Portrait Paintings

A charming 19th-century portrait depicting a woman wearing a blue dress with an elaborate lace collar. Unsigned. Well presented in a gilt frame. On canvas.

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 Authent...

Artist/ School: French School, signed Clayson and dated 55' Title: Portrait of a Young Man Medium: oil on canvas, unframed Canvas: 25.5 x 21.5 inches Provenance: private collect...

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...

Stop explaining yourself and telling people everything. You owe no one any explanation of What you do. Your life is yours, not theirs. Shipping Procedure Ships in a well-protected t...

This series of pieces is the result of an investigation into the use of light as a tool for the representation of reality and image creation. Starting in the 40s, the work of the art...

Tania Rivilis Conversations 20 x 20 cm framed (included in price) 23 x 23 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) ...

Portrait signed by Jacob Markiel (Polish 1911-2008) *See notes oil on board , unframed board: 25 x 18 inches provenance: the artists estate, south of France condition: some scuffs a...

Charleston Wilson (1919-?) Untitled (Modernist Portrait), 1970 Oil on board 19 1/4 x 14 3/4 in. Framed: 25 1/4 x 21 1/4 in. Signed lower left: Charleston Wilson '70 Charleston Wilson was born 1919. Death date and place are unknown. He was a portrait sketch artist...

"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...

The title of the painting, "Transcendent of Reflections," speaks to the woman's contemplative state of mind. It suggests that she is in the process of transcending her own thoughts and reflections, perhaps seeking a deeper understanding of herself and the world around her. "Transcendent of Reflections" is a powerful and thought-provoking painting that invites viewers to reflect on their own inner worlds. The painting celebrates the beauty and complexity of black African women and encourages viewers to embrace their own inner contemplation as a means of transcending the limitations of everyday life. 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. About Artist Bakare Babatunde...

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...

"Ritratto Di Nobildonna", 19th Century by Giacomo GROSSO (1860-1938) sales to $75,000 Large 19th Century Italian portrait of a young noble lady, oil on board by Giacomo Grosso. Exc...

19th century English school Portrait of a young gentleman (a scholar?) in dress suit oil on canvas, framed framed: 21 x 19.5 inches canvas: 14 x 1...

French Art Deco, oil on canvas, society female portrait by Dembinkski (probably Anton J.) Signed, dated and located (Paris) bottom left. In later wood and gilt frame. A charming and...

We are delighted to offer a unique and evocative piece by the Swedish artist Ingeborg Westfelt-Eggertz. This small oil sketch captures a moment in time, portraying a young man seated...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

At first glance, "Independent" captures the viewer's attention with its striking imagery of a woman wearing a vibrant yellow coat. The choice of yellow as the dominant color is symbo...

French Impressionist artist, circa 1930 oil on canvas, unframed canvas: 22 x 18 inches provenance: private collection, France condition: very good and sound condition

Estado de conservación aceptable Se presenta enmarcada la obra Medidas de la obra: 62 x 51 cm. Medidas del marco: 75 x 65 cm.

John Baker’s “Layers of the Self” is an acrylic painting on canvas with collage 32 x 20 inches in greys, blacks and whites, with flesh tones. Although quite young, the gentleman has ...

Antiveduto Gramatica or Grammatica (Rome, Italy, 1571 – 1626) Title: Magdalene Praying with a Skull Medium:Oil on canvas Dimensions: without frame 58 x 43.2 cm - with frame 85 x 72 x...

19th Century portrait of Quintin Campbell in the style of Thomas Sully. The 30 x 25 inches oil on canvas is framed in an ornate frame. Provenance: Private collection, Bucks County, P...

Oil on plywood realized in 1930s. Painted on both sides, recto and verso. Good condition.

"Knowing" by Kirsten Savage is an original, handmade oil painting on panel that depicts a close up profile portrait of a man. Kirsten Savage is one of Colorado’s top representationa...

Portrait of a Gentleman French School, mid 19th century signed to the letter and dated oil on canvas, framed framed: 36 x 28 inches canvas: 29 x 20 inches Provenance: private collect...

Sara Scribner's (US based) "Luminous" is an original, handmade oil painting that depicts a realistic portrait of a feminine form in a white dress with delicate white butterflies drawing near her in the darkness. About the Artist: Sara Scribner (B. 1982 Fremont, California) is a figurative painter living in Oklahoma. She earned a BFA in painting from the Academy of Art University in San Francisco. She has exhibited in museums and galleries across the US and in Europe, including European Museum of Modern Art (MEAM) museum in Barcelona, Spain, Wausau Museum of Art in Wausau, WI, Wally Workman Gallery...

Signed on plate. Edition of 450 prints, belonging to the suite “Miserere”, considered as the most important religious graphic work of XX century. The single prints, realized with a s...

William-Adolphe Bouguereau 1825-1905 French La fille du pêcheur (The Fisherman’s Daughter) Signed and dated “W-Bouguereau-1882” (middle right) Oil on canvas William Bouguereau's...

A finely detailed oil painting portrait of a French military officer in dress uniform with sword, unsigned, and housed in a period decorative gilt gessoed frame with a London Freeman...

Frank Dadd RI British, (1851-1929) Time for Supper Oil on canvas, signed & dated 1925 Image size: 19.75 inches x 15.75 inches Size including frame: 27 inches x 23 inches A well-exe...

Portrait Of A Maiden, 19th Century by ARMAND POINT (1860-1930) sales to $190,000 Large 19th Century French Classical portrait of a maiden, oil/mixed media on canvas by Armand Point...

Oil on canvas Matteo Nannini is an Italian artist born in 1979 in Bologna who lives and works in Cento, Ferrara, Italy. He studied at the Academy of Fine Arts in Bologna. Painter b...

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, ...

Pegah Samaie's (CA based) "Where is Home?" is an original, handmade oil painting that depicts a reclining nude woman, wrapped in a white fabric, gently to...

This distinctive acrylic painting by Natasha Lelenco from her acclaimed series Ancestor Clones presents a captivating portrait characterized by a symbolic face composed entirely of s...

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. About Artist Mic...

Charles Hunt, Jr. was born in Kensington, London, in 1829 and was part of a dynasty of painters. He was the son of the genre painter Charles Hunt (1803-1877) and father to four sons ...

Jean La Forgue (French 1901-1975) signed oil on unstretched canvas, unframed painting: 27 x 21 inches provenance: the artists estate, France condition: the painting is on unstretched...

An Exceptional Quality Orientalist Portrait of "A Moorish Chief from Algeria", circa 1880. Oil on canvas painting depicting a Moorish chief / gu...

"Untitled (Censor Painting Pink)" is a nude figurative acrylic on inkjet board painting by Richard Prince in 2009. The artwork is 35 1/2 x 30 inches and 37 1/2 x 32 x 1 1/2 inches wi...

* No US duty or taxes to pay on this item * A superb early 20th century French impressionist oil on canvas head and shoulders portrait of an African man wearing a yellow jacket. Ex...

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 Authent...

Portrait Of A Redhead Girl, Emily Bland, 19th Century by Philip Hermogenes CALDERON (1833-1898) Exhibition: London, Royal Academy, 1870, no. 103. Large 19th Century Pre-Raphaelite...

Wonderful mid century modern oil painting of nude oil painting of an artist, possibly Joan Brown (see sample photo image). C. 1950. Condition: Excellent. Un...

Discussing Ailments by ALEXANDER AUSTEN (1859-1924) signed with monogram oil on canvas, framed framed: 13.5 x 17 inches canvas: 9 x 12 inches Provenance: Private collection, Yorkshir...

A contemporary figurative painted portrait of a man in a blue shirt by Mark Beard/[Bruce Sargeant (1898-1938)] Portrait with Blue Shirt n.d. Signed in red, u.l. Oil on canvas 14...

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...

Signed by Artist Lower Right Maxwell House Coffee

This is a 19th century life-size impressionist painting by the artist Suzanne Hurel (1876-1956). It depicts a young woman sitting in-front of her boudoir...

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

Liseth Visser Fill my Heart with Song 73 x 73 cm (Frame is included, framed 88 x 88 cm) Oilpaint on wood panel Dutch Female Artist Liseth Visser is no stranger to the world of portr...

Painting 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)

The suri tribe, an agro-pastoral people, resides in the west Omo zone of Ethiopia's Southern Nations and Peoples' region, known for their unique traditions, practices, including lip ...

My paintings and drawings are very personal, they capture my everyday life, my reaction to things I experienced, either yesterday, in my childhood or even events I imagine. My portra...

Emile VERNON Blois, 1872 – Blois, 1920 Oil on canvas 44 x 61 cm (57 x 74 cm with frame) Signed lower right “Emile Vernon” Very beautiful 19th century frame in carved and gilded wood ...

As an artist, I believe people go beyond just their physical selves. To create meaningful and selfless change, one must connect with their inner self, discovering hidden treasures wi...

"White Shirt" by Barbara Hack is an original portrait painting depicting a female model. This piece is framed and ready to hang. Barbara Hack’s work is an ongoing reflection on peo...

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...

A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...