Portrait Paintings

Signed Lower Right by Artist Post Cover, October 1, 1910

Herman Richir Detail of the Young Horsewoman c. 1980s Fine color facsimile 28 x 22 inches, 32 x 26 (framed)

French Landscape by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on board, unframed size: 13.5 x 9.5 inches condition: very good and ready to be enj...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the oil...

Therese James's ever popular views of daily Welsh life, drawn from the here and now and her personal recolections of growing up in Wales. Joyful art.

Jean MARTIN (1911-1996) L’Homme au chapeau-boule, Alfred Hitchcock, 1982 Oil on canvas Signed “JEAN MARTIN” lower right Titled, dated and located in “Paris” on the back 65 × 50,5 cm ...

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...

Signed lower right: Geo

Alexandra Manukyan's " Silent Melody" is an original, handmade oil painting that depicts a female model with white feathers on her dark hair, as she...

Julius Thiengen Bloch (American, born Germany, 1888-1966) Portrait of a Woman Oil on canvas, 32 x 25 1/4 inches Framed: 38 x 31 inches (approx.) Signed at lower right: "Julius Bloch"...

Carlos Enrique Alvarez Delgado (1976, Pinar del Río, Cuba) studied at the E.V.A. Raúl Sánchez (Pinar del Río) and later at the National School of Plast...

Can you see me? Portrait of the famous icon, Rock'n'roll Jimi Hendrix Technique: oil, acrylics and ink on canvas 80x80cm ■■ 31,5x31,5 inch ⏩》R E A D Y -- T O -- H A N G《⏪ 🟢 →...

Wasim Kapoor - Rickshaw Oil on Canvas 56 x 56 inches (unframed size) (Framed & Delivered) In this poignant grayscale composition, Wasim Kapoor pays homage to Mother Teresa, capturin...

Stretched but not framed Hand signed and dated lower right Alexander, 1994 I believe this was a Russian or Ukrainian artist but I am not certain. This is a wonderful vintage judaic ...

Portrait of a Young Boy, Titled "Boy", Original Impressionist Oil Painting By the British artist, JM Green, Mid 20th Century Signed and titled 'Boy' verso Oil painting on board, unfr...

Circle of Mary Beale 1633 - 1699 Portrait of a Gentleman Oil on canvas Image size: 30 x 25 inches Contemporary gilt frame Mary Beale was the daughter of a Suffolk clergyman.She married Charles Beale...

This oil painting depicts a sleeping Jesus, with a cord connected to his halo, symbolizing power from an electrical outlet. The composition features a close-up of a sleeping Jesus, o...

Portrait of a Warrior British School, 'Fernside' (early 20th Century) signed oil on canvas, framed canvas : 20 x 16 inches Provenance: private collection, England Condition: the pain...

Maclean's Magazine Cover, September 15th, 1930

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...

Medium: Oil on Canvas Signature: Unsigned This is a study for the cover illustration of the 1 January 1927 issue of The Saturday Evening Post.

Suchitra Bhosle's "Dancing Ribbons" is an original, hand made oil painting that depicts a girl in profile with braided hair and red ribbons. About the Artist: Suchitra Bhosle is an India-born artist based in California. Suchitra paints in a representational realistic style drawing inspiration from 20th century naturalist painters. She embraces impressionism to depict everyday representational scenes. Suchitra excels at capturing and expressing the mood of her subjects, often in contemplative classical settings. This lends a timeless yet intimate quality to her paintings. Though primarily a portrait and figurative painter, she has recently been painting urban and architectural subjects. Suchitra is represented in leading fine art galleries across USA including Santa Fe, Washington D.C., Carmel and Houston. Her paintings have won awards at international juried shows hosted by The Portrait Society of America, Oil Painters of America and American Impressionist Society.

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.

A striking oil portrait by the German painter Emil Stratmann (1890-1974), depicting a bearded gentleman with long, dark hair. Within a few careful brushstrokes, Emil masters the sitt...

Red Earth Medallion Powwow Ceremony Oklahoma Traditional Dance 10" x 8" Artist: Red Earth Medallion _10x8 oil : "This one man stood still, waiting for his time to present a dance at ...

Studio Giftig (Dutch artists) Ups and Downs 80 x 80 cm ( framing options available) (Shiped in a wooden box) Acryl and spray paint on canvas Studio Giftig consisting of the Netherla...

This expressive work of art is an abstract and textured image of the face, which arises from a bright mixture of colors and strokes. The face is partially hidden, harmoniously mergin...

French Mid Century Large Expressionist oil on canvas of two seated Provencale figures by Jean Arene. The painting is signed and dated bottom left. Painted when Arene was living in ...

L'écolier, 19th Century circle of Jules Bastien-Lepage (1848-1884) Large 19th Century portrait of a young village school boy, oil on canvas circle of Jules Bastien-Lepage. Excell...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on canvas, unframed Size : 22 x 18 inches Signed verso Provenance: private collection, France Condition: The painting...

Adolfo Belimbau (1845-1938) Italian Impressionist painting of a mother and a child in a Garden playing. Beautiful quality and colors quality! Adolfo Belimbau is a famous Italian Jewish painter...

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...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

Guy Pène du Bois, 1884 - 1958 French Gardener, 1929 Oil on canvas Signed and inscribed: Pere Martin/Guy Pène du Bois/1929 Provenance: The Estate of Guy Pène du Bois Below is an excerpt from Guy Péne du Bois diary titled 'Artists Say the Silliest Things': “Our landlord and gardener, Pere Martin, who owned a considerable amount of land thereabouts, had been a butcher in the Batignolles section of Paris during the war. [WWI]. He was called hard and miserly in the neighborhood, a too shrewd bargainer, but he accepted two francs and hour, then eight cents in our money, to work the garden. He could be shrewd. When Kellogg was signing the peace pact in Paris, a sham battle of aeroplanes clouded the sky above us. Old Pere Martin rested on his hoe and pointed up, shrugging his shoulders with clownish exaggeration, ‘Monsieur Kellogg.’ It typified the talk on war of the countryside. During the last one he had delivered a magnificent pot au feu...

Original cover for Liberty magazine, published June 22, 1929. Sandy, away on a business trip, calls Lil to check in. The two discuss bills and talk about how much they miss each oth...

Symbolism, angel, paradise, black, vertical The painting "Young Angel" is a deeply symbolic work, a revelation that came to the artist in a dream. It is a mystical scene on the bord...

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

“Mar Azul” (2025) Charcoal and Acrylic on Canvas 100 x 70 cm / 39.3 x 27.6 in Original work by Ritchelly Oliveira (Brazil, b. 1993) In “Mar Azul”, Ritchelly Oliveira creates a strik...

A striking formal portrait of the artist's son, dressed in a crisp white shirt and bright red tie, rendered against a contrasting background of teal blue. The composition employs a t...

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...

The Injured Companion, 19th Century English School Large 19th Century English School portrait of a young girl holding an injured puppy, oil on canvas. Beautifully painted and ende...

Oil Painting by Minnie Agnes Cohen The New Bonnet" 1864 - 1940 Figurative scene painter studied at the Royal Academy Schools where she exhibited. Lived in Axminister, worked in St Iv...

Oil on canvas Image size: 20 x 24 inches (51 x 61 cm) Period gilt frame This is a half-length portrait of a gentleman wearing a emerald coat and intricately designed waistcoat, dat...

Roy Petley A vibrant portrait where love has been. With colors bold and shadows that sigh, She weaves a tapestry that can never die..Petley paints en plein air, which is a French exp...

Pillar of Strength” is a powerful fabric collage that celebrates the inner resilience, dignity, and grace of the African woman. Constructed with richly patterned textiles and bold, v...

"Era of Elegance" by Oleg Turchin is an original oil on canvas that measures 58x30 inches. This surrealistic painting is of a woman with an elaborate hat ...

Patrick Terenchin (b.1970). Face Pic 29 (Daisy Deadpetals), 2025 Oil, acrylic, color pencil on wood panel. Image measuring 12 x 12 inches; measuring 13 x 13 inches framed. Sign...

Signature: Signed Lower Right Homeward Bound is a product of John George Brown’s 1877 and 1878 trips to Grand Manan Island, off the coast of Maine in t...

Chidy Wayne (b. 1981, Spain) is an artist based in Barcelona. Over the years, he has established himself as a recognized figure in the art world, developing a personal artistic langu...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inches x...

Artist: Jack Graves III (American, 1988-) Title: "Princess Diana Icon" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2017 Medium: O...

This painting is a metaphor for a blessing on its way. Also, it captures the quiet edge between waiting and receiving; the moment when nothing has changed, but everything feels diffe...

This little jewel of a pastel of a young boy in his smart red jacket and silver trimmed waistcoat is by an artist working in the circle of Arthur Pond and ...

Abraham Johannes Romswinckel (1810-1856) Self-portrait in Indonesian landscape Inscribed Abr. Joh. Romswinckel, geb. Batavia 17 Oct. 1810, overl...

A dream spills open like an old book without words— Its pages breathe smoke and feathered wings, keys that unlock nothing, clocks that refuse to tell time. In the half-light, a figur...

Mesmerizing image, ‘The Little Flower Seller’ is reminiscent of Cosette in Les Miserable, her hair blown to one side and her red ribbon flowing out from her hair. She is that unloved...

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...

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 Bor...

In a meadow of white roses, a figure lies in surrender— eyes closed, body adrift, as though the earth itself has lulled them into rapture. The roses are not still. they breathe, they...