Portrait Paintings

Oil pastel on paper by artist Daria Kusto Shipped well protected, unframed Curated by Art Reserve & Angel Rivas We can do commissioned work of any technique, style and size, cont...

Frida Kahlo is an iconic Mexican artist and a great inspiration to me. She transformed her personal pain into art, a feat that resonates deeply with me. Her surrealistic artwork is c...

In a vibrant celebration of African heritage and beauty, our protagonist, a stunning black African woman, graces the scene with her majestic presence. Crowned with a voluminous afro ...

Frame size 53x40 cm. FRANCERSC TORNERÓ (1934) He studied at the Barcelona School of Arts and Crafts and later at the Sant Jordi School of Fine Arts. In 1956 he won the “El Paular” ...

Italian School, early 19th century 'Portrait of a Bearded Man' - possibly Saint Peter? oil on board, framed framed: 16 x 13.5 inches board: 12.5 x 9.5 inches provenance: private col...

Nebula by Alexandra Manukyan This painting portrays a figure immersed in introspection. Her delicate posture reflects both vulnerability and strength. The swirling pink hues behind ...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th centu...

In need of full restoration. Unsigned. On canvas.

A portrait of a man. Acrylic on paper 14 x 11 inches unframed and 15 x 12 inches framed, Part of the artist's new Face to Face series started in 2017 and featuring real and imagined ...

In the time of my mother and the women before her in her generation line, women are not allowed to talk or have a genuine opinion on the crucial and critical matters of emergency in ...

Up for sale is an original antique 1864 oil painting on canvas by Famous American Artist John O'Brien Inman (1828-1896), depicting a portrait of a seated baby. Signature on verso "Painted by Jho. O'B Inman Portlana Jan 18th 64" The painting is in good/antique condition, minor stable craquelures. Presented in an ornate vintage gilded frame. Please see the photos, the photos are part of the description. Measures with the frame 41" X 34.5", painting 30" x 25". Free insured shipping. Free delivery in 200 miles from Boston. Please read some interesting information about Artist...

This lovely British Edwardian Impressionist portrait oil painting is by noted artist William George Robb. Painted circa 1901 the sitter is Louisa Ann Inglis, wife of Sir Charles Ingl...

"Brave" by János Huszti is an expressive oil painting measuring 36" x 50" on canvas, the artwork features the profile of a woman whose soft, blurred features evoke a sense of freedom and vulnerability. The gentle use of neutral tones, combined with a soft blue background, enhances the ethereal quality of the piece. A challenging portraitist and emerging creator with a conceptual thinking. Huszti elaborates his constantly changing topics with momentum and precision. He depicts historical times, special characters and places from the past, using all kinds of materials to express his interpretations. In addition he is also interested in contemporary street art. His art consists of attributing new origins to things thus establishing new relations. He had got his diploma at University of Pécs, as a painter in 2005. Hungary. He spent one term at University of Hertfordshire, Hatfield, England. It was an experimential learning particularly regarding the conceptual art. He has been working in a professional studio at PP Center in Budapest for more than four years. Meet there the Hungarian Contemporary art scene each day, especially Budapest based artists and curators. János Huszti Education: Studies: 1999-2000 Eszterházy Károly College, Eger, Faculty of Graphic and Visual Arts 2000-2005 University of Pécs, Faculty of Visual Arts and Music, Painter Branch 2004 Erasmus Exchange Programme,University of Hertfordshire, Hatfield, England Scholarships: 2014 Artist in residence program, Kunst AnDer Grenze, Art By The Border, Jennersdorf, Austria 2006 PRO ARTE – Scholarship of Komárom-Esztergom County 2005 Residence Programme at Bundanon, North Nowra, Australia 2004 Erasmus Exchange Programme, University of Hertfordshire, Hatfield, England Exhibitions: Common exhibitions: 2015 Apostrophe, The Whale, Budapest, Contemporary Arts Festival Subject matter, Ateliers Pro Arts (APA), Budapest 2014 Monument is falling into decay, PP Center, Budapest And You, Where Do You Live, Jennersdorf, Austria On The Production Line, Flash Art Magazine, PP Center 2013 Finishing Exhibition, PP CENTER 2012 Finishing Exhibition, Partizán PP CENTER, Budapest 2011 ERICSSON HUNGARY LTD. MUSEUM OF FINE ARTS, BUDAPEST, Esterházy Contemporary, "sponsored by UNIQA” 2007 ANOTHER PLACE, Young artists from Pécs, Inda Gallery, Budapest DIGITAL MESSAGE FROM EAST-EUROPE, Vaszary Gallery, Kaposvár CHRISTMAS EXHIBITION, K.A.S. Gallery, Budapest 2006 HOUSE of GENERAL EDUCATION, Tatabánya (with Áron Hidvégi and Kovács László Kammerlohr) 2006 BUDAPEST ART EXPO FRESH, Art Mill, Szentendre 2005 NEOFOTON photoprint exhibition, Art Mill, Szentendre STREET ART exhibition, Millenáris Park, Budapest PAINTER DEGREE 2004/2005, Swan House...

Beautiful Italian Art Nouveau style portrait of two women by Adriano Goby.

By Martha Ochoa Oil on Canvas Canvas Size: 48" x 36" Framed Size: 53.75" x 42.5" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic t...

Portrait of a Man with a Hat holding a Pipe French School, signed and dated 1903 oil on canvas, unframed canvas: 21.75 x 18 inches provenance: private collection, France condition: s...

Can you imagine life as if it were a gigantic rollercoaster ride of emotions? Just like on a rollercoaster, there are moments when we feel incredibly happy, and there are times when ...

Dame Ethel Walker DBE ARA (1861-1951) Young Man in a Red Tie Oil on canvas 51 x 40.6 cm.; (within frame) 70 x 59.7 cm. Provenance: The Lefevre Gallery, London, stock number X890; Christie’s, London, Modern British Pictures, Watercolours, Drawings and Sculpture, 12 September 1996, lot 58; Bonhams, London, Modern British and Irish Art, 23 November 2022, lot 177; Private Collection, United Kingdom. This focussed composition is dominated by a handsome young man in profile, frowning with a concentrated glare. His slender cheeks meet a jaw brushed with a masculine grey, complimented by the blue of a flower or pocket square, and the shadow of a loose strand of oiled hair that rests across his forehead. The stylistic sophistication shows Walker at her best, ambitiously combining measured figuration with expressive abstraction, as delicious dashes of pigment appear still wet, and dissonant swipes energetically mark the surface of the canvas. With an elegance that borders on the effete, the sitter’s urbane style includes a spearpoint collar, framed by the wide lapels of his suit jacket. Most significantly, the young man’s dandyish fashion is augmented by the conspicuous titular red tie which he wears – an established expression of queerness in the 20th century. Painted by the lesbian artist Dame Ethel Walker, it is likely that the portrait is that of a gay man belonging to London’s queer artistic circles. Indeed, Walker’s male sitters (who constitute but a fraction of her output) are typically conceived as modish, and often wear striking colourful ties. Walker was one of the earliest lesbian artists to overtly explore her sexuality in her works, and an aesthetic fascination with the female form culminated with her glorious large-scale ‘decorations’, exemplified by Decoration: The Excursion of Nausicaa (Tate, N03885). Red neckties had been established in the 20th century as a coded (though appropriately colourful) expression of queerness, not dissimilar to the green carnation of the Wildean aesthetes. The gay writer and musician Mikhail Kuzmin was painted in 1909 in a stark red tie. Two decades later, the Anglo-French physician Havelock Ellis described the red necktie as an emblem amongst queer New Yorkers: ‘[…] there has been a fashion for a red tie to be adopted by inverts [homosexuals] as their badge’ (Ellis, p. 299). The motif permeated fiction, and in Thomas Mann’s 1912 novel Death In Venice, the protagonist Gustav von Aschenbach begins to wear a red necktie after he develops an infatuation with a beautiful young boy staying at his hotel. William Faulkner’s 1929 novel The Sound and the Fury includes an unnamed male character identified throughout by his distinctive red necktie, which is the subject of veiled insinuations against his masculinity. Walker must surely have been familiar with this symbolic importance when she executed the present portrait. Her few portraits of male sitters include colourful neckties almost exclusively, and include numerous examples of red neckties. Indeed, the artist herself preferred to wear a red tie, a declaration which so impressed itself on Virginia Woolf that she noted it in a diary entry after tea with Walker (Bell, p. 282). Walker, who painted Woolf’s sister Vanessa Bell, had once offered to paint Woolf in the nude, as Lilith. Around the same time, Augustus John painted the gay peer Evan Morgan, 2nd Viscount Tredegar, in a loose red necktie or neck scarf. The portrait passed through the Lefevre Gallery, which also represented Walker, and which inventoried the present work. While the sartorial choice may have been incidental, a colourful accessory chosen to enliven the portrait, its prominent inclusion would suggest a personal significance to Walker, the recognition of a shared experience between artist and subject. Dame Ethel Walker was hailed as a leading female artist of her generation, and as late as 2010 was one of only four women artists to have been honoured as a Dame Commander of the Order of the British Empire. Walker was born in Edinburgh in 1861 to the botanist Arthur Abney Walker, a descendent of the Walker family of iron industrialists, whose estates included Clifton House (Rotherham) and Blythe Hall (Nottinghamshire). She attended school in London after the family moved to Wimbledon, and in 1880 met the fellow artist Clara Christian, with whom she would form an important personal and professional bond. The women’s relationship was later allegorised by the writer George Moore as that of Stella (Christian) and Florence (Walker) in his fictionalised three-volume memoir Hail and Farewell. Walker went on to Putney School of Art and Westminster School of Art, and studied under Frederick Brown, who became a lifelong mentor. Around 1893 Walker took further study at the Slade School of Art, partly under Walter Sickert, and returned in 1912, 1916, and 1921. Although Walker enjoyed painting floral still lifes and seascapes, her best work was portraiture. She worked from her studio at 38 Cheyne Walk for most of her career, and enjoyed a prominent role in London’s artistic milieu. Her sitters included the artists Lucien Pissarro, Orovida Camille Pissarro, Vanessa Bell, and Barbara Hepworth; she painted Nancy Astor, the Countess of Strathcona, the editor Joan Werner Laurie, and author Leo Walmsley. The actors Flora Robson and Elsa Lanchester sat for Walker, as did the young Christopher Robin Milne. Walker herself was photographed by the bisexual photographer and painter Humphrey Spender...

Portrait Of A Lady As Diana, 17th Century Salomon de Bray (1597-1664) Large 17th Century Dutch Old Master portrait of a lady as Diana, oil ...

The Portrait of a Bearded Man is an early work by Swedish artist Rune Kurt Haries Lagerbrink, who occasionally signed his works as "R. Lager." Painted in oil on cardboard. The old fr...

Wonderful and finely painted American modernist portrait painting. Framed. Oil on canvas. Signed. Image size, 20H by 16L.

Michael Carson's (US based) "Portrait of Britt Daniel" is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis...

Many of you clicking on this watercolor are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparke...

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...

Portrait of a Noble Lady English artist, mid 18th century circle of Thomas Gainsborough (English 1727-1788) oil on canvas, unframed canvas: 30 x 25 inches provenance: private collect...

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 ...

A large French oil on canvas portrait of a dignitary from the Caucasus by Théophile Paul Marie Bérengier. The painting is signed and dated b...

Artist: Slonem, Hunt Title: Purple Lincoln Series: Abraham Lincoln Date: 2023 Medium: Oil on wood Unframed Dimensions: 20" x 16" Framed Dimensions: 23" x 19" Signature: Signe...

'Portrait of Boy' by Luigi Corbellini (circa 1930s). The artist painted this endearing young boy whose name remains unknown. Perhaps the slightly timid expre...

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...

Title: Portrait of a Lady Artist: Rosendo González Carbonell Medium: Oil on canvas Dimensions: 24 x 20 inches (unframed) Condition: Good condition Creation Period: 1970s Signed: Yes,...

Pierre Mignard, known as Le Romain (Troyes 1612 - Paris 1695), attributed Portrait of 'Louise Renée de Penancoët de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734) as MADDALENA Oil on canvas 97 x 88 cm In an important gilded frame 132 x 122 cm. Provenance: Private collection, Naples The young and attractive noblewoman portrayed in this painting is Louis Renée de Penancoet de Keroualle, Duchess of Portsmouth and Aubigny (Brest 1649 - Paris 1734), known to have been King Charles II's favourite mistress for over fifteen years, from whose relationship Charles Lennox, 1st Duke of Richmond, was born, but above all to have gone down in history as one of Louis XIV's French informants at the English court. The duchess was a very influential figure at court, promoting French interests and often acting as an intermediary between the king, his ministers and French ambassadors. After the death of Charles II this influence quickly came to an end, forcing her to hastily leave London and renounce all her possessions to return to her homeland, between Aubigny-sur-Nère and Paris, where she died in 1734, always remaining in the sovereign's good graces. The peculiarity of the portrait, probably executed after her return to her homeland, is that the noblewoman takes the form of a charming Mary Magdalene, depicted here following her renunciation of earthly possessions, her rich robes and jewellery, in order to aspire to heavenly riches; We see her immortalised with her long hair loose on one breast, her intriguing but serene gaze directed at the observer, as she rests her crossed hands, as if in prayer, on the ampulla of perfumed ointments and the open book, both iconographic symbols. The custom of being portrayed in the guise of Magdalene was in vogue for powerful women of the great European courts as early as the 16th century, as it represented the most appropriate image to justify the union of female power and virtue. It must be said that court culture exalted only the positive characteristics of her personality, glossing over or downplaying all references to her sinful past and dissolute life. The work, whose style fits perfectly into 17th century French portraiture, suggests the pertinent attribution to the Baroque painter Pierre Mignard (Troyes, 1612 - Paris, 1695), whose works were highly praised and earned him a great reputation as a portrait painter for the demanding Parisian aristocracy at the time of Louis XIV, and who portrayed the Duchess de Kérouaille on numerous occasions. His first important artistic training took place in Simon Vouet's studio, and he then moved to Italy for over twenty years before returning to Paris, blending his own with the influence of Roman classicism. The elegant looseness of touch and sensual refinement typical of Mignard, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Rome (which he looked up to the examples of Ferdinad Voet), and the exceptional sweetness of the drawing, the floridity of the complexion and the almost enamelled surfaces, and finally, the peculiar pose of the figure portrayed (the beauty of the two intertwined hands...

This painting captures the strength and beauty of a black African girl who gazes directly at the viewer with a thought of total liberation. The use of oil on canvas creates a vibrant...

"Longshore Bill" by David W. Haddon, British early 1900's signed oil on board , framed framed: 18 x 14 inches board: 15 x 12 inches provenance: private collection, UK condition: very...

Our Lady Of Sorrows, 17th Century circle of Carlo Dolci (1616-1686) Large 17th Century Italian Old Master of The Virgin Mary as depicted as Our Lady ...

"The General" is a realist oil on linen painting. A portrait of a senior war offical, The General wears a dark grey military jacket and a white undershirt can be seen poking out at h...

This artwork captures a surreal desert scene blending mystery and modernity. A figure in black, with a wide-brimmed hat, stands beside a small black cat near a weathered sign reading...

Oil on canvas mounted on board, realized by Francesco Settimj in 1930s. Good condition.

The Head of Christ 19th Century Dutch School oil on paper laid down on board, unframed size: 7.5 x 6 inches private collection The painting is in overall very good and sound condition

Artist: Jack Graves III (American, 1988-) Title: "Female Face Icon XIV" Series: Icon *Signed by Graves lower right. It is also signed, dated, and titled on verso Year: 2024 Medium: O...

Portrait Francesco Maria Della Rovere, Duke of Urbino (1490-1538), 17th Century after Titian (1488-1576) Large 17th Century Italian old master portrait of Francesco Maria Della Rov...

Life, too, has its sunsets. Challenges and setbacks often cloud our horizons, casting shadows on our aspirations. We find ourselves questioning our abilities, our choices, and our wo...

This mesmerizing 1950s modern portrait features an oil on canvas painting by Maurice Ambroise Ehlinger (1896 - 1981). The model is Miss France Noel, a socialite from the Paris bourgeoisie. The piece is hand-signed in the bottom left corner. The canvas's back has the following caption: "Mademoiselle France Noel par M. Ehlinger - MCMLVII." The painting still has its original elegant ornate cerused or limed oak frame with gray painted liner. Measurements: With frame: 30.75 in wide (78 cm) x 36 in high (91.5 cm) x 2.75 in deep (7 cm). Opening view: 23 in wide (58.5 cm) x 28.25 in high (71.5 cm) Biography: Maurice Ehlinger (1896 - 1981). Painter, born in Champagney, Haute Saone, France in 1896. He spent part of his life in Moyenmoutier in the Vosges region. Ehlinger studied under Larcher at Nancy's Ecole des Beaux-Arts with funding from the City of Saint Die. Then, he went to Paris to follow the courses of masters Jules Adler and Francois Flameng...

Artist: Artyom Abrahamyan, Work: Original Oil Painting, Handmade artwork, One of a Kind Medium: Oil on Canvas Year: 2025 Style: Portrait Art, Title: Portrait of Anna, Size: 19 x ...

We are grateful to Prof. Daniele Sanguineti for suggesting the attribution to Domenico Parodi (1672 - 1742). He dates the painting into the period between 1730 and 1740. Domenico Par...

The Artists Model French School, late 19th century oil on canvas, unframed canvas: 20 x 17.5 inches provenance: private collection, France condition: very good and sound condition

A portrait of two young girls by the Royal Portraitist Chen Yanning. Both the artist as well as the sitters of this magnificent portrait are from racial...

This superb British Old Master oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1795, the sitter is Major-General James Hanson Salmond (1766–1837) an office...

This captivating artwork features a young individual with an intense gaze, set against an abundant floral backdrop. The portrait masterfully merges elements of Renaissance portraitur...

Lucha" is a poignant and evocative artwork that delves deep into the complexities of human emotions, interpersonal relationships, and the struggle to cope with personal challenges. T...

Vincente Romero Mademoiselle, 2022 Oil painting on canvas Image Size: 39 x 25 inches Frame Dimensions: 50 x 36 inches Custom framed to museum standards

This charming British Victorian portrait oil painting is by noted artist Charles Sillem Lidderdale. Painted in 1872 it is a half length portrait of a beautiful young woman leaning he...

A bright and attractive mid Century Greek School portrait, showing a young woman in a pretty blue patterned dress and yellow shirt, deeply engrossed in her work of crocheting a lace doily...

Christina Major’s "Audrey - I Believe" is a mesmerizing contemporary portrait that blends realism with expressive text overlays, creating a visually and emotionally compelling artwork. This 84 x 57-inch painting captures the timeless grace of Audrey Hepburn, her luminous features emerging from a soft, ethereal palette of cool blues, warm peaches, and gentle neutrals. Layered over her serene expression are hand-painted phrases inspired by Hepburn’s wisdom and humanitarian legacy, adding depth and narrative to the composition. The interplay between the hyperrealistic portraiture and textured text invites viewers to engage with both the subject’s beauty and the empowering messages woven into the piece, making it a captivating addition for collectors of figurative art, contemporary paintings, and pop culture iconography. Christina Major is a portrait painter interested in the ways the identity of both artist and subject can coexist in a painting. Major's current creative research focuses on the traditional form of the portrait as a powerful form of representing an individual and how meaning can be expanded through scale, brushstroke, color, texture, composition, and the many variables that portraiture deals with. This one-of-a-kind oil painting is 84 inches tall and 57 inches wide. It is signed by Major on the back. The artwork is wired and ready to hang. It does not require framing. Free local Los Angeles area delivery. Affordable Continental U.S. and International shipping are also available. A certificate of authenticity issued by the art gallery is included. Major expands the traditional portrait painting...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

Self Portrait Of Thomas A. Woolnoth, The Rhine, 19th Century by Thomas Woolnoth (1785-1857) Large Circa 1810 Georgian self portrait of Thomas A. Woolnoth during the Grand Tour, oil...

Signed in red, u.l. Oil on canvas mounted to Masonite Price includes $650 additional cost of framing. This work is offered by ClampArt in New York City

Portrait of an Elegant Lady original pencil drawing on paper by Marjorie Schiele (1913-2008) *see notes below signed piece of paper is 8 x 6 inches In good condition, though with min...

Ora Coltman (American, 1858-1940) Portrait of De Forest Mellon, 1922 Oil on canvas 30 x 25 inches 35.5 x 30.25 inches, framed Ora Coltman was born in 1858 in Shelby, Ohio, but spent...

Edouard Julien. French ( b.1883 - d.1966 ). Self Portrait, 1932. Oil On Panel. Image size 17.7 inches x 14.6 inches ( 45cm x 37cm ). Frame size 20.9 inches x 17.7 inches ( 53cm x 45cm ). Edouard Julien was an accomplished French painter and lithographer, and long-term curator of the Toulouse-Lautrec Museum in Albi. As a scholar of Toulouse-Lautrec he became an art writer who was sought after by publishers all over the world. Julien was born in Albi, in the Occitanie region of France in 1883. He had an uncle who was a painter and his parents ran a printing house which specialised in art editions and the printing of lithographs. This would have given the young Edouard a taste for art and a sound understanding of artistic techniques. At 17 he entered the Ecole des Beaux-Arts in Toulouse and studied there throughout 1900 and 1901. He then returned to Albi and took care of the family business, although he also pursued his love of art by working as an artist. By 1903 he was at the Academy in Albi, founded by Bernard-Joseph Artigue, where he became friends with the artist Henri Gourc. In 1928 Julien left Albi again for Paris where he enrolled in the Julian Academy, but he was quickly told that he was an artist, not a student and that they had nothing to teach him about the technique of painting. He therefore rented a studio and worked hard, making friends and exhibiting his works with success. As an artist Julien loved working in the open air, and his works showed extreme sensitivity. He travelled widely within France to work, and particularly loved the Basque Country, where he met his wife. He also travelled to paint the magical landscapes of Spain, Flanders and North Africa. At some point Julien returned to Albi, which was also the birthplace of another now more famous French artist whom he admired, namely Henri de Toulouse-Lautrec. This artist was to feature most prominently in the professional life of Edouard Julien. In 1922 the Toulouse-Lautrec Museum was inaugurated in the prestigious setting of the Palais de la Berbie in Albi. This 13th century building was originally the Bishop’s Palace of Albi Cathedral, next to which it stands. It is dedicated mainly to the work of Henri de Toulouse-Lautrec and, thanks to a bequest from his parents, houses the largest public collection in the world devoted to this artist. Many visitors do not appreciate that this collection owes much of its success to the devotion of Edouard Julien. In 1934 Charles...