Portraiture

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Color portrait of artist David Hockney smoking in front of some portraits on the wall. From personality portra...

ALBERT WATSON (*1942, Scotland) Kate Moss Abstract, Reflection on Water, (new) 1993 Archival pigment print Sheet 142 x 107 cm (55 7/8 x 42 1/8 in....

Bert stern Marilyn Monroe Blue classic Roses Mythical photo of the last seance (1962) ink jet print by bert stern 2011 signed on both sides certificate signed by the artist in his l...

Muhammad Ali as Saint Sebastian, 1967 48 x 84.5 in. (121 x 214 cm) Chromogenic Print Edition of 3 Exclusive to TASCHEN The photographer Carl Fischer (b. 1924), photographer an...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

'Yayoi Kusama' June 12 2013 Tokyo Personal Work (photo Kevin Westenberg) unframed signed and numbered by the artist. limited to an edition of 3 Printed 2020 This Size 60x40''...

TECHNICAL INFORMATION Alex Katz Ada 2011 Japanese woodblock in 31-colors on New Hosho paper 22 x 30 in. Edition of 70 Pencil signed & numbered Accompanied with COA by Gregg Shi...

Edition of 7 Isabelle van Zeijl is an established mid-career international artist. Recognized for her mastery to create striking self portraits with depth and meaning who enriches l...

Ron Galella (1931) Grace Jones at Bond’s, New York 1980 11 x 14 inches Silver Gelatin Print Edition of 20 Signed, dated, titled by the artist. Described by a nickname of Paparazzo E...

We are proud to have recently discovered, “The Sophisticate”, by American artist Alexander Rosenfeld. Rosenfeld was classically trained in fine ...

Albert WATSON (*1942, Scotland) Naomi in Morocco, 1998 Archival pigment print 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10, plus 2 AP Print only Drake purchased a series of Albe...

The Print Collector (Portrait of Felix Mann) is an original lithograph realized by David Hockney in 1969. This beautiful artwork is from an edition of...

Lullaby is the second chapter of a larger body of work that pushes further the themes and ideas explored in the series Paranoia. Again this collection of images was arranged ‘a poste...

Greenfield's versions are rendered in the Byzantine style of their art historical predecessors, with the black Virgin Mother and Baby Jesus as the central focus within circular compo...

Artist: Paul Von Ringelheim, Austrian/American (1933 - 2003) Title: Bust of Alberto Giacometti Year: Circa 1970 Medium: Painted Plaster Size: 29.5 x 13 x 17.5 inches

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

BB King in Vicksburg, Mississippi, 2007 Album shoot for One Kind Favor, BB King's Grammy-award winning 42nd and final studio album (photo Kevin Westenberg) NB All prints are signed and numbered by the artist. Unframed Signed and numbered by the artist. Edition limited to 25 only this size Printed 2020 This size image: 24 x 30" / 61 x 76 cm OTHER SIZES AVAILABLE : Size 1. 16 x 20" Signed and numbered edition of 25. cost $ 2,500 Size 2. 20 x 24" Signed and numbered edition of 25. cost $ 2,950 Size 3. 24 x 30" Signed and numbered edition of 25. cost $ 3,375 Size 4. 30 x 40" Signed and numbered edition of 10 (+2 a/p). cost $ 5,605 Size 5. 40 x 60" Signed and numbered edition of 3 (1 a/p). cost $ 18,500 About the artist : Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane's Addiction, Sting, Bjork, Nirvana, Jeff Buckley, Luther Vandross, Nine Inch Nails, Stone Roses, The Pixies, Paul Weller, Rufus Wainwright, Michael Stipe, U2, Mary J. Blige, R.E.M., Black Sabbath, Massive Attack, BB King, The Rolling Stones, PJ Harvey, Marilyn Manson, Pete Doherty, Oasis, Soundgarden, Jake Bugg, and Bon Jovi among many others. Also included are 100’s of albums, singles, magazine & book covers from around the world. He’s also been chosen as official photographer for the LIVE 8 Hyde Park event in 2005 and for Led Zeppelin reunion concert at the 02 Arena, London. The work & interest also include a wide range of artists portraits beyond the music world. David Lynch, Paul Auster, The Coen Brothers, Rupert Friend, Sir Tom Stoppard, Orla Kiely, Vincent Cassel, Audrey Tautou, Billy Bob Thornton, Ethan Hawke, Alan Rickman, Daniel Bruhl, Sean Penn, Shirley Henderson, Aaron Eckhart, Robin Wright, Rhys Ifans, Frances McDormand, Jean-Luc Godard, Ray Winstone, Michel Gondry and Naomi Watts are amongst these portraits. “Rolling Stone”, “Spin”, “Q”, “Time Out”, “Les Inrockuptibles”, “Vogue”, “Rockin On Japan”, “Esquire”, “New York Times Magazine”, “Telegraph” and “Observer” Magazines, “Interview” and dozens of others around the world have commissioned him. The last 15 years he’s been a staff photographer at MOJO Magazine producing many covers and features. Most recently photographing Sir Paul McCartney for the cover story of the November 2013 issue. Westenberg’s biggest honour to date arrived in 2012 when he had his first major global museum show. The location was the ‘Kobe Fashion Museum’, one of Japan’s largest museums. The whole museum was dedicated to Westenberg’s works for a 3 month period. Over 70 images were included in a wide range of sizes, styles and presentation. The catalogue produced sold out during the exhibition’s run. The 20-year attendance record for the museum was also broken by the exhibition. blues soul guitar gibson...

This new work by David Salle is part of his latest print editions. Salle's collage like painting usually feature a separate portrait side of he painting, which these women are from. ...

Artist: Raul Anguiano, Mexican (1915 - 2006) Title Mujer de Juchitan Year: 1974 Medium: Oil on Canvas, signed l.l., signed, dated and titled verso Size: 25.5 x 37.25 in. (64.77 x 94...

Stephen Hawking. Photo for TIME Magazine, 1987 This photo is in the National Portrait Gallery in London, was the US Winner of World Press Award and th...

2010 Signed and numbered, verso On the 10 year anniversary of Marina Abramović’s landmark performance The Artist is Present (2010), Marco Anelli ...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

Hockney, David (English, born 1937). S.A.C. 188, Tokyo 178. HENRY AT TABLE. Lithograph, 1976. Edition of 96, plus 25 additional proofs including 18 artists proofs and 7 others for th...

Ceravolo was introduced to Lichtenstein at a museum show in 1995, at that show, Lichtenstein and Ceravolo discussed the fact that Andy Warhol had painted portraits of Roy in the 1970...

The blond figure, along with the floating peonies, combine to explore the dynamic between the eternal and the temporal, as well as our own relationship with nature. The gold leaf adds a three-dimensional softness as well as a glow upon which the female figure floats. Her skin is seductively painted; her teal dress falls off her shoulder; white peonies float by; the scene is set for a dreamy visual feast. The painting is framed in a gilt frame. Michael Van Zeyl Peonies in White Light oil and 12K gold leaf on linen wrapped panel 24h x 36w in 60.96h x 91.44w cm EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

A portion of each sale will be donated to the ACLU + NAACP JoAnne Artman Gallery proudly introduces America Martin’s new series "I See Heroes Everywhere." Addressing the theme of h...

HENRI-HONORÉ PLÉ French, 1853-1922 Femme de Mequinez An important orientalist polychrome patinated bronze bust sculpture with gilt highlights surmounted on rouge marble. H 26 ...

Utilizing a variety of vibrant colors in a myriad of varied, small geometric shapes, Chuck Close creates a startlingly lifelike portrayal of his subject of fellow artist James Siena....

A recent Kuhn Circus Performer sold for $312,000 at Bonhams, NY Bert Lahr shined in the role of The Cowardly Lion in the Wizard of OZ. Here he is depict...

Michael Van Zeyl Silverstone Yellow Jasmine oil on panel 40h x 40w in 101.60h x 101.60w cm MVZ005 ARTIST STATEMENT I'm currently working with figures and portraits and combine human forms with botanicals to explore our relationship with natural elements. Capturing the movement of the figure or an expression of a living soul presents endless possibilities and inspiration enabling me to blend with different themes. I've studied classical methods of oil painting with a focus on the 17th century Dutch Masters. The subjects I am drawn to are individuals with character, athletic figures and blooming floral arrangements with elegance and ethereal beauty. The reference for my work comes from my direct observation of natural day light in my north light studio illuminating and blanketing the form of my subjects. I am fascinated and challenged by the process of transforming a flat, blank canvas into the illusion of dimensional form, atmosphere and mood. That process is usually well thought out but sometimes painted direct and use intuition to complete my idea. Both of these methods present challenges but each way fills the void of the other and opens up the possibility of new visual ideas to meet my objective. BIOGRAPHY For Michael Van Zeyl, portraiture is much more than a one-sided translation of the artist’s point of view taking form in a subject. It’s an engaging visual dialogue that renders a soul in light, shadow and pigment, continuing the conversation for future generations to appreciate. While subtle observation and technical skill are only part of Michael’s gift, his experience has honed his craft to the highest standard. His talents were apparent by age seven and he spent subsequent decades mastering a wide range of painting techniques. In particular, 17th century Dutch and 19th century impressionist styles have resonated with him and surfaced in his own works. His formal training began at the American Academy of Art in Chicago, continuing on at Chicago’s Historic Palette & Chisel Academy and the Art Students League in New York, where he studied with the most accomplished artists who also paint directly from life under natural light. Michael is currently a faculty and board member at the Palette & Chisel and has been the club’s most popular instructor for several years. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago, DePaul University School of Law, Chicago Theological Seminary and American Hotel Register. He has received awards from the Portrait Society of America, The Artists Guild, the Oil Painters of America and the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists. EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

Hand signed and numbered by the artist. Edition of 200. From the Myths Portfolio. Screenprint With Diamond Dust on Lenox Museum Board. Published by Ronald Feldman Fine Arts, Inc.,...

Signed by the photographer

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

"Revelation" is a 48in x 62in original oil painting by Katherine Fraser in a handmade wood frame. Artist Statement // Life often strikes me as a string of moments, like a series of ...

Signed and numbered, verso “Artist Studios New York” is an editorial project by Marco Anelli that explores the New York studios of the major protagonists in the contemporary art scene. Artists include: Alex Katz, Alfredo Jaar, Anne Collier, Anthony McCall, Banks Violette, Cecily Brown, Dan Colen, Dana Schutz, Elizabeth Peyton, Francesco Clemente, Glenn Ligon, Jack Pierson, Joan Jonas...

"No Hay Nada Mas" is a 31in x 43in original oil painting by Katherine Fraser in a handmade wood frame. Artist Statement // Life often strikes me as a string of moments, like a serie...

Artist: Peter Max, German/American (1937 - ) Title: Nelson Mandela Year: 2001 Medium: Acrylic on Canvas, Signed u.l. Size: 18 x 16 inches

A Fine Quality Polychrome-Patinated Bronze Bust of an Orientalist Princess. The Princess wears a luxurious gold and silver brocade vest, with patinas that skillfully imitate gold an...

This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...

Oil on panel Panel size: 18 x 15 inches Framed size: 22 x 19 inches Signed lower right

Artist: Chuck Close Title: Dalai Lama Year: 2005 Medium: Digital pigment print on Hahnemuhle Photo Rag paper Edition: 300; signed, dated and numbered in pen...

Screenprint on museum board. Hand signed and numbered by the artist. Edition of 100. Published by International Images, Putney, Vermont. Sheet size 59 x 68 inches. Artwork is in e...

Artist: Unknown, in the style of Pablo Picasso Medium: Painted Terracotta Sculpture Size: 27 tall x 15 x 12 inches

Hockney, David. JOE MCDONALD. Scottish Arts Council 175. Gemini DH76-767. Lithograph in two blacks, 1976. Done in crayon on both a stone and an aluminum ...

Signature: Cosmopoilitan Magazine Cover, February 1942

"The Shipwrecked Heart" is an original oil painting by American artist Katherine Fraser. The piece ship in the pictured wooden frame and measures 64”h x 50”w. "I think a lot about ...

Alfred Seifert Czech, (1850-1901) Portrait of a Young Woman with a Pearl Necklace & Rose Oil on panel, signed Image size: 15.5 inches x 12 inches Size including frame: 23 inches x...

Jacqueline Kennedy I, from 11 Pop Artists I. Screenprint in silver, on wove paper. Artist's stamped signature on the reverse and numbered. From the edition of 200. Published by O...

Albert WATSON (*1942, Scotland) Christy Turlington, Luxor, Egypt, 1987 1987 Archival pigment print Image 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10; Ed. no. 9/10 Print only ...

This large oil painting on canvas of a woman in a garden with roses titled "Two Paths Diverged" is an original artwork by Katherine Fraser in a handmade wood...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

"As Far as the Mind Can See" is a 62in x 82in original oil painting by Katherine Fraser in a handmade wood frame. Artist Statement // Life often strikes me as a string of moments, l...

Portfolio of ten 1-color etchings, hand-pulled on 300 gsm Somerset Satin White fine art paper. Edition 10/40. Plate size 9 x 9 in. Paper size 13 x 13 in.

This figurative blue, green, brown, white, and beige painting titled "Outward Bound" is an original oil painting by Katherine Fraser in a handmade wood f...

Slim Aarons Tania Mallet, 1961 C print Estate stamped and numbered edition of 150 with certificate of authenticity 1961: Actress Tania Mallet relaxes on a red-curtained four poster...

Artist: Lucien Clergue, French (1934 - 2014) Title: Picasso Preside la Corrida - Frejus, 1962 Year: 1962 (printed 1992) Medium: Gelatin Silver Print, Sig...

Price on Request. The Saturday Evening Post cover, August 10, 1940

This is an original oil on canvas painting by Katherine Fraser. The piece ships in the pictured frame measuring 18.25”h x 16.5”w. PRESS RELEASE // Paradigm Gallery is pleased to pr...

"Conversation" is a 53.5in x 67.25in original oil painting on canvas by Katherine Fraser in a handmade wood frame. Artist statement // "Life often strikes me as a string of moments,...

"Always the Fool" is a 51.5in x 61.5in original oil painting by Katherine Fraser in a handmade wood frame. "Life often strikes me as a string of moments, lik...