Photography Paintings

The Cardinal's Letter Otto Eichinger (1922 - 2004) signed oil painting on board, framed framed: 15 x 12 inches board: 12.5 x 10 inches provenance: private collection, UK condition: v...

Landscape - Giovanni Faliero Italia 2005 - Oil on canvas cm. 80x60. Gold leaf gilded wooden frame cm. 100x80 Giovanni Faliero's oil painting is a tribute to the landscaping paintings...

Work on cardboard Black wooden frame with glass pane 16.4 x 13.2 x 2 cm

"Bulb of Awakening" is a captivating artwork that centers around a woman adorned with an exclusive and mesmerizing hairstyle. Created by the talented artist Ekele Francis...

Portrait of a French Gentleman French School, indistinctly signed dated 1824 inscribed verso oil on canvas, unframed painting: 22 x 19 inches provenance: private collection, France c...

Portrait of a Distinguished Gentleman by John Arthur Machray Hay (Scottish, 1887-1960) signed and dated 1910 oil on canvas, unframed canvas: 30 x 24 inches provenance: private co...

Lionel Birch was a landscape and animal painter from the turn of the 19th to 20th century. He traveled throughout Europe painting and for a while lived in Florence Italy. Most of his...

19th Century English Landscape, with a cottage, pond and trees. This exquisite English Victorian 19th-century landscape by Charles Morris, circa 1890, beautifully captures the idyll...

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

This shall pass, like a fleeting dream, A moment in time, a fleeting scheme, The winds of change will soon abate, And the stormy skies will soon relate, The sun will shine, the cloud...

Shipping Procedure FREE Shipping Worldwide 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 Gallery) "I'm Alright, Just Here" is a captivating artwork that captures the viewer's attention with its tender depiction of a young girl. The artist skillfully brings the subject to life, with delicate brushstrokes and meticulous attention to detail. The girl's features are portrayed with remarkable precision, revealing a sense of innocence and vulnerability that tugs at the heartstrings. The expression on the girl's face speaks volumes—a delicate blend of calmness and introspection. Her eyes, a window to her soul, radiate a sense of quiet strength and resilience, hinting at a pearl of wisdom beyond her years. Simon's choice to depict the girl alone, with no external distractions, creates a sense of intimacy and invites viewers to connect with her inner world. "I'm Alright, Just Here" explores the themes of solitude, self-reflection, and the resilience of youth. The title itself offers insight into the subject's state of mind—an assurance that she is content and at peace in her presence. It serves as a gentle reminder of the importance of finding solace within oneself, even amidst the chaos and noise of the world. The young girl's presence in the artwork represents the universal experience of navigating the complexities of life. Her portrayal invites viewers to reflect on their journey, prompting questions about the inner strength we possess and the moments of introspection we all seek. She becomes a mirror, reminding us to find moments of stillness and self-care, where we can gather strength and nurture our well-being. The muted color palette employed by Simon contributes to the contemplative mood of the artwork. Soft, earthy tones evoke a sense of serenity and harmony, further enhancing the atmosphere of quiet introspection. The artist's careful attention to the interplay of light and shadow adds depth to the girl's expression, underscoring the layers of emotion and resilience that lie beneath the surface. Obeka Simon...

A late Victorian period painting by British artist, David W. Haddon, active (1884-1914). The canvas measures 20 x 14 inches and is signed low...

A timeless snapshot of a Suffolk landscape looking towards Stoke by Nayland, an area where John Constable would have painted a couple of centuries before. Presented in a most attract...

Frame size 70x61 cm. José Muntané Balaguer (1889 - 1963) Immerse yourself in the spiritual beauty of "Woman Praying," a sublime work by the acclaimed Spanish artist José Muntané Balaguer. This oil on canvas captures the serenity and introspection of faith, showcasing a masterful use of light and shadow reminiscent of great masters such as Joaquín Sorolla, Ignacio Zuloaga, and even the emotional restraint of Diego Velázquez in his most intimate portraits. The painting depicts the purity of a devotional moment, where the female figure seems to transcend the canvas, inviting the viewer to reflect on spirituality and human connection. The meticulous attention to detail and subtlety in expressions place Muntané Balaguer in the tradition of artists who immortalized scenes of everyday life with unique sensitivity, much like Julio Romero de Torres...

Still Life is an artwork realized by an unknonwn artist in the late 19th Century. Oil on Board. 21 x 15 cm. Good conditions

Victorian Unsigned Watercolour a Naive Ship Portrait of a Chiliean Packet in traditional Maple Frame. Although this is unsigned, it is one of a very collectable genre of ship's pain...

Suzy Smith's "Lady in Red" is an original, handmade oil painting that depicts a feminine figure, in a formal red gown holding a cigarette. About the Artis...

"Garment of Hope," a poignant masterpiece crafted by the skilled hands of artist John Ali, invites viewers into a world where innocence and resilience converge. This evocative artwor...

This artwork drops you into a surreal moment: two figures black outfits stand in the middle of nowhere, under a blue sky sprinkled with just enough clouds to keep it interesting. One...

Italian artist Daniela Astone lives and works in Florence. She enjoys working with live models and paints her works from observation, the classical appr...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

OIL PAINTING Antique 19th Century Fine Quality Piece Gold Gilt frame ( damaged frame ) OLD MASTER OIL PAINTING BRITISH SCHOOL 19th Century in a Gold Frame Description. 19th centu...

Mark Schwartz's "M.Y. 3" is an original, handmade oil painting that depicts a portrait of a female model gazing downward as her black hair blends into the darkness of the background.

LARGE FINE 20th Century Piece Maritime Battle Scene British oil painting in a Gold Gilt Frame FINE RARE MARTINE PAINTING ORIGINAL 20th Century OLD MASTER STYLE OIL PAINTING GOLD GILT FRAME By Similar $10,000 Premier Collection NEW COLLECTION Of RARE PIECES OF OLD HISTORY Good condition for age , (see pictures) Description Born in 1940 Anthony Brandrett...

Anne Siems has created this artwork by painting and drawing over an archival print on thick 100% cotton fiber paper. All archival materials. Unframed size: 8.5x11 inches Frame size: 15x12x1 inch ANNE SIEMS (b. 1965, Germany) Artist Statement I was born in Berlin, Germany. From 1969 to 1971 I lived near Buenos Aires, Argentina. My first extended stay in the US was as an exchange student in 1986. Then in 1991, after finishing my MFA in Berlin, I moved to Seattle, WA. My work has moved from semi-abstract, room-filling plant and insect drawings...

Coastal Cliffs: by Georges Bordonave (French contemporary) signed oil painting on canvas, framed framed: 25 x 29 inches canvas: 18 x 22 inches condition: very good provenance: from a...

A beautiful snapshot of sailing boats under a vast sky with billowing cloud. Presented in a most attractive hand made frame. Dominic Parczuk (born 1982) White sail Signed with initi...

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

In this oil painting, I sought to blend realism with impressionistic touches to capture a quietly intimate moment between a woman and a cat. Her enigmatic gaze and the soft, tactile ...

Unsigned. Provenance: Studio Sale, George Weissbort, 2 June 2024. On board.

3-D hand made artwork using Perler beads and mixed media in a found painting in a vintage frame the artist lives and works out of Sweden and is represented by Krause Gallery in NYC

Sometimes I wonder, was it even there - that past life? If there are no photos, there is no evidence. In this artwork, I've captured a moment suspended in time, where nostalgia meets...

Louis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Fred Wessel's "The Constellation Cancer" is a stunning egg tempera painting on gold leaf. Created in 2015, this piece depicts a young woman looking forward at the viewer mysteriously...

Energy is the essence of life. Every day you decide how you are going to use it by knowing what you want and what it takes to reach that goal. Spend your energies on moving forward t...

"Last Night" is an original oil on linen artwork by contemporary artist Matt Talbert, completed in the year 2023. This piece measures 10 x 8 inches (25.40 x 20.32 cm), and with its f...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

The Fishing Lesson by John Dawson Watson (1832-1892) oil painting on canvas: 33" x 22" (83.8 x 55.8cm) gilt framed condition: excellent provenance: ...

Artist: Osmond Caine (1914-2004) English Title: "Rue De Furstenberg Paris" Medium: oil on board Size: 77cm x 90cm inc frame Condition: excellent Notes: Artist in oil, watercolour and stained glass and teacher, born Manchester, full name George Osmund Caine...

Mid Century Modern Fisherman w/ Pipe Oil Painting c.1950 Signed in the lower right corner "Horiger" Canvas dimensions 20" x 16". Frame dimensions 29" x 25". Very good condition. F...

Title: Mid Century French Male Bust Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 19 (height) x 12.5 (width) Stamped: Verso Condition:...

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 Adebayo Taiwo, ...

Gazing boldly is an act of defiance against the uncertainties of life. It embodies the spirit of facing challenges head-on, with unwavering confidence and clarity. This phrase evokes...

Friedrich Wigand (Russian, 1800-1853). Portrait of a Young Man, 1841. Oil on canvas, 12.5 x 16 inches. Framed measurement: 17 x 20.5 inches. Signed an...

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

Circa 1890 Signed verso on stretcher bar Original period gold leaf frame Overall size framed 21 x 18 in

ARTIST: Norman Battershill RBA ROI PS (1922-2010) British TITLE: "Paris & The Eiffel Tower At Night" SIGNED: lower right MEDIUM: oil on board SIZE: 50cm x 40cm inc frame CONDITION...

Portrait Of Lady Caroline Howard, 18th Century after SIR JOSHUA REYNOLDS (1723-1792) Large 18th Century English portrait of Lady Caroline Howard, oil on canvas. Excellent quality a...

5198 Japanese India ink Bamboo painting Image size 12x15"

Artist: Slonem, Hunt Title: Flight Schauberg Date: 2024 Medium: Oil on Panel Unframed Dimensions: 10" x 8" Framed Dimensions: 16" x 14" Signature: Signed Verso Edition: Unique...

The patient waiting for Bresson's “decisive moment” characterizes the pictures of the young Polish painter Marzena Slusarczyk. The compositions of her works have the magic of a successful photography. Often with a powerful neckline, they use expressive foreshortened perspectives and unusual versions and they take us into an intimate dimension of the women portrayed. However, Slusarczyk's pictures are mainly emotions captured on canvas, and this is what makes her works so special. The women she paints perform normal, banal activities in everyday life. But they are the key to reading the feelings of the female figures lost in thought. The lack of clarity in the artist's pictures allows the viewer to make their own interpretations. As the painter herself emphasizes, the aim of playing with the audience is to awaken the viewer's imagination and imagination so that they notice the seemingly invisible. This mystery and the unspoken are reminiscent of the paintings by Michelangelo Caravaggio...

This exquisite miniature watercolor by Oskar Bergman, measuring just 5.5 x 4 cm, beautifully captures the essence of a serene Swedish landscape. In this scene, slender birch trees, w...

Antique American gilt picture frame. Rabbet measures 12.5" x 10.5" Perfect for a 12" x 10" painting.

"Invocation," is an original oil painting by Christopher Remmers. It is framed and ready-to-hang.

Portrait of a Child with Pet Dog Italian School, early 1600's circle of Annibale Carracci (1560-1609) oil on canvas, framed Framed: 11.5 x 9 inches Board : 10.5 x 8.5 inches Provenan...

Bulb of Africa was not just a hairstyle; it was a celebration of African heritage and a testament to the resilience of its people. Passed down through generations, it represented strength, beauty, and the rich tapestry of African traditions. The Bulb showcased the natural texture and volume of African hair, transforming it into an intricate masterpiece of braids, twists, and coils. The Bulb of Africa became a symbol of empowerment, reminding people of their strength, resilience, and the beauty of their shared heritage. It served as a reminder that hair was more than a physical attribute; it was a connection to something greater—a connection to their ancestors, their community, and celebrating the beauty within themselves. Beyond their physical beauty, African women possess an immeasurable inner strength that resonates through "Bulb of Africa." Odunayo masterfully captures this strength, highlighting the resilience and determination that have defined African women throughout history. The women depicted in the artwork emanate confidence, wisdom, and a sense of purpose. Their gaze speaks volumes, embodying the stories of countless African women who have overcome adversity, shattered barriers, and carved out their own paths to success. In "Bulb of Africa," Iyiola Odunayo...

Oil Painting by Henry Charles Woollett "Winter" 1826 - 1890 Henry was born in Brighton then lived in Cheltenham and Liverpool. He painted rustic landscape with animals found in the ...