Portrait Paintings

A three-quarter length portrait of Anne, Lady Russell, later Countess of Bedford (1615-1684), in a blue dress. Attributed to Sir Anthony Van Dyck.  Anne C...

This is painting is from the School of Cusco depicting St. Michael the Archangel defeating the devil in battle. It is oil on canvas and is in very goo...

KPM Porcelain Plaque of Queen Louisa Oval shape polychrome enamel hand painted porcelain plaque set in a carved giltwood frame C. 1900 impressed KPM mark Germany Plaque 10.75" x...

Portrait of a Woman in Traditional Headpiece French/ Swiss, dated 1855 signed oil on canvas, framed dated 1855 framed: 34 x 27 inches canvas: 32 x 25 inches Provenance: private coll...

Monogrammed lower right, 'DM' for David Monies (Danish, 1812-1894) and dated 1849. Provenance: By descent in the family of the sitter, Peter Andreas Löser (1834–1857). Framed in a su...

"Erlin" is an original artwork by Eustace Mamba and measures 10"h x 8"w x .75"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of texture and colo...

"Florentine Expressions: A Portrait Series V", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an interm...

The painting titled Portrait of a Boy in Profile, likely by Friedrich Wasmann (1805–1886), exemplifies the refined portraiture characteristic of the Biedermeier period. Executed in o...

Figurative Portraits French School, illegibly signed and dated 47' circle of Fernand Leger (French 1881-1955) oil on canvas, unframed canvas: 38 x 58.5 inches Provenance: private col...

In this painting, we see a minimalist room with a huge window, beyond which stretches a sky filled with fluffy white clouds. Muted colors dominate—the blue of the sky contrasts beaut...

Luigi Morgari (Italian, 1857–1935) The Nun Oil on canvas mounted on board Signed lower right 14 x 12 inches 21.5 x 19.5 inches, framed Luigi Morgari was an Italian painter, primaril...

Suzy Smith's "Let Them Eat Cake" is an original, handmade oil painting that depicts a portrait of a female nude with a crown set against a backdrop inspired by a Wayne Thiebaud cake...

Suzy Smith's "Meringues" is an original, handmade oil painting that depicts a portrait of a female nude set against a backdrop inspired by a Wayne Thiebaud pie painting...

Head Portrait of Jack Russell Terrier Dog English School, 19th century signed oil on canvas, framed dated 1895 framed: 16.25 x 14.25 inches canvas: 12 x 10 inches Provenance: privat...

A woman sits in a sunlit room with soft geometric lines and a peaceful color palette of green, beige, and blue. A black cat rests on her lap, staring out the window at a calm, bl...

"Child Star" Mid Century Portrait of a Boy with Brown Eyes Oil on Canvas Stately portrait of a boy by William Robert Shulgold (Russian-American, 1897-1989). The subject is looking o...

Signed lower right, 'Richmond' for George Richmond, RA (British, 1809 – 1896) and painted circa 1845. Displayed in a period, carved and giltwood frame. (Framed dimensions: 22.75 x 21.5 x 1.0) This English painter and portraitist was a founding member of The Ancients, a group of followers of William Blake. Later in life, he established himself as a successful society portrait painter of the British gentry, nobility and royalty. George Richmond was the son of Thomas Richmond the miniature-painter and, also, the father of the painter William Blake Richmond. For a short time, he attended a day school in Soho, before became a student at London's Royal Academy. Here he was much impressed by Henry Fuseli, his professor of painting, and formed a lifelong friendship with Samuel Palmer, and had as fellow-students and companions Edward Calvert...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

Amy Devlin portrays people, animals, or nature in her works. But what really matters to her is light and water, which she wants to capture in the form of a physical memory. By follow...

ARTIST: G.C.Neale (mid 20th Century) Spanish / English School TITLE: "Two Suspicious Men At Night" MEDIUM: oil on canvas SIZE: 95cm x 80cm inc frame NOTES: This original oil paint...

This impressive British 1940's portrait oil painting is by noted artist Arthur Royce Bradbury. Painted in 1949 it is a half-length portrait of a young Scottish girl in a mountainous ...

Anonymous (English School) Prize Bull Portrait, mid-19th century Oil on canvas, housed in a figured maple frame This striking and endearing portrait of a prize bull stands as a test...

The Renaissance Lady Roman School, circa 1890-1900 period oil on board, framed in original Italian ornate frame framed: 17.5 x 16.5 inches board: 11 x...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Portrait Art, Title: Woman in Indigo Size: 16" x 12" x...

Portrait of a Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Provenanc...

This is a reproduction of a Francis Bacon's painting Portrait of Michel Leiris, originally created in 1976. This work is a notable example of Bacon's ability to capture the psycholog...

The Cornish Fisherman Signed by David W. Haddon (British, flourished end of the 19th century) Oil on board, framed framed: 13 x 11 inches board: 10 x 8 inches Provenance: Private col...

Matt Talbert's "In Repose" (2025) is an original, handmade oil painting on panel that depicts a portrait of a brunette seated at a table in deep contemplation. Artist bio/statement...

Title: "Travesti, Hairy Diva" Artist: Unknown Technique: Oil on canvas Dimensions: 24.4 x 20.5 in Period: 21st century Framing: Unframed Work Description "Travesti, Hairy Diva" is a...

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...

The works of Mike Dargas elude a clear temporal distinction. Even if the representations can stand as indications of a contemporary Western zeitgeist, the images lose their temporal ...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

We are pleased to offer this charming and rare oil painting by the Italian artist Bernardino Giani (1823–1886), dated 1867. The painting depicts a young boy kneeling on the floor, de...

Portrait of a Young Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Pro...

An incredibly striking study of the male form with the figure set against a colourful background with stylised organic forms. Attractively framed, the painting is ready to be hung an...

The Young Officer English School, 19th century oil painting on board, framed in very fine quality antique gilt frame framed: 17 x 14.5 inches board: 12 x 9 inches condition: very goo...

Title: "Daughters of Spain" Artist: Juan José Barreira Polo (1887-1957) Medium: Oil on canvas Dimensions: 31.5 x 27.5 in (80 x 70 cm) Framing: Unframed Signature: Signed at the lower left corner as "J. Barreira" Period: Approximately first half of the 20th century Movement/Style: Realist Costumbrismo, Spanish Academicism Description of the Artwork "Daughters of Spain" is a remarkable example of Spanish Costumbrismo, where Juan José Barreira Polo masterfully captures the essence of national identity and tradition. The painting portrays two young Spanish girls in traditional attire, exuding warmth and natural grace. The older girl, with a gentle smile, wears a richly embroidered blue shawl and has flowers adorning her hair, while delicately holding a copper jug filled with vibrant orange flowers. Beside her, the younger girl, with an innocent and joyful expression, holds a doll dressed in red with floral embellishments, evoking the charm of childhood and cultural heritage. The well-balanced composition and softly blurred background enhance the presence of the figures. Barreira Polo employs a warm color palette and skillful lighting to create harmony, while his refined brushwork and attention to detail in facial expressions and textiles reflect his academic training. The artwork conveys a profound sense of cultural pride and nostalgia for Spain’s rich traditions. Artist’s Biography Juan José Barreira Polo (Valencia, March 31, 1887 – Valencia, January 30, 1957) was a Spanish painter specialized in portraits and costumbrista scenes. Son of the painter Vicente Barreira Meliá, he trained at the Academy of Fine Arts of San Carlos in Valencia, where he obtained his degree as a drawing professor in 1933. Throughout his career, he gained recognition for his representations of Spanish traditions and culture, receiving several awards at various exhibitions. In 1925, he won first prize in the Valencia City Council's poster competition. In addition to his pictorial work, he was an editorial board member of the magazine Semana Gráfica, contributing to the artistic and graphic culture of his time. His paintings, known for their exquisite detail and vibrant colors, are part of private collections worldwide and are admired for their ability to capture the spirit of Spanish heritage. Similar Artists and References The style of Juan José Barreira Polo is associated with other realist and costumbrista painters, such as: José Mongrell...

ARTIST: George Henry Grenville Manton (1855-1932) English TITLE: "A Sketch From Life" MEDIUM: oil on canvas SIZE: 86cm x 76cm inc frame CONDITION: original condition, images taken i...

A charismatic portrait depicting a hunter on the trail, paused, hand out in hesitation as he strains to hear something in the underbrush. Unsigned. Presented in a distressed gilt fra...

'Echoes of the Avant-Garde: Mid-Century Visions XI', oil on board (circa 1970s). Step into a world where the spirit of early 20th-century modernism meets the bold experimentation of ...

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...

'Echoes of the Avant-Garde: Mid-Century Visions IX', oil on board (circa 1970s) by STM. Step into a world where the spirit of early 20th-century modernism meets the bold experimentat...

Southern California native Courtney Simone seamlessly blends her passion for abstract art with the exploration of everyday beauty, resulting in exuberantly inspired abstract figurati...

The Jewish Bridge antique Dutch School, after the 1660's oil painting by Rembrandt (Rijksmuseum, Amsterdam) oil painting on canvas, framed in its antique gilt frame with ornate mould...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Josue M Pierre...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

This exquisite genre painting showcases a darling slice of life for a young woman in the Belle Epoque era. Dressed in a frilly frock made of detailed lace, and wearing a v shaped pin...

A pair of beautiful oil paintings by Fritz Zuber-Buhler, titled "The New Arrival" and "After Bath," exemplify his dedication to academic traditions in the ...

Two figures stand, facing the horizon, their eyes fixed on a missile flying horizontally. Its fiery trail cuts through the calm sky, and the moment hangs between “there’s still time”...

Portrait of a Collie Dog English School, 20th century signed oil on board, framed framed: 19 x 15 inches board: 16 x 12 inches Provenance: private collection, England Condition: very...

Charles Burdick (1924 - 2016) Untitled (Reclining Nude) Oil on paper (?) Sight: 7 x 10 1/4 in. Framed: 14 x 16 1/4 x 3/4 in. Signed lower right: Burdick Excellent midcentury style r...

Antique American impressionist landscape oil painting. Oil on canvas. Framed. Measuring 20 by 27 inches painting alone. In excellent original condition. Handsomely framed in a gold g...

The Bank Manager by Stuart Scott Somerville (1908-1983) signed oil on canvas, framed Framed: 56 x 47 inches Canvas: 50 x 40 inches Provenance: private collection, UK Condition: very ...

Portrait of a Lady with her Pet Dog French School, mid 19th century oil on canvas, framed framed: 36 x 28 inches canvas: 29 x 20 inches Provenance: private collection, France Conditi...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

This splendid late 17th-century three-quarter length portrait by Dutch artist Johannes Vollevens I (1649-1728) depicts a lady wearing a plush blue satin gown with a low, lace-trimmed...

This work by Harry B. Tallman is a pertinent example of his vividly alive works portraying two English Setter Puppies with in a barn filled with hay. The details are truly exquisite,...

Contemporary oil painting on canvas of a person in a meditative state with a fantastic appearance in yellow tones, on a background of earth tones, with some colors around him. He is ...

By contemporary African-American artist Bai (Carl Karni-Bain) a portrait of a black indigenous Indian chief. Acrylic, oil pastel, and ballpoint pen, The Black Indian Chief, 2024 30 x...

Tankpetrol, Lost, 2023 Acrylic, hand-cut stencils, spray paint copper paint on deep edge canvas 100 x 150 cm (39.37 x 59.05 in) Original artwork Polish-born Irek Jasutowicz bett...

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...

"Dialogue," a thought-provoking creation by artist John Ali, beckons viewers into a realm of symbolism and introspection. The artwork features a young man with his head covered in ny...

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...

'Echoes of the Avant-Garde: Mid-Century Visions XIII', oil on board (circa 1970s), signed OT. Step into a world where the spirit of early 20th-century modernism meets the bold experi...

"Nude in Venice" - original large art by Paula Craioveanu Original, large, unique painting, oil on canvas, 55x40in / 140x102cm. Shipped rolled in a tube. Check 1stDibs code FREESHIP...

Zoa Ace's (US based) "When Dreams Collide" is an original, handmade mixed media collage on wood that is unframed and ready to hang. About the Artist: "My work is figurative and deal...

Portrait of a Lady, reading in an interior circa 1900-1920 period by Louis Faille (French 1878-1964) signed lower right corner oil painting on canvas, framed in original gilt, mould...

This piece depicts iconic Logos with vintage news paper clippings from the mid century. We find Rolex lower right, with other Americana imagery through out. Celebrating icons from th...

The Boston Terrier French artist, mid 20th century oil on on canvas, framed framed: 18 x 15 inches canvas : 16.5 x 13 inches Provenance: private collection, UK Condition: a very few ...

Zoa Ace's (US based) "Cat Ladies" is an original, handmade mixed media collage on wood that is unframed and ready to hang. About the Artist: "My work is figurative and deals primari...

Portrait of a Lady in Blue English Folk Art, mid 19th century watercolor, framed in antique period wooden frame behind glass Framed: 12 x 10.5 inches Board : 9 x 8 inches Provenance:...

Technical Sheet - Title: Andalusian Essence - Author: Jesús Villar - Technique: Oil on canvas - Dimensions: 26 x 32.3 inches (unframed) - Status: Unframed work - Style: Ne...