Portrait Paintings

The Favourite Pet, portrait of young lady with Alsatian dog. French Schoo, signed indistinctly, dated 1940 oil on canvas, framed framed: 23 x 29 inches c...

Jean La Forgue (French 1901-1975) circa 1930's oil on unstretched canvas, unframed painting: 22.5 x 19 inches provenance: the artists estate, France condition: the painting is on uns...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Head wrap...

French artist of the first half 19th century oil painting on canvas, unframed canvas: 12.5 x 9.5 inches provenance: private collection, France condition: overall very good - aging signs...

Contemporary pop art inspired pixelated portrait of iconic singer David Bowie Ziggy Stardust. Similar to pointillism, the individual hand-painted blocks of color come together to for...

"The Rising Son" is a portrait of an innocent black boy with dreadlocks, tenderly grasping a golden key. Rendered with a bold, monochromatic red colour palette. This striking artw...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

Work on canvas AZ monogram

Small limited edition run of 49 and 6 E.A."s (Edition of the artist). Each canvas reproduction is crafted by a skilled printer under the supervision of the artist. Román Francés has...

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...

This original oil on linen artwork by Matt Talbert, titled "Daybreak," exemplifies the artist's skill in capturing the nuance of human expression. Crafted in 2023, this piece measure...

E. Salazar Texas Artist Image Size: 40 x 30 Frame Size: 47 x 37 Medium: Oil on Canvas "Quanah Parker"

Lisa Fricker's "A Life That Mattered" is an original, handmade oil painting that depicts a portrait of a woman looking down seemingly glancing away from the viewer. This painting mea...

In excellent condition measures 62x62x4 Oil on canvas In my opinion one of the artist best pieces

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

Artist Self-Portrait. Unsigned. (Provenance: Studio Sale, George Weissbort). On board.

Work on canvas with frame The frame is new and the total size is 70x80 cm Signed " V. Marendaz ", Unknonwn artist from the gallery Dated 1920

The Family Portrait British School, 20th century (painted in an earlier style) oil on canvas, unframed canvas: 30 x 24 inches provenance: private collection, England condition: overa...

In this artwork, I explored the human gaze using pastel, pencil, and colored pencils, blending realism with surreal touches. The eyes, a window to the soul, reflect deep emotions, pe...

My waiting times, my fraying hours. The mere thought of the future makes me shiver. No longer at ease with these groans and moans, I take a bow out of my fearsome worries. Suddenly, ...

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...

A characterful copy of Fred Barnard's illustration, Bill Sikes and Bullseye from the Charles Dickens novel 'The Adventures of Oliver Twist'. Much like Barnards character study, this ...

Attributed to Lemuel Abbott 1760-1803 English Portrait of Horatio Nelson Oil on canvas This previously unknown portrait is an important discovery in British Naval history. In Admiral Lord Nelson's illustrious and well-studied life, there existed a "silent period" spanning 16 years during which no known portraits of Nelson existed. The discovery of this 1790 portrait, rendered just before his reentry into the Navy, is a significant development for Nelson scholars, adding new insight into the leader's life prior to his legendary command as Admiral of the British Navy. Almost certainly painted by Lemuel Abbott, the official portraitist of Admiral Nelson, the rendering depicts the naval titan in casual dress. This is one of the two final depictions of Nelson before he acquired the war-inflicted injuries that marked his later years. In 1790, Britain was at peace, and Lord Nelson found himself residing in Burnham Thorpe with his newlywed wife, Frances. Having served with great distinction in South America and the West Indies, he garnered much local acclaim. Yet, the uncertainty of returning to the sea weighed heavily on his mind. At the age of thirty, he lived the life of a country gentleman managing his estate. Only one other much smaller portrait of Nelson in civilian attire exists, a much smaller rendering from 1800 currently held at the National Portrait Gallery. Compelling and atmospheric, the oil on canvas offers viewers a rare glimpse into the visage of a youthful and resolute Nelson, a man driven by an unwavering desire to forge his reputation in the art of naval warfare. This portrait had long been believed by the Nelson family to portray Edmund Nelson, Horatio Nelson's father. When connoisseur Jeremy Knight acquired this treasure directly from the Nelson family, he postulated that the work actually depicted the famed Admiral and not his father, as it was painted around 1790, and the elder Edmund Nelson would have been 68 years old at that time. Knight then hired the renowned Nelson scholar Martin Downer, the former Sotheby's expert and author of the bestselling books Nelson's Purse and Nelson's Lost Jewel, to confirm his hunch. It has now been confirmed by Martin Downer that this portrait is the missing...

This oil on canvas painting shows an intriguing portrait of a contemporary woman. There is great attention to detail in this piece, with small highlights of red in the woman's hair, a reflection of blue light emitting from the phone in her hands, and the silver of a small nose ring...

Maruzzella is one of the best works by the artist Marco Fariello realized in 2021. It is an academic drawing of a Portrait of a young woman with an enc...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

Leandro Velasco Original Oil Painting On Canvas “girl friends”. In good condition measures 64x50.

Victor Schegin 'Seehund' Lost and Found 130 x 97 cm oil on canvas The French artist Victor Schegin 'Seehund' lives and works in Paris. At the age of 15, young Victor discovered tag...

Portrait with Piercing eyes

Figure II, 2017

Red-haired beauty portrait oil painting on canvas by René Avigdor 19Th Century Rene Avigdor was born in Nice and spent his career in France. He specialized in portraits, especiall...

Wonderful vintage reclining male nude study by Patricia E. Gillfillan (American, 1924-2016), c.1980s. From a collection of her works. Unsigned. Unframed...

Unidentified Artist (19th Century) "Winter Wonderland" (1885) This charming 19th-century oil painting captures a winter landscape, depicting three figures trudging through the snow, engaged in animated conversation. The scene is set against a serene rural backdrop, where bare trees and a distant village silhouette convey the stark beauty of winter. The soft glow of the sky, transitioning from warm hues to cool whites, enhances the tranquil yet brisk atmosphere of a cold winter’s day. Plot & Interpretation The three travelers appear to be peasants or laborers, possibly returning home or embarking on a journey. Their layered winter clothing, fur hats, and backpacks suggest they are seasoned wanderers or workers, braving the elements. The gesturing figure in the middle seems to be engaged in storytelling or giving directions, adding a sense of movement and interaction. The snow-covered ground and delicate shadows create depth, emphasizing the hardship and resilience of rural life in the 19th century. Materials & Condition Medium: Oil on canvas Framed Dimensions: 47 x 46 cm Canvas Dimensions: 24 x 34 cm Frame: Ornate giltwood frame, enhancing the painting’s classical aesthetic Condition: Well-preserved with minor age-related patina, in line with its 1885 dating Historical Context & Artistic Style Likely influenced by Northern European realism, particularly Russian, German, or Scandinavian schools that depicted harsh winters and rural peasant life. Comparable to the works of Adolf von Meckel, Vasily Perov, or Carl...

Julien-Adolphe Duvocelle (1873 - 1961) Woman with eyes closed Oil on canvas 41,5 x 33 cm (16.1 x 12.9 inch) Signed on lower left: J Duvocelle Julien Duvocelle is an artist who neve...

Portrait of James Stanley (1750 - 1810), circa 1775-1778, full-length, wearing a red coat and breeches and a gold embroidered waistcoat, hold...

In this monumental painting titled Bacchantes, Natasha Lelenco presents a vibrant and dynamic scene featuring mythological Bacchantes. The composition is rich with vivid colors and i...

Crown of Glory 2" is a captivating painting that portrays an African woman with a beautiful afro hairstyle. The title of the painting is inspired by a q...

"M.Y. 3" by Mark Bradley Schwartz is an original oil on board depicting a brunette female in a contemplative pose. A native of Illinois, He began his professional life as a graphic designer and art director in St. Louis, Missouri and later moved to Southern California to further his design career. Although Schwartz’s career was successful, he wanted to pursue work of a more personally fulfilling nature. To reach these new goals Schwartz first attended life drawing classes at Associates in Art, in Sherman Oaks, California. He later studied at the California Art Institute in Westlake Village, California, where he received extensive training in drawing and painting the human figure from life. While studying with famed illustrator Glen Orbik...

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) The "Timeless Friends" painting symbolizes the timeless nature of friendship and human connection that transcends changing fashions and societal norms. Just as the bond between the men in the painting remains steadfast and unchanging, the values of friendship and mutual support continue to hold importance in African cultures, even amidst shifting fashion trends and societal transformations. As we contemplate this scene, we are reminded of a valuable lesson passed down through generations: that true friendship knows no bounds of time or fashion. It is a bond that endures through changing tides, rooted in authenticity and shared experiences. The painting serves as a gentle reminder to cherish the connections we forge, for they are the true treasures that enrich our lives and stand the test of time. About Artist Oluwaseun Ojebiyi is a promising young Nigerian visual artist who was born in the year 1996 into a family in Oyo state richly endowed with a unique artistic inclination. He is gifted with unusual energy and a future that sparkles with excellence. His works are at once artistic and realistic and laced with active energy with the characteristic of curiosity in figure study. He delivers his works through drawing and painting with mastery usage of charcoal, pastel, Oil paint, and acrylic. His expressive works bring back fond memories of childhood experiences. His works reveal the bond, teamwork, genuine love...

Carlo Ceresa (San Giovanni Bianco 1609 - Bergamo 1679) attributable Full-length portrait of Giacomo Pesenti Oil on canvas (206 x 121 cm - in frame 212 x 133 cm.) This fascinating portrait, portraying a full-length gentleman and datable to the 17th century, illustrates the stylistic and compositional details typical of the pictorial production of the Lombardy area, Bergamo in particular. This reference is reflected in elements such as the natural light, the sober and austere setting and, above all, the subtle psychological characterisation of the face. We are inclined to identify the hand of portrait painter Carlo Ceresa, one of the most illustrious Bergamasque figure painters of the 17th century, capable of developing a style of intense realism and acute psychological investigation. In his works, and our portrait perfectly reflects his canons, an extraordinary naturalistic imprint, great realism and remarkable essentiality are evident. Those traits of severity, moral rigour and austerity typical of his portraiture find a perfect balance here: never courtly or rhetorical, his portraits are profoundly linked to the concept of counter-reform. Immortalising the main personalities of the time, he established himself as a point of reference for the Bergamasque aristocracy, from the Vertova to the Pesenti to the Secco Suardo. The subject of the portrait is Giacomo Pesenti, here immortalised life-size in a rigorous black suit, his left hand resting on a table, on which is placed the necessities for writing and a manuscript, and his right hand, with a sealed ring on his little finger, abandoned along his side while he holds his gloves. He wears a suit of incredible rigour, dressed as befits a man of his high social standing, while the sharp light focuses on his face, with an intensity that seems to be accentuated by the reflection of the white collar, with its sharp profile. For Ceresa, it is not the richness of the garment that gives value to the person portrayed, it is the need to give feeling and bring out the character of the person, and this he succeeds in marvellously, aided by his ability to capture the essence of the person and return it to us in painting through the face and light used as a strong expressive element. In fact, the image highlights that 'counter-reformed' composure typical of the portraiture of painters active in this area and era, adhering to a verism...

Lady Dormer, Mary Browne c. 1592 oil on panel 35 x 29 inches, unframed; 41 x 34.75 inches, inc. frame Inscribed 'Lady Dormore' Mary married Henry Wriothesley, 2nd Earl of Southampton who gave birth to Henry Wriothesley, 3rd Earl of Southampton - one of the great figures in Shakespears"s circle and founder of the Virginia company, developers of Virginia USA. Henry Wriothesley, born 6 October 1573 at Cowdray House, Sussex, was the only son of Henry Wriothesley, 2nd Earl of Southampton, by Mary Browne, the only daughter of Anthony Browne, 1st Viscount Montague, and his first wife, Jane Radcliffe.[5] He had two sisters, Jane, who died before 1573, and Mary (c. 1567 – 1607), who in June 1585 married Thomas Arundell, 1st Baron Arundell of Wardour.[6] After his father's death, Southampton's mother married firstly, on 2 May 1595, as his second wife, Sir Thomas Heneage (d. 17 October 1595), Vice-Chamberlain of the Household, and secondly, between 5 November 1598 and 31 January 1599, Sir William Hervey. She died in November 1607.[7] Early life When his father died on 4 October 1581 Southampton inherited the earldom and landed income valued at £1097 6s per annum. His wardship and marriage were sold by the Queen to her kinsman, Charles, Lord Howard of Effingham, for £1000. According to Akrigg, Howard then "entered into some further agreement, of which no documentation can now be found, which transferred to Lord Burghley personally the custody and marriage of the young Earl, but left Howard holding his lands", and late in 1581 or early in 1582 Southampton, then eight years of age, came to live at Cecil House in the Strand.[8] In October 1585, at age twelve, Southampton entered St John's College, Cambridge,[9] graduating M.A. on 6 June 1589.[10] His name was entered at the Gray's Inn legal society before he left the university, and he was admitted on 29 February 1588.[11] On Southampton's 16th birthday, 6 October 1589, Lord Burghley noted Southampton's age in his diary, and by 1590 Burghley was negotiating with Southampton's grandfather, Anthony Browne, 1st Viscount Montague, and Southampton's mother, Mary, for a marriage between Southampton and Lord Burghley's eldest granddaughter, Elizabeth Vere, daughter of Burghley's daughter, Anne Cecil, and Edward de Vere...

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

This painting is made by Pam Hawkes. On the painting you see the portrait of a woman This British artist is new to the Netherlands, her work is now a household name in the rest of ...

The journey is never-ending. There is always going to be growth, improvement, and adversity; you just have to take it all in and do what’s right, continue to grow, and continue to live in the moment. This painting "Moment" depicts the feelings and actions of the mind. There is a moment in life in which we tend to put all differences and difficulties aside. Putting a pause to the challenges of life. At this point in time the mind and heart of free from worries. This act helps to put a person in a deep state of self-awareness coupled with the clues and directions to be taken. This element in the painting symbolizes the process of the mind. The compass is for guidelines and directions. The clock signifies the state of actualization putting in place the solution to the worries of the mind. 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 Taiwo Samuel Olutimileyin...

'Looking out to Sea' The Cornish Fisherman Signed by David W. Haddon (British, flourished end of the 19th century) Oil on canvas, unframed Canvas: 10...

Portrait of Man (16) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Canvas Size: 16 in. x 12 in. (40.64 cm x 30.48 cm)

Portrait by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on canvas stuck on board, unframed measures: 18 high by 15 inches wide conditi...

Tina Garrett's (US based) "Magique Noir" is an original, handmade oil painting that depicts a model with a painted face. This is a secondary market work with one previous owner.

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) The painting depicts an old-fashioned barber shop, The background showcases the classic decor of the barber shop, including Vintage posters flaunting the hairstyles of yesteryear, showcasing the timeless Afro, the tailored flat-tops, and the meticulous parts — each style a statement of identity and pride. Off in the corner stands a vintage radio, the spiritual storyteller of the room, murmuring Jazz and Afrobeat rhythms — a harmonious time capsule that echoes the beat of African culture as much as the progression of its fashion. "Vintage Vibe" is a celebration of a proud heritage, marking the intersection of traditional grooming rituals and the timeless aesthetic of the African fashion legacy. It salutes the continuity of style, the evolution of self-care from the foundations laid out by ancestors to the modern interpretations we see today. In this room, history intertwines with the present, evoking a sense of nostalgia and the inclination to preserve the unique cultural threads woven through time. About Artist Oluwaseun Ojebiyi...

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...

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...

"Senses," is an original oil painting by Karen Offutt. It is unframed, but ready-to-hang.

Original oil on mahogany wooden panel of a young gypsy woman in a colorful headdress and costume. Signed middle right and dated 1885, Brussels. Original inscription paper label vers...

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

Fred Wessel's "The Constellation Crater" is a stunning egg tempera painting on gold leaf. Created in 2015, this piece depicts a young woman, holding a crystal chalice and sitting upr...

Rizaldy Celi Jr. (Filipino-Vietnamese, American, born 1983) "Covet" 2023 Oil paint, Wood The artist signed the back of the painting. 'Covet' by Rizaldy Celi Jr. is a striking exploration of figurative disrupted realism, depicted on a 48" x 36" canvas. This provocative piece challenges traditional norms of beauty and desire by juxtaposing a nude woman donning an Oni mask...

English School, Portrait of a Gentleman, Oil on Canvas, circa 1830, the figure seated in an armchair, unsigned, according to a typed label verso depicting "Lord John H. Morelan(d)", ...