Fabric Portrait Paintings

Signed lower right 'K. Buzzell Benepe' and dated 1936. A psychologically penetrating character study by this early California woman artist. Benepe captures the essential sensitivity...

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...

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. About Artist Mic...

Original acrylic painting on canvas. Hand signed on front; signed and titled on verso by Jozza. Canvas is stretched. Artwork is in excellent condition. Certificate of authentici...

In the captivating piece titled "Solace," artist John Ali unveils a profound exploration of introspection through the gaze of a young woman lost in thought. The poignant portrayal ca...

"Navajita" (2018) is a mixed media painting on canvas by Inés Silvalde, measuring 20 x 25 x 3.5 cm. This work, part of the Influencers de Taberna series, captures a surreal yet intim...

Benjamin Constant was an important figure in the Academic painting world in Paris and one of the leading French Romantic artists of the time. He is in all the museums of France and ...

Dynamic and abstracted artworks come to life through the hands of Amadou Opa Bathily, an artist deeply connected to movement. Born in Bamako in 1987, his journey into the world of ar...

In a world that often seeks to diminish the light of innocence, this artwork embodies the strength and resilience of those who remain steadfast in their beliefs. The subject of this ...

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. About Artist Top...

Portrait Contemporary art, Original oil Painting, One of a Kind Artist: Varvarov Anatoly Viktorovich Title: Self Portrait, Sise: 31.5x35.5 inches, (80x90 cm) Medium: Oil on Canvas Ha...

This animal portrait, "Cautious", is an 8x10 oil painting on canvas featuring a Golden Retriever dog and black cat in front of a barn door. Snow ...

Portrait of a Gentleman with a Cigar English artist, mid 19th century oil on canvas, unframed canvas: 30 x 25 inches provenance: private collection, England condition: overall good a...

Lady Sewing French Impressionist, late 19th century indistinctly signed lower front corner oil on canvas, unframed canvas : 29 x 36 inches Provenance: private collection, Northern F...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

Suzy Smith's "Regal" is an original, handmade oil painting that depicts a nude woman in a white Victorian era collar as bright pink and red flowers bloom al...

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 Edward Cucuel and his wife Clara Lotte von Marcard spent their first two decades together in Germany, mostly in a villa on Lake Ammersee in Holzhausen near Munich. It is the works created in this period, mainly outdoor scenes of young women in fashionable attire of the day, that are most collected and appreciated among his works. It’s easy to see why- they capture an elegance and sense of calm and easy leisure- of long days in gardens or by the water.  This is one of those captured moments with a well-dressed woman watching the sailing yacht...

Sailboat Race Miriam Bromberg Date: circa 1960 Oil on Canvas, signed lower right Size: 24 x 50 in. (60.96 x 127 cm)

Antique Italian painting from the 17th century. Oil painting on canvas depicting a lively popular genre scene of great charm, typical of the Bamboccianti school. Many Flemish and Ita...

This stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...

Initialed upper right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1925. Axel Bentzen studied art as a child and, by the age of 14, was copying Old Master paintings at ...

Evocative original oil on canvas painting by the Welsh artist, John Bowen. Signed lower left. Condition is very good. Circa 1970. The artist uses the light to capture the beauty of the young girl looking directly at us with her cat resting in her lap. The painting is housed in a dark wood frame with narrow liner of the same time period of the artwork. Overall framed measurement is 41 by 29 inches. Provenance: A Sarasota, Florida estate. John Bowen (1914–2006) Carmarthenshire Museums Service Collection Painter, born in Llanelli, Carmarthenshire. After attending Llanelli and Swansea Schools of Art he taught at Llanelli School of Art, 1939–60, also at the Boys’ Grammar School there apart from wartime service in the Royal Air Force. He was an artist member of SWG and also showed WAC and at the Royal National Eisteddfod. In 1968 he had a retrospective at Parc Howard Mansion, Llanelli. Painter of landscapes in Britain and abroad and still life, in oil and watercolour whose work is in many public collections, including WAC and Newport Art Gallery and Museum. Text source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company) His work was influenced by some of the twentieth century's greatest artists such as Pablo Picasso and Marc Chagall. His paintings are in the permanent collections of Parc Howard Museum...

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 ...

Unknown Artist (American School, 19th century) Portrait of a Lady in Blue, c. 1835–1850 Oil on canvas This painting is unsigned This quietly elegant portrait captures a mature woman...

Battle of Marignano, 17th Century attributed to Il Borgognone (1628-1679) Large 17th Century Italian Wars battle scene identified as the Battle Of Marignano, oil on canvas. Excell...

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 (Issued by the Gallery) In the arms of my owner, I find my peace. In their embrace, I find my home. Max in Loving Arms presents a singular blend of modernity and timeless elegance. At the centre of the composition is a poised woman, adorned in a vivid green dress that contrasts harmoniously against the soft purple backdrop. Her dark complexion radiates warmth and intensity, highlighted by her voluminous afro, a powerful symbol of natural beauty and cultural pride. Cradled tenderly in her arms is a fluffy, cream-coloured dog, its fur rendered with extraordinary detail, capturing both texture and softness. The dog’s gentle expression and relaxed posture evoke a strong sense of companionship and affection, adding an intimate layer to the portrayal. In the background, a minimalist line drawing framed...

Portrait Of Isabella Blackett, Countess Of Buchan, 18th Century English School Large 18th Century English portrait of Lady Isabella Blackett, Duchess of Buchan oil on canvas. Excel...

Pascual Bueno Ferrer (1930) Pascual Bueno Ferrer is a Catalan painter who has cultivated painting and drawing as a child. In 1956 he enrolled at the Sant Jordi Higher School of Fi...

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...

French Art Deco, oil on canvas, society female portrait by Dembinkski (probably Anton J.) Signed, dated and located (Paris) bottom left. In later wood and gilt frame. A charming and...

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...

Gazing at Lebanese American artist Sally K's floral portrait is consuming and empowering. Inspired by strong, feminine women, she creates pop-realistic paintings that speak to the energetic female experience; one of individuality and inherent strength in femininity. There are endless floral arrangements capping the mysterious visages of beautiful women, capturing attention through a celebration of floral abstraction and wild, fanciful coloration. Lavish in application and luxurious in composition, Sally K.'s work is inspired by pop art, culture, and fashion. This original 10-inch high by 8-inch wide acrylic on canvas board painting is signed on the front and back. It is unframed and requires framing for display. Convenient local Los Angeles area shipping. Affordable U.S. and global shipping also available. Provenance: Artspace Warehouse. A certificate of authenticity issued by the art gallery is included. Sally K was born in Ohio following her family’s emigration from Lebanon. Shortly after her birth, her family moved to Saudi Arabia, where she stayed until she was 14. Sally attended high school and college in Beirut, where she graduated with a BA in Fine Arts with distinction from the Lebanese American University of Beirut. In 2013, Sally and her family moved back to the United States and she now paints out of her studio in California. The focus of Sally’s portraits is contemporary women. Her style merges characteristics of abstract expressionism with realism and portrait painting to convey not just the beauty of women, but their confidence and strength as well. They are alluring, flirtatious, and demure with an inspiring femininity that Sally describes as the “sensuality, independence, and confidence you see in strong women.” Sally’s portraits of women are intensely personal. “The women I paint are an extension of me, of what I feel, how I process my surroundings, my thoughts, my anger, my pleasure. They’re the confident strong women that I strive to be. Sometimes tough and daring, sometimes shy and reserved, but always self-assured and determined; they represent what captivates me in other women; the qualities I admire, and strengths that I strive to gain.” Sally draws inspiration from photography, pop culture and fashion as well as artists ranging from the pop art of Willem de Kooning and Jackson Pollock to the gilded florals and figures of Gustav Klimt. Her highly regarded paintings have been featured in group and solo shows in Beirut, Dubai, Italy, and the USA. Notable collectors include Jesse McCartney and Kelly Clarkson. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2024 Affordable Art Fair, New York, NY 2024 Artspace Warehouse, Los Angeles, CA 2024 Affordable Art Fair, Austin, TX 2023 Artspace Warehouse, Los Angeles, CA 2022 “Identity with a Chance of Imperfection”, Artspace Warehouse, Los Angeles, CA 2022 “Saturate Euphoria”, Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York, NY 2021 “Splatters of Life”, Artspace Warehouse, Los Angeles, CA 2020 LA Art Show, CA 2020 Art Palm Springs, CA 2019 Affordable Art Fair Hong Kong 2019 Affordable Art Fair New York 2019 Artspace Warehouse, Los Angeles, CA 2018 "Colored Whipped Cream," Artspace Warehouse, Los Angeles, CA 2018 Threshold Art Gallery, Los Angeles, CA 2018 484 North Gallery, Laguna Beach 2013 Beirut Art Beat 2009 Lebanese Artists Association 2009 Gallery Surface Libre 2008 Lebanese Painters...

The suri tribe, an agro-pastoral people, resides in the west Omo zone of Ethiopia's Southern Nations and Peoples' region, known for their unique traditions, practices, including lip ...

Dynamic and abstract figurative artworks come to life through the hands of Amadou Opa Bathily, an artist deeply connected to movement. Born in Bamako in 1987, his journey into the wo...

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...

Joseph Lavos (Austrian, 1807-1848) Signed: J. Lavos (Lower, Right) " Memories of The Year 1840 ", 1840 (written on the note within the sitter's hand, translated from German) Oil o...

Giuseppe Molteni (Affori (Milano), Italy, 1800 - Milano, Italy, 1867) Title: Portrait of a Woman Medium: Oil on canvas Dimensions: without frame 67 × 55 cm - with frame 91.5 x 80 cm ...

The Flagellation of Christ, 17th Century Italian School Fine huge 17th Century Italian Old Master depiction of the Flagellation of Christ, oil on canvas. Excellent quality full len...

It all started when we both met years back. I loved you and you loved me too. Our love journey began and was full of joy, love, peace and happiness! You showered me with the love I ...

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 ...

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. "You always say don't start ...

This impressionist painting by Virginia artist Walter Biggs captures a moment of quiet strength and familial connection. A seated man rests outside with his hat in hand, while a youn...

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

Painting was attributed to Jean-Baptiste Marie Huet (1745 - 1811) by Cabinet Turquin (France). A cute scene with children tying a ribbon around the neck of a young lamb. Rococo in th...

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...

Mid 19th Century oil on canvas portrait of an Italian brigand, unsigned, in painted wood and gilt frame. The painting is a fine and fascinating rendition with plenty of wonderful character and detail to the costume, accessories, landscape and seascape. Very atmospheric and imposing much like the character it portrays. There is a trade stamp to the back of the canvas for the Paris firm of Susse Freres. The canvas is on a fine quality stretcher with 'keys'. There is an artist's name or title written on the top of the rear stretcher (see photo). Bands of brigands who populated the hills of southern Italy were steady fodder for the Romantic imagination, and their exploits were reported both factually, fancifully and artistically The painting dates from a period when France, under its then leader Napoleon III, was involved in the conflicts in the Italian states and the unification and eventual creation of the nation of Italy. An earlier and similar portrait exists of the infamous brigand Mazzocchi by Achille-Etna Michallony . Léon Cogniet...

A beautiful full portrait of two girls, possibly the artist's daughters, with spring flowers by British American artist Hamilton Hamilton (1847-1928). Hamilton was born in Oxford, En...

Hunting dogs and a deer, British oil painting Richard ANSDELL 19Th c Description Title: End of the run Materials: oil on canvas Signature: not signed Provenance: private collection...

18th to 19th Century English Oil Portrait Original oil on canvas Canvas dimensions 26" wide x 34" high The frame measures 31.75" wide x 39" hig...

"Reflective Moments" by Derek Harrison (US based) is an original oil painting that depicts the back of a nude model in front of a mirror. Derek Harrison is a representational paint...

Henry William Pickersgill, attributed to (London 1782 – London 1875) Portrait of Captain Samuel Wright Oil on canvas H. 92 cm; L. 73 cm Circa 1810/1815 Provenance: – Brother of the ...

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...

ATTRIBUTED TO LAUREANO BARRAU Spanish, 1863 - 1957 UNDER THE PARASOL unsigned oil on canvas 35-1/2 x 26 inches (90 x 66 cm.) framed: 44-1/4 x 35-1/2 in...

Oil on canvas Signed in black, u.l. This artwork is offered by ClampArt, located in New York City. Price includes framing. “Bruce Sargeant is a mythic figure in the modern art move...

A pastel blue convertible with a bold red top stands out against the vast desert. Beside it, a couple shares a quiet moment, their conversation hinting at an untold story. A weathere...

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 Adebayo Taiwo, ...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

* No US duty or taxes to pay on this item * A beautiful 1930's English impressionist oil on canvas depicting a nude lady seated on a chaise longue. Very good quality portrait of th...

Rene Genis (French 1922-2004) “Enfant A La Collarette” The Child in the Collart. Portrait of a disturbing young man with a rather defiant, petulant look in his expression. Dark eye...