/2 x 17 3/4 inches (55 x 45 cm) Original gilt frame In this portrait this young woman is depicted facing forward with her head slightly raised and turned left towards the viewer. She is dressed in a blue satin dress. The low-cut drapery, exposing her décolletage, was not unusual for the time as 18th century women would often wear their dresses off-the-shoulder or fitted with a very open neckline. Her perfectly oval face is enlivened by wide brown eyes, full cheeks and a mouth that sketches a half smile. Her cheeks rose with blush, which was a popular cosmetic style during the Rococo period and contrasts with her ivory skin and powdered hair. Her tied hair is studded with many flowers and the ribbon around the woman's throat accentuates her bare neck. Alexander Roslin Alexander Roslin was one of the most important portrait painters of Europe in the 18th century. He was born in Malmö in Sweden but soon moved into Europe to paint at various royal courts. From 1750 on he worked mainly in Paris. Here he was destined to achieve great success. He had collected letters of recommendation on his journey through Europe, including that of the Duchess of Parma, the sister-in-law of Louis XV. Soon he was admitted to the court and the Royal Academy in Paris and when he married in 1759 he was the most wanted artist in Paris for portraits. He was married to the miniature painter Marie Suzanne Giroust. Although he painted mainly French nobility...

After Baron Gérard, circa 1835 Portrait of King Louis-Philippe Oil on canvas H. 79 cm; L. 65 cm Provenance : Private collection, Périgord, by descent since the 19th century This po...

Painted with inspiration, sensitivity and with grace, this painting depicts a young woman whose right arm is slightly stretched out. Although we cannot see her hand, she must clearly...