Portrait Figurative Paintings

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 the individuality and inherent strength of the female experience. Each painting features endless floral arrangements that frame the mysterious visages of beautiful women, creating a stunning celebration of floral abstraction and wild, fanciful coloration. Lavish in application and luxurious in composition, Sally K.'s work is inspired by pop art, culture, and fashion, resulting in a powerful, visually stunning artwork that captures the essence of femininity. This monochrome 47-inch high by 38-inch wide painting is created with acrylic paint with green paint accents on canvas. It is stretched, wired, and ready to hang. This floral figurative artwork is signed by the artist on the front of the artwork. The sides are a continuation of the painting and it is stretched, wired, and ready to hang. Free local Los Angeles area delivery. Convenient U.S. and global shipping is available. A certificate of authenticity issued by the art gallery is included. Sally K. is an Ohio-born artist of Lebanese heritage who spent her formative years in Saudi Arabia before attending high school and college in Beirut. She graduated with distinction from the Lebanese American University of Beirut, earning a BA in Fine Arts. After moving back to the United States in 2013, Sally K. and her family eventually relocated once more to Qatar in 2019. Sally's multicultural background and diverse experiences inform her artistic vision, resulting in a unique style that blends Middle Eastern and Western influences. Sally K's work is a celebration of femininity, strength, and individuality, reflecting her own journey as a woman and artist. Her captivating portraits of contemporary women are a masterful blend of abstract expressionism and portrait painting, featuring vibrant blooms that create a dreamlike aura around her powerful subjects. Her paintings not only capture the beauty of women but also their confidence and strength, conveying a powerful femininity that inspires and empowers. With alluring, flirtatious, and demure features, Sally's portraits radiate sensuality, independence, and confidence - the very qualities that define strong women. Sally's portraits are intensely personal, as each woman she paints is an extension of her own feelings, thoughts, and experiences. Through her work, she captures the qualities that captivate her in other women - the qualities she admires and strives to gain for herself. Her paintings are a celebration of the complexities and strengths of women, conveyed through a masterful use of color, texture, and composition. Sally K's use of occlusion, a technique where she covers the eyes of the figures, adds a layer of depth and complexity to her pop-realistic artworks. This technique creates a sense of mystery and intrigue that invites the viewer to contemplate the inner life of the subjects, while the lack of eye contact encourages a deeper emotional connection with the painting. As a result, viewers are able to engage with the piece on a more personal and intimate level, experiencing a range of emotions and reactions that are unique to them. The sense of mystery and depth allows for a more immersive and personalized experience, making Sally K's works truly captivating and thought-provoking. Sally draws inspiration from photography, pop culture, and fashion as well as artists ranging from the pop art of Willem de Kooning and Jackson Pollock to the gilded florals and figures of Gustav Klimt. Her highly regarded paintings have been featured in group and solo shows in Beirut, Dubai, Italy, Switzerland, and the USA. They have been collected worldwide. Notable collectors include Jesse McCartney and Kelly Clarkson. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2024 Affordable Art Fair, New York, NY 2024 Artspace Warehouse, Los Angeles, CA 2024 Affordable Art Fair, Austin, TX 2023 Artspace Warehouse, Los Angeles, CA 2022 “Identity with a Chance of Imperfection”, Artspace Warehouse, Los Angeles, CA 2022 “Saturate Euphoria”, Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York, NY 2021 “Splatters of Life”, Artspace Warehouse, Los Angeles, CA 2020 LA Art Show, CA 2020 Art Palm Springs, CA 2019 Affordable Art Fair Hong Kong 2019 Affordable Art Fair New York 2019 Artspace Warehouse, Los Angeles, CA 2018 "Colored Whipped Cream," Artspace Warehouse, Los Angeles, CA 2018 Threshold Art Gallery, Los Angeles, CA 2018 484 North Gallery, Laguna Beach 2013 Beirut Art Beat 2009 Lebanese Artists Association 2009 Gallery Surface Libre 2008 Lebanese Painters Exhibition 2007 Café De Prague Hamra 2007 Cream Saifi Village 2007 Matignion Gallery, Horsh Tabet 2007 Drops Batroun (permanent) 2007 Cloud Nine Jemaizeh (permanent) 2007 Tribecca Monnot 2006 Art Lounge, Beirut, Lebanon 2006 MILK Jemaizeh (permanent) 2006 Gauche Caviar Jemaizeh (permanent) 2006 ESCWA Riad El Solh 2006 Tapas Jemaizeh (permanent) 2006 Zinc Achrafieh 2006 Blush Monot 2006 The Basement Jemaizeh 2005 Solo Gallery Show, Art Lounge, Beirut 2005 Zinc Achrafieh 2005 Tribecca Monot Café 2004 Paul Guiragossian...

Medium: Oil on Canvas Dimensions: 34.00" x 30.00" Signature: Signed Lower Left PRICE ON REQUEST- Story illustration for The Torrent, image of man and woman in outdoor setting. Masters of the Golden Age: Harvey Dunn and His StudentsSouth Dakota Art...

Portrait by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on canvas stuck on board, unframed measures: 18 high by 15 inches wide conditi...

Flower Crown Portrait by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 21 x 25.5 inches condition: overall very good, minor surfac...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographi...

This surrealist figurative portrait on canvas merges traditional painting techniques with symbolic elements of contemporary art. Executed in acrylic on board, the piece measures 60 x...

Once I lived in a private house. We had four cats, and then we accidentally found the fifth. Where he came from and how long he lived with us is unknown). For texture on the primed c...

[Bruce Sargeant (1898-1938)] Man with Red Fez n.d. Signed in red, u.r. Double-sided oil painting on panel 30 x 24 inches

Work on canvas

Oil on canvas realized in 2000. Hand signed, titled and dated on rear. Includes a contemporary wooden frame cm. 53x38. Very good condition except for some very minor losses of color.

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. "You always say don't start ...

Konstantin Razumov (Born 1974) Russian Elegant Young Lady seated on the Terrace at a Parisian Café, wearing a Lilac and blacvk dress Oil on canvas: 16 x 13inches. Frame: 23 x 20 i...

The Fisher Boy Huguette Ginet-Lasnier (French 1927-2020) signed and inscribed verso in a wooden frame oil painting on board framed: 40.5 x 32 inches board: 33 x 25 inches. All the pa...

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...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issue by The Galley) I was inspired to paint the portrait of an African girl, so people could see life through her lens. For you to see what it is for a disadvantaged, underprivileged child growing up in a world that doesn't care about them. Yet despite all of this, what is it that you see when you look into his eyes? Every child regardless of their background has the right to Education, grow up in a healthy environment, proper feeding and agriculture, clean water, adequate medical program, economical development, and skilled programs, All these bring immediate and lasting solutions to children and families living in extreme poverty and provides a greater future. - I choose to use my art as a voice for all those children who do not have one. To the governments and other civil organizations who have a moral responsibility to stand up and be counted, that time is now. - About the Artist Damola Ayegbayo...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

William Bouguereau (Circle of) La Rochelle, 1825 – La Rochelle, 1905 The Little Grape Picker Oil on canvas 54 x 38 cm (64 x 48 cm with frame) Unsigned Beautiful 19th-century giltwood...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

This is a partial homage to David Hockney's art. In this painting, I explored the interplay of realism and symbolism through the figurative use of acrylic. The central figure, clad i...

Nicolaes Maes (Dordrecht 1634 - Amsterdam 1693) circle of - Portrait of a Gentleman. 81 x 65 cm unframed, 100.5 x 83.5 cm with frame. Antique oil painting on canvas, in a carved an...

The Playing Cards by Louise Alix (French, 1888-1980) *see notes below oil painting on canvas unframed measures: 30.5 inches high by 22.5 inches wide condition: overall very good and ...

Portrait painting realized by Marco Fariello in 2022. Oil on canvas. Head of an artist's friend in a Raphaelian pose. 

This exceptional American School watercolor portrait of President George Washington stands out as one of the finest we’ve encountered. The level of precision and care given to the fa...

Regal Beauty 1 is an oil painting that showcases the elegance and majesty of a black African woman. The subject is depicted with an afro hairstyle and a tribal mark on her face, which highlights her cultural identity and connection to her African roots. The Ankara fabric provides the backdrop, adding texture and depth to the piece and making the subject stand out even more. The oil on Ankara fabric medium creates a stunning visual effect, bringing out the richness of the colors and capturing the subject's beauty and strength. This painting serves as a tribute to the beauty, elegance, and resilience of African women and is a powerful reminder of the importance of cultural appreciation and representation. Shipping Procedure: Ships in a well-protected tube from Nigeria. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Bakare Babatunde...

Small, intimate and incredibly emotive portrait of a woman in a blue patterned dress. Hornyak's figurative compositions are built up through a complex technique of rich green, blue, ...

Portrait by Helen Greenfield (British 20th century) signed initials oil painting on board, framed framed: 14 x 12.75 inches board: 13 x 12 inches condition: overall very good provena...

The existence of sisters in their hood is a completion of creation. Apart from being a vibrant colour that saturates the whole universe, they also carry in their embodiment the power...

We are proud to have recently discovered, “The Sophisticate”, by American artist Alexander Rosenfeld. Rosenfeld was classically trained in fine ...

Eric Johansson's "Woman with Red Bow" (1940) We are delighted to present for sale the evocative portrait “Woman with Red Bow” by the distinguished artist Eric Johansson, painted in ...

The beauty of Africa lies in the faces of its people, a beauty that reveals itself to those who take the time to truly see. Through this artwork, I aim to showcase the rich and diver...

Lisa Fricker's "Witness" is an original, handmade oil painting that depicts a portrait of a young woman. It measures 8 x 8 inches and is unframed but ready to hang.

A contemporary figurative painted portrait of a man in a blue shirt by Mark Beard/[Bruce Sargeant (1898-1938)] Portrait with Blue Shirt n.d. Signed in red, u.l. Oil on canvas 14...

Early 20th Century Likeness of Jack London Wonderful portrait of a gentleman with a striking likeness to Jack London by Robert Alexander Graham (American, ...

Karen Offutt's (US based) "Fire Starter" is an original, handmade oil painting that depicts a male portrait with his face in profile wearing a fur coat in a cold winter landscape. Th...

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

One day, my friend Sasha Lanin, who is a motorcycle racer, offered to teach me how to ride his IZH Planeta Sport motorcycle. We headed out of town, with me sitting at the wheel and h...

I realized nobody is coming to save you unless you save yourself! Light at the end of the tunnel awaits only those who dare to try again each time they fail Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist IDORENYIN UMANA...

Early 20th Century Study of Rembrandt’s Portrait of Old Woman Russian for Niello Engraving A wonderful study of Rembrandt’s portrait of an Old Woman used for Niello engraving by Ru...

Oil on canvas infused with rhinestones & silk mixed media Leticia de Prado is a Spanish artist born in 1964 who lives and works in Estepona, near Marbella, Spain. She is best known ...

A very fine English School folk art portrait of a young boy in an East Anglian landscape. The artist intricately captures the contrasting plaid overcoat that the young boy wears in r...

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...

“Away from the Noise” is a metaphorical escape from the constant din of fear, anxiety, and uncertainty that surrounds us. It's a longing for a refuge where one can find solace, clari...

Secrets, oil painting on canvas after Norman Rockwell The original painting was used for the cover of a 1942 Saturday Evening Post. Hand-painted edition after the Painting of Secre...

Eugen von Blaas Italian I 1843-1932 The Water Carrier Signed and dated "E. von Blaas 1891" (lower right) Oil on canvas Eugen von Blaas’ unparalleled skill for genre painting is on...

Title: Mid Century French Study Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 19.5 (height) x 13 (width) Stamped: Verso Condition: Goo...

With exquisite detail and sparkling color, this portrait of a young woman is a remarkable example of reverse glass painting. Lending the finished work a subtle three-dimensional effe...

Tomasz Bielak born in Lublin in 1967. He graduated of The Academy of Fine Arts, Painting and Graphics Design Department in Gdańsk, in 1994. He realized installation art, graphics ...

Title: Seated Male Nude in a Meditative Pose Artist: Josine Vignon (French 1922-2022) Medium: signed black pen/charcoal on artists paper stuck on board, glass covered Size: 9.5 (h...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Portrait of a Lady by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, unframed measures: 9.75 high by 6 inches wide condition: o...

Mark Andrew Bailey's "Bad Hombre XXXI" is an original, handmade oil painting that depicts an impressionistic, monochrome portrait of an old western cowboy or Vaquero (Mexican Cowboy)...

Georges DEVY (Active at the end of the 19th century) Oil on canvas 86 cm x 65 cm (96 x 76 cm with the frame) Signed and dated lower left "G. Devy / 1883" Very good condition with a f...

Sisi Londoner is a combined word borrowed from the Yoruba language and English it’s a nickname given to a young lady who acts, dresses, and speaks like a Londoner. Painting Ships i...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity What’s a man's i...

Johann Carl Loth (Munich, Germany, 1632 - Venice, Italy, 1698) Title: Saint Mark Medium: Oil on canvas Dimensions: without frame 65 × 72 cm - with frame 82.5 x 88 cm Expertise by Professor Dario Succi Publications: Lo studiolo...

Al Saralis 'Summer Breeze' 100 x 100 cm oil on canvas Artist Al Saralis lives and works in Hampshire (United Kingdom) and, as he says, does not paint reality, but what he perceives ...

Artist: Ara H. Hakobyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2018 Style: Impressionism Title: Spring, Size: 18" x 24" x 0.8'' inc...

ARTIST: Joanna Rusinek (1979) Polish contemporary painter. Diploma at the Academy of Fine Arts in Gdańsk in 2007 at the Graphics Studio under the supervision of prof. Jadwiga Okras...