Claude Le Sauteur

Gerbes sous le soleil

1982

Claude Le Sauteur, Canadian, 1926-2007 LES OMBRES (THE SHADOWS) Oil on canvas 10 x 12 in Signed and dated lower left; signed and titled verso framed

Stanley Cosgrove, 1911-2002, Canadian UNTITLED Oil on canvas panel 12 x 10 in 30 x 25,5 cm Signed lower left framed Stanley Cosgrove Biography (1911 - 2002) Canadian Group of Painters, RCA Born in Montreal, Quebec, he studied art at the Ecole des Beaus-Arts, Montreal, at the age of 26 and afterwards at the Art Association of Montreal where he took figure painting under Edwin Holgate...

Henri Masson, 1907-1996, Canadian Untitled c. 1970 Oil on board 16 x 20 in Signed lower left framed

Armand Tatossian, Canadian, 1948-2012 POINTE-FORTUNE Oil on canvas 20 x 24 in INSCRIPTIONS Signed lower left;; signed and titled verso Pointe-Fortune is a village municipality in s...

Claude Langevin, b.1942, Canadian Snow clouds Oil on canvas 16 x 20 in signed Framed

Pauline Paquin, Canadian b. 1952 Les petits pecheurs Oil on masonite 16 x 12 in Signed lower right, signed and titled verso framed

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...

Horse is an original oil painting on canvas, realized in the 2000s by the emerging artist Anastasia Kurakina. Very good conditions. This beautiful artwork represents a crawling hor...

Clown is an original oil painting on canvas, realized in the 2000s by the emerging artist Anastasia Kurakina. Very good conditions. This very colored artwork represents a clown sur...

Model in Studio is an original contemporary artwork realized by Dimitri Godycki Cwirko (1901-1987) in 1968. Mixed colored oil painting on canvas. Hand signed and dated on the lower...

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)