Oil Portrait Paintings

Ron Hick's (US based) "Axiomatic Appeal" is an original, handmade oil painting that depicts an impasto rendering of a male figure with dark hair and an abstracted background. Ron Hi...

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

A beautiful oil study of a Turkish performer playing folk music on the Oud. The lady wears an elegant wrap skirt with floral motifs, matched with a colourful waistcoat and silk blous...

A delightful head and shoulders portrait of a young boy in a white collared shirt and buttoned brown jacket. Presented in a textured gilt-effect frame with internal slip. Indistinctl...

Les Jeunes danseurs- The Young dancers

Closeup lips and pink

A charming Autumnal still life showing horse chestnuts, pears, currants, grapes and plums. The artist has signed to the lower right and the painting has been presented in a contemporary gilt frame with crossed...

In this dynamic self portrait, the artist captures himself sporting a yellow bobble hat. The yellow is reflected in the striking background of pink strikes and yellow circles. Unsign...

Sybil, 18th Century Italian School - After Guido Reni Large 18th Century Italian Old Master depiction of a Sybil (Apollonian Oracle / Prophetess), oil on canvas. Beautiful quality ...

The raven is often thought of as a connection between the spiritual and physical world. In this painting, a wise young girl holds a raven in her hands up to her eye as if searching for some great meaning. A clock and a burning candle in the foreground suggests a symbolic connection between the two. The peaceful mountain landscape...

Incredible quality American school portrait painting. Oil on canvas. Framed. No signature found.

CAROLINA GOMEZ Emerald from the Mirror Stone series (Portrait Painting - Hedy Lamarr) 60 x 48 inches - Unique OIL ON CANVAS Carolina Gomez’s works have be...

Portrait of a lady wearing a white gown with a red cloak, pearls in her hair and draped over one shoullder, standing beside a classical urn with a basket of flowers, c.1765. The portrait is believed to be a companion portrait of a John (1741-1816) or James (1751-1807) Durno which is housed in an identical frame. The sitter is possibly either the wife of John who was Janes Byres of Stonywood or John and James's sister Elizabeth. (James never married). The Durno family were based around the Aberdeen area of Scotland and John was an advocate in the area and then later a customs official in Jamaica. James was a successful timber merchant, spending time in the Baltic before being made His Majesty's Consul in Memel, Prussia. The portrait is likely to have been painted before Tilly travelled to India in 1768, when John, Jane and Elizabeth would have been in their twenties. We are gtrateful to Mark Beattie for sharing his family knowlege and research on the portrait. Provenance: With W. C. Beattie in the mid 19th century, and by descent through the family Private collection, Kent With thanks to Hugh Belsey who has confirmed this to be the work of Tilly Kettle from photographs. Tilly Kettle (1735-1786) was born in London, the third of six children by Henry Kettle (c.1704-c.1773), a coach painter, and his wife Ann. He attended William Shipley...

In this mixed media 24"x24" painting, 'Meme Money 007: Green Goochi,' by XVALA, the artist colorfully plays with the 'Gucci' brand in tandem with the childhood cartoon series, SpongeBob. SpongeBob, as a green 'Goochi Sponge,' takes center stage with a green letter pattern on the canvas background. The work is a screen print with additional painting and iridescent oil stick by the artist with predominant colors of green and gold. XVALA's art illuminates the hidden fallout spawned from our high tech Internet age. His 'Fear Google' campaign exposed the decay of privacy and No Delete used hacked nude celebrity photos to highlight loss of control over personal information. The artist has worked with trash from the homes of Mark Zuckerberg, Steve Jobs, and others, as well as dirt from the graves of George Orwell and Aldous Huxley. The dirt appears in the New World Order collection as part of a pyramidal, 3D printed, living ant farm...

A delightful Victorian portrait of an elderly woman in a darkened interior. She wears a laced cap that attaches under the chin and looks down at the bowl of seashells...

Portrait of Bishop Gaspard Mermillod is an original artwork realized by an artist belonging to the Roman School of 19th Century. Mixed colored oil on canvas. The bishop depicted in the painting examined here, as suggested by the coat of arms represented at the top left, is the Swiss Gaspard Mermillod, born in Carouge on 22 September 1824. Mermillod is known to have been one of the most active representatives of social Catholicism and one of the eminent personalities who formed in Rome that "select committee" set up in 1882 by Pope Leo XIII...

JUST ARRIVED January 2025 The Streets of Barcelona 1 Impressionism Cuban Artist Oil on Canvas Spain 29" x 20" gallery wrapped . This is Streets of Barcelona series that Cristian ...

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 ...

Stuart Bolton, British b. 1943 signed oil on board, framed framed: 34 x 23 inches board : 30 x 20 inches Provenance: private collection, UK Condition: very good condition For more a...

This painting shows a girl with a juggling ball in her hand. Her image includes both coldness and vulnerability. Thanks to her ball, she juggles her life.

Portrait of Lady is an original oil on canvas artwork realized by Carlo Socrate (1889-1967) in 1930. A beautiful portrait of a woman by one of the major exponents of the association of painters that came to be known as Scuola Romana (Roman School). Very good conditions. Collect a masterpiece of the XX century. Carlo Socrate (Mezzana Bigli -Pavia 1889 – Rome 1967) He is the son of actors and lives in Argentina until the age of nine years. Once returned to Italy, he begins attending the Free School of the Nude and in 1914, he goes to Rome, where a year later he would study at Villa Strohl-Fern. In 1917, he worked for the company, Ballets Russes by Diaghilev; he also collaborated with the scenography for Las Meninas and prepared the scenes for Les femmes de bonne humeur (The Good Humored Ladies) by Léon Bakst. During this period, he meets Picasso, whom he follows to Paris, collaborating with him on scenes from Parade. During his stay in Paris, he meets Derain and other exponents of the cultural environment. With Picasso, he visited Barcelona and then Madrid where, together, they visited The Prado Museum. In 1918, at the Casina Valadier on the Pincian Hill (Rome), he exhibits his Still Life with a Dish of Apples and Onions, which arouses perplexity in the Roman environment for his personal rare “neoclassicism” but at the same time, attentive to European situation in those years. After Portatrice di Frutta (Fruit Carrier) (1924), which is one of his masterpieces, he exhibits i Cacciatori (The Hunters), a very challenging painting, at the “Novecento Italiano...

Series: Abstract Oil Enamel Paint on Canvas I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that ...

Unsigned. On unstretched canvas.

Oil on canvas Signed in red, u.r. 9 x 8 inches, canvas size 9.5 x 8.5 inches in distressed black painted wood frame This artwork is offered by ClampArt, located in New York City. ...

This portrait of a clown by Maurice Kish is part from a series of carnival figures, circus clowns and carousel horses and riders that he did in the 30s and 40s. The artist uses a vib...

Portrait of a little girl with a ball of thread. Oil on cardboard, 46x40 cm

Certificate of authenticity and artist catalogue are included. Bruno Paoli (1915-2005) Teaching the masters helped create this contemporary master. Bruno was a professor of art in F...

Self-Portrait with Angel (2) by John F. Leonard, American (1921–1987) Date: circa 1970 Oil on Board Size: 22 in. x 18 in. (55.88 cm x 45.72 cm)

This fine late 19th-century oil painting by Italian artist Giovanni Rota (1832-1900) depicts a cheerful young lady looking back over her shoulder with a straw hat and lilac ribbon. ...

Modernist Portrait of St. Francis Compelling modernist oil on canvas portrait of St. Francis by Dr. Tarmo Pasto (American, 1906-1986). Presented in a taupe painted wood frame. Signed "Tarmo Pasto" bottom right, and titled "St. Francis" bottom center. Image size, 25.5"H x19.5"L. Dr. Pasto was a long-time contributor to the California art scene, as well as an art teacher and psychologist to many successful artists. He also authored a book on art, "The Space-Frame Experience in Art", published in 1964. He, however, was mainly known to the world for introducing the works of one of his patients, Martin Ramirez...

Helene Marie Margueite Perdriat (French, 1894-1969) Signed: Helene Perdriat (Lower, Right) " The Catch ", c. 1920 Oil on Canvas 39 1/2" x 32" Housed in a 3" Stepped Frame Over...

A charming oil study depicting two figures standing by the tall ionic columns of what appears to the the British Museum. Signed to the lower right and inscribed 'triptych' to the rev...

Edward Lee Reichert (1919-2011) Texas Artist Image Size: 18 x 24 Frame Size: 23.25 x 29.25 Medium: Oil Dated 1976 "J. Frank Dobie at Paisiana Biography Edward Lee Reichert (1919-2011) Edward Reichert, architect, designer and artist, is a native Texan who has combined regional, national and international study and practice of the visual art and architecture since 1936. He is a versatile artist and designer, skilled in creating quality landscapes, portraits, architectural, western, religious and varied work in all media. After 36 years of architectural practice based in Houston in which he was involved in the design of more than 400 regional and international projects, he now devotes full time to painting. Best known of his art works are his designs of stained and faceted art glass which include 100 panels designed for the First United Methodist Church of Houston. In 1983, he wrote and jointly published with the Church, Windows Sharing God’s Caring, an art book with photographs by his wife Elizabeth, illustrating and describing these panels and the historic sanctuary windows. While attending The University of Texas in Austin he served as art editor of the university publication Architecture, Engineering and Industry (1938-41). After receiving his Bachelor of Architecture Degree and the Alpha Rho Chi Architectural Medal in 1941, he was awarded scholarships for continued studies a M.I.T., Harvard, and Yale. As a Naval Reserve Officer during World II, he authored and illustrated Naval Intelligence publications. He became a Registered Architect in Texas in 1947, AIA member since 1951 and NCARB certified since 1974. He has worked and studied in England, Europe and Canada. Invitational study and travel with Master Painter, Lajos...

This striking oil on canvas portrait, titled "Студентка" ("Student"), is the work of A. Morozov-Ussuriysky, a Russian artist known for capturing psychological realism and elegant, po...

Eastman Johnson John Van Schaick Lansing Pruyn, 1883 Initialed and dated lower left Oil on canvas 28 x 18 inches For many years the foremost genre painter in the United States, Eas...

Hans Zatzka (8 March 1859 – 17 December 1945 Young Lady With Cupid in The Park Oil on canvas circa 1880 signed low with pseudonym C.BRIAND Old Frame gilded with leaves Size canvas : ...

Abstract Figure is an original contemporary artwork realized by the artist Behçet Safa (1934-2018). Mixed colored oil on canvas. Hand signed and dated on the back.

Step into a world of serenity and natural beauty with "Three Bathers," a captivating vintage 1940s oil painting on board by renowned Colorado artist Morgan Wagner. This exquisite art...

A stunning portrait of Mr John Gilbert. This original oil on canvas was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A fine portrait, it is in excellent condition and framed in the original period frame. This is a fine painting by a noted Australian listed artist. Signed right. Provenance. Exhibited at the Paris salon 1929. Condition. Oil on canvas in very good condition, image size 40 inches by 30 inches. Housed in its original gallery frame, 47 by 37 inches framed. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne. He was the third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

Wild Mane by William Joseph Verdult (Dutch, 1939-2016) signed oil painting on canvas, framed framed: 19 x 23 inches canvas: 16 x 20 inches condition: very good provenance: private co...

Rachel is a portrait done by Lucas Bononi who was born in South America and moved to the USA to study art. He graduated from The Grand Central Atelier...

At the heart of "Shadows and Diamonds," we encounter the theme of shadows. John ingeniously uses shadows to represent the obscured aspects of our individuality, the parts of ourselves that are hidden from the outside world. These shadows can be seen as the unexplored depths of our personality, our fears, or our secrets. The young man in the artwork seems to embrace his shadows, suggesting a willingness to acknowledge and confront those hidden aspects of his being. By portraying shadows as an integral part of the artwork, John challenges us to embrace our own shadows and accept them as essential components of our identity. The shadows in "Shadows and Diamonds" serve as reminders that the multifaceted nature of human existence is not limited to what is visible on the surface but extends far beyond, into the realm of the intangible and the mysterious. While shadows represent the hidden aspects of self, diamonds in the artwork symbolize the facets that shine through, the qualities and characteristics that we choose to reveal to the world. Diamonds are known for their brilliance and sparkle, and in "Shadows and Diamonds," they represent the positive attributes that we proudly display to others. They symbolize our achievements, our talents, and the qualities that make us unique and valuable. Through the juxtaposition of shadows and diamonds, John invites us to reflect on the delicate balance between revealing and concealing different aspects of our identity. The young man's beaded necklace, adorned with diamonds, suggests a celebration of self-discovery and the courage to embrace and showcase the diverse elements that constitute our true selves. In addition to the symbolism present within the artwork, Makama John...

Ettore Tito (17 December 1859 – 26 June 1941) was an Italian painter known for his significant contributions to the Venetian school of painting. Born in Castellammare di Stabia, near...

Karen Offutt approaches Britany the Contender 20" x 16" oval , oil on panel with an atmospheric sensitivity combining shape, tone line, and color. Brittany shows the strength in the...

"Joint II" - Contemporary figurative oil painting of a couple lying together on a bed by Chelsea Gibson Medium: Oil on linen Size 32 x 48 inches. Offered unframed. "Joint II" i...

Lombard School of the 17th century St. Joseph with Flower Stick Oil on oval canvas 92 x 70 cm. In antique frame 106 x 85 cm. The work shows us an intense image of St. Joseph, portrayed according to the classical iconography that sees him as a mature man holding in his hands a staff from which lilies bloom, symbol of the Virgin's purity. This iconographic attribute also alludes to his figure as God's chosen one as Mary's future husband. According to the apocryphal gospels, the Virgin had grown up in the Temple of Jerusalem, following a monastic lifestyle, and when she reached marriageable age, each of the suitors was given a dry branch...

Hunt Slonem "Cloud 9" White and Blue Mottled Bunny A single rabbit gestured in black on a mottled white and blue background in a vintage frame Unframed: 10 x 8 inches Framed: 14.5 x...

Vintage impressionist oil painting by Pierre Eugène Duteurtre (1911 - 1989). Oil on canvas, circa 1970. Signed. Displayed in a period frame. ...

Double-sided oil painting on panel Price includes $200 additional cost of framing. This work is offered by ClampArt in New York City.

Binche is in the Belgian province of Hainault and it was here that Louis Buisseret was encouraged to pursue his love of painting and drawing by his parents. He began his studies at t...

Signed and dated "N MAE / 1691" (lower right) Oil on canvas A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. The work was composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam. Fashionably styled, Portrait of a Noble Lady exemplifies the mature style of Maes, executed with the same artistry and attention to detail he imparted on his most important private commissions. This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with a technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Antique Oil Painting on Metal – 19th Century Miniature Artist: Unidentified Medium: Oil on Metal Dimensions: Framed: 19 x 17 cm Artwork: 10 x 6 cm Style: Classical / Romanticism / M...

Charming portrait of a young girl with red hair wearing a typical mid-century frilly dress and high-cut bangs, by an unknown artist (American,...

This wonderful original work painted in France Circa 1890. It is a rare scene of a French 19th Century Opera House. The painting is unrestored and ...

Portrait is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Not signed. On the back a portrait of a man. Don't miss thi...

Modern unfinished portrait of handsome man in dress uniform by American painter, Patricia Gren Hayes (b. 1932), circa 1970. Unsigned. Provenance: Purchased as part of larger collection of artist's work from the estate of Larry Miller Unframed. Canvas size: 30"H x 36"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkel...

Fine 19th Century Oil on Canvas Portrait of a Young Woman in large gilt gesso frame .unsigned. Identity of the sitter as yet unknown. The artist has managed to capture her ethereal b...

Antique American modernist portrait oil painting. Oil on canvas. Framed.