Patrick Pietropoli Art

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

Senza Titolo 4 Oil Paint on Copper Portrait In Stock Giovanni Tommasi Ferroni (1967, Rome) descended from an artistic Tuscan family. His grandfather, ...

A charming and decorative composition painted in 1943 by Danish artist Evan Wulff. This stilleben painting unveils a rustic table adorned simply with a wine bottle and two oranges. T...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

"Dancing with" Abstract Acrylic on Linen Painting 46" x 30" inch by Hossam Dirar "Dancing with" (2016) by Hossam Dirar 46” x 30” Mixed media on linen canvas CHAOS This project i...

The Virgin and Child with two music-making angels, after Van Dyck; in clouds, the Virgin shown half-length supporting the infant Jesus on an orb, looking to right at an angel playing...

Dimension with frame: 35 x 29,7 x 3,3 cm. A finely executed miniature devotional painting depicting the Madonna tenderly embracing the Christ Child. Executed in oil on copper and dating from the late 18th to early 19th century, the composition displays the intimate scale and luminous surface characteristic of copper paintings. The Virgin is shown wearing a deep blue mantle highlighted with delicate gilded details and crowned by a circle of stars, while the Christ Child rests affectionately in her arms. The work reflects the enduring influence of Baroque religious imagery and evokes the devotional paintings produced throughout the Spanish world during the colonial period, while remaining firmly rooted in the broader Continental European tradition. Its small scale, refined execution, and warm devotional character make it an appealing collector's piece. The painting is presented in an impressive carved and ebonized wooden frame that beautifully complements the richness of the composition. A charming example of late 18th-century religious art, combining devotional intimacy, Baroque sensibility, and the luminous qualities unique to oil on copper. madonna and child, virgin mary, christ child, oil on copper, copper painting, religious painting, devotional painting, catholic art, christian art, sacred art, baroque religious art, baroque devotional painting, continental european school, spanish colonial taste, spanish colonial influence, antique religious artwork, ecclesiastical art, crowned madonna, star crown madonna, virgin and child, christian iconography, late 18th century painting, circa 1800, antique oil on copper, miniature painting, devotional icon, old master style, european religious art, framed religious painting...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

**Le Temps Qui Passe** Roos van der Meijden 60 x 40 cm The framed size: 65 x 45 cm (frame included in price) Roos van der Meijden’s *Le Temps Qui Passe* captures the quiet poetry ...

In her 'Prayers,' series, Shizico incorporates Dahlias, which bloom in the late summer, bringing vibrancy to the garden into the winter's chilly months. The innocence of a cat serves...

This charming German miniature painting, created of oil on copper, depicts a young woman wearing a large and lavish hat. With dark, braided hair and blue eyes, the sitter's cheerful ...

Marianne Loir (Paris 1705 – Paris 1783) Presumed Portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm Unsigned Grandda...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

EMIILIO GRAU SALA Spanish, 1911 - 1975 LE MOULIN DE LA GALETTE signed "Grau Sala" (lower right) oil on canvas 59-1/4 x 67-1/4 inches (150.5 x 170 cm.) framed: 62-1/2 x 70-1/4 inches...