Photography Paintings

This is an Leonardo Nierman Original Oil on Board “City Summer”. In good condition measures 39x31. Comes with signed book

Alphonse PELLET (1853-1926) The Little Ballerina Oil on wood panel signed low right Old frame regilded with leaves Size panel : 30 X 43 cm - Size frame : 40 X 55 cm Alphonse PELLET...

This artwork combines vintage aesthetics with surreal elements, set against a thought-provoking backdrop. A woman in a black suit and bow tie, holding a cigarette, exudes timeless el...

19th century painting by Albert Ritzberger, portrait of a woman in a robe. Signed and dated lower left. Painting has been restored in one place. Dimensions including frame. This is a direct copy after a painting by Angelika Kauffmann...

A beautifully painted study of a cherubic young boy, his golden haired head turned to the sun, his eyes closed as he feels its warmth. Pre-Raphaelite School, late 19th century Head...

Etienne Billet (French, 1821-1888), Portrait of William Harold Fitch, Oil on Canvas laid on Board, circa 1870, signed mid left, inscribed "William Harold Fitch / of Marseilles France...

The biggest surprise for new parents is how much their child’s personality is already baked-in at birth. Croatian painter Vilko Šeferov responded to this toddler’s innate intensity i...

Painting oil on panel depicting a strong and distinctive old man's head with dimensions of 36 x 28 cm without frame and 68 x 60 with frame coeval Flemish school of the second half of...

Signed lower right: Geo

Oil on canvas Image size: 9 1/4 x 7 inches (23.5 x 18 cm) Original pierced gilt frame This wonderful Pre-Raphaelite self-portrait contributes to the artistic tradition of representi...

This is an almost lifesize portrait of a charming blond holding a basket of freshly picked flowers. The girl set against a verdant landscape with blue sky and cumulus clouds. The subject is the friend of the artist's daughter. 78 x 42in. framed. This joyful image of youth looks better in person due to its impressive size and clearly will be a statement piece in any home. Francis Luis Mora ( ( Uruguayan / American, 1874-1940) Studied under Edmund Charles Tarbell...

Oil on canvas Su Yu is a Chinese artist born in 1987 who lives & works in Beijing in China. He was an old student of prestigious art teachers as Shi Liang & Chen Danqing at Oil Pain...

Portrait Of Louise Maria Bird (1845-1862), 19th Century English School Large 19th century portrait of Louise Maria Bird, oil on canvas. Charming circa 1855 portrait of the girl ar...

Portrait of a Girl, 19th Century by William M. HAY (1820-c.1900) sales to $20,000 Fine Large 19th Century English portrait of a girl wearing blue ribbons holding a bouquet of roses, oil on canvas by William Hay...

A wonderful 19th-century oil portrait of a graceful Victorian lady. The lady is pictured with a dainty lace collar and a neat hairstyle typical of the time. Signed illegibly in penci...

I love walking the streets of the private sector when the weather is nice. It feels like being in a small town rather than in the center of a metropolis. I've aimed to capture the co...

Author: Rosendo González Carbonell Title: Mother and Child Technique: Oil on canvas Style: Figurative with elements of Romanticism and Reali...

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

"Gazing Through Ankara" is a captivating series of paintings that celebrates the beauty, diversity, and individuality of black African women through the exploration of eyewear and An...

Painted en plein air in the Bahamas, a narrow seascape beneath a pale lilac sky. A single sailboat soars along the distant horizon. Hues of green, teal, and blue make up the textured...

The Waterlilies Odile Dechanet ( 1955 - 2016) French School signed oil on canvas, framed framed: 11.5 x 14.5 inches canvas: 8 x 10.5 inches Provenance: private collection, France C...

signed and dated lower left Provenance From the Gene Worrell Collection, Virginia Museum of Animal Art Measurements Frame: 41 3/4 by 30 inches Sight: 34 by 23 inches Good co...

Ornate, decorative oil painting. Illustration of Marie Potonie (born Sievers). Marie was the daughter of the royal Prussian court painter Johannes Sievers. Extremely fine painting....

Very well executed portrait of Jacob Dolson Cox. See the sitter’s biography below. Signed top right and dated 1881. Relined canvas, very good condition. The portrait is housed in a contemporary replica of a period frame. Overall framed measurements are 33.25 by 28.25 inches. Provenance: A East Hampton, Long Island collector. Biography George Peter Alexander Healy was born in Boston on July 15, 1813, the first of five children of William Healy, an Irish immigrant and captain of a merchant vessel, and his wife Mary Hicks. Healy showed an early artistic interest: by 1830 the self-taught painter had opened a portrait studio from which he hoped to help to support his family. Although commissions were at first sparse, young Healy received important encouragement from Thomas Sully (1783-1872)) who advised him to make painting his profession. His fortunes also improved in 1831 when Mrs. Harrison Gray Otis, a leader in Boston society, granted him permission to paint her portrait and recommended his talents to other potential patrons. In 1834 Healy went to France where he studied with Baron Antoine-Jean Gros (1771-1835). A year later he traveled through Italy, visiting museums and churches in the company of Lady and Sir Arthur Faulkner who soon provided his introduction to London society. It was in England that Healy met and, in 1839, married Louisa Phipps. The couple settled in Paris where Healy embarked upon the beginning of a long and happy marriage and thriving career. His diplomatic and affable demeanor, together with his obvious skill, brought him tremendous success throughout Europe and the United States. Prolific, as well as talented, he had by 1867 produced more than six hundred portraits. The constant stream of commissions included dignified, imposing portraits of such celebrated figures as Pope Pius IX and Queen Elizabeth of Romania, the latter of whom developed a warm friendship with Healy and his family. Although Healy, sometimes accompanied by his wife, traveled to the United States several times during the 1840s and early 1850s, it was not until 1856 that the entire family settled in America. They took up residence in the booming city of Chicago, which Healy used as a base for his work in Boston, Philadelphia, New Orleans, and other cities. During the Civil War years he often traveled to Washington to paint military figures and members of the President's cabinet. The family returned to Europe in 1867, but George Healy...

Story illustration for “Confession” by Margret G. Trotter for The Saturday Evening Post, published March 20, 1948, page 26. The full caption reads: “He was saying hoarsely, ‘Here’s...

Born 1955 in Broken Bow, Nebraska. Lives and works in New York. AWARDS
 National Endowment for the Arts, Major Grant Robert Terry was best noted in his depictions of romantic moons...

I aimed to explore the themes of journey and aspiration, juxtaposed with isolation and uncertainty. Acrylics vividly captures the vast desert and clear blue skies, providing a surr...

"Insomnia" by Ritchelly Oliveira is a thought-provoking painting that draws viewers into the depths of the human psyche. Against a white background, the central focus of the artwork ...

"Tangled" is a framed acrylic work on canvas by Ariel Vargassal, depicting a figure in a suit tangled in yarn while also holding aloft a spider monkey. The hyperrealistic style inclu...

Kevin Sloan (b. 1958, Denver, CO) is a Denver-based painter working primarily with acrylic on canvas with forays into drawings, paintings on paper, and recently, ceramic and mixed-me...

The Provencal Village Josine Vignon (French 1922-2022) ...

Early Twentieth Century Victorian Style Oil Painting of English Black and White Village Scene with Timber Framed buildings and mothers with their children and even a little dog! A t...

Set of Four (4) Hunting Scenes British School, 20th century signed Hallard 4 x oil on board, framed inscribed verso each framed: 8.5 x 6.5 inches each board: 7.5 x 5.5 inches proven...

Portrait Of An Birmingham Industrialist, dated 1904 by George F. HARRIS (1856-1924) Birmingham Society Painter Large 1904 Late Victorian era portrait of a Birmingham Industriali...

Oil measures 70x50 cm. Frame measures 83x63 cm. Painter of landscapes and figures, in whose characterization he deepens psychologically capturing the character, Albert Roca has won...

Fabulous 19th Century oil on canvas portrait of a child with their dog. It is signed and dated 1872 underneath the gold matting. I cannot decipher the signature. Painting could be ei...

MONNOT Maurice Louis (1869-1937) Bunch of Roses with Chinese Vase Oil on canvas signed low right Frame gilded with leaves Dim canvas : 61 X 50 cm Dim Frame : 90 X 80 cm MONNOT Maurice Louis (1869-1937) French painter 19th – 20th century Born the 22th of October 1869 in Paris. Dead in 1937 Painter of interior and still lives. He was the pupil of Joseph Bail...

"Self Portrait, Lamplight" is an oil on canvas painting. It is a self portrait of Steven Levin, sitting in a room on a couch. We see the artists personal collection of art and items ...

Ashton Howard original painting on canvas “sundown sails”. In Good condition measures 47x22 1/2

Cymn Wong’s style of mixed media paintings are developed alongside with pastel, crayon, acrylic and ink. Rooted from traditional Chinese ink-brush painting to contemporary New York ...

ARTIST: Unsigned late 20th Century English School TITLE: "Terracotta Pots In A Sunny Conservatory Window" MEDIUM: pastel on paper SIZE: 44cm x 38cm inc frame NOTES: Frustratingly uns...

Kazuya Ushioda’s The Sound of Prayer (2021) is a striking figurative oil on panel that captures a moment of quiet reflection. Measuring 44.12 x 11.87 x 0.70 inches, this tall and slender composition features a single figure clothed in a white kimono adorned with delicate blue floral motifs and cinched by a vivid red sash. The woman’s eyes are closed, and her hands are gently positioned near her head, suggesting an intimate state of concentration or contemplation. Painted in oil on a carefully prepared panel, this original, handmade work showcases Ushioda’s meticulous technique, evident in the rendering of subtle skin tones and nuanced folds of fabric. The vertical format accentuates the graceful poise of the figure, drawing the viewer’s gaze downward from her serene expression to the richly detailed kimono patterns. The neutral background highlights the subject’s form, creating a harmonious interplay of color and space. Executed in 2021, The Sound of Prayer stands...

Shipping Procedure Ships in a well-protected tube This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Born in 1993 in...

Symbolist school, follower of Eugene Carriere, "The Mother's Kiss," unsigned oil on canvas, early 20th century. Fascinating and magnetic painting, extremely decorative. The first t...

This contemporary figurative oil painting explores themes of politics and culture. Deborah Root’s dynamic colourful compositions tell an intimate story about her experience during s...

"Adrift In The Tide" (2024) by Fikriye Oz is an original, handmade oil painting on wood that depicts a young child swimming with floaties on their arms. Fikriye Oz is a representat...

Elizabeth Osborne (American/Philadelphia, b. 1936) Manchester #4, 1988. Watercolor painting on paper. Signed and dated l.l. Sight: 8 3/4" x 11 3/4". Frame: 17" x 20". Provenance: Purchased from Jane Haslem Gallery in 1990. From the collection of Nancy Elizabeth Stanley. 1936, born Philadelphia, Pennsylvania 1959, BFA, University of Pennsylvania, Philadelphia, Pennsylvania 1954-58, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania SOLO EXHIBITIONS Berry Campbell, New York, Elizabeth Osborne: A Retrospective, 2022. Locks Gallery, Philadelphia, Pennsylvania, Reflections: Painting Memory, 2017. Locks Gallery, Philadelphia, Pennsylvania, Watercolors: Five Decades, 2017. The Delaware Art Museum, Wilmington, Delaware, Elizabeth Osborne: The 1960s, 2016. Luther W. Brady Art Gallery, George Washington University, Washington, D.C., Color Bloc: Paintings by Elizabeth Osborne, 2015. The James A. Michener Art Museum, Doylestown, Pennsylvania, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne, 2015. (Traveled to The Lancaster Museum of Art, Lancaster, Pennsylvania, 2016.) Locks Gallery, Philadelphia, Pennsylvania, Luminous Gestures: New Works by Elizabeth Osborne, 2013. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: Watercolors, 2011. Locks Gallery, Philadelphia, Pennsylvania, New Work, 2011. The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, Elizabeth Osborne: The Color of Light, 2009. Locks Gallery, Philadelphia, Pennsylvania, Figurative ‘60s, 2007. Locks Gallery, Philadelphia, Pennsylvania, Floating Landscapes: 1971-1979, 2006. J. Cacciola Galleries, New York, Works on Paper, 2006. The Print Center, Philadelphia, Pennsylvania, Recent Prints, 2005. Locks Gallery, Philadelphia, Pennsylvania, 2004. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: 30 Years, Works on Paper, 2002. Locks Gallery, Philadelphia, Pennsylvania, Vantage, 2000. Old Main Art Museum, Northern Arizona University, Flagstaff, Arizona, 1998. Locks Gallery, Philadelphia, Pennsylvania, 1997. Locks Gallery, Philadelphia, Pennsylvania, 1994. Jane Haslem Gallery, Washington, D.C., 1994. North Dakota Museum of Art, Grand Forks, North Dakota, 1993-94. Locks Gallery, Philadelphia, Pennsylvania, 1992. Arronson Gallery, The University of Arts, Philadelphia, Pennsylvania, Watercolors, 1991. University of the Arts, Philadelphia, Pennsylvania, 1990. Marian Locks Gallery, Philadelphia, Pennsylvania, 1988. Fischbach Gallery, New York, 1988. Fischbach Gallery, New York, 1984. Fischbach Gallery, New York, 1982. Fischbach Gallery, New York, 1980. Marian Locks Gallery, Philadelphia, Pennsylvania, 1978. Marian Locks Gallery, Philadelphia, Pennsylvania, 1976. Gimpel & Weitzenhoffer, Ltd., New York, 1977. Gimpel & Weitzenhoffer, Ltd., New York, 1974. Marian Locks Gallery, Philadelphia, Pennsylvania, Landscapes, 1972. Makler Gallery, Philadelphia, Pennsylvania, 1970. American Consulate, Sao Paulo, Brazil, 1969. Peale Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1963. GROUP EXHIBITIONS Avery Galleries, Bryn Mawr, Pennsylvania, The Women of the Pennsylvania Academy of the Fine Arts: Past to Present, 2024. Berry Campbell, New York, Perseverance, 2024. Locks Gallery, Philadelphia, Pennsylvania, From Dusk Till Dawn, 2015. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, “Something Clicked in Philly”: David Lynch and His Contemporaries, 2014. Locks Gallery, Philadelphia, Pennsylvania, It’s Not the Numbers, 2014. Locks Gallery, Philadelphia, Pennsylvania, Works on Paper, 2013. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, The Female Gaze: Women Artists Making Their World, 2013. Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, Pennsylvania, Four Visions/Four Painters: Murray Dessner...

Nude Boy Bathing, early 20th Century French School - signed indistinctly Large early 20th Century French School portrait of a young boy preparing to bath himself, oil on canvas sig...

Born in 1951, François Legrand was introduced to painting as a teenager by Philippe Lejeune in Etampes. In 1973, he moved to Loiret. From 1974 to 197...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

Austin Howlett's "One Hundred Years" is an original, handmade oil painting that depicts a larger than life woman reclining in a landscape of mountains. ...

Signed by Artist Lower Right Collier's Illustrated Weekly Cover, October 25, 1902

Land Battle - Antonio Savisio Italia 2006 - Oil on canvas diam. cm. 30 Gold leaf gilded and laquered wooden frame cm. 47x47 Maestro Antonio Savisio drew inspiration from the master...

Once I lived in a private house. We had four cats, and then we accidentally found the fifth. Where he came from and how long he lived with us is unknown). For texture on the primed c...

Peter has an absolute love of oil painting and especially admires the masters of Dutch Painting of the 17th Century, which is reflected in his own work. Since 1995, after seeing the work of Estonian artist Olav Maran, Peter decided to review his paintings and started researching ‘Still Life’ painters such as Willem Kalf and De Heem. After experimenting with priming his own panels and canvases with different colours, then painting with thick and thin paint and glazing on top, in the way of the old masters, he has developed a style with detail and atmosphere that is essential in his portrayal of fine wine, fruit and cheeses etc. In a quirky and sometimes conceptual world, Peter makes no apologies for producing traditional subjects where the craftsmanship is evident in every brushstroke. His paintings bring much joy and pleasure to those who understand he has an obvious and underlying love of handling paint and observing his subject using techniques that take many years to acquire. Recently he has changed the view point for some of his paintings, to give them a bold contemporary look. Peter Kotka...

BING ZHANG's Subway no. 2, 48 x 36 inches, oil on canvas. Proudly presented by Andra Norris Gallery in California. Bing Zhang’s Subway painting series explores themes of class, labo...

John Baker’s “Studio Sketch of Dmitri” is an acrylic painting on canvas with collage 20 x 16 inches in tans, greys, blues and whites. When he arrived at the studio Dmitri was immedia...

A superb mid 20th century oil on board still life depicting pears, apples and garlic by the important French/Russian naïf artist Rastislaw Racoff. The work is beautifully executed i...

The picture is oil on canvas and signed Julius Friedrich Antonio Schrader (1815–1900) was a German painter known for his portraits and history paintings. A prominent figure of the D...