Oil on Canvas Pair of Portraits of a Couple, Probably New York, circa 1810

Biedermeier portrait of a couple, circa 1830-1850. Two elaborately restored portraits painted on a new wedge frame. Oil on canvas with gold frame...

Pair of English oval oil on canvas portraits of young male posing with hunting canine companions and young female sitting in garden posing with flowers and la...

This delightful pair of oil on canvas paintings are being sold as a set. While the romantic couple are in the boat, another woman is sp...

American, oil on canvas, "Washington Square, New York City." Signed, Mildred Hamilton. Long Island Artist.

Pair of American oil on canvas portraits in the original floral gilt frames and stretchers. South Carolina, Late 18th century. Signed Dr. Anthony Hemingway on re-verso.

19th century Portrait of Tiziano Vecellio and Rembrandt Measures: (2) Oil on canvas, 25 x 18.5 cm Frame 46 x 37 cm The two portraits depicting the artists Tiziano Vecellio and Rembrandt are to be counted among the reproductions of those famous self-portraits made by the two painters throughout their careers. As far as Titian is concerned, the artist creates numerous self-portraits that shoot him in different ages of his life and in different poses from time to time. An example is the one kept in the Prado Museum (Tiziano Vecellio, Self-portrait, 1560, oil on canvas, 86 × 65 cm, Museo del Prado, Madrid), which portrays the now elderly master, as in the present case. The thick white beard reaches almost to the chest, depicted almost in profile, while here the bust is frontal and the face turned three-quarters; his gaze is then turned to the outside of the painting and his expression seems tired and thoughtful. The broad forehead is uncovered and cut by a tight black bonnet from which no hair comes out. A thin white collar separates the face from the rest of the body dressed in an elegant and sober black dress, just like in this portrait. The figure clearly emerges from the background devoid of objects or furnishings, so that nothing distracts our gaze from the image of the famous artist who thus wants to be remembered. Another example is the self-portrait in Berlin (Self-portrait, 1552, 96 x 75 cm, Staatliche Museen, Berlin), which depicts the elderly artist, but decorated with a rich dress and placed in a physical space. Finally, the lost self-portrait in oil on paper, cited by Vasari in his Lives in 1545, keeps a low profile, as evidenced by the rather modest dress...