Continental US - Portrait Paintings

"Not Speaking" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 36" x 40" oil on board portrait of a mother and her son is painted in a vibrant color pale...

Serge Marshennikov's "Sleeping Beauty," is an original, handmade hyper realistic oil painting on stretched canvas that depicts a feminine model in a...

Jon Wassom’s Soul Searching (2024) is a striking mixed-media painting on canvas, measuring 24 x 20 inches with a 1.5-inch depth. This original artwork captivates with its expressive ...

Angels Grau is a Catalan artist who spends her time between Barcelona, New York, and a small village located in the breathtaking Priorat, one of the most notorious wine regions in Europe. This combination allows her to have the best of three worlds; it brings together the creativity and passion that her paintings demand. "I invest time in my work. You must look at paintings on different days, with different eyes. There is a need to go back to it again and again.” Born to a family of artists, she grew up surrounded by drawings, tapestries, and paintings that awakened a special sentiment that over time matured into her work. A graphic designer first and painter by evolution, in 2018 she decided to make the leap into becoming a full-time artist. Nothing has deterred her since. After traveling the world and bringing up four children who are almost living their own lives, the artist feels the need to empower the role of women inspired by her own journey. “Invisible Women” is a tribute to each and every woman that fights from anonymous positions, in everyday jobs and everyday lives, to improve their family, their society, their world. Some of her pieces are part of the personal art collections of different CEOs of fortune 100 companies. “Invisible Women” is part of a recent purchase...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

"Figure II" Oil Painting 72" x 48" inch by Casey Baugh Medium: oil and ash on linen ABOUT THE ARTIST: Baugh's work can be described as narrative impressionistic realism. Speciali...

Masri Hayssam (Lebanese, born 1965) "Traccia" (2019) Acrylic paint, Oil paint, Canvas, Stretcher Bars The artist signed the bottom right of the painting. "Traccia"—meaning "Trace" i...

"Renewal" (2024) by Josh Sorrell depicts a abstract expressionist portrait of a woman in shining blue light. This painting measures 14 x 11 x 2 inches and is unframed but ready to ha...

Boris Deutsch (American Lithuanian Russian, 1892-1978) "The Flute Player," 1947 Oil paint on canvas, Hand signed and dated upper left, Provenance: gallery label (Pasadena Art Museu...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

"Nox" (2023) by Allen Williams is an original handmade oil painting that depicts a disturbing a uncanny portrait of a man on a dim gold background. Abo...

This painting depicts a whimsical portrait of a Young Boy with a cap. There is great attention to detail, while an emotion is felt in the boy's face. The sepia color used and quick s...

Unique acrylic painting and silkscreen on canvas. Hand signed and dated by Andy Warhol on verso. Martin Lawrence provenance label on verso. Canvas size 20 x 20 inches. The artwor...

Anne Siems has created this artwork by painting and drawing over an archival print on thick 100% cotton fiber paper. All archival materials. Unframed size: 8.5x11 inches Frame size: 15x12x1 inch ANNE SIEMS (b. 1965, Germany) Artist Statement I was born in Berlin, Germany. From 1969 to 1971 I lived near Buenos Aires, Argentina. My first extended stay in the US was as an exchange student in 1986. Then in 1991, after finishing my MFA in Berlin, I moved to Seattle, WA. My work has moved from semi-abstract, room-filling plant and insect drawings...

Highly important American pastel portrait painting by James Sharples Senior (1751-1811), of American politician General William Lyman (1755-1811), painted circa 1795. This painting h...

Matt Talbert's "Waiting Patiently" (2024) is an original, handmade oil painting on panel that depicts a portrait of a woman looking at the viewer on an abstracted and colorful backgr...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...

Ballroom Scene

A mysteriously rich oil painting of a semi nude Middle Eastern woman in a red headdress. Shaoul adopts a more abstract, cubist and expressionist style. In this piece we explore bold,...

This animal portrait, "Cautious", is an 8x10 oil painting on canvas featuring a Golden Retriever dog and black cat in front of a barn door. Snow ...

Francis Mabel Hollams (British, 1877–1963) Bumble, 1957 Oil on wood panel With characteristic precision and affection, Francis Mabel Hollams captures the spirit of a beloved compani...

Unknown, American 20th Century Signed: appears to say " Alex I. Espiritu " (canvas verso) Female nude, circa 1940s - 1950s Oil on Canvas 32" x 24"

Price includes $500 additional cost for framing Oil on canvas Signed in red, u.l.

Nu Bleu III

Finally got my hands on something by Louis Braquet. He has multiple commissions this year and I've been unable to get anything new. He had held on to thi...

Mark Andrew Bailey's "Bad Hombre XLIV" (2025) is an original, handmade oil painting that depicts an impressionistic profile portrait of a male cowboy with a beard wearing a hat. Ab...

Signed lower left, 'W. Schwartz' for Walter Erwin Otto Schwartz (Danish, 1889-1958), dated 1935 and inscribed 'Skagen' lower right. A substantial, psychologically penetrating portrait of a young woman with braids, shown dressed in a charcoal wool coat and wearing a copper-colored neck-scarf. The self-possessed sitter stands and meets the viewers gaze directly, proving herself an unusually confident subject for this noted Danish Modernist. Nephew of the Danish academic artist, Frans Schwartz, Walter Schwartz grew up surrounded by the painters who frequented the Danish art colony on the picturesque island of Skagen. Walter first studied formally (1904-8) with Michael Ancher...

King and queen with clowns and jesters. Bold, colorful, expressionist masterful painting. Jonah Kinigstein (b. 1923) is an American Postwar & Contemporary painter. He works in a figurative expressionist style. His works are featured in the Smithsonian American Art Museum, the National Academy of Design, the Whitney Museum of American Art, and the Museum of Modern Art in New York. He lives in New York City. Jonah Kinigstein was trained at Cooper Union Art School, The Grande Chaumiere in Paris; and Belle Arte in Rome. He has been a Fulbright Fellow. He has holdings at MOMA, the Ain Herod Museum in Tel Aviv; Smithsonian; the Albright-Knox Gallery and the Nelson Gallery of Art. He lived and worked in Brooklyn New York. Kinigstein was inducted as an Academician into the National Academy of Design in 1997. Exhibits include: Young Americans at the Whitney Museum of American Art; the National Academy of Arts and Letters; ACA Gallery; Rittenhouse Gallery; the Washington Irving Gallery; and the Pindar Gallery. Contemporary American Painting and Sculpture (CAPS) '59, University of Illinois, Arthur Okamura, Fred Farr, Jonah Kinigstein, Lawrence Calcagno, Reuben Tam and Rico Lebrun. Jonatha Kinigstein attended The Cooper Union and Grand Chaumiere, Paris. He received a Fulbright scholarship to study in Rome, and has also received awards from the Butler Art Institute; American Academy of Arts and Letters; Silvermine Guild; and Louis Comfort Tiffany Foundation. Kinigstein has had solo shows at Galerie Bretau, Paris; Alan Gallery, Grippi Gallery, ACA Gallery, and Pindar Gallery, New York; Siembab Gallery, Boston; Rittenhouse Gallery, Philadelphia; among others. His work is in the collections of the Whitney Museum of American Art; Museum of Modern Art; Allentown Art Museum; Albright Art Gallery; Butler Art Institute; and more. He has taught at the Brooklyn Museum and National Academy of Design School of Fine Arts. Born in 1923 in Coney Island, Jonah’s early influences were discovered during visits to the Metropolitan Museum- “When I really saw the old masters, it blew my mind, of course.” He attended Cooper Union for a year before he was drafted into the Army, serving from 1942 – 1945. Soon after, Jonah moved to Paris where he spent time at the Académie de la Grande Chaumière, conversing with other aspiring artists, exchanging ideas, exhibiting his work, seeing established artists, and generally soaking up a fertile creative environment. He exhibited in several shows including the Salon D’Automne, Salon de Mai, and the Salon des Moins de Trente Ans, and had one-man shows in the Galerie Breteau and Les Impressions D’Art. After Paris, Jonah moved to Rome on a Fulbright Scholarship and studied at the La Schola Di Belles Artes. After a year, he returned to the U.S. and exhibited his paintings at the Downtown Gallery in Manhattan. A classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it. Like so many painters, he was unable to make a living solely from painting, so he worked in the commercial art world and did freelance illustration and design. Throughout this time, Jonah’s commitment to his own art never wavered, and he continued to paint and occasionally exhibit. He was included in the MoMA show, Summer Exhibition: New Acquisitions; Recent American Prints, 1947–1953; Katherine S. Dreier Bequest; Kuniyoshi and Spencer; Expressionism in Germany; Varieties of Realism along with Alexander Archipenko, Francis Bacon, Balthus, Will Barnet, Leonard Baskin, Eugene Berman, Reg Butler, Lovis Corinth, Andre Derain, Otto Dix, Raoul Dufy, Max Ernst, Lucian Freud, George Grosz, Alexei Jawlensky...

A pensive woman is the subject of this portrait in pencil by Michigan artist Doreen Olin Rice. It is framed and wired--ready to hang.

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

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Joseph Solman Figure Study, circa 1959-60 Signed with initials lower left Gouache on Racing Form newspaper Sight 9 x 7 inches Provenance Private Collection, Montecito, California Pr...

This colorful portrait painting is inspired by Picasso and the mid-century masters. Framed and matted in a vintage gold frame, can hang or stand, 10 in. wide x 12 in. high

Inspired by her background in fashion, artist Lindsey McCord creates vibrant portraits that encapsulate the confidence that comes with the fun of being stylish and chic. Her figures ...

In his work, Tetteh condenses the internal sentiments and tensions of his characters and focuses them, using the eyes as the outlet for expression. In this way his subjects become in...

Antique American oil painting. Oil on canvas. Measuring 18 by 22 inches.

A wonderful composition of one of Slonem's most iconic subjects of Mrs. Kennedy. The thick use of paint is greatly recognizable as he slathers on layer after layer of Cobalt blue oil...

BILLY SCHENCK "Gunslinger" Oil on Canvas 24 x 24 in. 25.5 x 25.5 in. framed Billy Schenck utilizes specific frames of reference in his oil on canvas depictions of the American West...

Bright colored contemporary figurative painting by Moroccan artist Khalid Nadif. The painting is offered in a simple wood frame. Size: 40 x 32.5 inches (framed) Signed on the ba...

This particular piece depicts an anonymous portrait of a beautiful woman. Inspired by the every day, JM Robert strives to create paintings that mimic the fla...

Portrait of an elegant British lady with a white silk dress and a pearl necklace. British School, close to Peter Lely.

As your gaze lingers on one of Sally K’s paintings, you notice how Sally’s brush strokes add playfulness and life to the canvas, incorporating unexpected images and abstract color co...

A charming, colorful 1930s painting of a young woman knitting by famed Chicago Modern artist, Francis Chapin. A harmonious palette of cheerful yellows, reds and blues, where a young...

L'hymne du Roi David (King David's Dream) Oil on wood by Marc Chagall c late 70's Comes with Numbered and Verified Certificate of Authenticity from Comite C...

The Cats Meow - Animal Painting - oil on canvas by Marc Zimmerman Claire loves her cat who meanders around her hair unbridled and yet the quaff stays perfectly in place, , Marc Z...

Samuel Seeberger(French) Portrait of Louise-Marie of France After Jean-Marc Nattier Oil on wood panel 11.5" x 15.5" unframed, 15.5" x 19.5" framed

This authentic 19th-century Mexican ex-voto is a powerful testament to faith and survival, painted in oil on tin with ink circa 1869 by an anonymous Mexican artist. It is elegantly displayed in a custom, hand-carved frame enhancing its historical and artistic significance. The ex-voto itself measures 6 ½ x 9 ¾ inches, while the outer frame spans 14 ¼ x 17 ½ inches, making it a compelling piece for collectors of religious folk art. A Miraculous Healing – A Story of Devotion The heartfelt inscription tells the story of Mrs. Dia Anacleto Rodriguez, who, in 1860, faced a life-threatening childbirth with little hope of survival. In desperation, her husband, Mr. Epimenio Manzano, turned to Santo Niño de Atocha...

"Prickly Pear" by Derek Harrison (US based) is an original oil painting that depicts a female model picking fruit in a moonlit landscape with a large cactus plant. Derek Harrison i...

Anton Ebert (Austrian, 1845-1896), Portrait of a Woman, Oil on Oval Canvas laid on Board, 19th century, signed "A. Ebert / Wien" to mid right, original ova...

In life, so much is a matter of timing. German and English portraitist Fritz von Kamptz signed and dated this picture in 1915 at age 49 when he was at the height of his powers. Havin...

Judd Mercer's (US based) "Heading Down" (2023) is an original handmade oil painting depicting a man hiking back down the path during sunset. Artist bio/statement Judd Mercer is a c...

Circa 1890 Signed verso on stretcher bar Original period gold leaf frame Overall size framed 21 x 18 in

18th century style, “Young aristocrat with pet dog”. The work is a modern copy of a portrait of Pierre Van Cortlandt, first lord of Van Cortlandt manor in NY. ...

Brian O'Neill's (US based) "Exhale" is an original, handmade oil painting that depicts a nude male figure stooped over and keeling on the ground, with his back exposed and bowing his...

Nebula by Alexandra Manukyan This painting portrays a figure immersed in introspection. Her delicate posture reflects both vulnerability and strength. The swirling pink hues behind ...

Suchitra Bhosle's "Dreams in Gold" is an original, handmade oil painting that depicts a nude, dark haired woman, in golden jewelry, relaxing on a bed with a book nearby. About the ...

Signed in red, u.l. Oil on canvas mounted to Masonite Price includes $650 additional cost of framing. This work is offered by ClampArt in New York City

Charleston Wilson (1919-?) Untitled (Modernist Portrait), 1970 Oil on board 19 1/4 x 14 3/4 in. Framed: 25 1/4 x 21 1/4 in. Signed lower left: Charleston Wilson '70 Charleston Wilson was born 1919. Death date and place are unknown. He was a portrait sketch artist...