Portrait Paintings

Agent X has created a bright and brilliant mash-up of iconic Pop Art aesthetics and digital collage techniques. Agent X intercuts Pop art imagery with panels of poppy pattern, colour...

Work on wood Plaster and gilded wood frame 47 x 40.5 x 6 cm

Original Digitally produced painting on Canvas Image size: H:147 cm x W:147 cm Complete Size of Unframed Work: H:147 cm x W:147 cm x D:1cm Sold Unframed Please note that insitu image...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

Titian painter (16th century - 17th century) Titian Vecellio (1488 or 1490 - 1576) Christ as Salvator Mundi with the Madonna at Prayer Oil on panel (51 x 67 cm. - with tabernacle fr...

The Greek goddess Athena based on the Ukrainian motif

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a free interpretation of the paint...

Ricky Hunt’s work is influenced by Egyptian hieroglyphs, graffiti, and his tumultuous past that led to a paradigm shift in creativity and life. On his sculptural and three-dimensional mixed media artworks he covers the wood panel with carefully placed nails and creates intriguing portraits with thread woven through the nails. The harmony of the overall filography composition finds its way through his intricate threading of yarn into a cohesive visual statement. Hidden within the patterns and markings of this string art portrait are limitless points of interest, constantly revealing the imagery in a new way for us to discover. His works have been exhibited at galleries and art fairs internationally, including in Los Angeles, New York, Zurich, Hong Kong, and London. This unique mixed-media artwork measures 48 inches high by 43 inches wide and 3 inches deep. The shadows cast by the nails and black thread add a three-dimensional texture to this monochromatic artwork. It is wired and ready to hang. It does not require framing. It is signed and dated by the artist on the back of the artwork. Free local Los Angeles delivery. Affordable U.S. and global shipping is available. This artwork securely ships in a custom crate. A certificate of authenticity issued by the art gallery is included. Philosophy, mathematics, scientific theory, poetry, and astronomy are a few of the themes that run through his paintings and he expresses it with unique imagery. Hunt describes his contemporary imagery as, “Chaotic order pouring from the watery depths of my unconscious”. Ricky Hunt lives and paints in Los Angeles. He finds inspiration in artists such as Basquiat and Haring...

Conspiracies - Figurative Political Pop Art in Oil and Mixed Media on Canvas Politically themed pop art by George "Milo" Buck (American, b. 1952). F...

Agent X has created a bright and brilliant mash-up of iconic Pop Art aesthetics and digital collage techniques. Agent X intercuts Pop art imagery with panels of poppy pattern, colour...

The beautiful portrait proposed, which represents a Genoese woman of high social origin and dressed in a sumptuous and elegant manner, illustrates the typical stylistic characteristics of the great Genoese portrait painter Giovanni Maria Delle Piane, called the Mulinaretto. Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745), attributed Portrait of a noble Genoese nobleman Beginning of the 18th century Oil on canvas, 79 x 65 cm, In a beautiful carved and gilded wooden frame cm. 106 x 89 The noble lady displays a stern and proud expression, a smile which has just been mentioned but full of determination; the well-erected and authoritative pose is softened by the habit of the red ribbon woven in the hair, reminiscent of the brocade of clothes, according to an interpretive taste typical of Delle Piane. In the painting we appreciate the meticulous detail of the lace of the sleeves and fabrics on the neckline, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that envelops the figure and that emerges from the the dark background. Finally, the pleasant conduction which characterizes the refined line is appreciated in the capacity to make the light glide on the clothes and the complexion of the woman. The artist, pupil of Giovanni Battista Gaulli...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing the role of representative of the "public ministry", safeguarding the interests of his lord. His role, one can imagine, was crucial at the death of Michel de Conflans (in 1717) since the latter left an heir, Louis, aged only 6, and a widow, Diane Gabrielle de Jussac, whom some memoirs describe as "a very clever grande dame" . Prieur ensured the smooth running of the family's affairs and it is probably to thank him for his services that Diane Gabrielle had his portrait painted, most probably by a painter close to Jean-Baptiste Oudry. Julien Prieur appears as he is, middle-aged, with a benevolent look, in his hunting suit. Only his knotted wig links him to the nobility. Above all, he is depicted as a hunter, a passion that he shared with the Marquis of Armentières. His very young master, Louis, became a first-rate hunter, hunting in the King's entourage, in whose cabinet he died of apoplexy in January 1774. As for the his son, he was one of Louis XVI's closest hunting companions, as numerous souvenirs attest . 1. Some biographical information about the model and the commissioner While the identity of many 18th century portraits is uncertain, an old label stuck on the reverse of the canvas gives us some precise information on the identity of the model: "Mr. Julien Prieur, homme d’affaires de Mr. le Marquis d'Armentières - Commune of Brécy - Aisne". The label also suggests that it could be his son Louis Prieur living in Rocourt (probably Rocourt-Saint-Martin, a neighbouring municipality of Brécy), born on 30 September 1745, who died on 8 July 1826, but this hypothesis must be rejected in view of the model's clothing. This label probably gives us an indication on the previous owner the owner of this painting; we will see later why it seems likely that this label was affixed between 1826 and 1832. Brécy is now a municipality in the Aisne County (Hauts-de-France) located between Soissons and Château-Thierry, slightly north of the Paris-Reims axis. It borders the municipalities of Armentières-sur-Ourcq and Rocourt-Saint-Martin. According to Louis Prieur's death certificate, he was in fact born in 1743 and not in 1745 . The age of the model in the painting and the dating of this painting would indicate that Julien Prieur, was probably born at the very end of the 17th century. In Louise-Marthe de Conflans-Coigny, chatelaine de Brécy , we read that "the Conflans were a family of ancient nobility, which genealogists trace back to the 12th century, when it was said to have come from the house of Brienne. In the 16th and 17th centuries, this family had several illustrations in the profession of arms. [...] Michel de Conflans, [...] belonged to a younger branch of the family, of which Saint-Simon wrote, with his acid soaked pen, that "poor and obscure, they had never left their village, where their house resembled a hut" and elsewhere that they "lived on their rifles and cabbages". Fortunately for Michel de Conflans, the last representative of the elder branch, Henriette d'Armentières, made him her heir on her death in 1712. It was through her that the land of Armentières and its 14th century castle became part of the estate of this branch, as well as, not far from there, the land of Brécy and the castle of Le Buisson, where the family lived. In the early years of the 18th century, Michel de Conflans was able to push himself into the entourage of the Duke of Orleans, becoming his first gentleman of the chamber. However it was above all his son Louis who restored the family status through his military career. Born on 23 February 1711, Louis de Conflans, Marquis d'Armentières died of apoplexy on 18 January 1774, in the King's cabinet at Versailles. Appointed lieutenant general in 1746, he received his Marshal of France’s stick in 1768. The Dictionary of French Biography writes of him that "without ever achieving a high command, he appeared with honour in all the wars of his time". The estates of Armentières and Le Buisson were sequestered during the French Revolution, declared national property and sold at auction (in 1794 and 1795 respectively) after the Marquise d'Armentières, the Marshal's second wife, was beheaded in 1794. The Château du Buisson (where Michel de Conflans died in 1717) was bought by a granddaughter of the Marshal de Conflans, the Marquise de Coigny, in 1816 and remained in her family after her death in 1832 until the sale of the 1,054 hectares estate in 1866. The bayonet blows that probably pierced the canvas in three places may well have a revolutionary origin and it is conceivable that the painting, acquired by the Marquise de Coigny from Louis Prieur, Julien's son, after the latter's death, was then restored and given the label specifying the name of the model. 2. Description of the portrait The painting presents a man in his thirties in his hunting costume. Pictured at mid-body, his face is marked by his life in the open air and characterised by a look of great bonhomie. Holding a rifle under his elbow, he is soberly dressed in a large caramel-coloured jacket, decorated with silver buttons. Presented in a three-quarter view, the model holds a partridge in his right hand. The jacket opens onto a vermilion waistcoat. A green shoulder strap probably holds a powder flask hidden under his arm while a satchel is visible on his belt. The model is wearing a grey wig, tied at the back with a black ribbon that seems to fly in the wind. This ornament anchors Julien Prieur in his time. "The new King of France, Louis XV, [imposed] a style of smaller wigs for men and the rigorous white or preferably greyish powdering. From the middle of the century men also used a ponytail on the back of the neck, tied with a ribbon, a style that became very popular in all courts." He stands out against a dark, purplish sky at the end of an autumn day in a soberly sketched forest landscape. The treatment of the sky recalls the influence of Largillière, Oudry's first master. 3. Jean-Baptiste Oudry Jean-Baptiste Oudry was born on 17 March 1686 in Paris, rue de la Ferronnerie. He began his apprenticeship around 1705-1707 with Nicolas de Largillière, with whom he stayed for five years. In 1713 Oudry established his "livre de raison" in which he reproduced all his early works in wash drawings up until 1718. During this first period which lasted about 7 years, Oudry produced works of great diversity, both in the genres that the artist tackled and in the artists which influenced him. It has been estimated that he painted about 150 pictures during this period: mainly portraits, but also still lifes and some religious paintings and landscapes. Of the hundred or so portraits that Oudry is said to have painted during this period, only fifteen have been identified today. A number of those lost portraits are probably still confused with works by Largillière. First admitted to the Académie de Saint-Luc in 1708, he was then allowed to join the Académie Royale in 1717, and subsequently admitted as a history painter in 1719. This year marks a turning point from which Oudry will assert himself as an animal painter. In 1723 he met Louis Fagon, Intendant of Finances, and the Marquis de Beringhen, the King's first equerry, who became both friends and patrons of the artist, giving him access to royal commissions and enabling him to be appointed as painter of the Royal Tapestry Factory of Beauvais in 1726. From 1728 onwards, the creation of tapestries became the core of his work, even though at the same time Oudry developed his skill as an illustrator, first for Scarron's Roman Comique and then for La Fontaine’s Fables. Between 1726 and 1731, Oudry created the decoration of a large drawing room at the château de Condé-en-Brie, about twenty kilometres from Brécy, which has remained in place to this day. This important commission, about which few details are known, is said to have originated with the Countess de Verrüe, a great lady of the French Regency who often stayed at Condé with her friend Jean-François Leriget, Marquis de la Faye, then owner of Condé. A prolific artist, Oudry fulfilled numerous commissions in parallel with his regular contributions to the Salons, to which he regularly took part until 1753. He suffered a stroke in 1754 and died the following year. It seems almost certain, in view of the importance of his work, that Oudry supervised a workshop in which several artists were involved, but this point is very poorly documented. Given the geographical proximity of Brécy and Condé-en-Brie, the links between the Armentières family and the Condé patrons, and finally based upon the quality of our portrait, we propose the hypothesis that it was painted by one of the painters who worked with Oudry at Condé. 4. Related artworks: comparison with some other portraits of hunters by Jean-Baptiste Oudry While Oudry gradually abandoned portraiture from 1720 onwards to devote himself to animal paintings, he seems to have made an exception for hunter portraits, which were often depicted in the company of their hunting dogs. Two examples seem particularly evocative and suggest a dating for our painting around 1730. We will see in a second part why this dating proposal seems relevant. The first portrait worth mentioning is the presumed portrait of Lieutenant Claude-André Courtin de Crouey, lord of Quatre Fils and Cormeilles-en-Parisis made in 1723, reproduced below. Also presented in a very tight frame, it is interesting for the similarities in the representation of the rifle, and in particular the two metal rivets that are almost identical in our painting. The painting that seems closest to ours is the presumed portrait of Monsieur...

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 cu...

Titan Fine Art are pleased to present this charming bust-length portrait, which is a good example of the style of portrait painted in England in the second quarter of the seventeenth century. The attire consists of the finest silks, and the full billowing sleeves, bows, and hairstyle help in dating this portrait to circa 1637. The accessory par excellence – pearls – are worn as a necklace and were a very popular accessory. The artist makes no attempt to obey the rules of Baroque and instead sensitively depicts in complete honesty his sitter against a plain wall, and without distracting backdrops and flowing draperies – this work is very redolent of the sumptuous half-length female portraits that Cornelius Johnson...

Artist: Unknown (Circle of David Teniers the Younger, Flemish, 1610-1690) Title: "Man in Tavern Smoking a Pipe" *No signature found Circa: 1690 Medium: Original Oil Painting on Wooden Board Framing: Framed in an antique gold gesso frame...

Samurai - Maximilian Ciccone - Italia - Oil on canvas cm.210x120- In this majestic oil on canvas painting the Artist Ciccone portrays a samurai, exhibiting the Japanese warrior cast...

Portrait of a lady richly dressed in a purple silk gown with white sleeves, a gold coloured cloak draped across one shoulder, her blonde curls worn up...

Workshop/Circle of François de Troy (Toulouse 1645 – Paris 1730) Portrait of a young lady (probably Marianne de Cogny, epouse de Philippe-Emmanuel de Beaufort...

Hand Painted with Embellishment by the Artist on Canvas. Hand signed and numbered by the artist on verso. AP edition of 50. Canvas is stretched. Artwork is in excellent condition. Original Steve Kaufman Art Studio Certificate of tirage included. All reasonable offers will be considered. About the Artist: Steve Kaufman (American, 1960–2010) epitomized pop culture during his short life, producing a prodigious array of artwork. More than that, he was a humanitarian who arranged art...

Contemporary figurative acrylic on canvas painting by Polish artist Joanna Woyda. Painting is in minimalistic pop art style. It depicts a playful boy walking into the water, spending...

Giacomo Stella (Brescia 1545 - Rome 1630) - Allegory of Time Indicating Truth, Oil painting on canvas, 192 x 74cm. - in golden frame 198 x 81 cm. The work is accompanied by a critic...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

Legendary female illustrator creates a graphic and tightly designed triple portrait of her signature subjects. Kids! Signed lower right. Unframed on heavy illustration board. Grace Drayton had a recognizable style which is a hallmark of all great artists. Instantly recognizable, a Grace Drayton subject is a stylized child with a cherubic style, often with round faces, plump bodies, rosy cheeks, and a happy disposition. Three Rosy Cheek Children is an excellent example of her best work. Grace Drayton Born: Grace Gebbie October 14, 1878 Philadelphia, Pennsylvania, US Died: January 31, 1936 (aged 58) Cartoonist, Illustrator Grace G. Wiederseim Notable works Campbell Soup Kids Dolly Dimples Dolly Dingle...

Portrait of a young lady. wearing an ivory silk gown with gold brocade trim and a blue silk cloak, painted c. 1747. Circle of Thomas Hudson (1701-1779). Oval oil on canvas laid on to board in a giltwood frame. Provenance: Frost & Reed Ltd, June 1958 Private collection, Somerset UK The beautifully painted silk gown worn by the sitter bears the characteristics of the talented drapery painter Joseph Van Aken (c.1699-1749). Artists such as Thomas Hudson, Allan Ramsay, Henry Pickering, George Knapton and Joseph Highmore all used Aken’s exceptional talents in painting the silk clothes...

Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. T...

ARTIST Joanna Woyda (b. 1981) Studied painting at the Academy of Fine Arts in Warsaw (2000-2005). She received her honorary degree in 2005. She was also a scholarship holder of the...

"Fancy Gen" is a very interesting artwork because the character is inspired by a real person the artist met in Miami. The character of Fancy Gen is simple yet very complex. He is ver...

SPRING PORTRAIT - Oil on canvas cm.30x24 by Jean Philipe Moreno, Italy 2002. Frame available on request from our workshop. Moreno’s portrait depicts a young Parisian woman, her face ...

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...

Canadian artist Virginie Schroeder uses thick textural, playful lines, and other geometric forms to create works with subjects that are not immediately visible when seen up close. Verbal and psychological interplay with the public is integral to her creative process. Her art is the result of reflection, and aesthetic intuition provoked by the geometric forms. Her art exists to intrigue, to elicit questioning of its abstract character visible at first glance. One must draw away slightly to begin to glimpse the impressively detailed work in its totality. This original figurative pop art painting measures 32 inches square. It is an acrylic paint composition on canvas, it is wired and ready to hang. The sides of the artwork are painted by the artist and it does not require framing. It is signed by the artist on the bottom and back of the painting. Free local Los Angeles area delivery. Affordable Continental U.S. and global shipping available. A certificate of authenticity issued by the art gallery is included. Virginie Schroeder is an innovative artist based in Quebec, Canada. She prefers things not to be visible immediately In order to perceive the works, the viewer must feel them and open up all of their senses in order to enjoy the emotion of the work. Schroeder urges the viewer to enter the work, allowing their emotions to be absorbed into its subject. Her paintings are made to inspire new artistic visions while impressing their stunning technicality to the public. Schroeder seeks an invented, unstructured, different, and yet popular vision, and hopes to awaken our senses in the search for her works. When a face, an animal, a landscape, or any other subject is removed from its linear structure, it acquires a completely different form, a different identity, dimension, and a new prestige. One does not recognize it at first sight; it emerges as the very process of observation. It is here that the magic occurs, as the viewer consciously discovers a work of abstract character in vivid color which plays upon the tension between the figurative and the imaginary. Schroeder's original artworks have been exhibited in galleries and art fairs internationally and have been acquired by prestigious collectors around the globe. REPRESENTATION Artspace Warehouse, Los Angeles, CA EXHIBITIONS 2023 Folded Landscapes, Artspace Warehouse 2022 Affordable Art Fair New York 2021 Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York 2020 LA Art Show, CA 2020 Art Palm Springs, CA 2019 Artspace Warehouse, Los Angeles, CA 2019 Affordable Art Fair Hong Kong 2018 Artspace Warehouse, Los Angeles, CA 2018 Affordable Art Fair Hong Kong 2018 Art Market Hamptons, NY 2018 Affordable Art Fair New York, NY 2018 Art Market San Francisco, CA 2018 Carre D’artiste New York Soho 2018 Canadian Delegation London, UK 2018 Carre D’artiste Lyon, FR 2018 Art Palm Spring, CA 2018 Affordable Art Fair Milan, IT 2018 Galerie Le Pharos, FR 2018 Beauchamp Art Gallery, CA 2018 Danielle Peleg Gallery, MI 2017 Context Art Miami, FL 2017 Affordable Art Fair New York, NY 2017 SOFA Chicago, IL 2017 Beauchamp Art Gallery, CA 2017 Art Market Hamptons, NY 2017 Art Market San Francisco, CA 2017 Carre D’artiste New York Soho 2017 Art Club Galerie Paris...

Artist/ School: Italian School, 17th century Title: Two figures in an interior, one holding an urn or jug. Possibly a Biblical narrative subject. Medium: oil painting on canvas, u...

Rare one of a kind Pop Art portrait painting of 80s and 90s pop icon Fabio done in silkscreen enamel oil on canvas. this is not numbered and is believed to be unique. Steven Alan Kaufman Or Steve Kaufman, 1960–2010 American pop artist, filmmaker, photographer and humanitarian.In 1975, Kaufman participated in a group graffiti Street Art show at the prestigious Whitney Museum of American Art.Kaufman participated with nine other New York City students in a cultural art exchange with students in Japan, resulting in his attaining a scholarship to the Parsons School of Design. As a teenager Kaufman was going to Studio 54 and associating with people from the 1970s New York City art community. Kaufman attended Manhattan's School of Visual Arts (SVA), where he met contemporary artists such as Jean-Michel Basquiat. In 1981 Kaufman met Andy Warhol, who became a significant influence on the 19-year-old Kaufman, who worked as Warhohl's assistant at his studio, The Factory, producing original paintings and silkscreens. Kaufman designed theme parties for various nightclubs, sold his paintings to Calvin Klein and Steve Rubell, and participated in a group art show with pop artist Keith Haring, whom he had met at the SVA. Kaufman created the graphics for NBC's Saturday Night Live. Kaufman graduated from SVA with a Bachelor of Fine Arts degree and held art shows in London. Leaving Warhol's Factory, Kaufman established his own SAK Studio, hiring homeless New Yorkers to assist him. He painted portraits of three homeless persons for Transportation Display, Inc. that where later shown in 46 cities on bus billboards, helping to raise $4.72 million to benefit the homeless. Kaufman crated the first “Racial Harmony” mural in Harlem to raise attention of inner-city problems. He showed at the White Gallery as a tribute to those who died from AIDS. The “Say Without Art” tribute was based on this show. Kaufman also exhibited his works at the Loft Gallery in Tokyo, Japan.In 1993, Kaufman moved his studio to Los Angeles and began painting in a new style he called 'comic book pop art'. He used images of Superman, Batman, Spider-Man and others from both DC comics and Marvel comics. To assist him in his studio, Kaufman hired more than 100 ex-gang members released from prison.In 1995 Kaufman published works for Martin Lawrence Limited Editions, hand-embellishing works including limited editions of Beethoven and Marilyn Monroe. He painted portraits of Muhammad Aliand John Travolta, "who autographed their editions." Becoming the first artist create a bridge between Marvel Comics (Spiderman) and DC Comics (Superman), Kaufman worked with comic book artist and creator Stan Lee. Kaufman."As Warhol's assistant, I learned to silkscreen with oils that will last forever. Since his death, Steve Kaufman’s artwork has appeared in several television programs, art hotels...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

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 cu...

Artist/ School: Italian School, 19th century Title: Classical nude draped in robes with dancing dog. The work looks as though it might have been a ceiling...

Artist/ School: French School, 18th century Title: Mary and Jesus Medium: oil on canvas, framed Framed: 17 x 14.5 inches Canvas: 16 x 12.75 inches Provenance: private collection...

Acrylic paint on canvas

Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

Acrylic paint, faux fur and decorative paper on wood panel.

Unique hand painted silkscreen on canvas. Hand signed by the artist by Steve Kaufman. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered. About the Artist: Steve Kaufman (American, 1960–2010) epitomized pop culture during his short life, producing a prodigious array of artwork. More than that, he was a humanitarian who arranged art...

Hand signed by the artist on verso. Hand Painted Unique Silkscreen on Canvas. Artwork is in excellent condition. Original Steve Kaufman Art Studio Certificate of tirage included. C...

This piece depicts John Lennon wearing an iconic New York City shirt. Done with beautiful expressive colors and a distinctive street art design, this piece pops with energy and roman...

This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

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...

Agnolo di Cosimo, known as 'il Bronzino' (Monticelli of Florence, 1503 – Florence, 1572) The Holy Family with San Giovannino Oil on table (120 x 90cm. - I...

Ceravolo's just completed oil and acrylic "Batman and the Movie Star I must Concentrate" original painting on canvas measures a large 50x72" framed. There are no silkscreens or ste...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop culture imagery that defy traditional pictorial representation. She works from the ground up, adding several layers of thick acrylic paint on canvas until she is able to carve out colorful, undulating portraits filled with emotion as well as recognizable dynamic objects filled with movement. Her work is playful and poetic, constructing the famous visages of notable public figures and familiar popular objects. One step closer and her work is abstract. A step back and an iconic likeness appears. This original 20-inch square artwork is wired and ready to hang. The sides of the artwork are painted as a continuation of the front and it does not require framing. It is signed by the artist on the front and back of the painting. Free local Los Angeles delivery. Affordable Continental U.S. and global shipping available. A certificate of authenticity issued by the art gallery is included. Virginie Schroeder is an innovative artist based in Quebec, Canada. Her paintings are made to inspire new artistic visions while impressing with their stunning technicality. When a face, an animal, a landscape, or any other subject is removed from its linear structure, it acquires a completely different form, a new identity, and dimension. One does not recognize it at first sight; it emerges as the very process of observation. It is here that the magic occurs, as the viewer consciously discovers a work of abstract character in vivid color which plays upon the tension between the figurative and the imaginary. Virginie Schroeder seeks an unstructured, new, and yet popular vision, and hopes to awaken our senses in the search for her works. Her one-of-a-kind artworks have been exhibited and collected worldwide, including Hong Kong, New York, and Los Angeles. REPRESENTATION Artspace Warehouse, Los Angeles, CA EXHIBITIONS 2023 Folded Landscapes, Artspace Warehouse 2022 Affordable Art Fair New York 2021 Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York 2020 LA Art Show, CA 2020 Art Palm Springs...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Canadian artist Virginie Schroeder uses thick textural, playful lines, and other geometric forms to create works with subjects that are not immediately visible when seen up close. Verbal and psychological interplay with the public is integral to her creative process. Her art is the result of reflection, and aesthetic intuition provoked by the geometric forms. Her art exists to intrigue, to elicit questioning of its abstract character visible at first glance. One must draw away slightly to begin to glimpse the impressively detailed work in its totality. This original figurative pop art painting measures 28-inches high by 40-inches wide. It is an acrylic paint composition on canvas, it is wired and ready to hang. The sides of the artwork are painted by the artist and it does not require framing. It is signed by the artist on the bottom and back of the painting. Free local Los Angeles area delivery. Affordable Continental U.S. and global shipping available. A certificate of authenticity issued by the art gallery is included. Virginie Schroeder is an innovative artist based in Quebec, Canada. She prefers things not to be visible immediately In order to perceive the works, the viewer must feel them and open up all of their senses in order to enjoy the emotion of the work. Schroeder urges the viewer to enter the work, allowing their emotions to be absorbed into its subject. Her paintings are made to inspire new artistic visions while impressing their stunning technicality to the public. Schroeder seeks an invented, unstructured, different, and yet popular vision, and hopes to awaken our senses in the search for her works. When a face, an animal, a landscape, or any other subject is removed from its linear structure, it acquires a completely different form, a different identity, dimension, and a new prestige. One does not recognize it at first sight; it emerges as the very process of observation. It is here that the magic occurs, as the viewer consciously discovers a work of abstract character in vivid color which plays upon the tension between the figurative and the imaginary. Schroeder's original artworks have been exhibited in galleries and art fairs internationally and have been acquired by prestigious collectors around the globe. REPRESENTATION Artspace Warehouse, Los Angeles, CA EXHIBITIONS 2023 Folded Landscapes, Artspace Warehouse 2022 Affordable Art Fair New York 2021 Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York 2020 LA Art Show, CA 2020 Art Palm Springs, CA 2019 Artspace Warehouse, Los Angeles, CA 2019 Affordable Art Fair Hong Kong 2018 Artspace Warehouse, Los Angeles, CA 2018 Affordable Art Fair Hong Kong 2018 Art Market Hamptons, NY 2018 Affordable Art Fair New York, NY 2018 Art Market San Francisco, CA 2018 Carre D’artiste New York Soho 2018 Canadian Delegation London, UK 2018 Carre D’artiste Lyon, FR 2018 Art Palm Spring, CA 2018 Affordable Art Fair Milan, IT 2018 Galerie Le Pharos, FR 2018 Beauchamp Art Gallery, CA 2018 Danielle Peleg Gallery, MI 2017 Context Art Miami, FL 2017 Affordable Art Fair New York, NY 2017 SOFA Chicago, IL 2017 Beauchamp Art Gallery, CA 2017 Art Market Hamptons, NY 2017 Art Market San Francisco, CA 2017 Carre D’artiste New York Soho 2017 Art Club Galerie Paris...