Portrait Paintings

Innocent is an artist who harnesses the beauty of colours to create a certain brilliance in his work that portrays the graceful ambience of the African culture. Using his dexterity a...

Figure in the shadow is an original modern artwork realized by N. Gattamelata in 1968. Mixed colored oil on canvas Includes frame Hand signed and dated on the back.

Portrait Of A Lady, 19th Century circle of Sir Thomas LAWRENCE (1769-1830) Fine large early 19th Century portrait of a young lady, oil on canvas. Super quality and condition study ...

Carvaly Skirmish At Night, 17th Century school of Jacques Courtois (1621-1676) Large 17th Century Italian Old Master night battle with cavalry offic...

Suzy Smith's "Lady in Red" is an original, handmade oil painting that depicts a feminine figure, in a formal red gown holding a cigarette. About the Artis...

The Witness III, Oil on Canvas Painting by Ognian Zekoff, 2019 Through the plethora of meaningless images that flood our daily experiences, there are very few, which we encounter, t...

Original painting on canvas. Hand signed lower front by Fernando Fernandez. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reaso...

Portrait of Berthe Thorwaldsen with Bust of Horace Vernet is an original modern artwork realized by the Circle of Horace Vernet (30 June 1789 – 17 Januar...

Commodo - Maximilian Ciccone - Italia - Oil on canvas, portrait of Roman Emperor Commodo.Mis. cm. 210x120-

Original painting on canvas. Hand signed lower front by Fernando Fernandez. Canvas is sretched. Artwork is in excellent condition. Certificate of ...

Konstanty Swewczenko (1910-1991), signed oil Judaica Oil Painting, Polish, c.1960 Konstantin Shevchenko studied at the Institute of Fine Arts in Warsaw in the years 1927 - 1928. Then, in 1932 he studied painting under the guidance of Kowarski and Pruszkowski at the Warsaw Academy of Fine Arts. Practiced easel painting, mostly portraits, genre scenes. Among others, a portrait Moscicki, Rydz - Rydz, and after the war Rokossowski. He worked as a set designer. In the years 1934 - 1935 was production designer Variety Theatre. He collaborated with publishing houses with illustrations. He exhibited in Warsaw, Vienna, New York. In 1947 he took part in Exhibition Independent Artists Group) and abroad (solo exhibition at the Gallery G. Tomalsky in New York, 1964) . His works are in the collection of the Museum of the Polish Army.

Gewitter, 2022 by Hunter & Gatti Acrylic and scratch on fine art metallic paper with a pearlescent coating Image size: 20.8 in H x 15.7 in W Unframed The “visible” spectrum, probabl...

A modern copy of Rembrandt's 'Girl in a Window' by the artist Kop Kremer, depicting the young girl leaning on a window sill, wearing a linen shirt and gold necklace. The original work is currently hanging in Dulwich Picture Gallery...

Bust Portrait of a wigged man in a Brown Coat Circle of Gilbert Stuart (1755 - 1828) Irish oil on canvas, unframed size: 30 x 25 inches condition: ver...

Shelli Langdale's "October" is an original, handmade oil painting that depicts a feminine figure sitting cross-legged on a green pleated couch with a blue...

Portrait of Woman is an original artwork realized by the Italian artist Antonio Feltrinelli in the 1930s. Original oil on plywood. Beautiful and representative artwork of a female...

Interlude no. 5 Oil Painting on Panel Portrait In Stock Maya Kulenovic’s paintings have been exhibited in over thirty solo exhibitions and many more group shows and art fairs in Ca...

"Fume" Acrylic on canvas 39" x 39" inch painting by Tom Barnabi Tom Barnabi is a part of the modern generation of artists, who managed to absorb several c...

The Penitent Magdalene, 17th Century circle of CARLO DOLCI (1616-1686) Large 17th century Italian old Master depiction of the Penitent Magdalene, oil on ...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

François Jean SABLET (Morges, 1745 – Nantes, 1819) Portrait of Jean Claude Pellegrini (1787-1854) Honorary Divisional Inspector of Bridges and Roads. Oil on canvas Monogrammed and dated lower right 30x25cm 1819 Painter of portraits, Jean François Sablet, originally from Morges, born November 23, 1745, is the eldest son of Jacob Sablet (1720–1798), bourgeois of this city, house painter, gilder, art dealer, and Suzanne Dupuis (1722–1775), settled in Lausanne from 1754. In 1767, on June 8, he prepared to leave to “improve in the art of painting” with a viaticum from the Council of Morges and a scholarship from Bern. In Paris, he was a pupil of Joseph-Marie Vien at the Royal Academy (1768–73). In 1772, he was joined by his younger brother Jacques, who in 1776 left for Rome to pursue a brilliant career there. François, he remains in Paris, goes almost unnoticed there having neither competed, nor received a prize, nor even exhibited. In 1774, he signed and dated the Portrait of the Count of Artois, as Colonel-General of the Swiss and Graubünden. In 1777, he married Marie Madeleine Borel, daughter of a wood merchant, and settled near the Quinze-Vingt at the Bastille, as a portrait painter. He entered the Masonic lodge of Celestial Friendship and therefore enjoyed a certain notoriety. He executed the portrait of Charles-Henri, Comte d'Estaing, engraved by Charles-Etienne Gaucher (1779). In 1781, L. Perrot reproduced two of his works from the cabinet of Madame de Saint-Maurice, Childhood in the Countryside and Visit to the Nurse, for the philanthropic society founded in particular by Louis d'Affry, captain of the Swiss Guards. . In addition to the fact that these subjects denote an ideal of benevolence under the aegis of Jean-Jacques Rousseau, they testify to relations with the Swiss milieu. Finally, the format and quality of two large full-length portraits Vestal pouring incense (1781) and the Offering to Hymen (1783) reflect her favor in society on the eve of the Revolution and, although in shadow, he is able to build life annuities. From this first stage are dated two sketchbooks in black chalk and red chalk of characters, interior scenes, theatrical evocations, including the Vestal Virgin pouring incense. He also signed a series of wash illustrations relating to mythology and other subjects taken from Ovid. In 1789, the political climate suddenly darkened, the amateurs left, dragging the artists with them. François Sablet took the road to Switzerland and, in January 1792, joined his brother in Rome, a genre painter in Italian costumes and portraits in nature called "conversation pieces", models from which François was to draw inspiration. François spent the summer in Genzano in the Roman countryside, where he also devoted himself to landscape and popular costumes. Beat d'Hennezel, their compatriot, evokes the evenings at the Sablets' with their artist friends, busy drawing portraits while exchanging heated remarks on the political situation. However, the events in Paris had repercussions in Rome. In January 1793 the French representative was assassinated, the French and other French speakers...

Acrylic paint and ink on tracing paper Hand-signed and dated lower right

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; ...

The panel has been attributed both to Joan de Joanes and his son Vicente Macip Comes (Valencia, ca. 1555 – 1623). Provenance: Private Collection, England, by 1886 (according to stencils on the reverse) Private Collection, New Jersey, until 2010 The Veil of Veronica, often called the Sudarium, is one of the most important and well-known relics of Christ. According to legend, Veronica offered Christ her veil as he carried the cross to his crucifixion. He wiped his face with the veil, which left the cloth miraculously imprinted with his image. Depictions of Christ’s face on a veil, or simply images that focused in on Christ’s face, were treasured objects of religious devotion. The popularity of this format also inspired similar images of the face of the Virgin. The iconographic type of the present painting is known as the Veronica of the Virgin, which was especially favored in late medieval and early Renaissance Spain. Distinct from the images of the suffering Christ, the Veronica of the Virgin is based on the legend that Saint Luke painted a portrait of Mary from life. Although scholars have sometimes mistaken them for portraits of Queen Isabella I of Castile (known as Isabel la Católica) or as a depiction of Saint Maria Toribia (known as María de la Cabeza, or, Mary of the Head), paintings like this one were clearly intended as images of the Virgin in the style of Saint Luke’s lost portrait. The Veronica of the Virgin was especially popular in Valencia, and depictions of this subject produced there all stem back to one visual prototype: a Byzantine image in the city’s cathedral (Fig. 1). This early treatment of the Veronica was given to the cathedral in 1437 by Martin the Humane, King of Aragon and Valencia, who promoted religious veneration of the Veronica of the Virgin as part of the celebration of the Immaculate Conception of Mary. This devotion spread throughout Martin’s kingdom and particularly took hold in Valencia, where the Byzantine image resided. The image, which is displayed in a gold reliquary...

Teofimo was painted over several days in the artist studio in Florence, Italy. The painting measures 16 x 12 with a handmade frame from Italy. This is oil on a linen panel which mos...

Artist/ School: British School, indistinctly signed lower right, circa 1950's Title: Portrait of an Aristocratic Lady. The previous owner believed the sitter to be a member of the Q...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Barend...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Auth...

Oil on canvas Image size: 28 3/4 x 24 inches (73 x 61 cm) Contemporary style gilt frame This portrait is an evocative example of Devis' Regency period portraiture, featuring a pleasant looking young girl holding a book in an outdoor setting. Working with a darker palette, a strongly accented diagonal recession, and dramatic contrasts of light and shadow, Devis heightens the girl's three-dimensional physical presence in the foreground of the composition. The Artist  Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson. Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay). He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds. He was appointed draughtsman on the British East India Company's packet Antelope in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library. He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office. He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic Death of Nelson, which proved a sensation. Devis also painted Dr Beatty, and was commissioned by him to produce a half-length painting of Nelson as vice-admiral, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling). Either the original or a copy of this portrait was exhibited at the Royal Academy two years after the Battle and many copies were made of it. Lord Howe owned one, and another ended up in the collection of the National Maritime Museum. It also appeared as an engraving in Beatty's published account of Nelson's death. Other work includes a portrait of King George III on horseback, and a range of portraits of admirals and generals, along with historical subjects, such as the Babington Plot and the signing of the Magna Carta...

"Portrait of Nathalie" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 5/8 x 3 1/2 (16 1/2 x 15 1/4 frame) inches Emin Abbasov is classica...

Mid 19th Century oil on canvas portrait of an Italian brigand, unsigned, in painted wood and gilt frame. The painting is a fine and fascinating rendition with plenty of wonderful character and detail to the costume, accessories, landscape and seascape. Very atmospheric and imposing much like the character it portrays. There is a trade stamp to the back of the canvas for the Paris firm of Susse Freres. The canvas is on a fine quality stretcher with 'keys'. There is an artist's name or title written on the top of the rear stretcher (see photo). Bands of brigands who populated the hills of southern Italy were steady fodder for the Romantic imagination, and their exploits were reported both factually, fancifully and artistically The painting dates from a period when France, under its then leader Napoleon III, was involved in the conflicts in the Italian states and the unification and eventual creation of the nation of Italy. An earlier and similar portrait exists of the infamous brigand Mazzocchi by Achille-Etna Michallony . Léon Cogniet...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes enhanced by the neutral background. We see these women en profile, sometimes even only a bare back. The hair is tucked up loosely or casually hanging over the shoulders. Since the face is not visible, it makes it easier for the viewer to identify with these women. In this warm painting...

Still Life Of Flowers In A Vase, 17th Century circle of JEAN BAPTISTE MONNOYER (1636-1699) Large 17th century French Old Master Still Life of various flowers in a vase upon a mantle, oil on canvas by Jean Baptiste Monnoyer. Excellent quality and condition example of the famous still life painters work, authenticated from the published designs of Nicolas de Poilly...

A bright portrait of a woman in pageant dress before a St. Louis skyline and riverboat.

Dea Goddess is a beautiful original oil on canvas realized in 2011 by Anastasia Kurakina . Signed and dated on the lower right margin. Good conditions. This original painting expl...

The colors are blended and layered in the background by cool colors that implement a calm surrounding. Aside from the colors the likeness of detail within the eye draws the attention...

A striking portrait of a woman wearing a pink shirt, large hoop earrings, and a flamboyant hat. Presented in a dark-blue painted wooden frame. There is another painting to the revers...

"Portrait of Zola" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 7/8 (16 1/2 x 15 3/8 frame) inches Emin Abbasov is classically ...

Shipping Procedure FREE Shipping Worldwide 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 Authent...

"As the incarnate of dawn shines in the morning, such a blushed Diane's complexion exposed without veils to the eyes of a mortal" Les Métamorphoses by Ovide Less tragic is our destin...

Bohemian woman Budapest, Hungary 1925 by Bertha De Hellebranth. Fabulous period painting brings to life the bohemian intelligentsia of Europe in the 1920's. I believe the painting is of the artists sister Elena Maria De Hellebranth. Both sisters were accomplished artist and worked and exhibited together. See the photo of the sisters Elena on the left and Bertha on the right. Oil on canvas. In a period frame. Signed lower right. Inscribed on reverse. Provenance: label from Newman Galleries Philadelphia. BIOGRAPHY ; Bertha de Hellebranth and her sister Elena were born into a cultured upper-class family in Budapest, Bertha in 1899, Elena in 1897. Their father was a lawyer and their mother a student of Franz Liszt's last living pupil. Both sisters showed artistic potential early, beginning to paint at four or five years of age. Their parents encouraged them, and had the means to send them to the best art schools of the time. They studied at the Academy of Fine Art in Budapest, at the Académie Julian and the Académie de la Grande Chaumière in Paris, and painted portraits of European nobility. As Patricia Fazekas points out, "Growing up in a family of privilege, they seemed to have unusual access to many illustrious people." So we should not be surprised to find among their subjects members of high society, such as Count Andrássy Gyula, the Russian-born Princess Baby Galitzine, and Admiral Horthy Miklós, the Regent. Later on, their subjects included American heiress Gladys Vanderbilt (Countess László Széchenyi), President Theodore Roosevelt's granddaughter Paulina Longworth and former President Dwight D. Eisenhower.Often, the sisters would paint the same subject at the same time, offering the sitter a choice of portraits. Most often, the sitter wanted both renditions.While Elena concentrated on working in oil and watercolor, Bertha used gouache and oil to achieve her effects. Elena gave lectures and workshops, was a writer and also wrote popular and ecclesiastical music, while Bertha also went in for sculpture and handicrafts.From the mid-thirties until World War II, Bertha and Elena divided their time between their home in Budapest and a home on the ocean at Ventnor, NJ. In 1925, they showed their work at the Nemzeti Szalon in Budapest, and in 1926, they had a joint exhibition of their portraits in the US. Both exhibited their work at the Art Institute of Chicago, the Brooklyn Museum of Art, the Pennsylvania Academy of Fine Arts and most major museums and galleries in the US. Bertha also had exhibits at the Metropolitan Museum of Art. Both Bertha and Elena were Fellows of the Royal Society of Art (London), and garnered numerous prizes. Bertha was awarded First Prize by the National Academy of the American Water Color Society one year, and the Grand Prize of the Audubon Society. She was one of the founders of the now defunct World League of Hungarian Artists Abroad (Külföldi Magyar Képz?m?vészek Világszövetsége), and received a Gold Medal from the Cleveland Árpád Akadémia in 1963. (Elena also received the Akadémia's gold medal in 1965.) Their work is found in museums and galleries too numerous to mention.The de Hellebranth sisters were devout Catholics, and this is evident in their many portraits of clerics...

This piece was inspired by the story of Adaeze the Princess of Odumga Kingdom. King Odumga, the Akaogun 1 of Odumga Kingdom was a very strong and powerfu...

Laßt Blumen sprechen, 2022 by Hunter & Gatti Acrylic and scratch on fine art metallic paper with a pearlescent coating Image size: 20.8 in H x 15.7 in W Unframed The “visible” spectrum, probably the most well-known of human sensory limitations, as the human #eye is only capable of perceiving light at wavelenghts between 390 and 750 nanometers. Of course, calling it the “visible” spectrum is a bit of a misnomer, as plenty of animals are capable of perceiving light with frequencies outside this relatively narrow band of electromagnetic radiation. Using infrared black and white...

An accomplished copy of Diego Velazquez's (1599-1660) 'The Lady with a Fan' (c.1638-1639) in the Wallace Collection, London. Unsigned. On canvas on...

Santi di Tito Ritratto di Nobildonna Olio su tavola, Sec. XVI, cm 74x61; con cornice 116x100x9 Con procedere degli studi su Santi di Tito, del quale è stata recentemente precisata la nascita fiorentina , si viene sempre più definendo come non solo una delle personalità più interessanti della scena artistica fiorentina, ma anche come il più interessante ritrattista cittadino della seconda metà del Cinquecento. L'attribuzione di questo ritratto al pittore, che nell'impresa dello Studiolo di Francesco I fu uno dei maggiori innovatori fra i giovani riuniti da Vasari e Borghini, appare subito evidente per l’inconfondibile disegno ovale e fermo del volto, reso con un incarnato compatto dai toni rosati che si accende di naturalistiche notazioni epidermiche ma anche di una puntuale figurazioni degli elmenti decorativi dell’abito e dell’acconciatura. Sempre coerente con i modi pittorici di Santi è poi la pittura compatta con la quale vengono definiti i piani semplificati del volto delle donna, che conservano una notazione di luce e di naturale sensibilità in linea con i dettami controriformati dei quali il pittore fu uno dei più fedeli osservanti nella scena fiorentina. Sempre tipica di Santi di Tito è poi la ferma e volumetrica rappresentazione del torso e dell’abito definito nei piccoli intagli della stoffa ma allo stesso tempo semplificato nei volumi delle maniche e del busto. Ancora di santi ci sembra la notazione luministica con la quale è rilevato il disegno dell’abito attraverso stesure compatte ma sottili e trasparenti, oppure è resa la gorgiera bianca che aggiunge una luce netta all’intero dipinto. Una simile scelta pittorica appare nel Ritratto di Guido Guardi coi figli, esposto alla mostra Il Cinquecento a Firenze, (Palazzo Strozzi, 21 settembre 2017 – 21 gennaio 2018, n. IV. 5, pp. 156-157), dove, pur in un ritratto maschile, Santi di Tito usa la medesima cifra formale nella resa dei volti e delle gorgiere. Pur nell'attenzione alle caratteristiche fisionomiche, Santi di Tito conserva, infatti, una cifra disegnativa sempre evidente e riconoscibile pur col passare degli anni, un carattere stilistico che sostiene, con volumi saldi, ogni sua differente prova pittorica. Ne sono un esempio dipinti quali il Ritratto di donna con Figlia, già in collezione Koelliker2, oppure il Ritratto di Lucrezia (Emilia) e Sinibaldo di Niccol Gaddi3, tutti databili agli anni settanta del Cinquecento proprio per la stereometrica definizione delle forma. Col passare degli anni, invece, tale carattere di ascendenza bronzinesca sembra cedere sempre più in favore di una pittura più morbida e sensibile, chiamata a raggiungere esiti di naturalezza sempre maggiore. Dipinto emblematico per seguire tale percorso rimane il già citato Ritratto di Guido Guardi con i figli , dove Santi di Tito ha effigiato il capofamiglia subito dopo il suo ritorno da Roma, fra il 1564 e il 1568, al tempo in cui il Guardi commission al pittore anche una pala con una Natività per la cappella di famiglia a San Giuseppe. L’uomo, seduto su uno scranno, sembra rimandare per la posa arcaizzante alla ritrattistica di primo Cinquecento, alla quale Santi di Tito s’ispira anche per le pieghe frante ma scultoree dell’abito. Sulla stessa tavola, probabilmente verso la fine degli anni settanta del Cinquecento, il pittore venne chiamato ad aggiungere le effigi di figli, quando probabilmente l’opera era già in cornice, e lo fece con una pittura più svolta e libera, in modo da raggiungere effetti naturalistici di maggiore sensibilità. Anche nel Ritratto di donna in esame, i volumi saldi e potenti della figura spiccano sul fondo monocromo della parete con un’evidenza che farebbe pensare alle figure eseguite dalla fine degli anni Settanta del Cinquecento, al pari, appunto dei due figli di Guido Guardi. Nato a Firenze nel 1536, Santi di Tito si form prima da Bastiano da Montecarlo per passare poi dal Bronzino, del quale conserv la preferenza per volumi luminosi e torniti, a cui aggiunse un'attenzione per la chiarezza compositiva e il naturalismo richiesti dai dettami della Controriforma, che lo portarono a guardare allo stile di Scipione Pulzone...

Ashoke Mullick - Woman with the Boats - 36 x 30 inches (unframed size) Acrylic on Canvas Inclusive of shipment in roll form. Style : Ashoke Mullick is considered one of the leading painters from the Bengal School of Art. Mullick combines a sense of satire with contemporary conditions. His paintings focus strongly on the ordinary man and the contradictions he faces.He uses colours like greens and blues to depict a largely urban India.His paintings also includes a strong focus on the ordinary person – more specifically womankind and the contradictions it faces. The artist likes to portray the contemporary age where people have lost the human touch and have become increasingly impersonal in their behaviour. As a painter, he touches on these facets where customs are not being followed and the link between now and the past is getting hazy. He's carved out a niche for himself with his juxtaposition of real and unreal imagery infusing his canvases with bold, vibrant imagination and certain energy, which is extremely appealing. Mullick has been painting for the last 30 years. About the Artist and his work : Born : 1957, Calcutta. Education : 1981 - Graduated with first class in fine arts 1981-82 - Awarded Cultural Scholarship from the Government of India under Bikash Bhattacharya...

Elegant and graphic study of a figure of undetermined gender. It's executed with quick and confident brush strokes in the artist's signature color scheme of black and red. It's a fla...

Work on wood Carved wooden frame 41 x 36.5 x 7 cm

Lionel Cranfield Sackville, 1st Duke of Dorset (1688-1745), 18th Century Michael DAHL (1659-1743) Large 18th Century English portrait of Lionel Sackvi...

Ashoke Mullick - Woman with the Wings - 36 x 30 inches (unframed size) Acrylic on Canvas Inclusive of shipment in roll form. Style : Ashoke Mullick is considered one of the leading painters from the Bengal School of Art. Mullick combines a sense of satire with contemporary conditions. His paintings focus strongly on the ordinary man and the contradictions he faces.He uses colours like greens and blues to depict a largely urban India.His paintings also includes a strong focus on the ordinary person – more specifically womankind and the contradictions it faces. The artist likes to portray the contemporary age where people have lost the human touch and have become increasingly impersonal in their behaviour. As a painter, he touches on these facets where customs are not being followed and the link between now and the past is getting hazy. He's carved out a niche for himself with his juxtaposition of real and unreal imagery infusing his canvases with bold, vibrant imagination and certain energy, which is extremely appealing. Mullick has been painting for the last 30 years. About the Artist and his work : Born : 1957, Calcutta. Education : 1981 - Graduated with first class in fine arts 1981-82 - Awarded Cultural Scholarship from the Government of India under Bikash Bhattacharya...

Portrait Of The Wife Of A British Hong Kong Diplomat, circa 1890 Chinese School - one of a pair we are selling 19th Century Chinese Provincial Scho...

Portrait Of A Boy & Fiddle, 19th century Irish School Large early 19th Century Irish School portrait of a young boy and fiddle wearing a red jacket and brown waistcoat, oil on canvas. Excellent quality and condition interior portrait of the young musician...

Alternate cover for Fortune Magazine February, 1940. Gouache on board. 350x285 mm; 13 3/4x11 1/4. Signed "A. Petrucelli" in lower left image. Tipped t...

A masterful copy by an unknown artist, after the portrait of "Beatrice d'Este" by Leonardo Da Vinci also known as ‘Portrait of a Lady’ or ‘La Dama con la reticella di perle (The Lady With a Pearl Hairnet)’. The original work originally created in the 15th Century is currently on display in the Pinacoteca Ambrosiana Museum of Milan. Beatrice d'Este was the Duchess of Bari/Milan and was believed to be one of the most attractive princesses of the Renaissance. Her impeccable style won her many admirers throughout Italy and France, and she became a trendsetter of the highest order. This copy of the original painting, is an oil on canvas done in the 18th Century, and in this exquisite portrait, the artist has masterfully depicted the fine details with draped hair, pearls, royal dress, ornate headgear and sumptuous jewelry in front of a dark background. Once again, capturing the imagination with another enigmatic smile. It comes housed in an elegant period giltwood frame with ebonized trims and ready to be displayed with hanging wire on verso. Art measures 28 x 18 inches Frame measures 34.5 x 24.5 inches There is much debate and controversy over who actually painted the "Beatrice d'Este" was it Leonardo da Vinci (1452–1519), or Giovanni Ambrogio de Predis (1455–1508). So we may never know who executed the original portrait which hangs in the museum, but that need not deter from an appreciation of its singularity. Following the portraiture convention established by painters of the Quattrocentro, the artist has chosen to portray his sitter in profile. In doing so, he magnificently captures the essence of his sitter, a girl on the threshold of womanhood. Bedecked in the adornments—silk, velvet, pearls and embroidery (brocade) crafted of spun gold threads—afforded her by birthright and marriage, Beatrice looks forward in noble serenity. And at the same time her profile with its upturned nose and slight smile betrays an innocence that must have been the basis of the oft-repeated epithet: la più zentil donna in Italia” (“the sweetest lady in Italy”). It is believed the lady is Beatrice d'Este (1475-1497), duchess of Bari and later of Milan, the wife of Ludovico Sforza (known as "il Moro"). One of the most beautiful princesses of the Italian Renaissance, she was known for her good taste in fashion. Beatrice was a member of the Este-Sforza family, which joined by marriage two of the oldest reigning and already powerful houses in Italy. The house of Este, which held court in Ferrara, traced its lineage to the 11th century Dukes of Saxony and Bavaria. Beatriceʼs father, Ercole I ruled the Ferrara commune for 34 years, catapulting the city-state (and the Estes with it) to an unmatched level of economic prosperity and cultural prominence. The family was renowned for its love of letters and patronage of the arts. The first time Leonardo da Vinci’s name resounded in the Ambrosiana, it was through the pen of its founder, Cardinal Federico Borromeo, who attributed this little panel to the great Master, describing it as “A portrait of a Duchess of Milan, by the hand of Leonardo”. Following the Cardinal’s statement, the portrait was for long assumed to depict Beatrice d’Este, the wife of Ludovico il Moro. However, scholars have recently been more cautious and vague in their statements, with regard to both the artist (anonymous Lombard or Emilian...

18th century Bust portrait of a gentleman in a blue coat with gold buttons (Said to be Edmund Hoyle, inventor of Whist) circle of James Latham. Housed in a gilt frame the size overall is 71 x 84 cm (28 x 33 inches approx) whilst the painting is 56 x 69 cm ( 22 x 27 inches approx) The overall condition is very good having had some restoration. The painting has been relined, cleaned and re varnished. There has been some strengthening/overpainting. There is a Rectangular patch repair along lower edge, centre, reverse approximately 5 x 7cm with associated retouching to front,all essentially done sympathetically. some fine stable craquelure throughout. Some minor self coloured losses to frame. None of the above detracting from a very attractive portrait. Edmond Hoyle Edmond Hoyle English card game authority, "the Father of whist" Born 1672 England Died 29 August 1769 (aged 96–97) London, England Edmond Hoyle (1672 – 29 August 1769)[1] was a writer best known for his works on the rules and play of card games. The phrase "according to Hoyle" came into the language as a reflection of his generally perceived authority on the subject James Latham James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724–25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694–1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop...

A solitary figure, head bowed, stands in a field in contemplation of what has just taken place or what is about to take place. "A Great Battlefield" channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to contemplate the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. A Great Battlefield oil on linen 60h x 35w in 152.40h x 88.90w cm WIL029 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines...

Louis Henri Deschamps Baby Portrait 19th Century Original oil on canvas Dimensions 32" wide x 23" high Signed in the lower right corner The painti...

Negation - Scratch #6, Oil and Charcoal on wood panel by San Francisco artist Jeffrey Palladini. It is 30x40. The painting is part of a new series based on the conceptual basis of ...