Framed Portrait Paintings

In his work, Tetteh condenses the internal sentiments and tensions of his characters and focuses them, using the eyes as the outlet for expression. In this way his subjects become in...

An evocative 19th-century portrait depicting a refined lady in a lace gown. The subject is captured in soft, diffused brushstrokes that imbue her with an ethereal quality. Unsigned. ...

This bold and patriotic equine impressionist painting, "Big Red Flag Portrait #5" by artist Lisa Palombo is a 24x18 acrylic sketch on watercolor paper. De...

In The Garden, 19th Century circle of Robert Reid (1862-1929) American Impressionist & Mural Artist 19th Century American Impressionist portrait of a girl in a garden, oil on canva...

Deling with the work of Erich Waske today, one encounters first of all a number of reasons why this outstanding artist has fallen into such undeserved oblivion. In addition to the de...

Alexandre Jacovleff (1887–1938), born in Saint Petersburg and later naturalized as French, was a prominent Russian painter. The son of a naval officer, he studied at the Imperial Aca...

Giovanni Battista Beinaschi (Fossano, Italy, 1636 - Naples, Italy, 1688) Title: Saint Bartholomew Medium: Oil on canvas Dimensions: without frame 9...

John Clostermann (Osnabrück 1660 - 1711 London) Portrait of a boy, maybe Charles Hinde Oil on canvas, 61 x 74,6 cm John Closterman (also Klosterman) was a portrait painter of the late 17th and early 18th centuries. He primarily portrayed English noblemen and European aristocratic families. His father was already an artist and he trained his son. In 1679 he went to Paris and studied with Francois de Troy. In 1681 he was in London and worked for the artist John Riley, whose studio he took over after his death. In 1696 he was invited to the Spanish court...

This authentic antique Italian oil painting depicts a young woman with a fruit basket standing along a sunlit Mediterranean waterfront, her figure rendered with warmth, dignity, and...

Original acrylic painting on canvas. Hand signed on front; signed and titled on verso by Jozza. Canvas size: 30 x 24 inches. Frame size: 31.62 x 25.75 x 2 (white floating frame hand ...

Cogen Felix Sint-Niklaas 1838 – 1907 Brussels Belgian Painter 'Return from Fishing' Signature: signed lower right 'Cogen Felix' Medium: oil on canvas Dimensions: image size 45 x 80...

Acrylic and Aerosol Original comes framed in a wood frame 17.5 x 21.5 x2.5 inches Signed by DeGrupo

A group portrait of the Southwell family on the terrace with a negro page and Macaw. Oil on canvas Signed and dated 1731 Canvas size 25 x 30 ¼ inches 63.5 x 77 cms Frame exterior 32 x 37 ¼ inches 81 x 94.5 cms This evocative family portrait offers a glimpse into the life of 18th Century English nobility. The Southwells are a noble family whose roots go back to the early 17th Century. In 1776 Edward Southwell III was granted the Barony of de Clifford (a title in abeyance at the time), and the line extends to today, with the 28th Baron de Clifford sitting in the House of Lords. Charles Phillips (1708-1747) was a leading portraitist of his time, having painted many noble and royal portraits. Two of his paintings are part of the Royal Collection Trust. In this portrait, signed and dated 1731, we see Edward Southwell Sr (1671-1730) and his family on the grounds of their Estate, Kings Weston House near Bristol. On the far left is Mrs. Helena Le Grand (Edward’s sister). Next to her is Mrs. Southwell (Edward’s second wife, the first having died in 1709). On the right is Edward Southwell Jr (1705-1755), Edward’s son by his first marriage and next to him a “Negro Page” (in the euphemistic words of an old label on the painting; more on him below.) Phillips has arranged the figures in an arc, anchoring the composition. The arc stretches from Mrs. Le Grand’s red dress on the left, through the colourful parrot, onward to the heads of Mr. and Mrs. Southwell, down again to the younger Southwell and finishing on the right with the enslaved boy. As Edward Sr. died in 1730, this must be a posthumous portrait, making it especially poignant. (Presumably Phillips used another portrait to capture his likeness.) One can imagine the late Edward’s family looking affectionately at the portrait, remembering the time spent with him on the grounds of Kings Weston House. Southwell stands between wife and son, eyes directed toward one, hand pointed toward the other, symbolically balancing the needs of both. Devoted husband and father? Perhaps. Slave-owner as well. English noble families of the 18th Century often had financial and practical connections with the slave trade. The Southwells themselves were granted a tract of land by the Crown in 1766, which Edward Southwell III (1738-1777) – the son of the younger Southwell in the portrait – developed with partners into a plantation worked by slave labour. This portrait shows us that slave ownership was not always a matter for distant colonies. This young boy, likely deprived of his freedom from birth (born to enslaved parents), was made to serve the Southwell family in their home. We see him here sitting half cross-legged, wearing a house servant’s uniform and a faint smile. He gaze is turned upward; at first we think is looking at his Master, then we realise he must be in fact enjoying the sight of the parrot eating from the hand of his Master’s sister. Phillips has placed him on the ground, beneath the rest of the family in pose as in station. Yet here he is in this portrait just the same, as if he were a member of the family. Was the family fond of him? Was he a playmate of the younger Southwell? Or was he simply there in the Garden that day to serve them their refreshments? The answers to these questions must remain unanswered, known only to the sitters frozen in time by Phillips’ paintbrush. Three centuries later we are fortunate to have this portrait as a snapshot of 18th Century England, both its nobility and its baseness. Charles Philips, the son of a portraitist, likely acquired his artistic skills from his father. He specialised primarily in painting small portraits and conversation pieces. George Vertue observed that in painting small figure portraits and conversation scenes, Philips gained significant recognition and patronage among fashionable circles, including members of the Royal Family. In 1732, he produced conversation works for the Duchess of Portland and the Duke of Somerset. During the 1730s, his conversation pieces became increasingly complex, featuring more numerous subjects engaged in a greater variety of activities. Following the precedent set by contemporaries such as Philippe Mercier and William Hogarth, both prominent painters of small-scale conversation pieces, Philips transitioned into the more lucrative field of portrait painting later in the decade. His career peaked in 1737 when he painted full-length portraits of the Prince and Princess of Wales. The Prince of Wales was renowned for his patronage of the arts, particularly towards immigrant artists including Jacopo Amigoni and Philippe Mercier, who were principal influences on Philips. Two of Philips' paintings in the Royal Collection depict fashionable London clubs not recorded elsewhere. The first, from 1732, shows Frederick...

The Dutch multidisciplinary artist, Ger Doornink, specialises in painting, illustration and photography. Time spent living in Tokyo, Milan and currently Amsterdam, has heavily influe...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Leon Kroll was above all an academician. To him "abstract art was merely the beginning of a picture. Structurally, "Portrait of a Young Woman recalls some of the portraits from the ...

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...

Carolien van Olphen The Blue Kimono I Oil on wood panel 60 x 40 cm (Framed 68 x 48 cm, frame is included) Dutch artist Carolien van Olphen has left a great impression in many place...

Juan Alfonso Abril (active in the 17th century in Valladolid, Spain) Title: Head of Saint Paul Medium: Oil on canvas Dimensions: without frame 48.5 x 62 ...

Alfred Seifert Czech, (1850-1901) Portrait of a Young Woman with a Pearl Necklace & Rose Oil on panel, signed Image size: 15.5 inches x 12 inches Size including frame: 23 inches x...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

The painting is signed on the bottom left side. Angelo Asti, a renowned Italian artist, established himself as a true maestro of portraiture during the late 19th and early 20th centu...

The painting (oil on canvas 80 x 106 cm; with Salvador Rosa-style gilded frame 88 x 116 cm) depicts a group of four children who are playing outside on a swing; we are probably deali...

Chickens & Other Birds In A Farmyard, 18th Century circle of Marmaduke CRADOCK (c.1660-1717) Fine 18th Century English School farmyard scene of various birds among tools and jars, ...

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...

Miniature portrait, gouache and watercolour, from the Belle Epoque period of a fine 18th century lady, probably Madame Sophie Fille de Louis XV after Jean Marc Nattier, by noted port...

Original Oil Painting by Alan Feltus. Alan Feltus (b. 1943, Washington, DC) studied at the Cooper Union where he received his BFA in 1966, and at Yale University where he received ...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is included in numerous private and museum collections, among them the Burchfield-Penney Art Center, the Albright-Knox Art Gallery, the Castellani Art Museum of Niagara University, and the UB Anderson Gallery (all of which are located in Western New York...

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 Not signed Publications: unpublished The painting by Bernardino Detti (1498 - 1572) depicts the face of Jesus...

A Rocky Cornish Coast, early 20th Century by Kathleen Walker (1893-1966) early 20th Century study of a rocky Cornish coast by Kathleen Walker, oil on canvas. Good quality and cond...

5111 Lady with pearl necklace by Lynn Lemay Custom wood frame Image size 23.5x19.5"

Heads Up, Edmund Dulac depicts a strong and confident woman in art in the 1930s. The work shows Queen Thomysis witnessing a beheading. This complex figurative work was an original de...

Joseph BEAUME (Marseille, 1796 – Paris, 1885) Souvenir from Italy: pifferaro playing the zampogna with the family Oil on canvas Signed lower left 73.5 x 60 cm Provenance: probably...

Jean CLUSEAU-LANAUVE (Périgueux 1914 - Paris 1997) The Pianist Oil on canvas H. 46 cm; W. 38 cm Signed lower right. Countersigned, titled, and dated on the back - 1962 Provenance: E...

“la Belle au Drapé Jaune” Figurative Painting 79x39in by Katherine Bakhoum Tisné Mixed Media with Glass Frame Katherine Bakhoum represents art that has been forgotten for a long while. She draws upon the concept and the subject of the orientalism and the enchantment of that period. Through her work we can feel the researches she has done to reveal her Egyptian origins and the magic and power of the bygone times. Katherine Bakhoum has succeeded in imprinting her own stamp to evoke a new world full of charm, nostalgia and magic that is deeply implanted in her canvas. Her power dwells in creating her own style of contemporary expressionism building upon the old orientalism. Katherine Bakhoum’s art comes up out of an Egyptian childhood and from the distance of a life spent in France. What is left unsaid is as important as what is shown. Decorative yes, as in old orientalism, when everything was texture and what wasn’t texture was veiled, a reincarnation of old spirits, dervishes, orientalist motifs and the stuff of a once powerful civilization, the better to suggest it all might just come to life again. The choice of ancient subject matters, the echo of orientalist pieces in the collages, like the echo of the appeal of ancient gestures, of foreign lands, and domestic tapestries, all this weaves up out of Katherine Bakhoum’s creations. Sometimes we only have the line of a horizon on which to hang our imagination, sometimes we only have the trace of a profile in the shadows. What we always have is a persistent belief in beauty. Where there is beauty, there is hope. Katherine Bakhoum has abandoned neither. SOLO EXHIBITIONS Claudine Legrand Gallery: Annual exhibitions from 1996 to 2016 Safar Khan...

Hunt Slonem Oil Painting "Mexican Red Head" Multicolor Amazon Parrot A single bird gestured in yellow, red and green on a white background in a vintage frame Unframed: 10 x 8 inches...

Eberhard Guillaume 1879 – Maastricht – 1949 Dutch Painter 'Young Girl Knitting' Signature: signed lower left and dated 'G Eberhard 1906' Medium: oil on canvas Dimensions: image siz...

"Girl with Ribbon in Hair" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 40" x 35.75" oil on board portrait is painted in a vibrant color palette and l...

Pauline Lennards Palmer American, 1867-1938 The Picture Book Oil on Canvasboard 32 ¼ by 36 ¼, w/ frame 37 by 41 ¼ in Signed lower right Born in McHenry, Illinois, Pauline Palmer became a painter in realist/impressionist style of a wide variety of subjects including landscapes, street and beach scenes, genre, and portraits. She trained at the Art Institute of Chicago, and studied with William Merritt Chase, Kenneth Hayes Miller, and Charles Hawthorne. She also studied in Paris. She married Dr. Albert...

Portrait Of William Hogarth (1697-1764) , 18th Century English School, Possibly a Self Portrait Large 18th century English School portrait of painter and satirist William Hogarth, ...

Workshop of Simon Vouet in Rome Christ Oil on canvas 65,5 x 47,7 cm (83,3 x 65,5 cm with frame) The work comes from the artist's workshop during his stay in Rome (1613–1627). The d...

A very fine oil on canvas of Sir John Pettus ,circle of Mary Beale 17th century Wearing a red cloak and a black tunic with white collar. His coat of arms to the right.Unsigned Housed in a gilt frame, the size overall being 85 x 74 cm whilst the painting is 76 x 63.5cm In overall excellent condition. There is a wealth of history about the sitter online , below is a brief resume John Pettus Sir John Pettus (1613–1690) was an English royalist, politician and natural philosopher. Pettus was an expert on metallurgy and became a deputy governor of the royal mines in England and Wales under Charles I and II. He is known for the first English translation of the work of the German metallurgist Lazarus Ercker. Pettus’s grandfather was a wealthy Norwich merchant ,he purchased the manor of Rackheath in 1590 and represented the city in 1601 and 1604-10. Although a younger son, Pettus inherited the manors of Chediston and Wenhaston, He married well; but even before the Civil War most of his estate was mortgaged, and his wife’s expectations were never realized, owing to her father’s misfortunes as leader of the City Royalists. Pettus became a servant to Charles I, and took part in the farcical royalist attempt on Lowestoft in March 1643, but was exchanged after nearly a year in prison. It is unlikely that he resumed command of his regiment, such as it was, since he ‘continued inoffensive till the taking of Bristol’ by the New Model Army...

Benjamin Herring Snr (British, 1830-1871) Saddled bay hunter 1863 Oil on canvas With old Christie's stencil verso Property of a gentleman From the collection of Peter Roe Dimension...

Artist/ School: 17th Century Italian School Title: The Presentation of the Virgin in the Temple Medium: oil painting on canvas, framed Size: canvas: 21” x 16” (53.3 x 40.8cm) Pro...

Enrico VEGETTI (Turin, Italy 1863 - Nernier 1951) The last portrait or Selfportrait Oil on panel Signed lower left Title on the back Work: 24.5 x 23 cm Frame: 29.5 x 27.5 cm Proven...

"Sermon Time", 19th Century by Annie Sherrif (1850-1888) Large 19th Century Irish portrait of a lady seated before attending church, oil on canvas by Annie Sheriff. Excellent quali...

A large KPM gilt framed porcelain hand painted plaque depicting a lute player in Regency style dress, in an ornately carved Florentine Giltwood frame Late 19th century Signed "Gree...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny against a silver background with light green and yello...

"LEAVING VENICE" Oil Painting 40" x 30" inch by Khoren Keshishyan Khoren Keshishyan is a celebrated American-Armenian painter and artist whose uniqu...

Howard Logan Hildebrandt, 1872-1958 Femme Avec Le Chapeau Plumé, n.d. Oil on canvas 26 ½ x 21 ½ inches Signed (lower right): H L Hildebrandt Provenance Private collection, Detroit A native of Allegheny, Pennsylvania, which later merged with Pittsburgh, Howard Logan Hildebrandt achieved prominence in the art world for his portraiture, and counted esteemed doctors, businessmen, musicians and his own artist-colleagues among his numerous sitters. Born in 1872, his life followed a trajectory similar to other young men in an industrial Pennsylvania town when he went to work at a local stained-glass factory during his teenage years. In 1890, Hildebrandt decided to enroll in the National Academy of Design in New York and although his instruction there was brief, lasting only one season, he took classes in both antique and life drawing and must have felt prepared enough to continue his education abroad in the ateliers of Paris. He studied with Jean-Joseph Benjamin-Constant and Jean-Paul Laurens at the Académie Julian, and also trained at the École des Beaux-Arts, before eventually returning to the United States in the late 1890s to launch his career. Hildebrandt initially settled in Pittsburgh before relocating to New York by 1899, where he briefly kept a studio at the famed Tenth Street Studios and later moved to Carnegie Hall. With the artist’s star rising steadily, Marian A. White, editor of the Fine Arts Journal, praised for his talents in a commentary published in a Pittsburgh weekly: [Hildebrandt] is but thirty-three years of age, yet, through perseverance and industry and an indomitable will, has taken an enviable position among American portrait painters as well as of painters of fisher-folk….Mr. Hildebrandt is an ideal American artist, enthusiastic, energetic, and reveling in painting subjects that are of American type. Beginning in 1905, Hildebrandt was fortunate to gain admittance into newly-constructed buildings being designed specifically for artists rising along New York’s West 67th Street, including the Sixty-Seventh Street Studios, where Henry Ward Ranger and Childe Hassam had spaces, and later the Colonial Studios building, which was commissioned by Robert and Bessie Potter Vonnoh. Counting such luminaries among his neighbors and keeping to an active exhibition schedule, Hildebrandt continued to advance his career. Between 1898 and the mid-1920s, he participated in the annuals of the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago. Concurrently, he exhibited with the National Academy from the 1890s through the late 1940s, and the titles of paintings shown at these venues suggest the artist was drawn to a variety of themes, from the fishermen and wharves of Gloucester, Massachusetts, to landscape, still life and figural subjects, and finally portraiture, at which he excelled. One of his early portraits, titled Portrait: Miss C and shown at the National Academy in 1902, is thought to be of Cornelia Ellis, a talented miniature painter whom Hildebrandt married that same year. The artist eventually earned the esteemed moniker of National Academician in 1932. In addition to the venues previously mentioned, he showed with the National Arts Club, the Salmagundi Club, the American Watercolor Society and the Allied Artists of America, earning prizes from all four groups. Around 1913, the Hildebrandts began spending summers away from the city in New Canaan, Connecticut, and a few years later built a home on Huckleberry Hill Road near the Silvermine River. Drawn to the idyllic countryside and to the region’s burgeoning artists’ colony founded by sculptor Solon Borglum...

Listing includes framing, free shipping to continental US and a 14-day return policy. Kate Moss by Annie Kevans 20 x 16 inch paper 16 x 20 inch image Archival pigment print Edition 15 of 50 Signed and edition on the front of the print Frame is in fair condition and is included for free due the condition issues. The print itself is in excellent condition. If you would like the print sent unframed the cost is the same. Please let us know if you would prefer to have us ship the print unframed. Artist Biography - Kevans’ paintings reflect her interests in power, manipulation and the role of the individual in inherited belief systems. She looks at alternative histories and how they relate to current issues and creates what she describes as ‘anti-portraits’ that may or may not be based on real documentation. She believes that, as her work is concept driven, sometimes the actual similarity to the person depicted in the work is irrelevant. This can be seen in her 'Boys' series which is not about portraying dictators as they really looked as children but rather about the notion of the ‘innocent child’ which has influenced images of children in art...

Benedetto Luti (Florence, Italy, 1666 - Rome, Italy, 1724) Title: Head of a Girl Medium: Oil pastel on canvas Dimensions: without frame 28 x 23.5 cm - with frame 38.5 x 33.5 cm Origi...

Prize Bulls, Farmer & Owner, 18th Century Early French School Oil On Panel Fine 18th century French School prize bull scene with the farmer and owner, oil on panel. Very early pri...

Titre : Portrait de jeune femme à la coiffe noire Artiste : Entourage de Charles-André Van Loo (1705–1765) École : Française, XVIIIe siècle Technique : Huile sur panneau Dimensio...

The present work depicts a voodoo healing ceremony unfolding. By mixing nature-based religion originating in West Africa with Christian beliefs, the ceremony serves as a surrogate fo...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the oil...

This charming German miniature painting, created of oil on copper, depicts a young woman wearing a large and lavish hat. With dark, braided hair and blue eyes, the sitter's cheerful ...

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 28 x 22 inches. Custom framed as pictured. White frame with linen matting and hand painted file...

Ivan Markovic transports viewers into a world of technicolor with this collection of works inspired by Bernini's angels. Markovic's life in Rome brought him to walk across the Ponte ...

Portrait of a Native American Elder in oil on Artist's Board Stately portrait of an elderly man by Hoyt Yeatman II (Jr) (American, 1926-2019). Shown against a dark background, the man is wearing a blue tunic, red headband...