Portraiture

In her art, Dutch photographer Yvonne Michiels (1966) depicts personal stories about beauty, emotions and mortality. In the Cities-series Yvonne subt...

Edition of 300 Signed and dated in ball-point pen

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

"Samantha" Bronze Sculpture 14" x 13" x 9" inch by Sarkis Tossonian * Due to the Ministry of Culture policy + COVID situation, handling time (paperwork) may take up to 1-3 month. ...

DVS Krishna Red Painted on Fiber Glass - 14 x 13 x 15 inches, 2019 Born in 1973 @ Nellore Town Andhra pradhesh completed his graduation in painting from JNTU Hyderabad in 1996 worke...

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

A black-and-white image shot on film in Paris, France in the 1980s, Roberta Fineberg’s subject is a young French-African girl with braids, ribbons, and bows that RF photographed in f...

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...

This photograph titled "The Salon of Oluchi Oneya and Leenos The Forgiving" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemü...

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

Hand signed, numbered and dated by the artist in pencil. From the Self Portrait 1-5 series. Artwork is in excellent condition. Image size: 25 x 19 inches. Frame size: 32.6 x 25.75 in...

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...

“In 1975, Andy Warhol undertook a series of portraits of New York City transvestites, most of whom were recruited by Bob Colacello from a club called The Gilded Grape. The method for...

Circle of Jean-Baptiste Greuze 1725 - 1805 Portrait of a Young Boy with Birdcage Oil on canvas Image size: 15½ x 12 inches Original frame J...

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 ...

Georgia O'Keeffe, 1956 - Yousuf Karsh (Portrait Photography) Signed on mount Silver gelatin print 20 x 16 inches Provenance: Estate of Yousuf Karsh, ...

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 frame measuring 49”h x 5...

Thomas Ridgeway Gould (1818-1881) an extremely rare American White Marble Bust of A Woman, circa 1870. Depicting a beautiful woman with her hair double row, braided in a bun. Very...

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...

America Martin Woman Listens to the Wind Foam, Urethane Flex Coat, Industrial Bone White Paint and Redwood 79 inches x 48 inches x 24 inches AMERICA MARTIN is an internationally rep...

"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...

A color screen print with diamond dust by Andy Warhol. "The Shadow" is a self-portrait print executed in a dark, bold palette of browns and blacks by American Pop Artist Any Warhol. ...

1972 Screenprint on Beckett High White paper Image/sheet: 36 x 36 in. (91.4 x 91.4 cm) Edition of 250 Signed and numbered on verso

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.

After Sir Anthony van Dyck (1599-1641) Portrait of Sir Edward Lord Littleton, First Baron Lyttleton (1589-1645) Oil on canvas Image size: 96 by 76 cm Hand carved auricular frame Sir Edward Littleton was Solicitor-General to Charles I, 1634-40; Chief Justice of Common Pleas, January 1640-January 1641; Lord Keeper, 1641-45. Painted in his robes, and wearing the chain of office...

John F. Kennedy, 1960 - Yousuf Karsh (Portrait Photography) Signed on mount Silver gelatin print mounted on card, printed by the artist of under his direct supervision 13 x 101/4 inches Provenance: Estate of Yousuf Karsh, Museum of Fine Arts Boston Yousuf Karsh (1908-2002) was one of the most significant portrait photographers of the twentieth century. His portraits are easily recognisable for their bold use of studio lighting and closely cropped composition. Karsh’s photographs...

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...

Moon #2 - Ruud van Empel (Colour Photography) Signed, dated, inscribed with title and numbered on reverse Archival pigment print 33 x 23 1/2 inches Edition of...

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...

Grace Jones began her career as a model, working for fashion houses such as Yves Saint Laurent and Kenzo and appearing on the covers of Elle and Vogue. She began her music career as ...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

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...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

Thomas Hudson 1701 – 1779 Portrait of a Lady Oil on canvas Image size: 30 x 25 inches Original carved giltwood frame Hudson had many assistants, and employed the specialist drapery ...

This photograph titled "Konfyans" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemühle rag paper. This collection debuted at...

Edition of 3 Archival watercolor pigment print on Hahnemühle rag paper

While his work has a clear figurative language, the paintings of Juan Miguel Palacios contain a strong conceptual load, where his work developed in series, has a constant wandering o...

Attribuetd to Eugène Devéria (1805-1865) La Famille heureuse (The Happy Family) Watercolor on paper 23 x 18 cm In quite good condition : a small tear i...

European artist (early 20th century) Two study portraits of Mas MarCo Kartodikromo (1890-1932) One inscribed Kartodikromo lower right Framed in ebonized frame with white mount. Pe...

Paul César Helleu is regarded among the most sought-after society portraitists of his era, and his Belle Époque works rival those of his contemporaries John Singer Sargent and Giovanni Boldini. He is best remembered for capturing the era's most beautiful socialites, including Consuelo Vanderbilt, the Duchess of Marlborough, the Comtesse de Loriol Chandieu and the Comtesse Mathieu de Noailles, among others. This work, however, stands out in that it captures the charming likeness of one of his art world cohorts, Mathilde See, a Parisian-born decorator and painter of floral still lifes. She is the essence of the modern woman, captured in her fashionable dress as she strolls along the flower-lined streets of Paris. Commanding in size, Portrait de Mathilde See fully displays Helleu's mastery over the medium of pastel. The muted palette of greys and blues is typical of the artist, bringing a harmony and cohesiveness to the composition. Furthermore, Helleu cleverly alludes to See's own artistic output with a backdrop of vibrant floral blooms, enlivening the canvas and complementing the greens and blues of the peacock feather adorning her hat. The portrait is all the more significant thanks to its provenance. It was previously in the collection of A. Alfred Taubman, one of America's most successful entrepreneurs and one-time owner of Sotheby's. Considering Taubman encountered some of the most noteworthy and beautiful works of art ever made through his auction house, the fact that he chose this portrait by Helleu to grace his collection is a testament to its import. Born in Brittany in 1859, Helleu moved to Paris in 1876 in order to study at the École des Beaux-Arts. Like so many other artists of his generation, he was trained there under the Academic master Jean-Léon Gérôme. That same year, he also attended the Second Impressionist Exhibition...

A fine and detailed watercolour portrait in the realist style, entitled 'Lucy, Early Period' from an inscription to the reverse. The artist has chosen to depict the sitter in profi...