Unframed Portrait Paintings

Jon Wassom’s "The Space Between" is a striking mixed media painting on panel, measuring 16 x 12 inches. This evocative figurative work merges expressive brushwork with geometric abst...

Blushing Roses in a Golden Vase Continental School, late 20th century most likely a pastiche work after an earlier composition oil on canvas, unframed canvas : 36 x 24 inches provena...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Oil on canvas realized by Franco Marzilli (1934-2010) in 1970s. Hand signed lower right. Very good condition. Franco Marzilli was born in Rome in 1934. He received his first artis...

The English Gentleman and his Country House English artist, circa 1800-1820 period Fine Georgian period portrait of a young English gentleman, seated with distant view of his country...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

This piece talks about genuine love. Love without expectations or benefits, when this kind of love exists between relatives, friends, siblings, and couples, the world will surely be...

Three 9x12 oil portraits from 1949 Artist Unknown. These portraits came together as a set.

Fred Calleri was born in Maryland and has slowly moved westward towards his current home in Santa Barbara, California. On his way, he earned an Illustration and Graphic Design degree...

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

Portrait of a Seated Lady signed by Jacob Markiel (Polish 1911-2008) *See notes oil on canvas, unframed canvas: 32 x 24 inches provenance: the artists estate, south of France condit...

Impressive, powerful and psychological strong big size painting on wood, silver collage, oil painting base, signed by the artist. Contemporary French Art. Many prizes and exhibitions. Exhibitions and acquisitions in important museums as Mac Musée d'art contemporain de Lyon, Centre Georges Pompidou Metz, Cape Town Artfair, Biennale de Lyon, etc For more details, information, please contact Parisian Parrots...

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 17 x 24 inches condition: overall very good, a very few light markings to ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

“Orientalist Portrait of an Arab Man” Half-length, turned to the left, oval Jean-Horace Vernet (French 1789-1863) Circa 1830s Watercolor heightened with touches of white on paper Sig...

Mixed media on paper. Original art by Daria Kusto Shipped well protected, unframed.

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

The girl's gentle gaze, calm demeanour, and virginal dress convey a sense of innocence and purity. The large pearl earring may symbolise wisdom, intuition, and inner knowledge. The p...

AN URGENT MAN 2020 Paris, France Oil and acrylic on canvas portray a ‘derbyed’ man attempting to shed the weighted armor of his obligations and persona. A very loose nod to the character from René Magritte’s 1964 painting, ‘The Son of Man...

This artwork captures a moment of serene introspection. A ballerina, dressed in a delicate tutu, is seated on a dark, plush sofa. The play of light and shadow across her form is mast...

This charming oil portrait painting is by noted British Victorian artist George Wells. Painted circa 1880 we know the elegant sitter is Chlorinda but her relationship to Wells is unk...

This acrylic painting on canvas presents two mirrored female busts rendered in vivid green tones, their identical facial structures and stylized hair buns evoking a reflection on sam...

Rooted in introspection and emotional nuance, Xenia Gray’s figurative mixed media works capture the quiet tension between solitude and connection. Her paintings often depict the huma...

Inspired by her background in fashion, artist Lindsey McCord creates vibrant portraits that encapsulate the confidence that comes with the fun of being stylish and chic. Her figures ...

Unique acrylic painting and silkscreen on canvas. Hand signed and dated by Andy Warhol on verso. Martin Lawrence provenance label on verso. Canvas size 20 x 20 inches. The artwor...

The artwork titled "Aláàárù Ajé" (Carrier of Wealth) features a lady with a head made of a Sekere, a traditional Yoruba percussion instrument made from dried gourds covered with beads. The lady is depicted wearing a blue dress with intricate details and patterns. Ayandare Adeniran, Ayanmuyiwa behind this intriguing piece of art has managed to capture the essence of the Yoruba culture, which is renowned for its rich cultural heritage and traditional beliefs. The use of the Sekere in the artwork is symbolic of the Yoruba people's deep-rooted love for music and the arts, which are considered an integral part of their daily lives. The lady in the artwork, with her head made of Sekere, is a representation of the Yoruba deity, Oshun, who is revered as the goddess of love, fertility, and prosperity. According to Yoruba mythology, Oshun is believed to be the owner of the Sekere and is often depicted carrying it around during festive celebrations and ceremonies. The blue dress worn by the lady in the artwork is also significant in Yoruba culture as it represents wealth, royalty, and nobility. The intricate details and patterns on the dress are a testament to the artist's attention to detail and skill, which are essential in Yoruba art. Overall, the artwork "Aláàárù Ajé" (Carrier of Wealth) is a beautiful representation of Yoruba culture, tradition, and mythology. The artist's use of the Sekere and the blue dress is a nod to the Yoruba people's love for music, art, and fashion, which are essential elements of their identity. The artwork is a reminder of the rich cultural heritage of the Yoruba people and the importance of preserving it for future generations. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Ayandare Adeniran, Ayanmuyiwa (born 1991) is an Artist who hails from Ogbomosho, Oyo state, Nigeria. At his early stage of life, his artistic talents sprang up and his parent helped in developing them by providing him with what they understood he needed by buying drawing books, crayons, and watercolors among others to help his creative skills. After his primary and secondary education, he received a Nigeria Certificate on Education (NCE) from a prestigious college; the Federal College of Education (SPECIAL), Oyo, where he studied Fine and Applied Arts. Musa Ibrahim was the first practicing Artist who helped Ayandare in his Artistic career which was during a compulsory Industrial Training program for students in the Fine Arts department. After College, yawning for knowledge and flare for artistic work dragged him to Arowolo Wasiu, a metal sculptor who trained him in sculpting metal. A thirst for one's zeal can only be quenched by following the path thus making him proceed to TOPE FATUNMBI...

E.S.H. IV PARIS, France 2023 Inspired by sculptures and statues of Europe, a horse and rider are depicted as a black silhouetted abstraction. White and grey acrylic paint over text...

The artwork is done in mixed media. Italian fine-grained cotton tm Unico and Dutch acrylic paints Amsterdam were used in the work. Finish - satin varnish. The sides are painted in t...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issue by The Galley) I was inspired to paint the portrait of an African girl, so people could see life through her lens. For you to see what it is for a disadvantaged, underprivileged child growing up in a world that doesn't care about them. Yet despite all of this, what is it that you see when you look into his eyes? Every child regardless of their background has the right to Education, grow up in a healthy environment, proper feeding and agriculture, clean water, adequate medical program, economical development, and skilled programs, All these bring immediate and lasting solutions to children and families living in extreme poverty and provides a greater future. - I choose to use my art as a voice for all those children who do not have one. To the governments and other civil organizations who have a moral responsibility to stand up and be counted, that time is now. - About the Artist Damola Ayegbayo...

Artist/ School: artist unknown, dates to circa 1970's period; there are possibly markings to the underside. Title: Head sculpture of the American President, Richard Nixon (1913-1994). Medium: exceptionally heavy bronze Size: height: 14.5 inches depth : 9 inches ( back of head...

Oil painting on wooden panel realized by Marco Fariello in 2025. Fortune, blind and unpredictable, has always had a central place in the collective imagination, especially in Neapol...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

Early figurative portrait painting by Houston-based artist Buford Evans. The work features a black woman dressed in a green dress gingerly caressing her young child. Signed by the ar...

Girl in Flat Cap Portrait by Akos Biro (Hungarian 1911-2002) pastel painting on artist paper, unframed painting: 9 x 12 inches provenance: the artists estate, France condi...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage and me...

Ballroom Scene

Contemporary modernist American portrait oil painting. Oil on canvas. Signed. Measuring 20 by 40 inches.

This contemporary expressive figurative piece, titled "Together in strength," was created by French artist Natalya Mougenot and forms part of her intimate series dedicated to the the...

This artwork is inspired by one of the issues amongst many in the traditional Yoruba African society where I'm still growing up as the son of the soil. As I was growing up and up til...

Love, with its intense emotions and vulnerabilities, has long been a subject of exploration in art. The artwork titled "You May Be Lucky," created by the talented artist Oluwafemi Afolabi...

John Tarantola's original nude portrait "Here, There, and Everywhere" (2020) is a surrealist oil on panel painting that depicts an athletic nude male figure staring forward painted i...

Merchants of the Temple 19th Century School oil on canvas, unframed canvas: 24 x 33 inches Provenance: private collection, The Loire Valley, France Condition: good condition For mo...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas cardboard. Work measurements 41x33 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish pa...

Info artist : Van Beers studied at the Academy in Antwerp. In 1873, he undertook a trip to London with Alexandre Struys. In 1878, Van Beers went to Paris where he worked in the stud...

Portrait of a Woman by Louise Alix (French, 1888-1980) *see notes below oil painting on canvas unframed measures: 20 inches high by 24 inches wide condition: overall very good and so...

Nu Bleu III

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Artist/ School: French School, signed Clayson and dated 55' Title: Portrait of a Young Man Medium: oil on canvas, unframed Canvas: 25.5 x 21.5 inches Provenance: private collect...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity

L'hymne du Roi David (King David's Dream) Oil on wood by Marc Chagall c late 70's Comes with Numbered and Verified Certificate of Authenticity from Comite C...

John Baker’s “Layers of the Self” is an acrylic painting on canvas with collage 32 x 20 inches in greys, blacks and whites, with flesh tones. Although quite young, the gentleman has ...

Ifeoluwa Alade ( Nigeria based) "Untitled" is an original, handmade acrylic painting that depicts a female model with colorful butterflies and a dark background. Artist bio: Ifeol...

This enigmatic portrait oil painting is by noted Slade School artist John Cecil Stephenson. In 1929, when Portrait of Elizabeth Allison was completed...

Auray by Jorunn Mulen [2021] original Acrylic paint on wood Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:1cm So...

A gentle mid-century portrait of a young girl by Pascal "Pablo" Cucaro (American, 1915-2004). Sealed in a layer of clear resin. Signed in a black textured medium, lower left: "cucaro...

America Martin "Song of the Wild Beasts" Oil & Acrylic on Canvas 40 x 72 inches 41.5 x 72.5 inches framed Exploring the identity of both her namesake and country, LA-based Ameri...

A cozy café with three visitors: two in dark attire, one figure in a checkered coat. The interior is understated with retro details, and soft blue light filters through the windows. ...

French Impressionist artist, circa 1930 oil on canvas, unframed canvas: 22 x 18 inches provenance: private collection, France condition: very good and sound condition

A finely painted portrait of Man aged 55 years. Signed, Inscribed and Dated with old Dutch family provenance. He weighs a large white millstone ruff and a black silk tunic.

Original acrylic painting on canvas. Hand signed and dated lower left by Peter Max. Artwork size: 48.25 x 58 inches. Canvas is stretched. Artwork is in excellent condition with...