John Howitt Art
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Artist: John Howitt
Mother and Children on a Snowy Day
By John Howitt
Located in Fort Washington, PA
Medium: Oil on Canvas
Signature: Signed Lower Left
Probable proposed fuel advertisement or calendar illustration for Koppers Coke.
Category
20th Century John Howitt Art
Materials
Oil, Canvas
The New House
By John Howitt
Located in Fort Washington, PA
Signature: Signed Lower Left
Category
20th Century John Howitt Art
Materials
Oil, Canvas
Paying the Bills
By John Howitt
Located in Fort Washington, PA
Signature: Signed Lower Left
Category
20th Century John Howitt Art
Materials
Board, Oil
The Strongman
By John Howitt
Located in Fort Washington, PA
Signature: Signed Lower Left
Category
20th Century John Howitt Art
Materials
Oil, Canvas
Practicing the Speech, Liberty Magazine Cover
By John Howitt
Located in Fort Washington, PA
Date: 1939
Medium: Oil on Canvas
Dimensions: 33.00" x 27.00"
Signature: Signed Lower Right
Cover of Liberty Magazine, January 14, 1939
Category
1930s John Howitt Art
Materials
Oil, Canvas
The Shopper
By John Howitt
Located in Fort Washington, PA
Date: 1909
Medium: Oil on Board
Dimensions: 30" x 20"
Signature: Signed Lower Right
Image of an elderly man in a gun shop.
John Newton Howitt (1885-1958), a graduate of the ...
Category
Early 1900s John Howitt Art
Materials
Board, Oil
"The Rivals"
By John Howitt
Located in Fort Washington, PA
Date: 1910
Medium: Charcoal on Board
Dimensions: 25.00" x 35.50"
Signature: Signed Lower Right
John Newton Howitt (1885-1958), a graduate of the Art Students League (other gra...
Category
1910s John Howitt Art
Materials
Board, Charcoal
Some Harmony
By John Howitt
Located in Fort Washington, PA
Young man playing the trumpet with chickens, a dog, and a cat.
Category
20th Century Other Art Style John Howitt Art
Materials
Canvas, Board, Oil
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View on the Hudson, the Catskills in the Distance
By Francis Augustus Silva
Located in New York, NY
Signed lower right: F.A. SILVA.
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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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The Harvest
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Farmhands working in a field on a hot summer's day.
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"Sunday in the Park, 1910"
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Cyprien-Eugène Boulet (1877 - 1927)
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Portrait of a Lady with a Chiqueador
Located in New York, NY
Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017
While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches.
This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks.
While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs.
The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery.
We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...
Category
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Materials
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H 66.25 in W 43.75 in
"A Day on the Beach"
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Artist workshop
Located in BELEYMAS, FR
Louis Joseph POTTIN
(Le Mans 1849 – Paris 1930)
The artist's studio
Oil on canvas
H. 38 cm; L. 46 cm
Signed lower left
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Reference number F357
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Focus
Located in Ibadan, Oyo
Painting
Ships in a well-protected tube from Nigeria
This work is unique, not a print or other type of copy.
Accompanied by a Certificate of Authenticity.
Category
21st Century and Contemporary Contemporary John Howitt Art
Materials
Canvas, Oil, Acrylic
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