C Sørensen

C Sorensen, Interior With Arch & Dining Nook

c. 1930

This early 20th-century oil painting by German artist Paul Sannemann (1886-1943) depicts a vibrant still life with chrysanthemums. Sannemann had an eye for colour, never one to shy ...

This early 20th-century oil painting by Austrian artist Karl Feiertag (1874-1944) depicts two young women making lace in Burano, Venice. Sat within a qu...

This mid-20th-century oil painting by Danish artist Sophus Vermehren (1866-1950) depicts a grandmother reading to her granddaughter, who is convalesci...

This mid-20th-century oil painting by British artist Harry Keay (1914-1994) depicts a still life with a book, bonnet, teacup and sewing paraphernalia. It wa...

This early 20th-century oil painting by Danish artist Alfred Broge (1870-1955) depicts a rustic courtyard with thatched cottage and seated woman. Amidst the gritty and grimy changes...

This late 19th-century oil painting by British artist James Hayllar (1829-1920) depicts an elderly woman standing by a flight of stairs while brushing a top hat. It was shown at an e...

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...

A painting by Max Pellegrini. "Il Dormiento, La Caduta di Icaro a Torino" contemporary painting, oil on canvas in a dark and earth-tone palette by Italian artist max Pellegrini. The ...

Bold outlines and strong weighty forms coalesce with a compositional delicacy that forms the hallmark of Hartley's work. The work has a long and distinguished provenance and exhibit...

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...

Cover of The Saturday Evening Post, February 5, 1949 Label on back is Falter’s handwriting, his daughter said Curtis Publishing probably titled it “meeting the Date”. The Episcopal ...