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English School 19th Century Oil - Portrait of Catherine Rowell

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A truly charming mid 19th Century scene in oil, showing a trio of men at a tavern, each smoking their clay pipes. The artist has wonderfully captured three ...

An exquisite and remarkable early 20th Century portrait in oil, attributed to the well-known Danish artist Peder Mork Monstead (1859-1941), depicting a Dani...

A characterful oil portrait showing a very happy elderly woman in a vibrant red headscarf and blue jacket. The artist has captured lovely pockets of colour in her rosy cheeks and pin...

Dim light illuminates a smoking woman in an impressionistic manner. The artwork is signed and dated in the bottom right-hand corner. Well presented in a gilded wood frame with a line...

Lolita Oil Painting on Canvas Portrait Surrealism Surreel In Stock Caroline Westerhout (Weert, 1970) studied Reproduction Drawing at the Graphic Lyceum in Eindhoven. After her studi...

REPOSE BY RED Size: 49 x 41 cm (including frame) Oil on board A brilliantly executed modernist nude study, painted in oil onto board and dated 1974. This painting depicts a seated ...

A unique, abstracted figurative oil painting on stretched Belgian linen canvas, ready to hang. Signed on the bottom right. Framing options available on request.

Tiziano Vecellio (Pieve di Cadore 1490 - Venice 1576) follower of Portrait of the emperor Julius Caesar (Rome 100 BC - 44 BC), inscribed above C. IVLIVS. CAESAR Portrait of the Emperor Octavian Augustus (Rome 63 BC - 14 BC), inscribed on top OCTAVIANUS II ROM IMP 17th century oil painting on canvas Measurements (cm.): 65 x 50, with frame 81 x 68 cm. The Latin writer Suetonius with his work 'De vita Caesarum' (and in particular with his tradition in the vernacular of 1543, edited by the Florentine scholar Paolo del Rosso) inspired Tiziano Vecellio who, in 1537, painted for Duke Frederick II of Gonzaga portraits of the eleven emperors, adorning the walls for a small room in the Palazzo Ducale in Mantua, later known as the Cabinet of the Caesars. These effigies were intended to establish the link between the new era and classicism with its splendor, as well as to celebrate the value and wisdom of the rulers, who perceived themselves, in their lordships, as valiant new emperors. Titian's paintings soon became enormously popular and many patrons and lords of the time, including Ferdinando d'Avalos, Marquis of Pescara and Governor of Milan or Vespasiano Gonzaga, turned to the workshop of the Cremonese Bernardino Campi...