Portrait Paintings

An energetic oil portrait of an African lady in warm copper colours, by Clifford Hanley. Signed and dated to the lower right-hand corner. Presented in a l...

A fun, expressive portrait depicting a man in the driver's seat of a car. the gestural, sweeping brush strokes give the impression that the car is whizzing by the artist, only being ...

A striking portrait depicting a man sat in the driver's seat of a car. Captured in brilliant tones of red, with splatter of warm colours which add texture to the scene. Signed and da...

A striking profile depiction of a man in the driver's seat of a car. Painted in an expressive style in a vibrant colour palette. Signed and dated to the lower left. Titled to the rev...

A busy modernist study by Clifford Hanley, capturing a second in the lives of three individuals, travelling in a car together. Signed and dated to the lower right-hand corner. Presen...

A striking 20th Century portrait from an unusual perspective, showing an artist, hard at work at their easel. The artist has signed and dated to the lower left and the painting has b...

A bright contemporary portrait by Clifford Hanley, depicting a delivery man having a smoke in his cab, whilst driving into blinding sunlight. Signed and dated to the lower left-hand ...

Modern abstract figurative portrait painting by Houston, TX artist David Adickes. The work features a two men in suits with a young girl wearing yellow posing with birds and a blank ...

A multicoloured oil portrait by Clifford Hanley, depicting a casual male motorist caught in heavy traffic. Signed and dated to the lower right-hand edge. With a second artwork by the...

A striking 20th Century oil showing a woman bathed in bright sunlight. The artist's use of closely cropped composition and confident colours make this a tru...

The painting is a portrait of an unknown lady, here depicted with a with an absorbed look. The intense red lipstick, matching with the the dress-allusion to fire and passion-creates ...

This striking portrait of a focused motorist is signed and dated to the upper right corner. Well presented in a simple pine frame. On canvas on stret...

A colourful profile portrait by Clifford Hanley, of male driver perspiring in a stuffy red car with no air-conditioning. The painting is signed and dated to the lower right-hand corn...

An expressive portrait composition depicting a stern motorist in bold primary and secondary colours. The painting is signed and dated to the lower right-hand corner. Well presented i...

A captivating portrait depicting a man in peering out of the window from the driver's seat. Painted in expressive brush strokes and a vibrant colour palette. Signed and dated to the ...

A striking portrait depicting a man dressed all in white, matching the exterior of his car as he drives through the city. Signed and dated to the lower r...

A colourful window screen view of a gentleman driving an orange car by Clifford Hanley. The painting is signed and dated to the lower right-hand corner. Well presented in a simple wo...

A vibrant portrait depicting a man behind the wheel of a car. Painted in bright, imaginative colours while still capturing the seriousness in the face of the man who is stuck in traf...

A striking portrait depicting a woman in the driver's seat of a car. The artist uses vibrant colour and expressive brush work to create fun, bright portrait. Signed and dated to the ...

A fine 20th Century oil scene in wonderfully vibrant tones, showing two men, bathed in golden light through the windshield of their car as they drive towards the sun. The close cropp...

Work on canvas Gray wooden frame 56 x 48 x 5.5 cm

Work on canvas

A striking 20th Century oil showing a glamorous woman wearing sunglasses, driving her car towards the sun. The artist's use of closely cropped composition and confident colours make ...

A strikingly vibrant 20th Century oil, showing a man in his car bathed in bright sunlight. The artist's use of dynamic splatter work, confident colours and a closely cropped composit...

Portrait of Miles Davis, 1998 C.E. Miller

Marcus Cain Untitled Diptych Acrylic on paper Year: 1999 Size: 16.75x13.5 (each) Framed: 20.25x17x1.75in (each) COA provided Ref.: 924802-1069 Marcus Cain is a resident of Kansas Cit...

Sunny face. Bilateral. Cardboard, tempera, 53x35.5 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Riga in a Russian-Polish-German family. Vladimir Glushenkov...

This beautiful, moving and realistic portrait by Toronto based artist Nazy Sakhavarz is characteristic of her work. She often paints on a large scale and her preferred colour palette...

Marcus Cain Untitled Acrylic on paper Year: 1999 Size: 16.75x13.5 Framed: 20.25x17x1.75in COA provided Ref.: 924802-1068 Marcus Cain is a resident of Kansas City, MO and Manager of ...

Marcus Cain Untitled Acrylic on paper Year: 1999 Size: 16.75x13.5 Framed: 20.25x17x1.75in COA provided Ref.: 924802-1067 Marcus Cain is a resident of Kansas City, MO and Manager of ...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...

'The Fisherman', oil on board, by Gabriel Vié (circa 1940s). This artwork depicts a solitary man fishing in a river surrounded by abundant foliage. He is p...

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

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

Who am I to be your secret lover? Figurative large format Landscape with figures in fairy-tale setting. Acrylic on canvas. Author: Igor Fomin. Measurements in centimeters: 195 x 195 cm. / In inches: 76.77 x 76.77" In this painting, Igor Fomin not only tells us the story of a couple who keep their love secret, he also tells us about that beautiful old place, a witness to their love affairs, and those neighbors, who should not find out and who make their lives. An entire city, with a splendid aqueduct in the background, through whose arches the view is lost. The set is endowed with a magnificent color and a complex structure, full of planes to stop at all those characters that fill the author's pictorial and literary imaginary. From the tow...

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...

Antique American school modernist portrait painting. Oil on canvas, circa 1950. Signed . Framed. Image size, 26L x 32H.

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State ...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Father, Daughter and Horse by Orovida Pissarro (1893-1968) Oil on canvas 60 x 73 cm (23 ⅝ x 28 ¾ inches) Signed a...

'The Tennis Star', oil on art paper, by Luc Martinsen (1995). Known for his use of wild and vibrant colour, this painting is not for the faint of heart. It is painted in a naive style leveraging its unrestrained use of colour to speak to the viewer. Not traditionally known for its great tennis players, Belgium has since had two female superstars in the game, Justine Henin and Kim Clijsters, who both played in the 1990s and into the 2000s. Perhaps this is a composite of those gifted players. The artwork exudes resounding energy and would undoubtedly be the centrepiece of any space in which it is hung. The work is in good overall condition and has been newly framed and glazed with anti-reflective glass. It is signed and dated ('95) by the artist in the lower right hand. Please enjoy the many photos accompanying this listing. Upon request a video may be provided. About the Artist: Belgian born (1951) artist, Luc Martinsen attended the Academy of Ghent as a student of Etienne Elias...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is included in numerous private and museum collections, among them the Burchfield-Penney Art Center, the Albright-Knox Art Gallery, the Castellani Art Museum of Niagara University, and the UB Anderson Gallery (all of which are located in Western New York...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

Gilbert Lewis (b.1945). Portrait of a Young Man, ca. 1990s. Gouache on illustration board, 18 x 24 inches. Signed upper right. Excellent condition. Measures 24 x 30 inches in custom frame. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks...

Oil on panel painting by Lewis Lee Tilley (1921-2005) titled "Opera Matinee" from 1948. Image presents two women at an opera, one in pink leans over to the other in blue to whisper i...

A magnificent oil on canvas by Russian American WPA artist Nahum Tschacbasov (1899-1984), dating from 1943. Depicting a Maternity scene - or possibly a m...

"Ortez (Modernist Family Portrait)" is a gouache on paper abstract painting by Lewis Lee Tilley (1921-2005) from 1947 of five family members sitting on a couch. Painted in jewel tone...

Wonderful large scale Bay Area Figurative School portrait titled "Jason's Brilliance Dazzles," 1996 by an anonymous bay area artist (M) Unsi...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

A Game of Cards by Orovida Pissarro (1893-1968) Oil on canvas 59 x 72 cm (23 ¹/₄ x 28 ³/₈ inches) Signed and titled upper right Orovida 1949 Artist biography Orovida Camille Pissarr...

Label verso: "Portrait of a Lady / Oil / MUC / Beatrice Whitney Van Ness / unsigned / size 30h x 25w ". From the estate of the artist. Beatrice Whit...

Josep María Draper was born in 1931 and received a great creative influence from the 1950s. Abstract Expressionism, a form of painting tha...

'Woman in Front of the Mirror', oil on canvas, by Vincent Tailhardat (circa 1990s). A nude woman seated in front of a mirror grooms herself while en...

Virgin of Tijvin, after a Russian icon of the 17th century. Egg tempera, gold leaf on gesso over a wooden board. Measurements in centimeters: 44 x 33 x 3 cm / In inches: 17.32 x 12.99 x 1.18 " Author: Oliver Samsinger...

Oil on canvas painting from 1946 by Colorado/Woodstock modernist Jenne Magafan (1916-1952) titled 'Deserted Street'. Single figure portrayed in a ghost town with buildings and teleph...

Oriental girl - I. Di Matteo Italia 1997 - Oil on canvas cm. 60x50. The painting by I. Di Matteo depicts a typically oriental young woman in her hair an...

There is a reason why there are few contemporary painters who can paint a portrait this good. It's hard to do. It's easy to throw some paint or spray a mess of graffiti on canvas. ...

Regina Maris, 1908 by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 16 x 19.25 inches Superb oil painting by the well li...

Gorgeous fauvist portrait of man, in a vivd and expressive colorful palette, titled "Ogden" by Henri O’Connor (American, b. 1921), 1996. Signed and dated lower right corner and on verso. Condition: Professionally cleaned and restored three tears and inpainting. Presented in black painted wood frame. Image size: 16"H x 20"W. Framed size: 21.75"H x 17.75"W. Henri O’Connor, the son of an American father and a French mother was born in 1921 and grew up in Nantes, France. He attended the Ecole des Beaux Arts in Nantes and in the late 1930s, studied at the Beaux Arts, the Atelier de la Grande Chaumiere and the Academie de l’Arts et Publicite in Paris “He was basically one degree removed from all of the great masters of the turn of the century,” David Deitch, a freelance art curator in New York, says of O’Connor’s education. “His teachers were associates of Matisse, Derain — all of the big players at the time.” The curator says that the influences of O’Connor’s teachers, which reflect the Fauvist style in vogue at the time, is apparent in his paintings, particularly some of his later work. O’Connor and his parents and siblings left Europe at the beginning of World War II and moved to the United States, eventually settling in Sacramento, where O’Connor’s father had relatives. O’Connor was offered a job teaching art at the Sacramento Art...