Harry Rutherford Portrait Paintings

Suchitra Bhosle's "Somewhere in Paris" is an original, hand made oil painting that depicts a feminine model in a translucent white shift reclining on a background of white. About th...

Niczky Edouard (1850 – 1919) Love date in 19th century Oil on canvas signed low left Old original frame gilded with leaves Dim canvas : 61 X 52 cm Dim frame : 76 X 66 cm Certificate of authenticity Niczky Eduard (1850 – 1919) German painter 19th century Birth on July 17th, 1850 in Kassel Died on May 16th, 1919 in Munich Painter of genre scenes, portraitist, landscapes and flowers. Eduard Niczky...

MANE-KATZ RABBIS, c. 1935 Oil on canvas 18 H. x 14 W. 1/2 in. (45.5 x 35.8 cm.) Signed PROVENANCE Dominion Gallery, Montreal Christies, New York, November 04, 1982. Lot 177: $11,000 Private Collection, New Jersey, 1982-2021 Estate of the above, 2021. Raised in an orthodox Jewish family in Russia, Mane-Katz was born in the Ukraine and became an early 20th-century artist, known especially for portraits and paintings with Jewish themes. From childhood, he had been influenced by stories of Jewish mysticism, which was reflected in his paintings. He had a peripatetic life between Russia, France, Israel, and America. He first studied art in Kiev at the Beaux Arts Academy, and in 1913, went to Paris where he associated with Chaim Soutine and Marc Chagall and continued his art studies there at the Beaux Arts Academy. During World War I, he tried to join the Foreign Legion but was rejected because he was too short. He went back in Russia again, this time joining the Soviet Revolution but rejected the cause because he was so horrified by Josef Stalin. He worked briefly for the Russian ballets, and in 1921, he returned to Paris where in 1927 he took French citizenship. For the next twelve years, he traveled widely, showing his art work and doing many paintings. In 1939, as World War II was breaking out, he was drafted by the French and then was taken prisoner by the Germans. He escaped and went to the United States and remained there until 1945, exhibiting his paintings at Katia Granoff Gallery and Wildenstein Gallery. After the war, he returned to Paris where he had exhibited in the Salons. In Paris to the end of his career, he worked happily, painting hundreds of portraits of rabbis...

French School 19th century Close to François Xavier FABRE (1766-1837) The Princess and The Chaperone Oil on canvas One can read on the reverse "Fabre Fecit" and the name and address of the canvas dealer shop...

Signed oil on board portrait circa 1940 by French post impressionist painter Jean Gabriel Domergue. The work depicts a blonde lady - Audrey - in a mint green dress...

"Round Portrait of a Brown and Black Terrier," French, 19th Century, circa 1850s Oil on wood panel Unsigned. 9 x 9 inches frame One of a pair of charming portraits of Black White Te...

"Round Portrait of a Black and White Terrier," French, 19th Century, circa 1850s Oil on wood panel Unsigned. 9 x 9 inches frame One of a pair of charming portraits of Black White Te...

Antique French interior portrait oil painting by Charles August Corbineau (1835 - 1901). Oil on canvas. Signed. Framed. Measuring: 38 by 44 inches overall, and 29 by 36.5 painting al...

Exquisite 19th century Italian orientalist oil painting depicting a romantic sunset scene with a young Middle Eastern woman at an ancient well. The composition features a beautifully...

Jean François Portaels 1818 - Brussels - 1895 Belgian Painter ‘Oriental Girls - Mediants à Tanger, Maroc’ Signature: signed lower right ‘J. Portaels’ Medium: oil on canvas Dimensions: image size 40,5 x 28,5 cm, frame size 67,5 x 56 cm Biography: Jean François Portaels, also known as Jan Portaels, was a versatile Belgian painter born on April 3, 1818, in Vilvoorde and passed away on February 8, 1895, in Schaerbeek. He was celebrated for his genre scenes, biblical stories, landscapes, portraits, and Orientalist subjects. As a teacher and director of the Academy of Fine Arts of Ghent and the Académie Royale des Beaux-Arts in Brussels, Portaels significantly impacted Belgian art, becoming a pivotal figure in the Belgian Orientalist school. His works were known for their 'everyday elegance and feminine grace,' and he played a crucial role in influencing the next generation of Belgian artists, including notable figures like Théo van Rysselberghe. Portaels was the son of a wealthy brewer who also served as Vilvoorde's mayor. Showing an early passion for drawing, he was sent to the Académie Royale des Beaux-Arts in Brussels in 1836, where he studied under François-Joseph Navez, a former student of Jacques-Louis David. Navez invited him to his studio, which was renowned at the time, allowing Portaels to refine his skills alongside other talented students like Charles de Groux and Joseph Stallaert. In 1841, Portaels moved to Paris, enrolling at the Ecole des Beaux-Arts and studying under Paul Delaroche. He became influenced by the emerging Orientalist movement, which was gaining traction in Paris. In 1842, he won the Grand Prix de Rome, which funded his travels across Italy and other regions, including Morocco, Algeria, Egypt, Lebanon, Judea, Spain, Hungary, and Norway. These journeys profoundly influenced his artistic vision, particularly his Orientalist works. Upon his return to Belgium in 1847, Portaels was appointed Director of the academy in Ghent. In 1849, he married Marie Hélène Navez, the daughter of his first teacher. Despite being offered the directorship of the Brussels Academy, he initially declined, opting to preserve his independence. He later accepted a teaching position at the Academy and eventually became its director in 1878, succeeding Eugène Simonis. Portaels was known for his broad range of artistic talents, including history painting, portraiture, and genre art. He was particularly recognised for his Orientalist depictions, often portraying the 'Oriental woman' with distinctive features like arched eyebrows and almond-shaped eyes. His style, marked by charm and elegance, distinguished him from the dominant artistic movements of Classicism and Romanticism. He was a pioneer in monumental art in Belgium, working with Jean Baptiste van Eycken to introduce fresco techniques like water glass painting...

Julien Celos 1884 – Antwerp – 1953 Belgian Painter 'Mother and Child in Zeeland' Signature: signed lower middle left 'Julien Célos' Medium: oil on canvas Dimensions: image size 64 x 52 cm; frame size 84 x 73 cm Biography: Julien Célos (Antwerp, 30 September 1884 – 8 September 1953) was a Belgian painter and etcher, born to a French father, celebrated for his poetic views of Flemish towns and his remarkable colour prints. He trained at the Royal Academy of Fine Arts in Antwerp under Franz Courtens and also benefited from the teaching of Albert Baertsoen, whose influence is evident in his taste for urban atmospheres, misty canals and subtle tonalities. Working at a time when luminism shaped much Belgian painting, Célos adopted certain aspects of its research into light and atmospheric effects while maintaining a distinctive, calm and lyrical sensibility. The greater part of his output was devoted to rural landscapes and the towns of Belgian Flanders—Bruges, Mechelen, Ghent and Antwerp—as well as Zeeland in the Netherlands and various regions of France. Bruges and Mechelen occupied a privileged place in his iconography: beguinages, narrow alleys, silent quays and ancient squares became the motifs of an intimate and timeless painting. He also travelled in Brittany and spent several months in Tunisia on a study trip. Alongside his painting, Julien Célos developed an important body of graphic work, notably colour etchings published by prestigious firms such as Georges Petit in Paris, Dietrich in Brussels and Caspers in Berlin. In both technique and subject matter, his work is comparable to that of artists such as Emmanuel Viérin. Highly active in Belgian artistic circles, he was a member of the Antwerp artists’ association Als Ik Kan, founded in 1883 and active until 1952, as well as of the committee of La Gravure Originale Belge. Even before the First World War, Julien Célos enjoyed notable critical recognition. In 1907 he took part in the Exposition Générale des Beaux-Arts in Brussels, presenting oils, etchings, pastels and drawings, including En ville morte, Automne and L’Église à Veere. The following year he received an honourable mention at the Salon des Artistes Français. In 1914 he again exhibited in Brussels and at the Cercle Artistique et Littéraire, where the press praised the poetry of his urban views and the excellence of his colour etchings. Like many Belgian artists, he lived in exile in England and the Netherlands during the First World War. This period was marked by intense exhibition activity: in 1915 he participated in a major exhibition in Brighton devoted to the new Belgian painting, alongside James Ensor, Félicien Rops, Emile Claus, Albert Baertsoen and Théo van Rysselberghe, where he was described as “one of the finest artists in interpreting the picturesque character of small Flemish towns.” That same year his works were shown at the Royal Institute in London and in a solo exhibition of forty-five pieces at the Goupil Gallery. In 1917 he exhibited in Amsterdam with Alfred Van Neste...

John Tarantola's original nude portrait "Wood Nymph" (2018) is a beautiful realist painting done with oil on panel, which depicts an athletic nude male figure standing in a forest, p...