Thomas Whittaker Kidd Art

Coming soon

A beautiful 1960's English oil on canvas depicting a surrealist landscape with rainbow and gilt framed painting on a wall. A stunning and unusual painting presented in a bespoke gilt...

Surrealist Nocturnal Hawaiian Figurative Landscape w. Blue Skirted Woman & Moon by Marguerite Louis Blasingame Striking mid century modern Hawaiian noct...

Title: The Billiard Player Artist: Anonymous Technique: Oil on canvas Dimensions: 39.4 x 31.9 in Period: c. 2000 Condition: Good Art Movement: Contemporary Figurativism, Neofiguratio...

Oil Painting of Glaramara and Combe Ghyll in the English Lake District by Modern British Landscape Artist Arthur Terry Blamires (b. 1930) Art measures 20 x 16 inches Frame measure 2...

oil on linen 1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended...

Forest Landscape John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board, signed lower right Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Alfred Arthur Brunel de Neuville, French (1879 - 1907) "Panier de Peches" Oil on canvas. Signed lower right side.

Timbro DM 1997 in basso a destra Opera su carta olio, di DORA Maar Colore Turchese blu Timbro MD atelier Siglato sul retro

A traditional original oil painting of the beautiful English countryside, capturing the range of trees, fields and buildings to be f...

Hawaiian Symbolism Flowering Tree and Acolytes Symbolism Landscape Symbolic landscape with four figures worshiping flowering tree by Marguerite Louis Blasingame (American; 1906-1947)...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...