Megan Gibbons

Serena

2022

"Shipwright" by Megan Gibbons, oil on canvas, 36 x 36 inches, (Framed Size: 37.5 x 37.5 inches) $3100. - My work focuses on the meaningfulness in ordina...

"Filter" by Megan Gibbons, oil on canvas, 48 x 36 inches, $3750. - My work focuses on the meaningfulness in ordinary moments. The beauty of common, tran...

"Origin: How God And I Created The World" acrylic on canvas, 45.5 x 61.5 inches (unframed), $9,500 Tony Smith’s paintings are works in motion. They are tho...

A Fete For Spring, oil on linen, 22 x 28 inches (Framed size: 28 x 34 inches), $4,500 Simone Simonian studied under the enigmatic and formidable Alvin Gittins...

Abstract Woman I, acrylic on canvas, 20 x 20 inches (painted orange sides), $750 Randee Levine’s work follows the abstract expressionist movement allow...

"Shore Birds" by Gerald Purdy, oil on panel, 11 1/2 X 14 inches (framed size: 17 X 21 1/2 inches), $2,800. "I chose narrative art from the menu and have ...

Original oil painting on canvas. Hand signed on front by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable...

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...

Exhibited: National Academy of Design, New York, 1906 (as no. 101) Art Institute of Chicago, 1908 (as no. 74)

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. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

Jacob Ochtervelt (Workshop) The Grape Seller There are two known versions of this subject. This is a reduced variant of Ochtervelt's signed and dat...

Austrian genre painting of children in a classroom by Rudolf Geyling Austrian, late 19th Century Frame: Height 94cm, width 126cm, depth 8cm Canvas: Height 75cm, width 101cm, depth 2c...