Eugene Alexis Girardet Portrait Paintings

This is a one of a kind original oil on panel portrait of Madonna by Southern California artist, Gina Palmerin. Its dimensions are 24x24. It is unframed. A certificate of authenticit...

This is a one of a kind original oil portrait of Freddie Mercury by Southern California artist, Gina Palmerin. Its dimensions are 24x24. It is unframed. ...

Delicate and detailed portrait of Jesus by notable outlaw John Paul Chase (American, 1901-1973). Jesus is looking directly at the viewer with a piercing gaze, holding a glowing sacred heart in his left hand. The other hand is gesturing toward the viewer, palm up, and the stigmata can be seen on his palm. Jesus is wearing a red garment with a blue cloak, the traditional symbolic colors for humanity and the heavens. It appears that this piece was painted over a previous composition. Signed "John Paul Chase" in the lower right. Presented in a mahogany frame with an oval opening. Board size: 31"H x 24"W Oval opening is 28.75" x 22" at widest points John Paul Chase (December 26, 1901 – October 5, 1973) was an American bank robber and Depression-era outlaw, who also became an artist. John Paul Chase was born in San Francisco, California. He left grade school to work on a ranch and later became an assistant machinist in a railroad yard. In 1926, Chase was fired from the railroad and was hired as a chauffeur for a professional gambler in Reno, Nevada. He spent the next few years as a bootlegger in Sausalito, San Rafael and San Francisco but was not involved in major crime until his association with Baby Face Nelson in the early 1930s, possibly in March 1932. It is generally agreed among crime historians that Reno was the most likely place where the two first became partners, Nelson having connections in the local underworld and frequently hid out there while in Chicago and the general Midwest. On October 23, 1933, he and Nelson robbed their first bank together in Brainerd, Minnesota escaping with $32,000. Along the way, they picked up a number of other outlaws including Charles Fisher...

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

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

'Landscape with Two Bathers', oil on panel, by Guillaume Dulac (circa 1920s). Dulac's oils and drawings manifest an elegant classicism with an immediately identifiable style. It is these qualities which are so attractive both aesthetically and in the context as an investment in fine art. Our gallery holds virtually the entire remaining collection of Guillaume Dulac's sketches and memorabilia with impeccable provenance. In this acquisition of a Dulac oil painting, one finds a depiction of two women, one of them in the nude, seated on the edge of a bathing pool. The other is peacefully seated on a comfortable boulder stone...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

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

1950's Mid Century modern English oil portrait of a woman seated in an interior The artist was a portrait and figure painter active during the 1950s-1960s Great use of color and abstract brush strokes...

"Absolutely Ready" (2022) by Clyde Steadman (United States) is an original painting depicting a female in her dressing room putting on heels.

Well painted 1950's mid-century modern English portrait of a black nude woman seated on a chair. The artist was a portrait and figure painter active during the 1950s-1960s Oils on ...