Framed Portrait Paintings

An accomplished portrait depicting an English gentleman in his finery. Unsigned. Well presented in a gilt frame with lambs tongue running pattern and ornate acanthus detailing to the...

'Ship Breaking' by Willard Dixon. These paintings are generally taken from small black and white newspaper photos from Willard Dixon’s daily reading of the news. Dixon changes the images somewhat by cropping them, taking things out, adding color, etc. But the image is definitely something seen originally by someone else. “I must say”, says Dixon, “I have rather strong feelings about these images myself. I see them at least in part as an homage to the intrepid photographers on the front lines who are telling truth to the world about what’s actually going on out there.” Willard Dixon Born: Kansas City MO, 1942 Education: Art Students League, New York, NY Cornell University Brooklyn Museum School San Francisco Art Institute, M.F.A. 1969 Awards and Commissions N.E.A. Fellowship Grant- 1989 California Supreme Court Mural Commission- 1998 Las Vegas Federal Courthouse Commission, G.S.A.-1998 Teaching 1989-90: San Francisco State University 1975: San Francisco Art Institute Realism Seminar 1974-76: Academy of Art College, San Francisco, CA 1973-74, 1976: California College of Arts and Crafts, Oakland, CA 1971-72: California State University, Hayward, CA One Man Exhibitions 2020: Evening Light, Andra Norris Gallery, Burlingame, CA 2015: Willard Dixon Portraits College of Marin Fine Art Gallery, Kentfield 2014: SFMOMA Artists Gallery, San Francisco, CA. 2008: SFMOMA Artists Gallery, San Francisco, CA. 2005: Fischbach Gallery, NYC,NY 2005: Dolby Chadwick Gallery, San Francisco, CA 2004: Fischbach Gallery, NYC, NY. 2002: Earl McGrath Gallery, Los Angeles, CA 2002: Bolinas Museum, Bolinas, CA 2001: Hackett Freedman Gallery, San Francisco, CA 2000: Fischbach Gallery, NYC , NY 2000: Hearst Art Gallery, St. Mary’s College, Moraga, CA 1998: Hackett Freedman Gallery, SF, CA 1997: Tatistcheff/Rogers Gallery, Los Angeles, CA 1996, 1995: Contemporary Realist Gallery (now Hackett Freedman Gallery) 1994: Fischbach Gallery 1993: Contemporary Realist Gallery 1992: Fischbach Gallery 1991: Earl McGrath Gallery, 454 North, Los Angeles, CA 1990: Fischbach Gallery 1989: William Sawyer...

Tania Rivilis May that be the reflection I see 50 x 50 cm framed (included in price) 53,5 x 53,5 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Loc...

This superb British 19th century equine oil painting is by noted horse lover, George Gascoyne. Painted in 1889, this French born chestnut horse is Phoenix. While he was essentially a miler, Phoenix (sometimes seen spelled as “Phenix”) came from a family that had produced Classic winners in France at up to 15 furlongs. He proved an excellent sire following his export to Argentina, becoming the foundation stallion for Guillermo Kemmis' breeding program at Haras Las Rosas. This painting is from his time in Argentina with Kemmis. Phoenix is depicted in a flat landscape against a vivid blue sky. A gentleman, possibly his owner, Guillermo Kemmis, stands smiling in front of him holding his reigns and gives perspective to how tall Phoenix is. Although in profile, Phoenix is turning to look at the viewer, his chestnut coat gleaming and his anatomy perfectly portrayed. This is a superb Victorian equine portrait of a noted horse in the 19th century and is a lovely example of Gascoyne's work as a horse lover. Signed with initials and dated GG 1889 lower right. Provenance. Inscribed "Phenix" (Cymbal -- Belle-Etoile) by George Gascoyne, Sittingbourne, Kent to reverse. Condition. Oil on canvas, 36 inches by 28 inches and in good condition. Frame. Housed in a wooden frame, 44 inches by 36 inches and in good condition. HORSE BIOGRAPHY Phoenix (FR) 1875 – 1893? Chestnut horse. Cymbal (GB) x Belle Etoile (FR), by First Born (FR) Family 25. While he was essentially a miler, Phoenix (sometimes seen spelled as “Phenix”) came from a family that had produced Classic winners in France at up to 15 furlongs. He proved an excellent sire following his export to Argentina, becoming the foundation stallion for Guillermo Kemmis' breeding program at Haras Las Rosas. Race record. Complete record unavailable but as follows: 1878: Won Prix de la Forêt (FR, 1600mT, Longchamp) 1879: Won July Cup (ENG, 6FT, Newmarket July). Won Rous Memorial Stakes (ENG, 8FT, Ascot). Won Bunbury Stakes (ENG, Newmarket). 2nd Rosebery Handicap (ENG, Epsom) 1880: Won Lennox Stakes (ENG, Goodwood) As a stallion: Phoenix was the Argentine champion sire six times, reaching the top in 1887-1890, 1892 and 1895. Notable progeny: Hawk Eye (ARG), Lenape (ARG), Marinera (ARG), Osiris (ARG), San Martín (ARG), Surplice (ARG) Connections: Phoenix was owned by Comte Frédéric de Lagrange. After being exported to Argentina, he stood at Haras Las Rosas, the stud farm of leading Argentine breeder Guillermo Kemmis. His last known foals were born in 1894. Pedigree notes: Phoenix is outcrossed through five generations. Sired by Cymbal, a son of 1861 Derby Stakes winner Kettledrum, he is out of Belle Etoile, whose half sister Garenne (by Gladiator or Ethirion or Freystrop) is the second dam of 1894 Prix Royal-Oak (French St. Leger) winner Gouvernail and the third dam of 1894 Prix du Jockey Club (French Derby...

This painting portrays a refined 19th-century interior scene, where a group of elegantly dressed individuals gathers in an opulent drawing room. The richly decorated space, adorned w...

Jesus Villar (1930-2015) - Andalusia - Oil on canvas Oil measurements 81x65 cm. Frame measurements 98x82 cm. The painter Jesús Villar was born in 1930, h...

The Tambourine Player French School, circa 1950's-1960's signed lower front corner oil painting on board, framed framed: 18 x 16 inches board: 14 x 12 inches provenance: private coll...

Beautiful circular oil on canvas representing the portrait of a Noblewoman dressed in Art Nouveau Style. It includes a contemporary black wooden frame. Very good conditions.

By Martha Ochoa Oil on Canvas Canvas Size: 59" x 39" Framed Size: 67.25" x 47.75" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic ...

Christ Wearing The Crown Of Thorns, 17th Century circle of Carlo Dolci (1616-1686) Large 17th Century Italian Old Master of Christ wearing the Crown of Thorns, oil on canvas. Excel...

An 18th century painting of a family group (otherwise known as a ‘conversation piece’) gathered around a table, an open door to the garden beyond. The father seated, with his son standing by his side, the mother seated, playing with a child on her lap, with another lady, possibly a maid standing behind, a Culpeper microscope...

‘Melancholic Sappho’ by Arthur Hill RBA (1841-1908). The painting – which depicts the celebrated poet of Ancient Greece appealing to the Goddess Aphrodite, with the Parthenon on the...

The Martyrdom Of Saint Barbara, 17th Century SCHOOL OF GUERCINO (1581-1666) Large 17th Century Italian Old Master of the Martyrdom of St Barbara, oil on canvas. After being impriso...

A 19th century black and white spaniel standing in a landscape, with a country house in the distance. Signed C B Spalding, lower right. Oil on canvas in a giltwood frame. Charles B...

Equestrian portrait of Louis XIV, Workshop of René-Antoine Houasse, (Paris, c. 1645 - Paris, 1710) Late 17th century French school, c. 1690 Oil on canvas, h. 100 cm, w. 80 cm Importa...

Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 - Bologna, 1666) Saint Mark the Evangelist Oil on canvas - 85 x 71 cm., Framed 100 x 86 cm. Of great cha...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is a copy oil painting on wood panel, after Italian artist Giampietrino (Giovanni Pietro Riz...

Pauwels Franck, known as Paolo Fiammingo (Antwerp, 1540 - Venice, 1596) Venus lying in a landscape Oil on canvas 116 x 150 cm. In antique frame 136 x 170 cm. The work is accompanied by a critical card by Dr. Federica Spadotto The splendid painting proposed sees portrayed, bare and stretched out on a red brocade cloth in gold sprinkled with roses, a refined and sensual Venus, in a composition with a profound symbolic value, and arriving at the perfect representation of the Renaissance woman who, like Venus, becomes an allegory love, eros, beauty and fertility. The canvas is part of the prestigious Venetian artistic and cultural environment of the second half of the sixteenth century, whose distinctive distinctive trait can be traced back to its cosmopolitan vocation. This characteristic, as Dr. Spadotto noted in her in-depth study, belongs to the same physiology of the Venetian capital, that is, being a distinctly commercial city located in a strategic point with respect to trade. Representing one of the liveliest ports in the Mediterranean also meant witnessing the continuous passage not only of goods, but of men, ideas, suggestions from distant countries, which influenced not only the taste of their people, but above all art. This happened thanks to the circulation of prints, as well as pictorial specimens, to which are added the stays of great foreign artists and, above all, the permanence in the capital of a non-negligible number of Dutch, Flemish and German masters. An emblematic case in this regard comes from Pauwels Franck (Antwerp, 1540 - Venice, 1596), better known as Paolo Fiammingo, who established himself in his native city at a young age - in 1561 a figure enrolled in the Guild of San Luca - and arrived in Venice in 1573. . He resided in Venice from 1584 until his death, although the stylistic and formal references of some of his works have led critics to believe that in previous years he had undertaken a journey to central Italy, or to Florence and Rome, where he would have metabolized the lively cultural debate that permeated these cities and which, on the other hand, seemed completely absent in Venice. Here Paolo will be fascinated by the sense of color and by the atmospheric component fixed on the canvas by Jacopo Tintoretto (Venice 1518 - 1594), of which he becomes a collaborator, to undergo, around 1590, the suggestion of Paolo Caliari...

Michael Carson's (US based) "All Roads Lead Home" is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis Coll...

Portrait of an Eritrean Sibyl who writes the prophecy Circle of Lorenzo Pasinelli (Bologna 1629 - 1700) - Attributable to Giampietro Cavazzoni Zanotti ...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

Roman Charity Flemish Baroque period, first half 17th century circle of Peter Paul Rubens oil on wood panel, framed framed: 24.5 x 30 inches panel: 20 x 26 inches Provenance: Private...

A fine study after Thomas Gainsborough's original painting of two peasant children Hobbinol and Ganderetta. The original was one of Gainsborough's last exhibited pieces in his lifeti...

This superb horse portrait with rider is by keen Scottish horse artist and rider, Doris Zinkeisen. Painted circa 1960 the rider is Miss Margaret 'Moggy' Hennesey. Moggy, well known a...

Johann Boeckhorst (Münster 1604 - Antwerp 1668) Saint Ursula Oil on canvas, 112 x 86 cm Provenance: New York, Christe's, 20.3.1981, lot 88 (as Van Diepenbeeck's circle) The presen...

By Martha Ochoa Oil on Canvas Canvas Size: 48" x 32" Framed Size: 57.5" x 42" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic trad...

Dutch Female Artist Liseth Visser is no stranger to the world of portraiture. In the past she was nominated for the 'BP portrait award' from 'Th National...

The Victorian English Gentleman Portrait of a Man seated in a leather chair, holding a letter in his hand. oil on canvas , framed framed: 41 x 33 inches canvas: 36 x 28 inches prove...

European Master (17th-18th century) - Portrait of a nobleman. 81 x 65 cm without frame, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fr...

'Woman by the Window with Embroidery Frame', oil on canvas, by Franz Ludwig Kiederich (circa 1930s). A delightful depiction of a woman, comfortable...

En la parte inferior va firmado por el artista La obra se presenta enmarcada El estado se puede ver, es aceptable, solo comentar que tiene algunas pequeñas faltas o desgastes en la...

Combining photorealistic oil painting on canvas with the illusion of computer-rendered graphics, Jose Carlos Zubiaur’s original artworks transcend the depth of a hyperrealistic three...

This small portrait is of a young man, staring inquisitively out towards the viewer. The realism of his appearance is striking, with great care taken in the depiction of the man’s features - for example, his full lips and the slight bump in the bridge of his nose. The man wears a rich burgundy doublet and a black cap and is adorned with gold accessories, indicating a degree of wealth - it is likely that this is a miniature portrait for a wealthy patron. The warm flesh tones of this painting and the intricate rendering of the man’s curly brown hair demonstrate the artistry of the painter, who has successfully captured the image of youth within his brushstrokes. Rembrandt’s Pupils Upon completing his artistic education, Rembrandt opened a studio and began to take students - the first of which were Gerrit Dou and Isaac Jouderville. The studio functioned as an art school, in which materials and guidance were provided - contrary to the studios of his peers, Rembrandt did not offer lodging to his pupils. The families of prospective pupils had to pay Rembrandt 100 guilders (enough for a house at the time) for this artistic education, and the profits from any works produced by pupils under Rembrandt would be paid to the master rather than kept by the student-artist - this contributed substantially to  the master’s income.When taking on pupils, Rembrandt looked for those who could already paint, and guided their styles to reflect his. By choosing pupils who were somewhat experienced artists, Rembrandt had an array of painters that could be involved at any stage of assisting with the creation of his works - in this way, Rembrandt’s pupils often functioned as studio assistants as well. In order to perfect Rembrandt’s style, pupils would paint copies of their teacher’s works, sometimes adding their own distinct variations. They would use the same subjects and models as Rembrandt himself, and would accompany him on outdoor trips to paint nature and landscapes. The extensive copying and utilisation of same source materials has rendered Rembrandt’s work and the work of his pupils difficult to differentiate, even in the modern era.At least 50 pupils were taught by Rembrandt, with many continuing on to become his studio assistants. A few graduated into successful artists in their own right - for example, Govaert Flinck...

Ancient painting depicting Jesus with the Commissioner's son (Alternative reading: St. Joseph with the Child, or the 'Paternity') Giovan Battista Salvi known as "the Sassoferrato" (1609 - 1685) circle / follower Oil painting on canvas 76 x 59 cm. -With frame in the shape of a small temple, not coeval 99 x 84 cm. The interesting canvas that we are pleased to offer you recalls the iconographic model of classic paternity, which traditionally sees Saint Joseph holding the sleeping baby Jesus...

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...

'The Rose' Canvas Size: 38.5 x 28" (98 x 71cm) Outside Frame Size: 48.5 x 38 (123 x 97cm) Oil on canvas Emile CHARLET 1851 - 1890 Born 1851 in Belg...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Horse in a Landscape by Henry Percy (British, first half 20th century) signed oil on board, unframed Board: 8.25 x 10 inches Provenance: private collection, England Condition: very g...

This charismatic oil painting captures a figure seated at a vanity, their back to the viewer, surrounded by the soft glow of a dimly lit interior. The composition draws the eye to th...

Tania Rivilis Red Velvet 50 x 50 cm framed (included in price) 53,5 x 53,5 cm Oilpaint on canvas Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) fro...

Up for sale is the original antique 17th/18th-century oil painting on canvas depicting a contemplative scene featuring a man sitting indoors. He is dressed in period clothing, includ...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Nasser Ovissi, (Iranian, Born 1934) "Safavid Lady" oil on canvas painting Very fine quality painting by Persian Artist Nasser Ovissi who is considered t...

Reclining Woman Di Li Feng, Chinese (1958) Date: circa 1990 Oil on Canvas, signed lower right Size: 39 x 31 in. (99.06 x 78.74 cm) Frame Size: 46 x 38 inches

This is an original vintage acrylic mixed-media painting on canvas painting Titled " Nostalgic Woman on a Divan" By American Artist Mase Lucas. Mase Lucas has been a studio artist ...

Jean François Portaels 1818 - Brussels - 1895 Belgian Painter ‘Oriental Girls - Mediants à Tanger, Maroc’ Signature: signed lower right ‘J. Portaels’ Medium: oil on canvas Dimensions: image size 40,5 x 28,5 cm, frame size 67,5 x 56 cm Biography: Jean François Portaels, also known as Jan Portaels, was a versatile Belgian painter born on April 3, 1818, in Vilvoorde and passed away on February 8, 1895, in Schaerbeek. He was celebrated for his genre scenes, biblical stories, landscapes, portraits, and Orientalist subjects. As a teacher and director of the Academy of Fine Arts of Ghent and the Académie Royale des Beaux-Arts in Brussels, Portaels significantly impacted Belgian art, becoming a pivotal figure in the Belgian Orientalist school. His works were known for their 'everyday elegance and feminine grace,' and he played a crucial role in influencing the next generation of Belgian artists, including notable figures like Théo van Rysselberghe. Portaels was the son of a wealthy brewer who also served as Vilvoorde's mayor. Showing an early passion for drawing, he was sent to the Académie Royale des Beaux-Arts in Brussels in 1836, where he studied under François-Joseph Navez, a former student of Jacques-Louis David. Navez invited him to his studio, which was renowned at the time, allowing Portaels to refine his skills alongside other talented students like Charles de Groux and Joseph Stallaert. In 1841, Portaels moved to Paris, enrolling at the Ecole des Beaux-Arts and studying under Paul Delaroche. He became influenced by the emerging Orientalist movement, which was gaining traction in Paris. In 1842, he won the Grand Prix de Rome, which funded his travels across Italy and other regions, including Morocco, Algeria, Egypt, Lebanon, Judea, Spain, Hungary, and Norway. These journeys profoundly influenced his artistic vision, particularly his Orientalist works. Upon his return to Belgium in 1847, Portaels was appointed Director of the academy in Ghent. In 1849, he married Marie Hélène Navez, the daughter of his first teacher. Despite being offered the directorship of the Brussels Academy, he initially declined, opting to preserve his independence. He later accepted a teaching position at the Academy and eventually became its director in 1878, succeeding Eugène Simonis. Portaels was known for his broad range of artistic talents, including history painting, portraiture, and genre art. He was particularly recognised for his Orientalist depictions, often portraying the 'Oriental woman' with distinctive features like arched eyebrows and almond-shaped eyes. His style, marked by charm and elegance, distinguished him from the dominant artistic movements of Classicism and Romanticism. He was a pioneer in monumental art in Belgium, working with Jean Baptiste van Eycken to introduce fresco techniques like water glass painting...

Matt Talbert's "Lost in Thought" (2024) is an original, handmade oil painting on panel that depicts a portrait of a woman leaning against a wall with bright sunlight shining on her. ...

Alexandre de Spengler (1893–1973) was a Swiss painter and engraver active in Geneva and Paris. He is known for his land and seascapes, as well as...

Portrait Of A Circassian Guerilla, 19th Century Russian School Large 19th Century Russian School portrait of a Circassian Guerilla, oil on canvas. Remarkable quality and historica...

Bernardino Detti (Pistoia, Italy, 1498 - 1572) Title: Face of Christ Medium: Oil on canvas Dimensions: without frame 41 x 32 cm - with frame 47 x 55.5 cm Antique box frame made of solid wood and walnut burl. Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

A vibrant and rich portrait of a young girl wearing an oversized white shirt and colourful scarf. Her long brown hair falls effortlessly across her shoulders and is tied with an oran...

Catherine of Braganza (1638–1705), Circle of Sir Peter Lely (1618–1680) Queen consort of England, Scotland, and Ireland, married to King Charles...

Jusepe de Ribera (Xàtiva 1591 - Naples 1652) circle of - San Giuseppe. 108 x 80 cm without frame, 123 x 95 cm with frame. Antique oil painting on canvas, in a carved and gilded woo...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

This stunning Scottish 1920's self portrait oil painting is by noted Scottish female artist Helen Mackenzie. Painted circa 1929 the composition is the head and shoulders of the artis...

Finely painted antique American school oil painting. Oil on canvas. Framed. Measuring 29 by 38 inches overall and 23 by 32 painting alone.

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...