Portrait Paintings

"Femme Nue Avec Coquillage" , 19th Century School of Jean-Baptiste-Camille Corot (1796-1875) Large 19th Century French portrait of a nude female holding a shell, oil on canvas scho...

Portrait of a Stylish Lady French School, Mid 20th Century Oil painting on canvas, framed Signed by the artist on the lower right hand corner Frame size: 26.5 x 22 inches Stylish ex...

This painting called " Facing the world" makes part of my series dedicated to women. In all my creations where I paint a woman, I want to show her like a strong person who faces and...

Signed upper left, 'Jul. Paulsen' for Julius Paulsen (Danish, 1860-1940) and dated 1919. A dramatic, early twentieth-century figural work by this notable Post-Impressionist painter ...

Patrick Boudon. Inner Family. Post-war Expressionism. 1970s. Patrick Boudon. Art Informel. Ecole de Paris. Technique: oil on cardboard. This painting by Patrick Boudon from the 197...

This charming picture, which has been signed and dated: H. Pickering pinxt 1752 is a type favoured by the highly successful artist Henry Pickering. Pickering’s painting life, from 1...

Presented by Titan Fine Art, this elegant and beautiful portrait depicts Abigail Hay, Lady Dupplin, Countess of Kinnoull; it is an excellent example of English portraiture from the f...

Madonna with the book. XVIIth century. Oil on Canvas. Antique painted wooden frame, in need of restoration. Reintel. Baroque Era. Interesting painting of the Genoese school, with ch...

Read the Signs Year 2020 Part 1. Signed with the artist's initials lower right Signed with the artist's "Yummy" drystamp lower right corner Watercolor on Arches paper Archival framin...

This spellbinding late 19th-century oil painting by Scottish artist Robert Walker Macbeth RA ROI RWS (1848-1910) depicts a young woman wearing...

When this beautiful piece was created Berlin had been staging a one man renaissance of the early 20th Century School of Paris. For 8 years in this wing of study he used the shapes of...

Cubist Faces in the Style of Picasso's One Line Portraits - Acrylic on Canvas Bright abstracted faces by an unknown artist. Two faces are painted with a minimal number of lines, in ...

Very impressive mid 20th century modernist interior scene. Oil on canvas. Framed. Signed with a monogram. Really impressive quality and a great subject.

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Now ...

The short signature lower left a monogram of joined Cyrillic letters "V" and "P" with date 77, leads to the Russian painter Vasily Dmitrievich Polenov (1844 - 1927). Here we have pl...

"Soyva" Painting 20" x 16" inch by Vladislav Chenchik Vladislav Chenchik is a contemporary artist from Ukraine. His artwork combines abstract and realistic styles, with a focus on p...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

The Swedish Girl” by RUPERT SHEPHERD, RP, 1909-1992 Oil on canvas, 20 x 24 in, signed, dated 1949 The ‘Swedish Girl’ portrait is a superb example of Rupert Shepherd’s work. A fi...

Pietro Torrini (Florence, 1851 -1914). The Pope's Chef. Oil on canvas. Size with frame: cm 55 x 51. Size without frame cm 31 x 26.5 Carved and gilded wooden frame. Label present (Ge...

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Portrait of Franklin Atwood Park, VP of Singer Mfg. Co. Stately portrait of Franklin Atwood Park by Arthur Trevethin Nowell (British, 1862-1940). Park is sitting for a classical por...

Badinter is a unique oil on canvas painting by contemporary artist Christophe Dupety, dimensions are 100 × 100 cm (39.4 × 39.4 in). The artwork is signed, sold unframed and comes wi...

Anastasia Kurakina's artworks are at the Vatican Museums collection since 2017 She has exhibited at the National Portrait Gallery in London at BP portrait award exhibition in 2017 a...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Abou...

'Radiant Muse: Inspired Cubist Portrait', oil on board, the German School (circa 1970s). A very alluring painting with warm earth tone hues both vibrant and muted. Clearly inspired b...

"Visions of Johanna" is a colorful summertime portrait of nude woman swimming in the backgrounds and posing in the foreground. Nick Weber (b.1971), living and painting in Springs, N...

This early to mid-20th-century self-portrait by Henri-Georges Bréard (1873-c.1939) depicts the artist deep in thought. He’s holding a pipe. Henri-Georges Bréard was an accomplished ...

ANNA KINCAIDE "Alive Again" Oil & Mixed Media on Canvas 48 x 48 inches Communicating emotion and narrative with limited assistance from her figure’s facial expressions, Anna Kincaid...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

“The longer you look at an object, the more abstract it becomes, and, ironically, the more real.” Lucian Freud. "Nudes are interesting to paint; I've had people say my Ladies are ...

Tribute to Rodin 5 is a unique painting by contemporary artist Hongyu Zhang. The painting is made with Indian ink, pastel, acrylic, engraving and collage on cardboard mounted on canv...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

'Nude at the Window Overlooking Sacré-Coeur', oil on paper mounted on canvas, by Louis Latapie (circa 1930s). Although later in Latapie's career he embraced cubism and abstraction, t...

Antique Dog Painting: "Hunting Dogs at the Kennel, 1901" Jules-Bertrand Gélibert (France, 1834-1916 Oil on canvas Signed lower left 24 x 19 inches, frame Jules-Bertrand Gélibert w...

artist: Anastasia Kurakina Title: “Arthur” limited edition print 40x30cm hand signed 2024 Collective exhibitions: 2023 London biennale, Chelsea, Old Town Hall; 2023 YICCA Inte...

William III of England, Prince of Orange, workshop C. Netscher (The Hague, 1668-1723) Late 17th c. Dutch school Oil on canvas, dimensions: h. 31.49 in, w. 24.80 in Giltwood and carve...

No. 200 is a unique painting by contemporary artist Hongyu Zhang. The painting is made with Indian ink, charcoal, pastels and acrylic on canvas, dimensions are 150 × 100 cm (59.1 × 3...

Painting by Donald Purdy (1924 - 2016). Oil on masonite Measures 25"L x 23"W. Work is behind glass and comes with exceptional antique frame. Acquired from the Schoneman Gallery in NY...

Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...

The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...

The Samaritan is a unique oil on canvas painting by contemporary artist Joachim van der Vlugt, dimensions are 170 × 140 cm (66.9 × 55.1 in). The artwork is signed, sold unframed and ...

America Martin "Women in Gray Diptych" Acrylic on Linen (Gold Frame) 52" x 21.5" Each 52" x 43" Overall Exploring the identity of both her namesake and country, LA-based America Ma...

No. 196 is a unique painting by contemporary artist Hongyu Zhang. The painting is made with mixed technique on canvas, dimensions are 90 cm × 70 cm (35.4 × 27.6 in). The artwork is ...

Valentin is a unique oil on canvas painting by contemporary artist Christophe Dupety, dimensions are 80 × 80 cm (31.5 × 31.5 in). The artwork is signed, sold unframed and comes with...

English mid century oil painting Portrait of a cute Corgi. Paintings of this breed are very rare and very collected. Kate Gray was a British animal portrait painter during the last...

"New Soul" Mixed media Painting 71" x 35" inch by Karim Abd Elmalak Karim Abdel Malak's layered multi-media works are influenced by the old masters. Abdel Malak textured oils are a...

Venetian Holiday is painted in the style of American Realism. The painting is a Representational Italian landscape which is the Plaza in Venice. This realist painting was done on sight on a vacation to Italy. The artist painted himself into the realist painting. Gary J. Hernandez is an internationally recognized, award winning artist in the style of Realism portrait ,landscape and floral paintings He received training from the Houston Museum of Fine Arts School of Art specializing in Realism and Figurative Art. He specializes in representational art as seen in Venetian Holiday with an emphasis on the human figure and florals as seen in Her Majesty's Lilies. He was a finalist in The Artist's Magazine International Art Competition, an Award of Excellence winner in the Manhattan Arts Magazine Competition, finalist in Hunting Art...

"Portrait Boy" Oil Painting 14.5" x 20" inch (1930) by Shaaban Zaki signed & dated Shaaban Zaki came from a lower-middle-class family who was mostly government employees, but he wa...

"Portrait of Boy" Portrait Drawing 14" x 10" inch (1970) by Youssef Sida Signed and dated 1970 Youssef Sida 1922-1994 Born in 1922 in Damietta, and in 1945 he got his degree from t...

"A troubadour was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). The texts of troubadour songs deal mainly with themes of chivalry and ...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting...

A beautiful mid 20th century Southeastern European oil on canvas portrait of a lady wearing a white headdress. This intriguing work is expertly painted with thick impasto paintwork which has been built up across the surface. Indistinctly signed lower right and presented in a reverse profile frame. We think that this work was painted by an artist working in Southeastern Europe, most likely Greece or Macedonia. Artist: Southeastern European School...

No. 215 is a unique painting by contemporary artist Hongyu Zhang. The painting is made with Indian ink and charcoal on paper mounted on canvas, dimensions...

Ratzinger Chocolat is a unique oil on canvas painting by contemporary artist Christophe Dupety, dimensions are 80 × 80 cm (31.5 × 31.5 in). The artwork is signed, sold unframed and c...

At first viewing, Egg Girl may come across as humorous, quirky, flippant or even clever. However, there may also be a deeper meaning in the work. The Egg Girl wants to be seen, but she does not want to reveal herself entirely. So, on a human level, Egg Girl is symbolic of the masks we wear, the devices we use to hide ourselves even as we reveal ourselves; to the world and to the judgement of others. How my Eggs came about. I wanted something to change my world, a painting that would make that happen. I wanted something I’d never seen before in the art world. I used to sit for hours late at night thinking about what to paint to make that change. It was Egg lady...

Tribute to Michelangelo III is a unique painting by contemporary artist Hongyu Zhang. The painting is made with Indian ink, pastel, acrylic, engraving and...

Norah is a unique oil on canvas painting by contemporary artist Guy Oberson, dimensions are 160 cm × 130 cm (63 × 51.2 in). The artwork is signed, sold unframed and comes with a cer...