Early 20th Century Portrait Paintings

Follower of Ambrose McEvoy Circa 1910 Portrait of a Lady Oil on canvas Image size: 20 x 16 inches (51 x 40.5 cm) Original ebonised Frame A stunning portrait of a lady with flami...

An original oil on canvas on panel by Sir James Jebusa Shannon. The portrait dates to the Edwardian period and depicts a bold British Impressionist painting of a beautiful young woma...

This piece is a pertinent example of Martha Walter's most precious oil portraitures. Her use of the pallet is effortless with bold brushwork, strong executions, and soft details. Wal...

Oil on canvas sold with frame Total size with frame 89x102 cm Hannes FRITZ-MÜNCHEN is an artist born in 1886 and died in 1981

Work on paper Ed: 24/100

Oil painting on panel portrait of an American eskimo dog 20Th c. The American Eskimo Dog is a breed of companion dog, originating in Germany. The American Eskimo Dog is a member of ...

This lovely Art Deco portrait oil painting is by noted British artist James P Barraclough. Painted circa 1923 it is a seated portrait of a young woman holding a book on her lap. She is wearing a blue satin dress with lace cuffs and collar and is gazing warmly at the artist and viewer. The illumination on her features is superb. A lovely Art Deco period oil portrait...

⭐ French School - PS 246 Ou veux tu que je regarde ⭐ Portrait of a woman sitting on the beach with balloon from Banksy Technique: oil, acrylic, and ink on old book pages on wooden ...

This lovely British Edwardian Impressionist portrait oil painting is by noted artist Percy William Gibbs. Pained circa 1910 it is a head and shoulders portrait of a gentleman in a da...

Portrait of an Elegant Lady original pencil drawing on paper by Marjorie Schiele (1913-2008) *see notes below piece of paper is 9 x 6 inches In good c...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

Artist/ School: French School early 20th century, signed 'Guy Rose' to the lower left corner. Title: Couple in a rowing boat on a lake within a landscape; v...

French North African early 20th-century Impressionist, Fishermen coming ashore with their daily catch. André Humbert was born in Paris on the 27th of November. He was a student of t...

Antique illustration of a golfer getting out of a sand trap by well listed illustrator Leslie Saalburg whose work appeared in Vanity Fair and Esquire.

A superb portrait oil painting by noted British Newlyn school artist Harold Harvey. Painted in 1922 the sitter is Clara Matthews. A full length portrait, Clara is set in a landscape and holding a rose. In several of Harvey's portraits his female sitters...

Como pueden apreciar, la obra va firmada por el artista en la parte inferior (A.GROSZ) Se presenta enmarcada la obra (el marco presenta algunas faltas) El estado de la obra es buen...

This superb vibrant Oriental Post Impressionist oil painting is by noted British artist Gerald Spencer Pryse. It was painted circa 1925 when Pryse first visited Morocco. He was so en...

Portrait of Man by Maurice Georges Poncelet (French, 1897-1978) oil painting on board, signed initials - datedf 1929 11 x 14 inches condition: overall good and sound though a little ...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, 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 the 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...

Antique English oil on canvas portrait painting, circa 1900. A very handsome Impressionist portrait of a youthful lady in Edwardian dress. Oil on canvas, signed to the upper left "F ...

This charming oil on canvas Impressionist painting is by British artist Philip Wilson Steer and has excellent provenance. The painting is circa 1920 and of a demure seated nude young...

An original oil on canvas by the British listed artist Darsie Japp. It was painted circa 1930 and depicts two woman at a table having a drink. A very evocative inter war oil painting. Provenance. James Bourlet Framers. Sotheby 12.11.86. Condition. Oil on canvas, 28 inches by 22 inches unframed and in excellent condition. Housed in a gallery frame, 36 inches by 30 inches framed in good condition. Darsie Japp (1888-1973) was born in Liverpool and attended St John's College of the University of Oxford. After he graduated he worked in the offices of his father's shipping company in the City of London between 1904 and 1907. Whilst working in the City Japp studied at the night school of the Lambeth School of Art under Philip Connard. Japp studied at the Slade School of Art between 1908 and 1909, where he became friends with his fellow student Stanley Spencer and would often visit him in his home at Cookham in Berkshire. Japp specialised in landscape and figure paintings and exhibited with the New English Art Club of which he became a member in 1919. At the start of the First World War Japp joined the British Army and, eventually, became a Major in the Royal Field Artillery commanding an artillery battery in Macedonia, for which he was awarded the Military Cross...

A fine watercolor portrait of a girl with a red wide brim hat and dress by American artist Lee Lufkin Kaula (1865-1957). Kaula was born in Erie, PA ...

Portrait of a Lady with Earrings French School, early 1900's oil on board, framed framed: 16 x 12 inches board: 13 x 9.5 inches provenance: private collection, France condition: very...

‘La Couronne de Marguerite’ by Édouard-Louis-Lucien Cabane (1857-1942). Academy Fine Paintings is fully conversant with the latest US Government import duties and the legal exempti...

Exuberant gouache portrait of a smiling auburn haired female by French erotic artist Carlo Charléno, circa 1930. Signed lower right. Original vintage ...

A wonderful landscape reminiscent of the great American artist Camille Carrot done. The details are masterfully done with beautiful brush work and wonderfully rich and lush color pal...

This lovely British Victorian Pre-Raphaelite portrait oil painting is by Royal Academy artist Sir William Blake Richmond. Painted circa 1900 it is a stunning example of his work with...

Portrait of a woman. Sketch, oil on plywood panel. Minor soiling. 32.5 x 41 cm

This stunning Scottish 1920's self portrait oil painting is by noted Scottish female artist Helen Mackenzie. Painted circa 1929 the composition is the head and shoulders of the artis...

Gabrielle Rainer Istvanffy was a Hungarian painter of animal paintings. Her chosen subjects were mostly dogs and cats and mostly white and off-white breeds. This piece is a very pretty and cute painting...

Hugo Scheiber (1873-1950) was a Hungarian painter of Jewish origins. He started as a self-taught artist. He was initially inspired by Impressionism before evolving towards Expression...

This early 19th century portrait depicts Ursula Margaret Nutt and Richard David Nutt as children. The infants are depicted against a vast landscape as they ...

A delightful 20th Century Italian school portrait depicting a older lady dressed in a chequered mustard coat and blue head scarf. Well presented in a simp...

Early 20th Century Likeness of Jack London Wonderful portrait of a gentleman with a striking likeness to Jack London by Robert Alexander Graham (American, ...

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...

Illustration by Grattan Condon for the February 8, 1930 Saturday Evening Post story entitled "Wide-Open Throttle" by A.W. Somerville, which appeared on page 56. The tension between ...

Dick Beer (b. London 1893 - d. Stockholm 1938) Portrait of Gabriele Varese (in Italian uniform), 1919 oil on canvas mounted on panel 116 x 90 cm stamp signature Exhibited: Solo exhibition, Stockholm, Nov-Dec 1917; The Royal Academy Stockholm 1973; Åmells Konsthandel – En internationell kubist, Stockholm & London 2008 Hälsinglands Museum 2011 Millesgården – Dick Beer – Impressionist & Kubist, 2012 Provenance: Within the family Beer until today Dick Beer was born in 1893 in London as Richard Beer, the youngest of five brothers. His father, John Beer (1853-1906), was a watercolourist who was born in Stockholm and had left Sweden at the age of 17. John Beer instructed his sons in drawing and painting, among other things. A number of sketchbooks bear testimony to the boys’ talent. Dick Beer’s parents died in 1906 and 1907. Barely 15 years old, Beer arrived in Sweden as an orphan. First he lived with relatives and finally he ended up at Reverend Laurell in Västergötland. Dick Beer began his artistic studies at the Althin School of Painting in Stockholm in 1908 and continued at the Royal Academy of Arts in the autumn of 1910, but in September 1912 he broke off his studies and travelled to Paris. He rented a studio and enrolled at the Colarossi and Grande Chaumière academies. In the summer of 1913, Dick Beer travelled to Pont-Aven in Bretagne in order to paint. In September the same year, he held his first solo exhibition in Stockholm which he gave the French title Exposition des tableaux de Bretagne et autour de Paris. The exhibition proved a success. Many of the paintings were executed in a light palette in a style inspired by the impressionists. In 1914, Dick Beer undertook an extensive study trip to Italy, Tunis, Morocco and Spain, which resulted in canvases overflowing with colours and light. When the French army mobilised, he volunteered and was enlisted in the French Foreign Legion. In 1915 Dick Beer sustained severe head injuries in a grenade attack, which resulted in deafness and a nervous condition that would plague him for the rest of his life. Two of his brothers died the following year, fighting for the English army. Dick Beer was hospitalised and convalesced at Château de Rochefort. Here he started painting again, in an impressionist style, a painting dominated by blue and green hues. In 1918, Dick Beer married Ruth Öhrling, a dentist, and their son John was born later in the year. During this time, Beer began experimenting with cubist painting and created several large compositions, including the painting “The Arab Café”. In the years that followed, Dick Beer was based in Paris, where he often moved house. He was instructed by André Lhote, who encouraged his students to work freely in the studio and provided them with individual critique. Beer often travelled to Bretagne or Provence. His artist friends came from all over Europe and included Amedeo Modigliani. Dick Beer exhibited fairly regularly in Paris between 1919 and 1934 and made a name for himself in French artist circles. In the summers, Ruth regularly rented a house in the countryside, often at Lake Mälaren. She kept a large house with many models and friends and there was a lot of painting and discussions. In 1933, the couple divorced but Ruth still loved Dick and continued to support him financially for the rest of his life. Dick Beer also exhibited in Sweden, albeit irregularly due to his failing health. In the 1920s and 1930s, Beer continued to pursue an expressionist painting with intense colours and unexpected perspectives, but eventually he veered towards more naturalistic forms, including a large number of nudes. He also painted several portraits of artists, politicians and writers. In 1938, Dick Beer sojourned in Arles. The budding photographer Christer Strömholm...

Mathias Alten (German/American, 1871-1938) Signed: M. Alten (Lower, Right) " Nude Dancer ", circa 1925 Oil on Canvas 42" x 32" Housed in a 3" Carved Ne...

Auguste-Joseph Delécluse (Roubaix 1855 - Paris 1928) Portrait of the artist's son, Eugène Delécluse Oil on canvas H. 98 cm; W. 116 cm Signed lower right 1903 Exhibition: 1903, Salon...

This striking British Edwardian religious oil painting is by noted artist Francis 'Frank' Owen Salisbury or Frank O'Salisbury as he is largely known. Painted in 1911 it is a figurative landscape of soldiers on the battlefield. The two central characters, the 'Christian Soldiers' from the early crusades have halos and ride through the chaos on white horses. Shafts on light with angels illuminate them and also a crucifix. A very powerful Edwardian religious oil painting and an excellent example of O'Salisbury's work. painted in oil and illuminated in gold leaf. Signed and dated with monogram lower right 1911. Provenance. From Castle of Park, Aberdeenshire. A version of this painting was exhibited at the Royal Academy London in 1911 entitled the Passing of War. Condition. Oil on canvas, 36 inches by 24 inches unframed and in good condition. Frame. Housed a complementary frame, 44 inches by 32 inches framed and in good condition. Francis ("Frank") Owen Salisbury (18 December 1874 – 31 August 1962) was an English artist who specialised in portraits, large canvases of historical and ceremonial events, stained glass and book illustration. In his heyday he made a fortune on both sides of the Atlantic and was known as "Britain’s Painter Laureate". His art was steadfastly conservative and he was a vitriolic critic of Modern Art – particularly of his contemporaries Picasso, Chagall and Mondrian. His father, Henry Salisbury, described himself as a "plumber, decorator and ironmonger" (his mother was Susan Hawes), yet his son Frank would become one of the greatest society artists of his generation. One of 11 children, Salisbury was such a delicate child that he was educated at home, in the main by his student teacher sister, Emilie. He had only a few weeks formal schooling and began work by repairing bicycles at his father’s Cycle Depot in Harpenden. Uncertain as to his ability to find and maintain a job, the family determined that he be apprenticed, at the age of 15, to Henry James Salisbury, his eldest brother, who managed a major stained glass company in Alma Road, St Albans. He rapidly acquired all the practical skills of a stained glass artist and exhibited exceptional skills in the painterly detail that was applied to glass before its final firing. This led to his brother sponsoring him to attend Heatherley’s School of Art three days a week to further a career in painting. He then won a scholarship to the Royal Academy Schools which he attended for five years and where he won two silver medals and two scholarships, including the Landseer scholarship which funded his to travel to Italy in 1896. In due course he would have seventy exhibits accepted for the annual Royal Academy Summer Exhibitions, from 1899 until 1943, though he was never offered membership, which reportedly disappointed him very much. In 1901 he married Alice Maude (d. 1951), daughter of C. Colmer Greenwood, with whom he had several children, including twin daughters Monica and Sylvia. His first Royal Academy exhibit was a portrait of Alice and he often painted pictures of their children. It is for portraiture that he is best known. His speed in producing portraits stemmed from his painting his own twin daughters every morning for an hour and his career began with child portraiture and his painting the Hertfordshire gentry and members of the Harpenden Methodist Church. He had a studio at his home, Sarum Chase. A providential meeting with Lord Wakefield, founder of Castrol Oils and a Methodist philanthropist, saw his introduction to society portraiture. Salisbury’s being selected to paint the Boy Cornwell in the Battle of Jutland then brought him to the notice of Royalty. Lord Wakefield then arranged for him to paint President Woodrow Wilson whilst he was in London, but Wilson departed for Paris and the opportunity was lost. It was to be John W. Davis, American Ambassador to London, who encouraged Salisbury to go to the USA; Davis had met Salisbury at art receptions and had admired his child portraits. Twenty-five members of the Royal House of Windsor sat for Salisbury and he was the first artist to paint HM Queen Elizabeth II. In 1919 he painted a mural for the Royal Exchange, London National Peace Thanksgiving Service on the steps of St Paul’s Cathedral, 6th July 1919. He painted Winston Churchill on more occasions than any other artist; the two iconic images of Churchill – The Siren Suit and Blood, Sweat and Tears are both Salisbury images. Mayoral regalia was a ready made requisite for the Salisbury style with Councillor Sam Ryder (of Ryder Cup fame) as Mayor of St Albans being the most famous of his civic images. Other significant portraits include those of Richard Burton, Andrew Carnegie (posthumous), Sir Alan Cobham, Sir Robert Ludwig Mond, Maria Montessori...

Erte (Romain de Tirtoff) Russian/French 1892-1990. "Les Rois de Legendes #24 Musicien" The Kings Of Legend #24 Musician. A beautiful, original gouache and ink piece (this is not a ...

Excellent figurative painting of a mother and child by H. Willard Ortlip (American, 20th Century), 1927. Signature and date lower left "H. Willard Ortlip 1927." Presented in a giltwo...

This charming early twentieth century Post Impressionist portrait oil painting is by British Jewish female artist Amy Julia Drucker. Of German descent, Drucker was born in England i...

Antique American impressionist seascape signed oil painting. Oil on canvas. Signed. Framed. Image size, 14L x 11H.

This lovely portrait was painted circa 1920 by the noted British Impressionist portrait painter Walter Ernest Webster. This painting depicts a beautiful young woman in an Impressioni...

Work on canvas

A charming coloured etching of a European lady, wearing a white headscarf and pink shawl. The sitter stands with her arms folded, gazing to left with a subdued smile. The artist's et...

A large, original portrait of Clarissa. It depicts Olive Groves as Clarissa in Lionel and Clarissa at the Lyric Theatre in Hammersmith in 1926. Given to Olive Groves in 1966 by Sir G...

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...

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

framed sight size 10 x 13.5 inches painting, framed to 15 x 19. Impressionistic Realistic portrait of an older rabbi visiting the marketplace. Children playing. Here the artist conveys a sense of quiet grandeur through the eyes of his subject and the way it's rendered. following a distinguished lineage of Jewish genre...

Mein Sammlungsschwerpunkt vor Galeriegründung war (und ist es bis jetzt) die Kunst der Neuen Sachlichkeit und die ist vor allem ein deutsches Thema. Mich fasziniert der kühle und dis...

19th Century Miniature Painting of Five Sisters by Vincenzo Castelli. Signed. Italian - 1789-1845 2.75 x 2.25 x 5.25

This superb British Edwardian Impressionist portrait oil painting is by noted portrait artist James Jebusa Shannon. Painted circa 1906, oil on panel and part of a family collection, it is a half length portrait of a blond lady in lace which is depicted with bold, free brushwork. This is a stunning Edwardian portrait by a much sought after artist, housed in a superb period gilded oak frame. Provenance. Family collection. Condition. Large oil on panel, 30 inches by 20 inches unframed and in fine gallery condition. Housed in a stunning gilded oak frame of the period, 40 inches by 30 inches framed and in good condition. Sir James Jebusa Shannon RA (1862–1923) was an Anglo-American artist. Shannon was born in Auburn, New York...

Evocative portrait of Scottish gentleman by David Nicholas Ingles Ingres ARHA (Associate member) (Scottish, 1888-1933), circa 1920. Signed lower rig...

This superb Art Deco portrait oil painting is by noted Scottish artist Cowan Dobson. Painted in 1923 it is a really light and bright portrait of a young boy. The light catching his white shirt and face illuminate him beautifully as his blue eyes gaze at the artist/viewer. The brushwork, for example on his hair and shirt are superb. This stunning portrait is finished off in a gorgeous original frame. A excellent example of Cowan Dobson's work. Signed and date (19)23 lower right. Provenance. Scottish estate. Condition. Oil on canvas, unframed size is20 inches by 16 inches and in good condition. Frame. Housed behind glass in a beautiful ornate gilt frame. Framed size is 28 inches by 24 inches and in good condition. David Cowan Dobson (1894–1980), referred to as 'Cowan' Dobson ARBA (1919), RBA (1922), was a leading Scottish portrait artist of his day. Dobson was born in Bradford, Yorkshire, the second son of the Scottish portrait painter Henry John Dobson (1858–1928).Dobson started his career in Scotland. He was educated at George Watson's College in Edinburgh and studied art in Edinburgh, London and Paris. In 1918 he was using his father's studio at Dalry. Around 1920 he moved to London and from then on he worked and resided mainly in London. Occasionally, he would work in and around Glasgow. He is said to have rented Kenmure Castle, in New Galloway, Kirkcudbrightshire, in the 1930s and 1940s to entertain and paint fashionable sitters. Dobson mainly worked in oils but also painted some fine water-colour scenes. He painted in the tradition of the academic nineteenth century with mostly a rather darker colour scheme, while his brother Henry, influenced by the Modernist movement in Edinburgh, painted more colourful portraits. Although he painted some fine portraits of well known men, like Earl Attlee, Earl Beatty and Harold Wilson, Dobson also portrayed "fashionable London ladies". Dobson was married to Phyllis Bowyer, who was the brains behind his financial success. She made Dobson one of London's leading society portrait painters. She herself sat for the photographer Alexander Bassano, the resulting portrait now being at the National Portrait Gallery, London. During World War I, Dobson was commissioned by the Royal Air Force section of the Imperial War Museum to paint portraits of three recipients of the Victoria Cross. Dobson painted portraits of Lt. Col. L.W. Brabazon Rees, Sgt Mottershead and Flight Lt. A.W. Beauchamps-Proctor. Dobson first exhibited at Royal Academy when aged only nineteen and began showing at the Royal Scottish Academy four years later. Dobson's works were also exhibited at the Royal Society of Arts, Royal Society of Water-colourers, Royal Society of Portrait Painters, Royal Society of British Artists, Royal Cambrian Academy, Fine Art Society and at the Walker Art Gallery in Liverpool. Dobson enjoyed significant commercial success and thirty-six of his paintings, almost all portraits, are held in UK public collections including Glasgow Museums, The National Galleries of Scotland, Imperial War Museum, Paisley Art...

This stunning French Victorian portrait oil painting is by noted exhibited female artist Jeanne Rongier. This delicately detailed portrait is of the head and shoulders of a beautiful young woman, gazing to her right. Painted from a low vantage point looking up, the background is a superb canopy of illuminated green and yellow leaves with the light shining through them and all around her. Her dark glossy hair against the light drenched leaves is beautiful in a very Victorian Pre Raphaelite tone. A thoroughly charming portrait oil painting by a noted French Victorian female artist depicting a female sitter...

Signed on the bottom right is "J. Braze", Osip Emmanuilovich Braz (1873 - 1936), renowned as a Russian-Jewish realist painter. As the scene unfolds on the canvas, we witness the gran...

A fine Scottish portrait oil painting of a young girl in a red dress with pretty collar. This is a quality portrait and dates to circa 1900 and is housed in a fine Watts frame. A bea...