Portrait Paintings

Christ and St John the Baptist embracing Studio of Joos van Cleve (1485 – 1541), Antwerp First half of 16th century Oil on oak panel, h. 55 cm, w. 43 cm A 17th century ebonized wood frame Framed: h. 100 cm, w. 83 cm Provenance: • Advertisement in Burlington Magazine, 1929, at the antique dealer Paul Larsen, 34 Duke's Street, London, United Kingdom • Clowes Sale, Christie's London, 7 July 1950, lot 153 (as Joos Van Cleve) • Acquired from the Katz antique dealers in Dieren (Netherlands) in the 1950s (one of the most important art galleries in the Netherlands specialising in Old Masters) • By descent, private European collection The composition of our painting depicting two naked babies embracing, Jesus and Saint John the Baptist, draws its source from a drawing by Leonardo da Vinci, probably executed in Milan around 1490 (kept at Windsor Castle, United Kingdom). This scheme, widespread early in the Lombard school, was widely reproduced by Leonardo's Milanese followers (Marco d'Oggiono, Bernardino de Conti or Bernardino Luini.) It is very likely that Joos Van Cleve was inspired by one of the works of his artists during his stay in Italy, however some historians hypothesize that he borrowed the figures from the painting by Marco d'Oggiono who had copied it on site in Flanders (it would have belonged to Margaret of...

Pegah Samaie's captivating original artwork, "Elegance," is a stunning testament to the artist's mastery of oil painting. This 2023 piece, offered directly by the artist, showcases S...

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

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, ...

This striking female portrait captures Joan Francies wearing a vibrant teal blouse against a warm, textured background of gold and green. The composition draws the viewer's eye to th...

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...

"Rémora 2" (2024) is a visually arresting acrylic on canvas by Inés Silvalde, measuring 60 x 80 x 3.5 cm. This work continues the artist’s exploration of the burdens, or "remoras," t...

Beach scene with children at play in the ocean water. Willard Dixon is one of the finest American contemporary realist painters who has painted western landscapes for 35 years. His ...

"Radiant Glow" by Kirsten Savage is an original, handmade oil painting on panel that depicts a portrait of a woman. Kirsten Savage is one of Colorado’s top representational artists....

This symbolic contemporary portrait painting on canvas, titled Ancestor Clone 14, is part of Natasha Lelenco’s ongoing series You Are The One. Executed in acrylic with expressive brushwork and a vibrant color palette, the piece presents a striking symbolic face composed of stylized and exaggerated features. The deep greenish skin tone contrasts with the warm pink background, evoking a dreamlike yet intimate atmosphere. Delicate white flowers surround the face, while a small anthropomorphic form is gently cradled in one hand—an ambiguous presence that may represent an inner discomfort, a fear, or a personal burden. The figure’s attitude towards this entity is not one of rejection, but of tender familiarity. In this visual encounter, the painting suggests a narrative where discomfort is no longer externalized but softly embraced. This piece belongs to the Ancestor Clones subseries, which reflects on repetition, inheritance, and the performative nature of identity. The You Are The One project as a whole questions the idea of individuality in a world where selfhood is shaped by collective memory, algorithms, and archetypes. Working across a range of aesthetic references—from naïve figuration to expressionism and echoes of urban art—Lelenco constructs a visual language that speaks of hybridity and psychological intensity. Her characters, often symmetrical and frontal, resemble ritual masks or avatars, and point to an exploration of the “posthuman” condition through the codes of contemporary portraiture. This work is intended to function both as an individual painting and as part of a larger polyptych installation. Many pieces in the series have already been collected worldwide and have appeared in international exhibitions. Natasha Lelenco is open to commission-based projects and multi-piece configurations that adapt to the needs of specific interiors or curatorial contexts. Please feel free to contact us to inquire about additional works or special arrangements. Keywords: contemporary portrait painting, symbolic art, psychological portrait, posthuman identity, surreal face, acrylic on canvas, pink and green artwork...

Alexandre Siches (1921-2009) - Woman in profile - Oil on canvas Oil measures 35x27 cm. Frameless. Alexandre Siches Piera (1921-2009) Catalan painter with an innate capacity for dra...

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 ...

Signed on top left side P. Ghiglia 937. Good conditions.

Patrick Nevins’ "Einsteinium" is a striking 3D trompe-l'œil oil painting that masterfully blends realism with sculptural illusion. Painted in 2025, this unique piece presents a playf...

Jordi Curós Ventura (1930-2007) - Woman - Oil on board. Work measurements 46x38 cm. Frame size 64x56 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish painter. He ...

PORTRAIT OF UGO FOSCOLO - Oil on canvas cm.50x40, Antonio Jannone, Italy, 2002. this beautiful portrait of the Italian poet Ugo Foscolo is the painter's pe...

Nebula by Alexandra Manukyan This painting portrays a figure immersed in introspection. Her delicate posture reflects both vulnerability and strength. The swirling pink hues behind ...

Charles Zacharie LANDELLE (Laval, 1821 – Chennevières/Marne, 1908) Portrait of a child with blue eyes Oil on canvas Monogrammed and dated lower l...

Sisterhood is also about growth and transformation. As we go through life, we change and evolve as individuals, and our relationships with our sisters change and evolve with us. The ...

"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...

Baroque Landscape with Figures French School, 17th century oil on canvas, framed Framed: 29.5 x 23.5 inches Canvas : 25.5 x 19 inches Provenance: private collection, France Condition...

Oil on Canvas framed to Guild of Framers Museums Standard :: Painting :: Fine Art :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Ha...

Oil mesures 36x23 cm. Frameless. Restored.

In her art, Yvonne Michiels (1966) depicts personal stories about beauty, emotions and mortality. In order to heighten the emotional charge, Yvonne often uses young models. Their h...

Adélaïde SALLES-WAGNER (Dresden, 1824 – Paris, 1890) Portrait of Mr. Pierre Rougé Portrait of Mrs. Mathilde Rougé, born Rauch Pair of oils on canvas Signed lower right for one and ...

Jusepe de Ribera (Xàtiva 1591 - Naples 1652) circle of - San Giuseppe. 108 x 80 cm without frame, 123 x 95 cm with frame. Antique oil painting on canvas, in a carved and gilded woo...

Portrait of a Gentleman in Ruff Collar and Robes Dutch School, 18th century oil on canvas laid over panel, unframed board: 28.5 x 24 inches provenance: private collection 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, ...

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...

Muideen Abdulkadir, a renowned artist from Nigeria celebrated for his ability to convey profound emotions through his artwork, has once again demonstrated his artistic genius with "L...

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

Quang Ho's "Jack of All Trades" (2009) is a portrait of a seated male model with a small sailboat replica in the background. About the artist: Quang Ho was born on April 30, 1963, ...

Ca. 1820 Portrait of a Woman. Léon Cogniet (1794-1880, Paris), attributed. French school of 19th century. Tecnicque: oils on canvas. Dimensions: 70cm x 61cm 20th century wooden frame. Old attribution to Léon Cogniet (1794-1880, Paris) is inscribed on the wooden frame. Portrait of the restoration period, post Napoleonic wars. Stylistically the painting is found in the transition period from the late Empire period to the beginning of Romanticism. The new artistic trends can be seen in the increased naturalism, representation of the landscape/nature, in the contrasts, and in a greater emotionality of the person represented. Detailed but loose is the way to describe the winter dress...

Surrealistic human figure. Feminist Art and Contemporary Feminist

Liseth Visser Dance me to the end of love 80 x 60 cm (Frame is included, framed 85 x 75 cm) Oilpaint on wood panel Dutch Female Artist Lis...

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...

Portrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...

Work on canvas : 61 x 43 cm Golden frame With frame : 70 x 52.7 x 4 cm This 19th-century portrait by an anonymous artist shows an elderly man seated at his desk, engrossed in writing...

1920s portrait in oil of a lady of quality by Paul Hercule Hogg. The painting is signed bottom right and is resigned and annotated to the back of the panel. The painting has been var...

Oil on canvas sold with frame Total size with frame 89x102 cm Hannes FRITZ-MÜNCHEN is an artist born in 1886 and died in 1981

Female Figure is an original artwork realized in the 1930s by Antonio Feltrinelli (Milan, 1887 - Gargnano, 1942). Original Painting on canvas. Hand-signed on the lower right corne...

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...

Jean La Forgue (French 1901-1975) oil on unstretched canvas, unframed painting: 20 x 16.75 inches provenance: the artists estate, France condition: the painting is on unstretched can...

The Madonna in Pensive Thought English 19th Century, Pre-Raphaelite artist Oil painting on board, framed Framed: 15 x 10.5 inches Board: 13 x 9 inches Condition: The painting is in o...

This artwork is a wonderful portrait of grace and elegance, capturing the essence of boundless beauty and uniqueness of cultural heritage. The subject, a stunning black Yoruba girl i...

Altar Boys (original Italian title "Ricreazione") is an original Contemporary artwork realized in 2013 by the Italian artist Roberto De Francisci ...

Dave Seeley's "Pedestal" (2023) is a striking original oil on canvas painting. The nude female figure sits atop a rock formation, her contemplative pose and the warm, ethereal light ...

"I Am Not Alone" by Joshua Salami is a captivating artwork that delves into the profound bond between a woman and her cherished pet, transcending the convent...

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...

"Whisper of Spring" portrays the serene beauty of a young woman with her auburn hair and scarf gently flowing in the breeze. This movement, captured through rich, textured brushstrok...

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...

Michael Carson's (US based) "Red Tights" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis Colleg...

Shipping Procedure Ships in a well-protected crater from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist A...

As an Antique sculpture, Dario Moschetta creates strength and movement in this artwork. Moreover, experimental technique brings an unique texture to the figure. Hair are waving alon...

Provenance Acquired by the gallery directly from the artist FRAMED: 12" x 9"

The Lady in Red British School, 20th century signed oil on board, framed in heavy thick wooden frame framed: 30 x 23 inches board: 23 x 16 inches provenance: private collection, UK c...

Frida Kahlo is an iconic Mexican artist and a great inspiration to me. She transformed her personal pain into art, a feat that resonates deeply with me. Her surrealistic artwork is c...

Nadezda's beautiful new oil on panel painting "The Left and the Right" (2024) is a surrealist portrait of a woman sitting at a small table with her gloves dancing in the background. ...