France - Portrait Paintings

Jean-Gabriel DOMERGUE (1889-1962) Maria, Nude on Blue Background, c. 1950 Oil on hardboard Signed lower left On hardboard, 55 x 46 cm (c. 22 x 18 in) Presented in a 74 x 64 cm (c. 3...

Conditions : Immaculate, no prior retouching under UV, original canvas. No restoration needed. Antique Frame with an overall dimension of 59 cm x 76 cm. Signed lower right. Émile R...

Acrylic paint on canvas Hand-signed Unique work THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI " Gentleness and oriental wisdom follow the supercharged bubbling to which we were accustomed from the previous deliberately art brut exhibition by Mohammad ARIYAEI. The Iranian painter's imagination moves serenely from the wildest frenzy to the meditative calm of great, fabulous stories. The artist then took pleasure in pouring the volcanic torrent of his barbaric figures onto the delicate latticework with which he is accustomed to lining his backgrounds with the patience of an illuminating monk. Already sweetness and paroxysm coexisted. Now gentleness wins. The trained imagination of the painter, yet spontaneously bubbling, by instinct as much as by erudition, has no difficulty in reconnecting with the abundant oriental tradition of the thousand and one nights, which, like a long underground river, resurfaces at the light of his painting. Spring renewal of traditions still alive. Systematic filling of space, a sort of oriental version of the Riches Heures...

A wonderful depiction of a dapper Parisian dandy, dating from 1848. I love his air of decadence! It is a work by F de Korff, a mysterious French aristocratic portrait artist who had ...

Mid 19th Century oil on canvas portrait of an Italian brigand, unsigned, in painted wood and gilt frame. The painting is a fine and fascinating rendition with plenty of wonderful character and detail to the costume, accessories, landscape and seascape. Very atmospheric and imposing much like the character it portrays. There is a trade stamp to the back of the canvas for the Paris firm of Susse Freres. The canvas is on a fine quality stretcher with 'keys'. There is an artist's name or title written on the top of the rear stretcher (see photo). Bands of brigands who populated the hills of southern Italy were steady fodder for the Romantic imagination, and their exploits were reported both factually, fancifully and artistically The painting dates from a period when France, under its then leader Napoleon III, was involved in the conflicts in the Italian states and the unification and eventual creation of the nation of Italy. An earlier and similar portrait exists of the infamous brigand Mazzocchi by Achille-Etna Michallony . Léon Cogniet...

Currently Under restoration by professionnal. Free US CONTINENTAL shipping, incl Europe and Asia. Presale order accepted. Yes. Paul Hoeniger studied at the art academies in Ber...

Portrait Elvis Presley Technique: Acrylics, oil painting, China ink on canvas 73x60cm / 28,7x23,6inch 》》R E A D Y -- T O -- H A N G《《 ❶ → Original signed work. Certificate of aut...

This captivating 1950s oil on canvas portrait, possibly depicting the French singer Barbara, exudes an air of mystery and existential reflection. While the identity of the subject re...

French Mid 20th Century oil portrait of the actor Max Vigon. The sitter was a friend and collector of the works of Jean Cocteau. By repute this portrait is by Cocteau however it is n...

French School of the 19th century Portrait of a young man, 1891 Signed (illegible) and dated 91 on the lower right Oil on canvas 46 x 38 cm Framed 52 x 44 In good condition, recently...

This artwork "Woman in a red dress" commands attention with its bold use of color and expressive brushstrokes. Dominated by a vibrant palette, the composition features a solitary f...

Impressionist School, second half of the 19th century Portrait of Two Young Girls Oil on panel, 28 x 22 cm Provenance: Private collection, Paris This delicate portrait, executed ...

French school of the 18th century or the beginning of the 19th century After Jean-Baptiste GREUZE Tournus, 1725 – Paris, 1805 Oil on mounted canvas 46 x 38 cm (63.5 x 55 cm with the ...

Jacques BERLAND (1918-1999) Portrait of a woman, circa 1950 Oil on canvas 34 × 25 cm A figurative painter of the Paris School, Jacques Berland's work was brought back into the limel...

This contemporary piece, "Bound by Embrace", created by French artist Natalya Mougenot, is a poignant addition to her celebrated series dedicated to exploring the connections between...

Jean-Baptiste VALADIE (French, 1933) Girls with Ribbons in the Hairs, 1975 Oil on canvas Signed lower left Countersigned, titled and dated on the back On canvas 55 x 46 cm (c. 22 x ...

Antonio GUANSE (1926-2008) Pipe Smoker, 1977 Oil on canvas Signed and dated Countersigned and dated on the back On canvas 61 x 50 cm Presented with the wooden frame 62.5 x 51 cm Ve...

19th Century French School Portrait of a Young Italian Beauty in 15th Century Costume Oil on wood panel 27 x 21 cm (31.5 x 25.5 cm with frame) Beautiful antique giltwood frame Very g...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

A stunning copy of the Northern Renaissance masterpiece "Maddalena Dolente" by Quentin Matsys (1466-1530) which is in the collection of the Gemäldegalerie Berlin. Beautifully execut...

LEBAS Léonie (19th-20th) "Lady at the Flower Market in Paris" Oil on wood panel signed low right Old Frame regilded with gold leaves Dim panel : 16 X...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

Georges HYON (Paris 1840 – Saint Germain en Laye 1913) Cavalry review of the 2nd Lancers regiment Oil on canvas H. 115 cm; W. 146.5 cm Signed lower left A student of Portalis, Georg...

HERVE Jules René (1887-1981) Bandshell in Langres Garden Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 46 X 55 cm Dim frame : 66 X 75 cm HERVE Jules René ...

A large French oil on canvas portrait of a dignitary from the Caucasus by Théophile Paul Marie Bérengier. The painting is signed and dated b...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Alexandre François CAMINADE (1789-1862) Portrait of a Lady Oil on wood signed low right Old frame gilded with leaves Wood size : 22 X 15 cm Frame size : 40 X 30 cm Alexandre-Françoi...

LEBAS Léonie (19th-20th) - Paris Belle Epoque Genre Scene - Oil on wood in pair - Copper leaf frames. Wood Dim (each) : 22 X 16 cm - Dim frame (eac...

Oil on cardboard realized by Francesco Settimj in 1930s. Painted on both sides, recto and verso. Good condition.

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

Fleur de Neige by Jan Van Beers, painted in July 1880, stands out for the delicacy of its depiction. This remarkable portrait depicts a woman dressed in a sumptuous white costume, ad...

COSSON, Jean Louis Marcel (1878 – 1956) Ballerinas and gentlemen in the Swing of the Opera Oil on canvas signed low left Framed by Gault (Paris - Fbg St Honoré) Dimensions canvas ...

This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...

A vibrant colourful French portrait of Janine, muse of the artist Armand Avril. Signed and dated mid right. Presented in new contemporary framing under glass. Armand Avril (1926) i...

A fine French academic study sketch on paper of a classical head. The work is unsigned but very much in the style of the period and its early exponents such as Jacques-Louis David. ...

A French art deco pastel portrait by Louis-Jean Beaupuy. The work is signed and dated bottom right. Presented in carved and gilded wood frame. Beaupuy has captured all the charm and...

Oil on canvas realized by an unknown italian painter in 1933. Hand monogrammed and dated lower right. Good condition except for some craquelure.

This artwork "Red lipstick with orange dress" a vibrant, expressive portrait of a woman rendered in bold, sweeping brushstrokes. This piece makes part of the artworks dedicated to...

Born into difficult times, the life of German Jewish artist Hermann Hirsch was not filled with peace or abundance. However, I believe at least while he w...

Charles-Édouard Boutibonne (Pest, 1816 – Wilderswil, 1897) Portrait of Mary Augusta de La Barre de Nanteuil (New York, 1836 – Saint-Brieuc, 1862) Oil on oval canvas Signature and d...

ALONSO PEREZ (1881 - 1914) Lady and Napoleon Soldier in the Street Oil on canvas signed and dated 1906 low right Dedication : Au sympathique maître et...

Original artwork by Russell Young. Acrylic paint screen print on somerset paper 44 1/2 x 35 inches Framed 45.5 Inches x 36,5 Inches white wooden frame with glass, custom made as seen...

Oil on canvas mounted on board, realized by Francesco Settimj in 1930s. Good condition.

Oil paint on canvas Hand-signed on the back by the artist “At first glance, we are invited to a colorful carnival. Everything is movement here! As if Julien Wolf had tried to captur...

Portrait of Berthe Thorwaldsen with Bust of Horace Vernet is an original modern artwork realized by the Circle of Horace Vernet (30 June 1789 – 17 Januar...

Attribué à Claude-Marie Dubufe (1790–1864) Jeune femme à la toilette Huile sur toile, 60 x 74 cm Cadre ancien doré à la feuille Élégamment mise en scène devant un fond rouge profond...

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

Portrait Blue Miles Davis Portrait of the famous Miles Davis Technique: oil, acrylics and ink on canvas 73x60cm ■■ 28,7x23,6inch ⏩》R E A D Y -- T O -- H A N G《⏪ 🟢 → Original ...

Conditions: Excellent overall conditions. Oil on canvas framed. Mint. Free US No prior restorations under UV light. FREE CONTINENTAL shipping in all States, incl Europe and Asia. H...

French school around 1850 Oil on oil 41 x 33 cm (54 x 47 cm with frame) Inscription on the back “Lefevre” Based on the model's hairstyle, the portrait can be dated around 1850. The ...

This compelling artwork "Woman in a green dress " is a striking example of modern expressionist portraiture. Dominated by bold, purposeful brushstrokes, the painting depicts a soli...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

This modern painting, titled "You Are My Angel," was created by French artist Nataya Mougenot. It is part of her series dedicated to women, where she explores the powerful bond betwe...

This painting features a faceless portrait of a woman wearing a head green covering and pink dangle earrings. I wanted to explore the theme “Freedom of Choice”: I believe every woman has the right to decide what she wants to wear. Some women cover their heads for their own religious or spiritual reasons assuming that the crown of the head...

This painting depicting a woman on the couch id dedicated to "Women" series which is a special one since it is all about my strong deep personal transformation as an artist. This tra...

Conditions : Excellent overall Conditions. Free US CONTINENTAL Shipping, incl Europe and Asia. Admire the exquisite beauty of this rare French art piece by Francois Grenier, formed ...

Oil on canvas with its original frame.

Portrait of Noblewoman is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Not signed. Label on the back. Antonio Feltrine...

Oil on canvas. 56x46.5 cm.Signed lower right, dated 1860 Provenance : - Gift of the artist to Monsieur Allou in March 1861- Sale by Allou and Ehrlier in February 1872 (Galerie George...