Portrait Paintings

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas cardboard. Work measurements 55x46 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish pa...

Suchitra Bhosle's "Indian Offering" is an original, hand made oil painting that depicts a woman holding a lit candle in her outstretched hands illuminating her face. About the Arti...

Suchitra Bhosle's "A Beautiful and Brave Gaze" is an original, hand made oil painting that depicts an Indian woman with a lit flame creating a beautiful orange glow around her. Abo...

Oil on canvas by Charles PICART LE DOUX (1881-1959), France, 1924. The Italian. Very beautiful work where post-impressionism embellished with a few cubist touches form a harmonious w...

"Sparkling Rosé", Modern Pop Art Painting in Pink, 2022 Sparkling Rosé is Modern Pop Art Painting by Addison Jones. Introducing the iconic Andy Warhol style print with neon colors ...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas cardboard. Work measurements 55x46 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish pa...

Suchitra Bhosle's "Restful Moments" is an original, hand made oil painting that depicts a partially nude woman napping with a black cat nestled on top of her. About the Artist: Su...

Suchitra Bhosle's "Native Elegance in Turquoise" is an original, hand made oil painting that depicts a woman with a turquoise necklace with an eggshell blue background. About the A...

"Angela" Oil painting 47" x 33" inch by Alina Shimova 2021 Alina Shimova is Russian born Miami based artist. Her creative journey began at an early age. Alina entered an art sch...

Hand painted acrylic on canvas - lives and works out of Brooklyn NY and is represented by Krause Gallery in Manhattan NY. signed on edge of canvas Painter and illustrator Wizard Skull’s humorous and often raunchy riffs on cartoon characters and mascots poke fun at pop culture and commercialism. Wizard Skull transforms recognizable characters from Homer Simpson and Mickey Mouse to Gumby and SpongeBob SquarePants into hybrid mashups, and squiggly portraits. Best known for his street art, Wizard Skull creates wheatpaste posters and murals that have become fixtures throughout New York City and beyond. One of his most famous wheatpastes —Sexy Ronald (2011–present), which depicts a strapping Ronald McDonald...

Baron Michael D`Aguilar was born on May 15, 1922 in London to Spanish parents. He was brother of the artist Paul D`Aguilar. He spent much of his early life in Spain. He studied at...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 35x27 cm. Frame size 40x32 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Portrait of a Lady French School, fauvist style indistinctly signed circa 1920's period oil on canvas, unframed canvas: 22 x 18 inches provenance: private collection condition: very ...

Jordi Curós Ventura (1930-2007) - Man portrait Oil on canvas. Canvas measurements 46x38 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish painter. He tr...

Initialed upper right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1925. Axel Bentzen studied art as a child and, by the age of 14, was copying Old Master paintings at ...

Josep María Morató Aragonés (1923-2006) - Portrait of a young woman - Oil on canvas Oil measurements 61x46 cm. Frameless. Morató Aragonés, Josep María. Reus (Tarragona), 21.V.1923 –...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 51x43 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Portrait of a Man French/ Spanish School, circa 1960's indistinctly signed oil on canvas, unframed canvas: 25.5 x 20 inches provenance: private collection condition: very good and s...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 32x23 cm. Frame size 48x39 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 63x55 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Vintage American modernist portrait of iconic artist Peter Max. Signed. Framed. Original oil on canvas.

Ceravolo's just completed Mono Print with iridescent acrylic hand work is titled "RED POW" with YELLOW burst. based on his "Batman and the Movie Star" original painting on canvas. This canvas measures approx. 28x40" framed. Ceravolo has created several unique monoprints based on his "Batman and the Movie Star" painting all with different "POW" and burst colors. This one is RED POW with a Yellow burst. All of these monoprints have an iridescent painted Bat Signal in the sky hand painted by Ceravolo. One of The Hampton's most popular urban Pop artists Ceravolo's work has been exhibited alongside Warhol and Peter Max for years, his paintings are collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. This Monoprint features Batman driving his Batmobile with a sultry Movie Star sitting next to him while at the same time there is a "Bat Call" signal in the night sky signaling him that there is a need for his help in Gotham City. Along with those two distractions the gopher "G" is standing next to Batman on the side of the Bat Mobile. While this is all going on Batman is thinking...."I must concentrate on driving" Maybe this is a typical night for Batman in Gotham City. We have included in this listing an image of Ceravolo with some of his famous collectors. His paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates.

This superb British exhibited Post Impressionist oil painting is by much sought after noted artist Harry Morley. It was painted in 1921 and exhibited that year at the Royal Academy L...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 51x43 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Crafted as an accumulation of representations of floral elements surrounding a square vinyl record, this vibrant and colorful unique piece by Natasha Lelenco is simultaneously an ant...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas cardboard. Work measurements 46x38 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish pa...

In bold, acrylic line paintings, US artist Hilary Bond depicts the heads and torsos of women, often repeating the image in overlapping compositions. Her contemporary groups of pop culture portraits and figures are creatively rendered in a palette of transparently layered colors on canvas. This soft palette 36 inch high by 18 inch wide pop-figurative artwork is wired and ready to hang. The sides of this modern artwork are painted. It does not require framing. The painting is signed by the artist on the front and back. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. Abstract Expressionism, Pop Art, American culture, and childhood influence Hilary Bond’s choices in color, brush work, material, and composition. "I was searching for inspiring female figures and a female ideal, archetype, and muse. I started painting models, in particular, Kate Moss. The composition and line quality influence my color choice and ultimately the overall emotion of the work. I want my paintings to be mysterious, beautiful, assertive, and to have their own inner dialog. The artists who inspire me change with each piece, but I was substantially influenced by Manet’s Olympia, de Kooning, Schiele, and Warhol." Hilary Bond was born and raised in Baltimore, Maryland. After attending the Baltimore School for the Arts she went to The Cooper Union and received a BFA in 2007. Hilary’s artworks are represented by Artspace Warehouse...

Jordi Curós Ventura (1930-2007) - self portrait Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 63x55 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) i...

High-quality acrylic sculptural contemporary hyperrealistic composition with a woman in sunglasses, holding a microphone. Pop-inspired, vibrant and mirroring artwork, in silver, azur...

"Annie Gets Her Gun" by Deborah McKenna, original oil on canvas board, 30" x 20", 35" x 25" in a solid wood frame. Annie Oakley (born Phoebe Ann Mosey; August 13, 1860 – November 3, 1926) was an American sharpshooter who starred in Buffalo Bill's Wild West. Oakley developed hunting skills as a child to provide for her impoverished family in western Ohio. At age 15, she won a shooting contest against an experienced marksman, Frank E. Butler, whom she married in 1876. The pair joined Buffalo Bill in 1885, performing in Europe before royalty and other heads of state. Audiences were astounded to see her shooting out a cigar from her husband's hand or splitting a playing-card edge-on at 30 paces. She earned more than anyone except Buffalo Bill himself. After a bad rail accident in 1901, she had to settle for a less taxing routine, and she toured in a play written about her career. She also instructed women in marksmanship, believing strongly in female self-defense. Her stage acts were filmed for one of Thomas Edison's earliest Kinetoscopes in 1894. Since her death, her story has been adapted for stage musicals and films, including Annie Get Your Gun. About the Bozeman, MT-based artist, Deborah McKenna: "Growing up in southern California in the 1950's and 1960's gave me an idyllic childhood. I grew up running free...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 51x43 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

The Drummer French School, late 19th century Post-Impressionist School oil on canvas, framed framed: 28 x 22.5 inches canvas: 24 x 18 inches provenance: private collection, France co...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 35x27 cm. Frame size 40x32 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Jordi Curós Ventura (1930-2007) - Woman and vase Mixed technique on canvas board. Work measurements 55x46 cm. Frame size 60x51 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) ...

Signed upper right, 'Oda Lauritsen' for Oda Lauritsen Isbrand (Danish, 1904-1987) and dated, upper left, '1928'. A powerful oil portrait of the artist's husband-to-be, the notable D...

Female Illustrator of the Golden Age, Ruth Mary Hallock, paints a sensitive, heartwarming portrait of Mother and Child in a post-impressionist style. Richly saturated hues and gestur...

Portrait Of A Young Lady In The Landscape. Portrait depicting a beautiful young woman in the landscape dressed in a tulle dress and hat decorated with pink roses. The painting is in original very good condition, signed upper left corner. An American artist and illustrator, William H. McEntee (1857 - 1919) was active/lived in New York, Michigan. William McEntee...

Jean La Forgue (French 1901-1975) signed oil on unstretched canvas, unframed painting: 27 x 21 inches provenance: the artists estate, France condition: the painting is on unstretched...

High-quality pop art style textured painting. Look at the wonderful texture that the lips of a beautiful black girl have. This is a unique piece and only one. It is a gorgeous and ch...

Jordi Curos - Young woman - Watercolor Watercolor measurements 40x32 cm. Frame measurements 54x46 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish painter. He tra...

Signed lower left "Di Gesu" for Victor Di Gesu (American, 1914-1988) and dated 1954. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and the Chouinard Art School before moving to Paris where he studied with Andre L’Hote...

ARTIST: Beatrice Huntington (1889-1988) Scottish TITLE: "Portrait Of A Red Haired Lady" SIGNED: lower left and with provenance from The Scottish Gallery Edinburgh and James Bourlet exhibition label also MEDIUM: oil on canvas SIZE: 68cm x 60cm inc frame CONDITION: very good DETAIL: The Scottish artist Beatrice M. L. Huntington (1889–1988) enjoyed a long and varied career as a painter and is best known for her insightful portraits, characterised by a strong sense of design and an intuitive use of colour. Her approach to painting was ever-evolving: throughout her long and fascinating life, which spanned a century and bore witness to the advent of the modern era, she remained indefatigably committed to her development as an artist and to 'containing and realising the big-ness of it all', as she herself described it in a letter to a friend in 1977, when at the age of 88 she was still refining her approach to form and colour. The daughter of an eminent St Andrews doctor, Beatrice grew up in affluent surroundings – an imposing townhouse on St Andrews South Street both her father's surgery and the family home. A precocious talent for both music and art led her, perhaps unusually for a girl at that time, to pursue her studies abroad. In 1906, the year she turned 17, she went to Paris to study drawing and painting and in 1911, after an evidently successful formative period in Paris, she continued her studies in Munich, attending a private art school where she apparently flourished. By the 1920s, Beatrice's own identity and path as an artist were clearly defined. Her marriage to the painter William Macdonald in 1925 created a unique artistic partnership and cemented her place within the Scottish art scene of the 1920s and 1930s, particularly in Edinburgh where Macdonald was already well established and a close friend of Scottish Colourists F. C. B. Cadell and Samuel Peploe. This is illustrated by surviving correspondence and in particular by a characterful portrait of a debonair William Macdonald by Cadell, dating from the mid-1920s. Macdonald's particular affinity for the arid landscapes of southern Spain had earned him the nickname William 'Spanish' Macdonald. Beatrice shared his love of travel and together they explored the Continent, returning frequently to the French Riviera and to southern Spain, taking as their base, for a time at least, the picturesque Mediterranean fishing village of Cassis in the South of France, a favoured haunt of the Colourists. The couple moved in artistic milieux both at home and abroad, also spending time in Kirkcudbright in Galloway. Their time painting together in Spain culminated with a joint exhibition in 1928 at Messrs Watt and Sons, Dundee, entitled 'Pictures of Spain...

Jacob Kramer is a Jewish artist who migrated with his family to Leeds to escape the Russian pogroms when Kramer was only eight. This portrait oil painting was painted when Kramer was...

Jean La Forgue (French 1901-1975) signed oil on unstretched canvas, unframed painting: 24 x 17 inches provenance: the artists estate, France condition: the painting is on unstretched...

Half Skull & Female Face Portrait Pop Art by British Urban Graffiti Artist, Chris Pegg. Lilac Background. Presented in a high quality ornate white frame. Art measures 20 x 16 inche...

This superb Post Impressionist Slade School female full length seated nude portrait oil painting is by female artist E A Jay. Painted in the 1940'...

This superb Post Impressionist portrait oil painting is by noted Jewish artist Alfred Lomnitz. Lomnitz was born in Germany and Jewish by denomination. He emigrated to England in 1933...

This striking British Post-Impressionist portrait oil painting is by noted artist Anthony Devas. Painted in the 1950's the sitter is Fiona Benkiston of Heskham Square. She is wearing...

"After-dinner" is a figurative artwork by Moldovan-spanish artist Natasha Lelenco, created in acrylic on canvas. The work, featuring the artist's characteristic contemporary figurati...

Shipped well packed in a roll, without frame. "The Nap (Bacchus' Siesta)" is an Artwork by Natasha Lelenco, a Spanish artist of Moldovan origin, created using acrylic on canvas. It depicts a domestic scene that combines figuration with geometric elements, residing somewhere between the pixelated world of digital imagery and allusions to the traditional ornamentation found in Eastern European canvases and tapestries. An intimate scene that bridges the gap between the virtual and physical worlds, illustrating the difficulty of finding a solid footing. The artist herself says this about the piece: "This work, humorously referred to as 'Bacchus' Siesta', originated as a portrait of my partner during the days of the 2020 pandemic lockdown. It was the first completed piece in the series titled 'New Jungles.' These works delve into themes of disorientation and virtuality, portraying characters who seem lost and absorbed. The degradation of the environment, the commodification of Earth's resources, and the displacement of communities due to consumerism all lead to disorganized societies where individuals become powerless subjects, struggling to find solid ground and a sense of place. 'Bacchus' Siesta' portrays a salon scene immersed in a simulated natural setting. The intricate floral details of the traditional Moldovan carpet...

Portrait of John Lennon and Yoko Ono, powerful couple whose relationship is one of the most famously iconic. In my creation, I explored the essence of iconography wrapped in bursts ...

Audrey Hepburn 6 is original oil on canvas created by Oksana Tanasiv in 2022. The size of canvas 30"X40". The artist captured iconic celebrity's seductive look who is holding her s...

This captivating post-Impressionist portrait is by American artist David L Swasey circa 1953. The painting depicts a seated woman, turning to look at the artist with stunning blue ey...

Andres Conde at play with his favorite subject, women. Here the artist creates a beautiful and coy femme fatale in pop realism. Sul Americana is Portugues...

This superb vibrant Orientalist Post Impressionist oil painting is by noted British artist Gerald Spencer Pryse. It was painted about 1925 when Pryse was visiting Morocco and Norther...

This bold British Post Impressionist oil painting is by noted portrait artist Anthony Devas. Painted in the 1950's the sitter is Lady Audrey Norris. It is a seated portrait in warm a...