Portrait Paintings in New York City

This piece depicts famous Jackie Kennedy noted for her style and elegance. Celebrating the icons from the Golden Era with expressive and bold colors by capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Mars hand-painted circled quilt patterns in the background with clippings from magazines dating back to this era and incorporates messages from those times throughout the artwork. Creating the perfect backdrop for his statement piece, Jackie stands out exceptionally, as the Miss Dior logo is draped across adding an extra character of definition. Mars then layers the entire painting in epoxy resin, so the thickness of the piece pops dramatically. Finishing off the edges of the wood panel with newspaper articles and advertisements from an array of vintage magazines collected over the years. This is a one-of-a-kind piece executed on wood panel and comes ready to be displayed with hanging wire on verso, signed by the artist lower right and on verso. Art measures 36 x 24 inches Robert Mars was born in 1969 and is a graduate of Parsons School of Design in New York. At a young age, between 7 and 8 years old, he was drawn to muscle cars, custom vans, superheroes, and other icons that were relevant as a child. This idea of icons has been an obsession within his life and has continued into his adult life and throughout his artistic career, but the imagery has been refined over time. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Drawing inspiration from the near-mythical fame that surrounded celebrities such as Marilyn Monroe, Elizabeth Taylor, James Dean, Audrey Hepburn, Elvis Presley, and many others, before the instant and all-encompassing presence of the internet, Mars’ daring approach creates paintings with a nostalgic yet innovative vintage feel. Employing concepts rooted in abstract expressionism, Mars has expanded on his body of work in the last years to abstract compositions, finding a balance between chaos and control by precisely cutting the painted vintage newspaper into predetermined patterns with multicolored paint layers of loose and dynamic brushstrokes in order to bridge to the events of the past and anchoring each of his artwork in a particular time of history. Robert Mars taps into the feelings that emanate from his paintings which vacillate between memory and desire. The taste of nostalgia pulls the viewers towards the iconic stars and the consumerist historical subject material of Mars’ works. Mars’ sources are the very core of these dreams. Photographs of stars like Bruce Springsteen, logos of products like Coca-Cola and TIFFANY & CO., and vintage ephemera are layered beautifully with news stories of seminal events; from the death of JFK to the 1969 moonwalk. By capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. Based on traditional quilt patterns from American history, the mix of handcraft, and the meditation of...

This piece depicts famous Scottish actor Sean Connery as his 'James Bond 007' role next to the classic Aston Martin DB5. Celebrating the icons from the Golden Era with expressive and bold colors by capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Mars hand-painted stars in the background with clippings from magazines dating back to this era and incorporates messages from those times throughout the artwork. Creating the perfect backdrop for his statement piece, Connery stands out exceptionally, as the Aston Martin logo is draped across adding an extra character of definition. Mars then layers the entire painting in epoxy resin, so the thickness of the piece pops dramatically. Finishing off the edges of the wood panel with newspaper articles and advertisements from an array of vintage magazines collected over the years. This is a one-of-a-kind piece executed on wood panel and comes ready to be displayed with hanging wire on verso, signed by the artist lower left and on verso. Art measures 36 x 60 inches Robert Mars was born in 1969 and is a graduate of Parsons School of Design in New York. At a young age, between 7 and 8 years old, he was drawn to muscle cars, custom vans...

This piece showcases a ravishing depiction of Marilyn Monroe. Celebrating the icons from the Golden Era with expressive and bold colors by capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Mars hand-painted stars in the background with clippings from magazines dating back to this era and incorporates messages from those times throughout the artwork. Creating the perfect backdrop for his centerpiece, Monroe stands out exceptionally, as the Dom Pérignon logo is draped across adding an extra character of definition. Mars then layers the entire painting in epoxy resin, so the thickness of the piece pops dramatically. Finishing off the edges of the wood panel with newspaper articles and advertisements from an array of vintage magazines collected over the years. This is a one-of-a-kind piece executed on wood panel and comes ready to be displayed with D-Rings on verso, signed by the artist lower right and on verso. Art measures 80 x 60 inches (weights 70lb approx.) Robert Mars was born in 1969 and is a graduate of Parsons School of Design in New York. At a young age, between 7 and 8 years old, he was drawn to muscle cars, custom vans, superheroes, and other icons that were relevant as a child. This idea of icons has been an obsession within his life and has continued into his adult life and throughout his artistic career, but the imagery has been refined over time. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Drawing inspiration from the near-mythical fame that surrounded celebrities such as Marilyn Monroe, Elizabeth Taylor, James Dean, Audrey Hepburn, Elvis Presley, and many others, before the instant and all-encompassing presence of the internet, Mars’ daring approach creates paintings with a nostalgic yet innovative vintage feel. Employing concepts rooted in abstract expressionism, Mars has expanded on his body of work in the last years to abstract compositions, finding a balance between chaos and control by precisely cutting the painted vintage newspaper into predetermined patterns with multicolored paint layers of loose and dynamic brushstrokes in order to bridge to the events of the past and anchoring each of his artwork in a particular time of history. Robert Mars taps into the feelings that emanate from his paintings which vacillate between memory and desire. The taste of nostalgia pulls the viewers towards the iconic stars and the consumerist historical subject material of Mars’ works. Mars’ sources are the very core of these dreams. Photographs of stars like Bruce Springsteen, logos of products like Coca-Cola and TIFFANY & CO., and vintage ephemera are layered beautifully with news stories of seminal events; from the death of JFK to the 1969 moonwalk. By capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. Based on traditional quilt patterns from American history, the mix of handcraft, and the meditation of...

This piece depicts famous British model Kate Moss from a Fall 2013 ad campaign with Stuart Weitzman during the Milan Fashion Week while featuring Kate Moss swaggering to Nancy Sinatr...

Despite international acclaim as one Cuba’s foremost living artists, Havana born Hector Frank never received a professional artistic education yet specialized in electronics. Now, in...

Antonio Ermolao Paoletti Italian, 1834-1912 A Serenade for the Venitian Lacemakers Signed and inscribed Antonio Paoletti di Giov / Venezia (ll) in bottom left corner Oil on cradle...

This cubistic portrait is one of a series of portraits I started while in Berlin earlier this year. I do not typically paint portraits, although many recurring motifs of my work are ...

Vintage tropical flower seller oil painting. Oil on canvas board. Signed. Framed.

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

Title: Vacation Day Medium: Oil on canvas Size: 29.5 x 21.75 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This paintin...

Antique American impressionist portrait oil painting. Oil on canvas. Framed. No signature found.

Irving Ramsay Wiles, 1861-1948 A Fashionable Young Lady Oil on canvas 28 1/8 x 22 5/8 inches Signed lower right: Irving R Wiles Illustrator, teacher, and painter Irving Ramsey Wiles was adept at portraits, figural works, and landscapes characterized by the informal elegance of cosmopolitan American art at the turn of the twentieth century. Wiles received his earliest art instruction from his father, landscape painter and teacher Lemuel M. Wiles (1826–1905), and at the age of eighteen, in 1879, exhibited his first painting at New York’s prestigious National Academy of Design. After one year’s study at the Art Students League in New York, under the influential painter-teachers William Merritt Chase and J. Carroll Beckwith, Wiles went to Paris for further study. He enrolled in the Académie Julian, a popular school among American artists, and then worked in the studio of French academic painter Charles Auguste Émile Durand, known as Carolus-Duran (1837–1917). During his student years Wiles painted watercolor street scenes of Paris, and he also traveled in Italy and in the French countryside. Wiles returned to New York in 1884 and exhibited two of his sketches. These attracted the notice of the art editor of the popular Century Magazine, who asked the young artist to make illustrations for the journal. Wiles’s illustrations appeared in other publications as well, and he also supported himself by teaching at his studio and at his father’s summer art school in upstate New York. Wiles was elected a member of the progressive Society of American Artists and, after one of his works won a prize there, to the National Academy of Design as an associate member; full membership followed in 1897. By that date, Wiles was able to devote himself more fully to portraits and figural compositions in oils, paintings that mark the influence of his teacher Chase, who remained a lifelong friend. Like his mentor, Wiles also worked in watercolor and pastel and belonged to several organizations devoted to those media, which enjoyed revivals in late-nineteenth-century America. He exhibited his work widely and won numerous awards throughout his career. In the late 1890s, Wiles and his father moved their summer classes to Peconic, on the North Fork of New York’s Long Island...

Vintage American signed interior scene oil painting. Oil on canvasboard. Signed. Framed. Image size, 14L x 11H.

Howard Logan Hildebrandt, 1872-1958 Femme Avec Le Chapeau Plumé, n.d. Oil on canvas 26 ½ x 21 ½ inches Signed (lower right): H L Hildebrandt Provenance Private collection, Detroit A...

36"x36" oil on wood panel. This painting fuses figure and pattern, with a contemporary Pop Art feel. Emily Roz depicts a red with white polka dot bikini clad torso, against a ground...

Cute with the e 2022 oil pastel, pen, acrylic, and watercolor on paper 6.5 x 4.5 inches Christina Nicola’s paintings are a direct reflection of herself — a liberated, queer, Black f...

4071 Colorful Fauvist painting of a woman in a red dress with flowered hat being admired by a passerby Unframed

3900 Oil on board set in a custom wood frame Image size 19.5x 15.5"

4076 Italian Oil on canvas set in an antique wood frame Image size 19.5x15.5" by Alessandro Milesi

A largeKPM painted porcelain plaque depicting a Psyche holding a Lekythos. The lush and overgrown dark forrest envelops the background of composition, surrounding a bright female fig...

Pastel Pink Figurative Modern Portrait Painting by renown Cuban Artist Hector Frank. This piece is unique and comes with a signed certificate of Authenticity by the artist. Despite...

4096 A 1920's oil painting on canvas of an elegant southern lady .Artist unknown. Unframed

TITLE: AIWEIWEI SIZE: 18X22 INCHES MEDIUM: ACRYLICS AND AEROSOL ON CANVAS YEAR:2023 FRAMED WITH WOOD FRAME SIGNED BY DeGRUPO

TITLE: BASQUIAT SIZE: 35X41 INCHES MEDIUM: ACRYLICS AND AEROSOL ON WOOD PANELS FRAMED WITH WOOD FRAME YEAR:2023 SIGNED BY DeGRUPO

Antique American school artist portrait painting. Oil on board. Framed. Signed. Image size, 16L x 24H.4

4070 French oil painting Lady in Waiting by Alfreda Klebe

This oil painting by James Childs is offered by CLAMP in New York City.

Original Oil Painting by Olga Antonova

Provenance: Private Collection, New York, until 2022. Martín de Porres was born in Lima in 1579, the illegitimate son of a Spanish-American father, J...

Orange Yellow Fight For Change - is a Biennale Winner 2021 and Golden Art Award Winner 2022. Patrizia Casagranda's artwork comprises of a multi-la...

This oil painting by Kris Knight is offered by CLAMP in New York City. Signed, titled, and dated, verso

This oil painting by Kris Knight is offered by CLAMP in New York City. Signed, titled, and dated, verso

Artwork by New York artist Gail Postal. Graphite, Oil Paint, Swarovski Crystals. Postal has had two major influences on her work – old hand tinted black and white Japanese photographs...

Artwork by New York artist Gail Postal. Postal has had two major influences on her work – old hand tinted black and white Japanese photographs an...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Her meticulously constructed paintings play with the duality between the simple and the complex, between the observer and the observed.

Sanford Robinson Gifford (American 1823-1880) A Rare Portrait Of Mrs. Sanford Robinson Gifford (Mary Cecelia Gifford) "The Artist's Wife" Oil on Paper mounted on canvas, painted in 1878, 2 years before his death. In original giltwood frame. Painting: 8 1/4" high by 7 1/4" wide Frame: 15" high x 13.5" wide Provenance: Private Collection (acquired by descent directly from the artist in 1878) Alexander Gallery, New York (acquired from the above) Acquired from the above in 1986 by the present owner The Art Institute of Chicago (Reference Number 1986.184) New York, Private Collection Literature: Ila Weiss, The Poetic Landscape: The Art and Experience of Sanford R. Gifford, Newark, 1987, no. 10, p. 309, illustrated The Art Institute of Chicago, letter from Milo Naeve to Mr. and Mrs. William Y...

Chaise #31 by California artist Jeffrey Palladini is a minimalist figurative painting. It is Oil and Charcoal on Wood Panel. It is 24x36. With the wood frame, it is 25x37. It is a ...

This oil painting by James Childs is offered by CLAMP in New York City.

Most mornings we wake up to a physical reality of sharp contrast and clear-cut edges. Defined outlines help us navigate everyday life and the world around us. But the blurry fringes ...

This piece depicts famous icon, Marilyn Monroe. Done with beautiful expressive colors and a distinctive street art design, this piece pops with energy and romantic beauty. Its compos...

Double Snoopies portrait on canvas. Dog Twins Double portrait 8x 10 inches on canvas.

oil on canvas 46.7 x 37.2 inches (118.5 x 94.5 cm.) PROVENANCE Private Collection, Isle of Wight Two young sisters are posed on a portico backed by a rotund column with a landscape beyond. Although their identities are unknown their outfits as well as the setting denotes wealth and status. The older sister wears a gown of gold with blue and gold trim raised to reveal a green underskirt also edged with gold. Her collar tied at the neck and fastened over her shoulders by a large rosette of golden cloth, apron and cuffs over wide sleeves, are all of a sheer batiste linen trimmed with lace. Previously a child would not have been painted in a bib or apron above the age of three, but in the 1650s and 1660s it became fashionable for older girls. A leading string hangs from her right shoulder, which is also surprising given her age, but once their utility was gone, they were viewed as a decorative accessory and remained part of children’s costumes...

"Juno" is a beautiful oil painting by Michele Mikesell. Her animal-human figure has a flawless and beautiful face combined with abstract elements and her signature pristine painting ...

This painting by Anthony Peyton Young, made with AI source imagery, and painted using bleach on black canvas, is available through CLAMP in New York City.

This elegant and sophisticated oil painting was realized by an underrecognized (but extraordinary) Flemish painter named F.V. Sliches in 1946. Entitled Les Masons (or the masons), th...

Antique French impressionist portrait oil painting of two young girls. Oil on board. No signature found. Framed. Image size, 10L x 18H.

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 n...

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...

"Loci" is a beautiful oil painting by Michele Mikesell. Her animal-human figure has a flawless and beautiful face combined with abstract elements and her signature pristine painting ...

Autopilot 2023 Acrylic on canvas 14 x 11 inches Skasi’s work arises from the belief that we inhabit the final romantic era before humanity's inevitable expansion into space. She for...

Get in the Car 2016 Acrylic on canvas 20 x 16 inches Skasi’s work arises from the belief that we inhabit the final romantic era before humanity's inevitable ...

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 n...

A wonderful composition of one of Slonem's most iconic subjects of Abraham Lincoln. The thick use of paint is greatly recognizable as he slathers on layer after layer of oil paint, d...

Susan Kiefer Yin Yang Woodcut on paper Year: 1990 Size: 33x23x0.35in Signed, dated and inscribed by hand COA provided Ref.: 924802-1661 Framed artist proof woodcut print of male and...

Antique American signed modernist oil painting. Oil on canvas. Signed. Framed. Image size, 30L x 42H.