DF ART INC Paintings
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Interior Scene
By David Teniers the Younger
Located in Richmond Hill, ON
MANNER OF DAVID TENIERS
Oil on canvas.
Signed.
Size: 15 inches (h)x 21 inches (w) only canvas.
26 inches (h) x 30 inches (w) framed.
An interior scene...
Category
19th Century Interior Paintings
Materials
Oil
Winter Landscape
By Karl Ludwig Prinz
Located in Richmond Hill, ON
KARL LUDWIG PRINZ (1875-1944)
Winter Landscape
Oil on canvas. Signed. Framed.
Size: 32 inches (h)x 39 inches (w) canvas.
40 inches (h) x 48 inc...
Category
20th Century Landscape Paintings
Materials
Oil
The Garden
Located in Richmond Hill, ON
AURELIO TIRATELLI(1842-1900)
The Garden
Oil on wood
Signed and located in Rome.
Framed.
7 inches (h) x 12 inches (w) wood.
22 inches (h) x 27 inches (w) framed.
At the back has a number:
BIO:He was born in Rome. He studied at the Accademia di San Luca in Rome, under Minardi, Alessandro Capalti, and Francesco Podesti for design and painting, while Giulio Tadolini and Pietro Tenerani mentored him as a sculptor. He created some sculptures in his first years as an artist, but then became a painter. Among his major works: A Cattle Herd at Ostia was acquired by King Vittorio Emanuele; A railroad Disaster; A Cart pulled by Buffalo in the Pontine Marshes, exhibited at the Museo Revoltella of Trieste; Work in oil in Ceccano; Herd of bulls in the Roman Countryside; Un carro alla Marchegiana, vulgarly known as Mambrucca, (surroundings of Rome), exhibited at the 1889 Universal Exposition of Paris. Tiratelli sold paintings to the Khedive of Egypt. However many of his masterworks, he did not apply a title, including canvases that depicted un cavadenti in mezzo and una fiera nella Valle del Sacco (1884 Exhibition). He exhibited in Chile, South America. Tiratelli was knighted and an officer of the Order of the Crown of Italy, and orphanages wished him to become inspector, and many societies made him an honorary associate. His son, Cesare Tiratelli, was also a landscape painter. Among his pupils was Giuseppe Signorini.
Category
19th Century Figurative Paintings
Materials
Oil
Pontoise Market
Located in Richmond Hill, ON
LUIS JIMENEZ Y ARANDA (1845-1928)
Pontoise Market
Oil on wood
Signed. Framed.
Size: 17 inches (h) x 9 inches (w) wood.
21 1/2 inches (h) x 18...
Category
Late 19th Century Landscape Paintings
Materials
Oil
La Danza di Salome
Located in Richmond Hill, ON
ANDREA MARCHISIO (ITALIAN 1850-1927)
La Danza di Salome
oil on canvas
190.5 x 249 cm (75 x 98 in.)
signed lower left
Category
19th Century Figurative Paintings
Materials
Oil
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18th century oil sketches for a Baroque interior - a pair
Located in London, GB
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.
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Giovanni Battista Pittoni, Holy Family with Cupids, Venetian Baroque, Christmas
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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...
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