Portrait Paintings

The title of this painting is Isis. Dark tones combined with accents of blue present a confident female portrait.

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later frame. Presented by Joseph Dasta Antiques...

Artist/ School: 18th/ 19th century Continental School, after Murillo Title: Figures eating Grapes Medium: signed oil painting on metal, framed. Size:...

A wonderful depiction of a dapper Parisian dandy, dating from 1848. I love his air of decadence! It is a work by F de Korff, a mysterious French aristocratic portrait artist who had ...

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...

Work on canvas Plaster and gilded wood frame 114 x 95.4 x 10 cm

Description: This painting "Stupendous Beauty 2 " conveys the confidence and the very impressive beauty of a black woman that is painted in bold colors in the style of Realism. It is oil on canvas. Stupendous Beauty 2 is a unique work of art, not a print or other type of copy. Joshua Salami...

2306D [2021] original Pen on mount board Image size: H:38.5 cm x W:29.5 cm Complete Size of Unframed Work: H:38.5 cm x W:29.5 cm x D:0.3cm Sold Unframed Please note that insitu ...

JOHN ISIAH WALTON was born in 1985 in New Orleans, where he currently lives and works as a fine artist. He attended St. Augustine H.S. (1999-2002) and graduated from Sarah T. Reed H....

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

Denied Warhol Red Skull Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 11 x 15" inches 2008 Lutz's 2007 ''Wa...

American artist Samuel Brecher (active NY, 1897-1982) Oil on Canvas, Signed lower right ‘S. Brecher’ titled "and all our yesterdays" it depicts a Horseback rider (carousel horse?) amidst architecure ruins. Brecher was a very accomplished painter who won over forty prestigious prizes and awards during his career, and had numerous one-man exhibitions. Brecher’s works are included in many important private collections as well as the Metropolitan Museum of Art, the Walker Art Museum, the Smithsonian and the Newark Museum of Art. He is listed in Who’s Who in American Art and is a member of the Salmugundi Club* and the National Academy of Art Samuel Brecher was born in Boryslaw, Austria, a town near the Carpathian Mountains, now a part of Poland. His family came to New York in 1910, where Samuel graduated from Cooper Union* in 1921. He studied Art at the National Academy of Design* from 1921-1924, and continued studies under Charles W. Hawthorne in Provincetown, Massachusetts. Brecher was represented by several well known New York City galleries in the 1940’s and 1950’s including the Kraushaar Gallery, the ACA Gallery, the Hudson Walker Gallery and the Merrill Gallery. During his career he won over forty prestigious prizes and awards and had numerous one-man shows. Some of Brechers’s contemporary artist friends were Walt Kuhn, Reginald Marsh, Richard Haley...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits...

Work on cardboard Golden wooden frame 52 x 43.5 x 3 cm

"Eventide" by Aiden Kringen (United States) is a handmade acrylic and oil painting that depicts a female model with an abstracted background. It is unframed, but ready to hang.

Brian Kenny, (German-American, 1982-) MIxed Media Painting with Drawing, Oil or Acrylic on Canvas. Hand signed On Verso and Dated 2015, NYC Dimensions: Sight- 30" x 24", Frame- 36" x 30" Brian Kenny (born 1982, Heidelberg, Germany) is a NYC-based American multidisciplinary artist exhibited in galleries, museums, theaters and alternative venues in the US, Canada, Russia, Israel and across Europe. In 2004 Brian began an ongoing collaboration with artist Slava Mogutin as SUPERM, and in 2016 with writer Rich Juzwiak as BOYFRIEND HOUSE. Using an array of mediums including drawing, painting, sculpture, textile, video and performance, Brian’s artwork is bright and vividly expressionistic; often autobiographical and reflective of his current states of mind which include themes of his queer identity, shifting societal perceptions about gender, sexuality and politics, urban living and free-associative wanderings of thought and creative experimentation. New York-based artist Brian Kenny’s work is a visually striking exploration of gender, sexuality, and politics in contemporary North America. Known for his experimental and expressionistic practice, Brian mixes mediums such as painting, illustration, collage, sculpture, and textiles – oftentimes all at once. Brian’s foundation in drawing is evident across his portfolio, with nearly every piece incorporating some signature scribblings from the artist. He has experimented with drawing, collage, photography, performance and, more recently, painting. “All the other mediums I’m exploring like, painting, textile art, and animation all branch out from drawing,” he explains. This focus is what makes Brian’s vast collection of work all feel so cohesive. "Both of my parents were in the US military and we moved around a lot in the US. But most of the places I lived were rural, far from big cities and art museums, so I had no idea who Andy Warhol, Mark Rothko, Chuck Close, David Hockney or Damien Hirst were. The few small art museums I visited as a child were full of old-school oil paintings; all life-like portraits, rural landscapes and historical recreations. It wasn’t until I met Slava Mogutin and moved to New York that I began to meet artists, see exhibitions at art galleries of living artists near my age, and tour lot of contemporary art museums like MoMA and begin learning about contemporary art history". Brian says. “I’m definitely not a minimalist and lean toward more narrative and figurative artwork than abstraction or decoration”. Minimalist, he is not: Brian’s work pops with vibrant colours, characters and shapes, evoking a Warholian play on pop art culture. Kenny’s signature line drawing style is reminiscent of Keith Haring and LA Ortiz and evokes comparisons to early Jean Michel Basquiat. Brian's commercial and fashion work includes art and design commissions and collaborations with Onitsuka Tiger (Japan...

Frank Nelson Wilcox (American, 1887-1964) On the Back Porch, Brecksville, Ohio, c. 1922 Watercolor on paper Monogram lower right 21.5 x 27. 5 inc...

Rare double portrait depicting Louis XIV and his brother Philippe de France as children. 17th century French School, circa 1645, attributed to Charles and Henri Beaubrun. Oil on canvas, dimensions: h. 48.03, w. 35.43 in. Important 17th century carved and giltwood frame Framed dimensions: h. 60.23, w. 48.42 in. This rare portrait is part of a series of works illustrating the childhood of the two princes, mainly commissioned by Anne of Austria, the mother and regent, after the death of Louis XIII. Expressing her fierce desire to preserve her son's crown, she uses visual communication as a channel of sovereign expression. The portraits serve to strengthen the royal power weakened by the minority of the young Louis...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

Artist: Jack Graves III (American, 1988-) Title: "Kate Moss Icon IX" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2023 Medium: Original Acrylic Painting on Canvas Canvas size: 54" x 50" Condition: The stretched canvas was custom built by the artist himself. In mint condition Shipping: This painting will be shipped canvas rolled with its stretcher bars to greatly reduce shipping cost and ensure its safety during transport Notes: Though possibly appearing yellow, Graves has used iridescent bright gold paint for this artwork. Katherine Ann Moss (1974-) is an English model and businesswoman. Born in Croydon, Greater London, she was recruited as a model in 1988 at age 14 by Sarah Doukas, founder of Storm Model Management. Arriving at the end of the "supermodel era", Moss rose to fame in the mid 1990s as part of the heroin chic...

Portrait of Lady Anne Howard (nee Montagu) Countess Of Suffolk (1660-1720), 18th Century follower of Sir Peter LELY Large 18th Century English portrait of...

A charming interior scene depicting a man reading the newspaper to his wife. A pipe rests on the table. Presented in a distressed gilt-effect woo...

Emanuel Oberhauser (Austrian 1854 - 1919) “Mermaids, Neptune and Sea Water Nymphs” An Exceptional Oil on Canvas Painting painted circa 1885. Mas...

'The Chess Match', oil on cardstock paper, by Raymond Debiève (1973). Rich colours, bold, painterly brush strokes and an unusual subject for a work of art, Debiève has created this s...

Giovanni Battista PIAZZETTA (Workshop of) Venice, 1683 - Venice, 1754 Oil on canvas 48 x 38.5 cm (64 x 58 cm with the frame) Piazzetta painted a number of "portraits" of saints or laymen in small formats and in a tight framing, and several Virgin Mary readin a book. We can compare our painting to the Virgin in the Hisch collection sold at Sotheby's in London in 1971 . Piazzetta has produced several "Madonna in the Book", a subject traditionally close to the Virgin of the Annunciation. The Virgin Mary is said to have been reading the psalms when the angel Gabriel came to visit her : "Madonna in prayer", Sotheby's New York in 1979, Madonnina orante, Pinacotheque de Vicenze, exhibited in 1982, the “Santa Vergine Maria” represented with a book, print from a missing painting...

Artist: Jack Graves III (American, 1988-) Title: "Cara Delevingne Icon XVI" Series: Icon *Signed by Graves lower left. It is also signed, titled, and dated on verso Year: 2023 Mediu...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

Scandinavian School, early twentieth century. Inscribed, verso, on stretcher bar, 'Anna Ancher' with indistinct inscription and painted circa 1910. A psychologically-penetrating portrait of a young woman shown in profile, wearing a gold earring and a polychrome silk headscarf...

'Portrait of Future Man', oil on board, Berlin School, (circa 1960s). A thoroughly modern portrait clearly in the style of Italian Futurist, Fortunato Depero (1892-1960). Futurism co...

The painting "Exhilaration" depicts a black African woman who is radiating with joy and happiness, and it can serve as a reminder to individuals that there are moments of pure joy an...

Portrait and history painter Charles Webber was born in New York State and moved to Cincinnati in the later 19th century. There he became a leader in that city’s art circles. He is ...

Artist: Jack Graves III (American, 1988-) Title: "Jennifer Lawrence Icon II" Series: Icon *Signed, titled, and dated by Graves on verso Year: 2018 M...

JOHN ISIAH WALTON was born in 1985 in New Orleans, where he currently lives and works as a fine artist. He attended St. Augustine H.S. (1999-2002) and graduated from Sarah T. Reed H....

Rafael Llimona Benet (1896-1957) - Girl reading - Oil on canvas Oil measures 116x89 cm. Frameless. Rafael Llimona i Benet (1896-1957) was a Spanish pai...

Vintage original oil painting of a Scottie Dog. Oil on board. Unsigned. Framed. Image size, 16L x 16H.

This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...

Tempest was painted over several days in the artist studio in Florence, Italy. The painting measures 25 x 21 with a handmade frame from Italy. This is oil on a linen panel which mo...

Artist/ School: French School, 19th century, after the earlier work by Rembrandt Title: Self portrait of the artist Medium: oil on canvas, framed in antique gilt swept frame. Fra...

This work formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Oil paint on canvas Hand-signed on the back “At first glance, we are invited to a colorful carnival. Everything is movement here! As if Julien Wolf had tried to capture the essence ...

We are proud to have recently discovered, “The Sophisticate”, by American artist Alexander Rosenfeld. Rosenfeld was classically trained in fine ...

Oil on panel Flemish painting

The theme of "La Stanza" ("the Room"), from which the exhibition takes the title, wants to resume intimacy and introspection that only a domestic environment manages to give. The wal...

In the realm of art, the interplay between subject and background can create captivating narratives that resonate with viewers on multiple levels. Adewuyi Theophilus...

Artist: Jack Graves III (American, 1988-) Title: "Get Off My Land II" Series: Statement *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2023 Medium:...

"Toy Seller" Oil Painting 35" x 45" inch by Andrey Remnev ARTIST BIO: "My birth place is Yakhroma town, in the vicinity of Moscow. It is situated on high hills, from where broad Bruegelian vistas are open. The uneven terrain with significant differences of high and low; a canal between the Moskva river and the Volga; small rivers, woods and villages; a nearby ancient town of Dmitrov, which is equal to Moscow in age; ships cruising the canal and trains outdistancing them – all this I saw from my window since my early years. It was a view that embraced all the diversity of the world. This is why I can say that the impressions of my childhood and youth – beautiful nature and remarkable people – are the most important ones. In the museum of Moscow's St. Andronic Monastery I copied the best examples of the old Russian painting...

Portrait of Princess of Bourbon as Hebe Pierre Gobert, circa 1730 Presumed portrait of Elisabeth Thérèse Alexandrine of Bourbon-Condé, Mademoiselle de Sens, depicted as the goddess Hebe kidnapped by Zeus, transformed into an eagle. 18th century French School, around 1730 Pierre Gobert (1662-1744) and workshop Oil on canvas Dimensions: canvas: h. 129 cm, w. 95cm Dimensions: framed: h. 156 cm, w. 124cm Louis XIV style giltwood and cardved wood frame Large and imposing portrait of the young princess portrayed seated on an eagle in the heavens. Seen from the front, the princess is dressed in a low-cut white chiffon dress, exposing her throat. Delicately made-up oval face, dominated by large blue-gray eyes is surrounded by powdered hair, raised, releasing the forehead and the ears, and of which some locks fall on his shoulder. A large blue scarf passed over the shoulder covers her knees and flies in the wind. A garland of flowers coming from the back goes over the knees and down again on the eagle. In her right hand she holds a golden goblet and in her left hand an ewer. The eagle supporting the young woman seizes in its claws the thunderbolt (the beam of fiery lightning), the attribute of Zeus. The figure of the young woman is enlivened by the fluidity of the antique drapes...

Artist: Jack Graves III (American, 1988-) Title: "Get Off My Land" Series: Statement *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2023 Medium: Or...

Acrylic paint on canvas Hand-signed lower right by the artist THE IMAGINARY LAND OF ZAHRA ZEINALI “Over time Zahra Zeinali develops her universe, which evolves slowly according to ...

A fine Italian School, late 19th Century portrait. The sitter is a finely dressed man with elaborately styled facial hair. He wears a modest version of the Order of Saints Maurice a...

Louise Jopling (1843-1933) Miss Enthoven A charming portrait of Miss Enthoven, thought to have been exhibited at the Dudley Gallery, London in the winter of 1878 under the title 'Portrait of Nelly - daughter of S Enthoven Esq.' Signed, dated, inscribed verso on the artist’s label and presented in its original kit-kat style frame.. Louise Jopling was one of the most highly regarded portrait artists of her time. Her sitters were the high society glitterati of the late Victorian era. Many examples of her work, for comparison, can be found on the artuk website. I am indebted to Dr Patricia de Montfort, Curator for Whistler Studies at the University of Glasgow for this research and the inclusion of this work in her catalogue raisonné. Credit Wikipedia Louise Jane Goode was born in Manchester, the fifth of the nine children of railway contractor Thomas Smith "T.S." Goode and his wife Frances. She married at seventeen to civil servant Francis "Frank" Romer. The Baroness de Rothschild, a connection of Romer's, encouraged Louise to pursue and develop her art. In the later 1860s, she studied in Paris with Charles Joshua Chaplin and Alfred Stevens, and first exhibited her work at the Salon. She entered works into the Royal Academy shows, 1870–73 (as Louise Romer). After Romer's 1872 death, she married Vanity Fair artist Joseph Middleton Jopling in 1874, who in 1888 was best man at Whistler's wedding to Beatrix Godwin. Of the children from her first marriage only one son, Percy Romer, survived childhood. She had another son, Lindsay Millais Jopling, by her second marriage; the child was named after his two godfathers Sir Coutts Lindsay, founder of the Grosvenor Gallery and John Everett Millais. She achieved fair success in her career: her painting Five O'Clock Tea was sold for £400 in 1874. Her Five Sisters of York was shown at the Philadelphia Exposition in 1876, and her The Modern Cinderella at the Paris Exposition of 1878. Yet she was not immune to the gender discrimination of her time: in 1883 she sought a portrait commission for 150 guineas, but lost it to Sir John Everett Millais, who was paid 1000 guineas for the same project. Jopling exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. She joined the Society of Women Artists (1880) and the Royal Society of Portrait Painters (1891); she became the first woman to be admitted to the Royal Society of British Artists (1901). During the years of her marriage with Jopling, she became the primary earner of the family. It is said that, "She found this responsibility weighty and stressful, necessitating constant production, regular sales and a continual search for commissions and clients. In 1879, despite her own illness and that of her son Percy, she produced eighteen works." Social life Jopling "painted portraits of titled sitters, wealthy financiers and actresses" and, to operate in this social milieu, she maintained a fashionable lifestyle, with a Chelsea studio at 28 Beaufort Street, designed by William Burges. She moved in a social circle that included James McNeill Whistler, Oscar Wilde, Kate Perugini (née Dickens) and Ellen Terry. Augustus Dubourg dedicated his 1892 play Angelica to her. In 1887 the society magazine The Lady’s World described her social circle, One year we have her portrait, magnificently sketched by Millais, adorning the walls of the Grosvenor; next season she figures as the heroine of a ‘society’ novel from the pen of a popular writer. One week we see her salon drawn by Mr. Du Maurier in Punch, with sketches from the life of herself and her friends; the week after she appears under another name as the heroine of one of those quasi-malicious town and country tales which amuse the readers of a society paper… Over the mantelpiece hangs the portrait, by her old friend Sir John Millais...

Denied Warhol Green Self Portrait Fright Wig Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 12 x 12" inches 2...

Artist: Jack Graves III (American, 1988-) Title: "Doutzen Kroes Icon" Series: Icon *Signed by Graves lower right. It is also signed, dated, and title on verso Year: 2023 Medium: Orig...

Untitled III by Lídia Masllorens. Lídia Masllorens is attracted by a moderate abstraction, which allows the observer to interpret the painting with precision and to perceive implici...

"Dekadans" Oil Painting 35" x 25.5" inch by Andrey Remnev ARTIST BIO: "My birth place is Yakhroma town, in the vicinity of Moscow. It is situated on high hills, from where broad Bruegelian vistas are open. The uneven terrain with significant differences of high and low; a canal between the Moskva river and the Volga; small rivers, woods and villages; a nearby ancient town of Dmitrov, which is equal to Moscow in age; ships cruising the canal and trains outdistancing them – all this I saw from my window since my early years. It was a view that embraced all the diversity of the world. This is why I can say that the impressions of my childhood and youth – beautiful nature and remarkable people – are the most important ones. In the museum of Moscow's St. Andronic Monastery I copied the best examples of the old Russian painting of the 15th-17th centuries. My own style evolved from the ancient icon...

A portrait of a kind Italian nonna wearing a yellow headband and blue shawl. Presented in a distressed gilt-effect slip. Signed to the lower-right corner. On canvas laid to board.

Portrait Of Flora, 18th Century after TITIAN (1488-1576) - Large Study Large 18th century Italian old Master Renaissance depiction of the Goddess of Spring, Flora, oil on canvas. ...