Vertical Portrait Paintings

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

The Angel Of The Annunciation, 19th Century after CARLO DOLCI (1616-1686) Large 19th Century Italian School depiction of the Angel of the Annunciation, oil on canvas. Devotional sc...

Patrick Oates' work explores the intersection of landscape, identity, and family history. His experimental paintings delve into queer identity, trauma, and the unknown, weaving a com...

Fleur de Neige by Jan Van Beers, painted in July 1880, stands out for the delicacy of its depiction. This remarkable portrait depicts a woman dressed in a sumptuous white costume, ad...

Auguste Adolphe CHAUVIN (Liege, 1810 – Liege 1884) Portrait of Coraline Oil on canvas Signed and dated lower right 91 x 68cm 1868 Auguste Adolphe Chauvin, born in Liège on October 2...

Icono of Saint Nicolas in the style of Russian icons of the 18th century. Egg tempera and gesso on wood, covered by a metal oklad made by the artist himself. The oklad, in principle, were made to cover damaged parts of highly revered ancient icons...

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

This painting, titled Memento Mori is an ode to vintage skull portraits. Framed in vintage gold frame, wired and ready to hang, 10.5 in. wide x 12 in. high

St. Peter And The Rooster 1600 oil painting on canvas reinteled with new frame. The painting was probably part of a larger composition depicting St. Peter repenting, weeping. Italian...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian-governed academic setting. This presence exposed Franci...

Attributed to Godfried SCHALKEN (Made 1643 – The Hague 1706) Young fischer Oil on panel in one board H. 32.5 cm; L. 25.5 cm Around 1670/75 Related works: - Autograph version with nu...

An energetic portrait of a fashionable woman, likely dating to the late-1940s. Presented glazed in a distressed gilt-effect wooden frame. Unsigned. On board.

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 36 x 24 inches. Frame size approx 49 x 38 inches. Studio catalog number and stamp on verso. Ar...

"New Hat" is a figurative, interior portrait painting by Philadelphia born Expressionist painter Bernard Harmon from 195. The 20" x 16" oil on board portrait features a young African...

An oil painting by Contemporary American painter, Kelly Carmody. A woman, seated in a yellow room, wears a patterned dress and holds a book, turned down, onto her lap. She rests her ...

Antiveduto Gramatica or Grammatica (Rome, Italy, 1571 – 1626) Title: Magdalene Praying with a Skull Medium:Oil on canvas Dimensions: without frame 58 x 43.2 cm - with frame 85 x 72 x...

Painting, 19th Century, Portrait of an African Boy, signed, oil on canvas. Dimensions with frame 65cm x 73cm

Flower garland with a portrait of the Virgin Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable Oil on canvas 66 x 49 cm. - In f...

Louis Joseph Lebrun Belgian 1844-1900 Portrait of a Young Woman Oil on panel, signed and dated '1884' upper left, labelled verso Image size:15 3/4 x 12 ½ inches (40 x 31.5 cm) Ornate...

This expressive work of art is an abstract and textured image of the face, which arises from a bright mixture of colors and strokes. The face is partially hidden, harmoniously mergin...

A painting that refers to Our Lady Eleusa, also known as the "Mother of God of Tenderness," which shows an undeniable feeling of affection and tenderness between mother and child. Th...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

Circle of Sir Peter Lely Dutch, (1618-1680) Portrait of a Lady, traditionally identified as Princess Henrietta Anne Stuart Oil on canvas Image...

Benjamin Constant was an important figure in the Academic painting world in Paris and one of the leading French Romantic artists of the time. He is in all the museums of France and ...

This is my take on the classic Pre-Raphaelite painting subject and poem “The Lady of Shalott,” by Alfred Lord Tennyson. It is also inspired by the John Everett Millais painting, “The...

This portrait of a clown by Maurice Kish is part from a series of carnival figures, circus clowns and carousel horses and riders that he did in the 30s and 40s. The artist uses a vibrant color palette and controlled brushstrokes to depict the subject in a realistic way. The imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York. Born Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist. Kish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else. For years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass...

‘Elmo’ unique painting is a playful bright representation of the sesame street character. Rondinone warps his subject matter intentionally, bringing a new dimension to beloved charac...

Artist: Bernard Locca, French (1926 - 1997) Title: Portrait of a Blonde Beauty Year: 1963 Medium: Oil on Canvas, signed l.r. Size: 36 in. x 29 in. (91.44 cm x 73.66 cm) Frame Size: 4...

Exclusive piece made for the exhibition at Rish Lab, Brussels. Chidy Wayne (b. 1981, Spain) is an artist based in Barcelona. Over the years, he has established himself as a recogniz...

"Portrait of a Soldier from Tehran" is an original oil painting by Cyrus Afsary. The artist signed the painting in the lower right. This piece depicts an Iranian man with a white head scarf, a Keffiyeh. Artwork Size: 27 1/2" x 19 3/4" Frame Size: 34 1/4" x 26 1/4" Artist Bio: Cyrus Afsary studied art under the strict discipline of the Russian Realist style of painting, graduating with two degrees. He has won numerous awards, including the Best of Show at the C M Russell show of Original Western Art and the Exceptional Merit Award from the National Arts Club at the 1986 Pastel society of America show. He has also received gold and silver medals from the National Academy of Western Art and was the first recipient of the coveted Lougheed Memorial Award. Cyrus won the Painting Award for “ mystical Transformation” at the Buffalo Bill Art Show in 2006 and also shared in the choice award. In 2007 he was awarded the Best of Show at the Eiteljorg Museum and in 2009 at the Charles Russell Museum he received the staff choice award, for “Entrance to Shrine” and in 2010 the Williams Award for Collectors’ reserve at the Gilcrease Museum. Oklahoma. Cyrus is an artist /member of the Cowboy Hall of Fame. He participates annually in the Prix de West invitational, and the Masters of the American West Exhibition at the Autry Museum in CA. The Eitejorg Museum in Indianapolis, IN and also the Buffalo Bill show in Cody Wyoming. Cyrus was featured in the 2002 Gilcrease Museum Rendezvous in Tulsa, Oklahoma. He is also a member of the Northwest Rendezvous Group. Cyrus and his work appear in numerous publications, including American Artist, Art of The West, South West Art...

Lucien-Victor Guirand de Scévola ( 1871 – 1950) Portrait of a lady, a sketch signed lower right Oil on canvas transfered on cardboard 25 x 18 cm oval Framed : 31 x 24.5 cm This port...

One Queen (4) By Agent X [2020] original and hand signed by the artist Digitally produced painting on canvas Image size: H:106 cm x W:72 cm Complete Size of Unframed Work: H:106 cm ...

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...

This colorful lithographic poster was printed in 1982 at the Atelier Mourlot in Paris was printed for an exhibition of Atelier Mourlot prints in Tokyo at Seibu Department Stores, 198...

These paintings are images taken directly from life with my daughters. They each represent a fragment of their childhood that is rapidly disappearing. I have chosen to create visual images that celebrate all that comes with the evolution from girlhood to womanhood. ADRIENNE BROWN...

Masri Hayssam (Lebanese, born 1965) "Naiad" 2023 Oil Paint, Acrylic Paint, Mixed Media, Canvas, Stretcher Bars "Naiad" is a stunning abstract portrait by Masri, celebrated for its v...

Original acrylic painting on canvas coated with resin. Hand signed on front; signed and titled on verso by Jozza. Canvas is stretched. Artwork is in excellent condition. Certifi...

A signed oil painting representing the portrait of a woman in the bath. Contemporary painting. Height 40" x 28" Length

Graham Dean 1984 Porter Acrylic on canvas Image size: 40 x 29 inches The model in this painting is the same as the one in the painting Camouflage. The artist researched a lot about ...

This simply superb British 19th century portrait oil painting is attributed to circle of John Constable. Painted circa 1820 it is a sumptuous half length portrait of a lady in a shor...

18th Century French Rococò Painting An oil on panel painting attributed to the great French artist of the eighth century, Jean Ra...

Blue is painted in the style of American Realism. The painting is Representational Figurative art which is a time consuming process especially with portraits and figurative art. T...

Portrait Of Lucas Cranach The Elder (1472-1553), 16th Century German Renaissance School Large 16th Century German School portrait identified as Lucas Cranach The Elder, oil on canv...

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...

Oil on canvas "jeune femme à l'éventail" by Jules Triquet Sublime portrait of a woman with a fan at the end of the 19th century, painted by the French painter Jules Octave Triquet V...

"The Soul Behind the Gaze" is a contemporary abstract expressionist portrait by French artist Natalya Mougenot, and forms part of her evocative series of masked or emotionally veiled...

Hand signed by the artist on verso. Hand Painted Unique Silkscreen on Canvas. Artwork is in excellent condition. Certificate of authenticity included. Stretched. All reasonable of...

William Fisk 1796 -1872, was an English born portrait and history painter. Although born in 1796 he didn't start his artistic career until after 1826, after the birth of his son Will...

Figurative Surrealism Original Painting Artist: Ashot Yan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Linen, Year: 2023 Style: Portrait Surrealism, T...

The picture is oil on canvas and signed Julius Friedrich Antonio Schrader (1815–1900) was a German painter known for his portraits and history paintings. A prominent figure of the D...

Jose Arpa (1858-1952) San Antonio Artist Image Size: 25 x 20 Frame Size: 29 x 24 Medium: Oil "Lady in Mantilla" From the Robert Tobin Collection. Robert Tobin (deceased) San Antonio, Texas Developer and Philanthropist. Details This painting was exhibited in 2016-2017 at Several Texas Museums including the Panhandle Plains Museum.  Exhibition tag on verso. Biography Jose Arpa (1858-1952) Born in Carmona, Spain, José Arpa y Perea was known as "The Colorist Painter" of figures and landscapes, especially in Texas where he brought a fresh approach to San Antonio painting in his bright, sunlit local scenes.  He was also an etcher, illustrator, and muralist as well as an art teacher, and he started and ended his career in Spain.  His subjects include the Grand Canyon of Arizona. He began his art study as the pupil of Eduardo Cano de la Pena at the Academy of Fine Arts in Seville and then spent six years in Rome followed by extensive travel through Africa and Europe.  His reputation was solid enough that the Spanish government sent four of his paintings as part of the exhibition to the 1893 World's Columbian Exposition in Chicago. In 1894, as an illustrator, he accompanied a Spanish army expedition to Morocco where the Spanish had been defeated by Rifi tribesmen.  In the mid-1890s, he was brought to Mexico City, reportedly by a special Mexican naval vessel, to head the Academy of Fine Arts, but declined the position once he understood the responsibilities.  Instead he joined one of his Spanish schoolmates and went to his home in Puebla, Mexico, where his use of bright colors earned him the name of "Sunshine Man."  He became close to the children of this man, and in 1903, accompanied them as a guardian to school in San Antonio.  After twenty years of traveling in Spain, Mexico, the Southwest, and South America, Arpa settled in 1923 in San Antonio, Texas, where he became Director of the San Antonio Art School and painted bright, sun-filled landscapes.  He taught landscape and portrait painting and was exceedingly prolific, and several San Antonio collectors accumulated large numbers of his works.  Among his close artist friends were Robert and Julian Onderdonk, Tom and Joe Brown, and Charles Simmang.  They were members of a San Antonio group who painted together and called themselves the "Brass Mug...

Serenity, warmth, and harmony are at the heart of Dreamer, a captivating oil on canvas painting that invites reflection and a sense of peace. The work portrays a figure with closed e...

Portrait Of A Country Gentleman, early 20th Century by Charles Edwin Andrew (1911-1996) Large early 20th century portrait of an English country ...

Artist: Peter Max, German/American (1937 - ) Title: Nelson Mandela 1 Year: 2001 Medium: Acrylic on Canvas, Signed Size: 18 x 16 inches

Oil on gattice wood in octagon. Il gruppo di otto dipinti in oggetto (figg. 1-8) rappresenta, nel classico formato fiorentino dell’ottagono, una serie di effigi femminili a mezza figura. Più precisamente, si tratta di giovani fanciulle elegantemente vestite, disposte in varie attitudini ma accomunate, ad eccezione di due esemplari sui quali ci soffermeremo in seguito, dall’accento sulla ricchezza, evidenziata sia da particolari di fastose console e drappeggi, sia da collane di perle o tessuti preziosi che le donne talvolta maneggiano, ponendovi così l’accento. Una delle figure porta in testa una corona reale, altre dei turbanti o inconsueti copricapi. Questi dettagli conferiscono ai personaggi un aspetto principesco, talvolta abbinato a richiami orientaleggianti. Una formula che riporta alla mente il caso di un dipinto da poco riscoperto nella sua vera identità, il “Ritratto fino a mezzo busto di Regina Armena” di Mario Balassi, seducente connubio di recuperi alloriani ed elementi di fantasia conservato alle Gallerie degli Uffizi (vedi F. Berti, Da ritratto mediceo di Jacopo Ligozzi...

Beautiful and detailed original oil on canvas by Armenian/American artist Hovsep Pushman. The sitter is Mary Bernard whose father was Jean (Juan) Bernard and whose mother was Susan M...

Vibrant colors, string brush strokes, intense personal gaze. Would be stunning in any room!

This stately piece, "Alpha" by artist Jessica Leonard is a 40x30" oil painting on raw Belgian linen depicting a horse rearing. Delicately drawn in charcoal, the artist layers on thi...

This captivating oil painting by Joseph Bail depicts a charming woman and her feline companion. Completed in the late 19th century, this artwork showcases Bail's talent for capturing...

Oil Painting by Frank Moss Bennett "Portrait of John, Annabella and Augusta Annesley" 1874 - 1955 Popular painter of figurative scenes. Studied at the...