Oversized Portrait Paintings

Original painting on canvas.. Hand signed on front; signed and titled on verso by Jozza. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity incl...

On Your Tomb, They Won't Smell Nice is an original painting by Obeka Simon. Simon created On Your Tomb, They Won't Smell Nice with Oil on a 40W by 45H inches primed canvas. Simon Obeka...

Françoise Nielly has explored the different facets of image all her life, through painting, photography, roughs, illustrations and virtual computer generated animated graphics. It is...

Mitzy Renooy Wild Flowers 110 x 120 cm Frame included in price, size with frame: 115 x 125 cm Dutch artist Mitzy Renooy, a former camera woman for national television, did follow ar...

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

This lovely British Edwardian Impressionist portrait oil painting is by noted artist Charles Henry Sims. Painted circa 1910, the young child in the painting is Alan Sims, the artist'...

This intimate 19th-century portrait captures a tender moment between a mother and child, both engaged in reading an illustrated book. The arrangement of the composition creates a sen...

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...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

This lovely British Art Deco portrait oil painting is by noted portrait artist James Penniston Barraclough. It was painted in 1923 and is signed and dated lower right. The compositio...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

Contemporary figurativ oil on canvas painting by Polish artist living in the USA Monika Rossa. Painting depicts three children holding birds. Birds are also flying near them. Artwork...

Artist: Jack Graves III (American, 1988-) Title: "Cara Delevingne Icon X" Series: Icon *Signed, titled, and dated by Graves on verso Year: 2019 Medium: Original Acrylic Painting on ...

A lovely portrait oil painting by British listed artist Tom Mostyn ROI. Painted circa 1910 it depicts a beautiful smiling young woman in a pink dress holding an umbrella. A glorious ...

Lady with harp is a modern artwork realized by Symbolist Painter of late 19 Century. Symbolistic painting of a lady with harp standing on a rock by the sea. Mixed colored oil on ca...

“I paint the human figure and explore further till I reach the Beauty of Being, the Soul.. the part of Human Being where everything is in total Serenity, Goodness and Harmony, where ...

MORIN Charles Camille (1846 – 1919) The Girl with goats by the river Oil on canvas signed low left Old frame gilded with leaves Dim canvas : 58 X 91 cm Dim Frame : 88 X 112 cm MORI...

An original large Scottish portrait oil by noted Scottish artist William Oliphant Hutchinson. The work is a portrait of a gentleman, in a suit, with a rose in his lapel. This painting is a fine realist portrait. It dates to 1960 when he was at the height of his portrait career. This is a fine example of a mid 20th century Scottish portrait. Signed and dated upper left. Provenance. Scottish collection. Condition. Oil on canvas, image size 36 inches by 28 inches and in good gallery condition. Housed in a gallery frame, 43 inches by 35 inches framed and in good condition. William Oliphant Hutchinson (1889-1970), was born at Kirkcaldy, Fife, Scotland, fifth child in the family of four sons and two daughters, of Henry William Hutchison of Kinloch, a Kirkcaldy businessman, and his wife, Sarah Hannah née Key. Educated at Kirkcaldy High School, Cargilfield School, Edinburgh, and later at Rugby School. As a boy he showed considerable promise as an artist and wanted to become a painter but his family were set on him entering business. In 1911, he spent a period in Paris, primarily to perfect his French where he also took this opportunity to study at the Atelier Delecluse, striking up a lifelong friendship with Scottish artist, [Sir] James Gunn (1893-1964). On his return to Scotland he entered the family timber business but, with his father's permission, entered Edinburgh College of Art, having a portrait of his younger sister Nancy exhibited at the Royal Scottish Academy in 1911. Whilst studying in Edinburgh he came under the influence of watercolourist Edward Arthur Walton...

Zoa Ace's (US based) "Close Encounters" is an original, handmade oil painting that depicts a party of people playing instruments and conversing as ani...

This artwork throws three impeccably dressed figures into the middle of a vast, sun-drenched desert—because nothing says "existential crisis" like wearing all black under the scorchi...

Fedor Encke (1851-1926) – German Full length Portrait of Jeannie Netter, standing in an interior, wearing a Burgundy Velvet Dress holding a Pink Rose Oil on canvas :85 ¾ x 50 ¼ in. Frame :103 x 67 ¼ in. Signed & inscribed ‘New York’. Circa 1910 Jeannie Netter was an American born musician and song-writer but was mostly merited for her sculpture having been taught by the Russian artist Bernstamm. Fedor Encke was born in Berlin, Germany in 1851. Younger brother of Erdmann Encke who was a sculptor, Encke was the illegitimate grandson of King Frederick Wilhelm II of Prussia and Mistress Wilhelmine Encke, Countess of Lichtenau. Fedor studied under Karl Gussow in Berlin and then went on to study in Rome and Paris. Although he set up a studio in Berlin during the 1880’s, he seems to have travelled regularly between Paris and New York painting many American Society sitters, including President Theodore Roosevelt. Encke’s portrait of Roosevelt dressed in Rough Rider uniform, originally hung in the dining room of the White House and is now at the Presidents place of birth, Segamore Hill, New York. This portrait was also published as the frontispiece of ‘The Rough Riders’ by C. Scribners&Sons, 1899. Encke was in Paris in 1902 and painted the two banking giants, John H. Harjes and J.P. Morgan both having their portraits painted at the same time. To try and finish Morgan’s painting Encke hired a young photographer named Edward Steichen to take Morgan’s picture as a kind of aid memoir to minimize the sitting time. This photograph and the painting that resulted from it caused a considerable stir because of the uncompromising pose of Morgan. The portrait became synonymous with the new capitalism. Encke seems to have been very well connected socially and painted for many members of the European nobility as a result. Encke died in 1926. Works in Museums: Segamore Hill, New York (Portrait of Theodore Roosevelt) National Portrait Gallery America; Smithsonian; Brooklyn Museum of Art; Philadelphia Museum of Art. Bibl: Book on Moses Ezekiel...

Approxiate dimensions of this painting are 140 x 110 cm, unstretched canvas is 157 x 113,5 cm Abstract painting by Polish artist living in USA Monika Rossa. Painting in style of ges...

James Franco (American, b. 1978), "Coloring Book", Oil on Digital Printed Canvas, 2015, depicting a portrait of Ryan Gosling (Canadian, b. 1980) with vegetables and lizards, text rea...

Fine Portrait of a lady standing in a landscape wearing a white satin dress and holding a posy of flowers. Manner of Sir Godfrey Kneller (1646-1723) ...

Up for sale is an original antique 1864 oil painting on canvas by Famous American Artist John O'Brien Inman (1828-1896), depicting a portrait of a seated baby. Signature on verso "Painted by Jho. O'B Inman Portlana Jan 18th 64" The painting is in good/antique condition, minor stable craquelures. Presented in an ornate vintage gilded frame. Please see the photos, the photos are part of the description. Measures with the frame 41" X 34.5", painting 30" x 25". Free insured shipping. Free delivery in 200 miles from Boston. Please read some interesting information about Artist...

This charming ex Christie's Victorian Orientalist oil painting is by noted French exhibited artist Lucien Laurent Gsell. The painting dates to around 1900 and portrays a beautiful yo...

Series: Figurative Oil Enamel Paint on Canvas I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice tha...

John Baker’s "Song" is a 59 x 47 x 1.5 inch acrylic painting with collage on canvas whose multi-colored brushstrokes-mostly reds, blues and oranges-give intricate visual form to the music and spirit of an enraptured female singer...

Oil on canvas Berg is a French painter born in 1953 who lives and works in Paris, France. Under the pseudonym "Berg," meaning mountain in Goethe's language, lies an artist as gentle...

Original and unique work by Russell Young. Enamel and diamond dust screen print on linen, Black + White, unframed dimensions 62 x 48 inches, 2011, from the series "Diamond Dust". Da...

This striking British Edwardian religious oil painting is by noted artist Francis 'Frank' Owen Salisbury or Frank O'Salisbury as he is largely known. Painted in 1911 it is a figurative landscape of soldiers on the battlefield. The two central characters, the 'Christian Soldiers' from the early crusades have halos and ride through the chaos on white horses. Shafts on light with angels illuminate them and also a crucifix. A very powerful Edwardian religious oil painting and an excellent example of O'Salisbury's work. painted in oil and illuminated in gold leaf. Signed and dated with monogram lower right 1911. Provenance. From Castle of Park, Aberdeenshire. A version of this painting was exhibited at the Royal Academy London in 1911 entitled the Passing of War. Condition. Oil on canvas, 36 inches by 24 inches unframed and in good condition. Frame. Housed a complementary frame, 44 inches by 32 inches framed and in good condition. Francis ("Frank") Owen Salisbury (18 December 1874 – 31 August 1962) was an English artist who specialised in portraits, large canvases of historical and ceremonial events, stained glass and book illustration. In his heyday he made a fortune on both sides of the Atlantic and was known as "Britain’s Painter Laureate". His art was steadfastly conservative and he was a vitriolic critic of Modern Art – particularly of his contemporaries Picasso, Chagall and Mondrian. His father, Henry Salisbury, described himself as a "plumber, decorator and ironmonger" (his mother was Susan Hawes), yet his son Frank would become one of the greatest society artists of his generation. One of 11 children, Salisbury was such a delicate child that he was educated at home, in the main by his student teacher sister, Emilie. He had only a few weeks formal schooling and began work by repairing bicycles at his father’s Cycle Depot in Harpenden. Uncertain as to his ability to find and maintain a job, the family determined that he be apprenticed, at the age of 15, to Henry James Salisbury, his eldest brother, who managed a major stained glass company in Alma Road, St Albans. He rapidly acquired all the practical skills of a stained glass artist and exhibited exceptional skills in the painterly detail that was applied to glass before its final firing. This led to his brother sponsoring him to attend Heatherley’s School of Art three days a week to further a career in painting. He then won a scholarship to the Royal Academy Schools which he attended for five years and where he won two silver medals and two scholarships, including the Landseer scholarship which funded his to travel to Italy in 1896. In due course he would have seventy exhibits accepted for the annual Royal Academy Summer Exhibitions, from 1899 until 1943, though he was never offered membership, which reportedly disappointed him very much. In 1901 he married Alice Maude (d. 1951), daughter of C. Colmer Greenwood, with whom he had several children, including twin daughters Monica and Sylvia. His first Royal Academy exhibit was a portrait of Alice and he often painted pictures of their children. It is for portraiture that he is best known. His speed in producing portraits stemmed from his painting his own twin daughters every morning for an hour and his career began with child portraiture and his painting the Hertfordshire gentry and members of the Harpenden Methodist Church. He had a studio at his home, Sarum Chase. A providential meeting with Lord Wakefield, founder of Castrol Oils and a Methodist philanthropist, saw his introduction to society portraiture. Salisbury’s being selected to paint the Boy Cornwell in the Battle of Jutland then brought him to the notice of Royalty. Lord Wakefield then arranged for him to paint President Woodrow Wilson whilst he was in London, but Wilson departed for Paris and the opportunity was lost. It was to be John W. Davis, American Ambassador to London, who encouraged Salisbury to go to the USA; Davis had met Salisbury at art receptions and had admired his child portraits. Twenty-five members of the Royal House of Windsor sat for Salisbury and he was the first artist to paint HM Queen Elizabeth II. In 1919 he painted a mural for the Royal Exchange, London National Peace Thanksgiving Service on the steps of St Paul’s Cathedral, 6th July 1919. He painted Winston Churchill on more occasions than any other artist; the two iconic images of Churchill – The Siren Suit and Blood, Sweat and Tears are both Salisbury images. Mayoral regalia was a ready made requisite for the Salisbury style with Councillor Sam Ryder (of Ryder Cup fame) as Mayor of St Albans being the most famous of his civic images. Other significant portraits include those of Richard Burton, Andrew Carnegie (posthumous), Sir Alan Cobham, Sir Robert Ludwig Mond, Maria Montessori...

John Opie RA (1761-1807, English) c. 1802 Oil on canvas Canvas dimensions 36 x 32 inches Framed dimensions 46.5 x 43.25 inches Original gilded period frame. John Opie was a Corni...

Alison Hyman’s oil painting “Hot Dreams” is a powerful exploration of intimacy, vulnerability, and subconscious desire, rendered in a luminous palette of fiery reds, oranges, and och...

Omidan a yoruba name for a young woman or damsel. Omidan a lady with virtues My gaze fixated on the first Her face was dazzling, but not a mirage. Her hair mesmerizes my eyes The p...

Brian O'Neill's (US based) "Emergence" is an original, handmade oil painting that depicts a floral robe slipping from a female figure's shoulders and expos...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

Vintage American modernist southern school painting. A family portrait on a New Orleans porch. Beautiful detail in the wrought iron. Brilliant color palette here. Signed verso. ...

A fine portrait oil on canvas by noted British Staithes listed artist Ernest Higgins Rigg. It is a super Edwardian portrait of Enid Richards and was painted at Govilon in Wales in 1...

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

Portrait of Maud Ernestine (Rendel) Gladstone CBE (1865 - 1941), dated 1908 by Henry John HUDSON (1881-1919) 20th century portrait of Maud Ernestine (Rendel) Gladstone seated and holding a violin...

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...

Emperor Napoléon I was and remains one of the most legendary military and political figures in history, having held, for a brief period, the fate of the Western world in his hands. Composed by the French painter Joseph Franque...

One of my rare paintings on canvas. Its format made on wood would have been too heavy, hence this choice. This young woman gets angry on this too small for her violin (child’s study ...

This beautiful late 19th century portrait oil painting is attributed to circle of Walter Langley. It has the hallmarks of the Newlyn School of artists such as the subject matter, com...

"Christ Crucified" is a striking oil on copper painting by an anonymous German School artist. This bold composition presents a powerful portrayal of the crucifixion, a central theme ...

Chidy Wayne (b. 1981, Spain) is an artist based in Barcelona. Over the years, he has established himself as a recognized figure in the art world, developing a personal artistic langu...

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...

Portrait of a Lady Playing The Guitar, early 20th Century by WALTER ERNEST WEBSTER (1877-1959) Large early 20th Century portrait of a lady playing the guitar, oil on canvas by Wal...

Painting Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Authenticity.

This charming British Victorian genre oil painting is by noted exhibited artist John Morgan. Painted circa 1870 the composition is two young girls, one dark haired one blonde, who ar...

Boldly colored portrait of a woman on a sofa by Nealon A. Mundt (American, 1939-2015). A woman is reclining on a dark blue sofa, with a pink wall in the background. The woman is wearing a white top and a pink skirt, with a red bandana on her hear. Her skin is rendered in a fauvist style, mixing bold yellows and greens with skin tones. There are paintings hanging on the wall behind the sofa. Signed and dated in the lower right corner. Titled, signed, and dated on verso. Presented in a wood frame with a linen fillet. Canvas size: 24"H x 36"W Nealon Mundt...

This sumptuous Scottish oil painting is by noted artist Robert Hope. It was most recently part of the Paisley Art Institute Collection, formerly held by the Paisley Museum and Art Ga...

DAVID TENIERS THE YOUNGER (1610–1690) Perseus and Andromeda Oil on panel 42.5 × 26.7 cm (16³⁄₄ × 10¹⁄₂ in.) Unsigned Provenance • Possibly Archduke Leopold Wilhelm of Habsburg (16...

Merton Grenhagen (American, 1878-1941) Signed: Merton Grenhagen (Lower, Left) " Portrait of Bethy at 4 ", 1927 (Study of Elizabeth Wallen) Oil on Canvas 35" x 29" Housed in a 5"...

As the artist, I've poured my soul into this canvas, blending oils to evoke a sense of enigmatic allure and surreal wonder. With each stroke, I've strived to weave a narrative that t...

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

Artist/ School: J. Mackellar, signed and dated 2005. Title: Portrait of a Lady wearing vintage clothing and hat. Medium: oil painting on bo...

America Martin "Woman in Yellow with Stripes" Pastel & ink on Japanese Paper 43" x 31" Image 50.25" x 37.75" Overall, Framed Exploring the identity of both her namesake and country...