Photography Paintings

Portrait of a Lady Attributed to Nicolas Fouché (Troyes, 1653-Paris, 1733) Late 17th century French School, Paris, circa 1690-1695 not signed Oil on canvas: h. 99 cm, w. 79 cm Impo...

"Ojulari" is a series of three (3) paintings which does have a similarity of a big eyeball. Ojulari simply means "Exterior Appearance" of a person. There is one Yoruba adage that s...

Day Break Here, light enters as a quiet revelation rather than a dramatic intrusion. The figure is caught in a private moment, his gaze inward, as if emerging from sleep or introspection. The painting recalls Caravaggio’s restraint in late works, where illumination becomes softer, more contemplative. Flesh tones are handled with remarkable subtlety, allowing emotion to surface through posture rather than expression. Nathan Brad Hall...

Long fascinated with nature’s way of reclaiming what humans build, artist Melissa Furness visually depicts how organic and self-imposed deterioration confuses our sense of reality an...

Peter Max original mixed media on canvas “Sunrise 2000”. In great condition rare piece was made in 2008. Purchase price $35000 and his a...

Jean-Pierre Cassigneul Canal, c.1984 Watercolour on paper Signed lower right Image size 21.7 x 16.5 cm Frame size 48 x 40 x 3 cm Gallery COA

Signed by Artist Lower Right The Saturday Evening Post cover, September 18, 1937 One of the most prolific and sought-after artists of the Golden Age of Illustration, J.C. Leyendecker captivates the public with his striking, fashionable depictions of handsome men, glamorous women, and adorable children. Painted in 1937 First Long Suit not only encapsulates the high-fashion, glamorous fantasy world that Leyendecker strove to achieve over the course of his vastly successful career, it also poignantly captures a bittersweet moment that every parent experiences--watching our children grow up right before our eyes. Born in Montabaur, Germany, Leyendecker came to Chicago with his Catholic family at age eight. He apprenticed to a printer, J. Manz and Co., and then studied with John Vanderpoel at the Chicago Art Institute. In 1896, he won the Century magazine...

A charming portrait study of a bearded monk holding a lamp. His face is illuminated against the background making for an atmospheric scene. Unsigned. Presented in a wooden frame with...

"In Deep Thought" by Akos Biro (Hungarian 1911-2002) oil painting on board, unframed Painting: 13.75 x 9.5 inches provenance: the artists estate, France Original oil painting by t...

Elsewhere Elsewhere suggests psychological distance rather than physical removal. The figure’s posture conveys withdrawal, introspection, and quiet resistance. Hall’s restraint is notable here—nothing is exaggerated, yet the emotional weight is unmistakable. The darkness presses close, amplifying the sense of inward retreat. Nathan Brad Hall...

Jean Guy Desrosiers is a listed Canadian artist born in 1934. He is from Quebec region of Canada. He has auction results over $1800 and sells in galleries for much more. This charmin...

Oil on canvas sold with frame Total size with frame 39x44 cm Signed JF Mayer, artist born in 19th century in Switzerland

20th Century Miniature Oil Painting of an English River Scene by British Artist, Linda D Brooks Art measures 10 x 7 inches Frame measures 15 x 12 inc...

French Fauvist landscape drawing on card by Auguste Chabaud. The drawing is signed bottom left and carries the atelier stamp and reference numbers to the back. Presented in a fine bl...

An early 18th century portrait of a young lady, half length, wearing a blue silk gown with white chemise and gold trimmed cloak draped across her arm and shoulders. Her sensitively observed soft expression and skilfully painted youthful 'dewy' complexion are reminiscent of the portrait style of John Closterman whose work Murray would have been familiar with, being a close colleague of Murray's teacher, John Riley. An old label on the reverse identifies the sitter as a young Princess Charlotte...

Kevin A. Moore's (US based) "The Calling" is an original, handmade oil painting that depicts a splatter of water juxtaposed over a face in profile that features a strong nose as well as a septum and industrial ear piercing. About the Artist: Kevin Moore is a high-definition realism painter from New Jersey. Moore has exhibited at multiple venues across the US, and has received various International Awards. His work can be described as a glance into imagination, yet at the same time it provides objects that will keep you grounded to reality. Straight out of high school, Moore began taking art classes at DuCret School of Art. He then went on to study under artist Timothy Jahn before finally graduating from Ani Art Academy Waichulis in 2015. Kevin now lives in Red Bank...

Louise H. "Louie" Burrell (née Luker 1873 – 1971) was an English-born artist who also lived in Canada and the United States. The daughter of William and Ada Luker, both artists, Bur...

Oil on cardboard realized in Italy in 19th Century. Includes a leather frame. Good condition except for some losses of color in the mid-right.

HILLSIDE PATH Size: 54 x 70 cm (including frame) Oil on canvas A soothing mid-century painting that presents a bold and simplified view of a vast landscape scene, executed in oil on...

The fourth mini painting in this series. Beautifully framed in a solid white wooden frame especially made for this mini series. A lakeside view, lush teals and blues, this is my favo...

19th Century French School - Study Of A Head After The Antique Study of a head after the antique Oil on cardboard 45.7 x 32 cm Without signature

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...

"In Deep Thought" by Akos Biro (Hungarian 1911-2002) signed, oil painting on board, unframed painting: 15.5 x 12 inches provenance: the artists estate, France Original oil paintin...

Work on canvas Illegible signature

José Miret Aleu (1912-1999) - Girl in profile - Oil on canvas Oil measurements 41x33 cm. Frame size 50x42 cm. Painter born in Barcelona in 1912. He studied drawing at the Baixas Aca...

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...

Hand Painted on panel I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct res...

Joseph Kardonne (1911-1985). Construction Scene, 1935. Gouache on cardboard, panel measures 9 x 11 inches; 19 x 21 inches framed. Signed, dated lower c...

Northwest Rugged Coast Landscape Oil Painting by Chas R. Hall c.1924 Fantastic original oil painting of a rugged coastal landscape, possibly Oregon or Washington state coast. Origi...

A woman in her prime, full of beauty! She's being sought after and gets all the attention even those she didn't crave for. she's at peace with herself not worried or scared of what t...

Oil work on canvas with frame. Total size with frame is 38x78 cm Signed E. Brandt

20th C French Impressionist landscape a Villa in the South of France or Rivera. Lucien Potronat was a French painter best known for his depictions of ...

The painting "Beauty" served as the inspiration for the creation of the "Romanticization" series. By adding ornate details and lavish patterns across multiple interconnected frames,...

Original and unique work by Russell Young. Enamel and diamond dust screen print on linen, Black + White, unframed dimensions 62 x 48 inches, 2011, from the series "Diamond Dust". Da...

STILL LIFE IN PASTEL Size: 42 x 49 cm (including frame) Oil pastel on board An expressive and lively mid-century still life composition with a rich palette of colours, rendered in p...

This formal head and shoulders portrait depicts an elderly gentleman wearing a grey suit and tie, executed in a realistic style by artist John Bernard Munns (1869-1942). The work is ...

This is an Peter Max original mixed media on paper “Mona Lisa” . In good condition. Measures 26x24. Comes with coa in the back of picture

Though life will farce and meddles, to keep a face-up and steady ride is to be determined. Though dribble and roll over to have an eye fixed are to focus and never to lose sight of i...

This is a hand cut and hand painted artwork by Italian artist Riffblast. It’s signed on the back as an original work of art ready to hang with frame.

This artwork drops you into a surreal moment: two figures black outfits stand in the middle of nowhere, under a blue sky sprinkled with just enough clouds to keep it interesting. One...

Pocket Strawberry (White Collection) (canvas size 5x5cm) is an original oil painting by Dani Humberstone as part of her Pocket painting series featuring small scale realistic oil pai...

An extremely atmospheric Victorian oil of a dramatic rocky coastline. Taken from a high viewpoint on the coast, possibly North Devon, looking out to an azure sea under a back lit sky...

The Game Keeper by John Edwards (English, 1940 - 2020) signed oil on canvas, framed framed: 29 x 23.5 inches canvas : 23 x 18 inches Provenance: private collection, England Condition...

Emeline #4, 2020

Unsigned. On board.

Gary Niblett (Born 1943) New Mexico Artist Image Size: 24 x 36 Frame Size: 38 x 50 Medium: Oil "A Fine Welcome" Nocturnal Western Biography Gary Niblett (Born 1943) Born and raised in Carlsbad, New Mexico and living with his wife, Monika in Santa Fe, Gary Niblett is a painter, primarily with oil, of western scenes especially Navajo and Pueblo Indians, cowboys on horses in landscape, and frontier genre. He has also done paintings from his travels such as Streets of Warsaw and Women of Golondrinas, and during these travels exhibited work in Moscow, Taiwan, Beijing and the Royal Watercolor Society in London. From birth, Niblett grew up with the American West as a part of his daily life. Recognizing his talent, local ranchers paid him to do portraits of his horses. After high school graduation, he attended the Art Center School of Design* in California and then spent eight years in Los Angeles with Hanna-Barbera* animation studios as a background and animation artist. There he met his wife, Monika, and they married in 1970. Deciding to focus on western art, Niblett left commercial art in 1973. He and his wife, Monica, returned to New Mexico where they live in an adobe style home. In New Mexico, he has received much attention for the quality of his painting. In 1990, he was named "Distinguished Calendar Artist" for New Mexico Magazine, and one of his oil paintings is in the collection of the New Mexico state capitol building. He has also been featured in magazines such as International Fine Art Collector, Time, Saturday Review and New Mexico Magazine. In 1976, Niblett was voted into the Cowboy Artists of America...

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...

Acquired by the gallery directly from the artist Signed "Alexander Tabet" on lower right UNFRAMED: 12" x 16" FRAMED: 18.125" x 22.125" x 1.75" Artist Statement “’Clocks and Peonies’ explores the intricate balance between the passage of time and the ephemeral beauty of nature. At the heart of the composition rests a delicate vase, cradling a lavish bouquet of peonies in full bloom. Their petals unfurl in a graceful display of pinks and creams. Beside the peonies, an array of antique clocks stands...

Camille Hilaire (1916-2004) Scène équestre Huile sur toile 50 x 150 cm / 19.7 x 59 inches With frame : 74 x 174 cm / 29.13 x 68.59 inches 2024 Camille Hilaire was born in Metz in 19...

Oil on Canvas Unique Available for display at Taylor Fine Art

Portrait Of Sir William Wallace (1270-1305), 17th century Italian School Large 17th Century Italian School portrait of Scottish Knight Sir William Wallace, oil on panel. Excellent ...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

Unidentified Artist – Interior Genre Scene (19th-20th Century) Medium: Oil on canvas Framed Dimensions: 99 x 82 cm Canvas Dimensions: 88 x 67 cm Signature: Not identified This evocat...

Acrylic on Canvas framed to Guild of Framers Museum Standard. Size framed is approximately 16” x 20”. Please allow approximately a week for delivery as artworks are framed once t...

Huile sur toile Dim sans cadre 50/61cm Dim avec cadre 67/78 cm Ecole française Signé Fanny Gilbert 1868 Portrait charmant d’une jeune fille, qui pourrait faire parti du style impres...

White Whispers - This original artwork on watercolour paper captures an expressive arrangement of delicate white flowers in a vase. Layering of acrylic and oil pastel with intuitive ...

Up for sale is an original antique 1864 oil painting on canvas by Famous American Artist John O'Brien Inman (1828-1896), depicting a portrait of a seated baby. Signature on verso "Painted by Jho. O'B Inman Portlana Jan 18th 64" The painting is in good/antique condition, minor stable craquelures. Presented in an ornate vintage gilded frame. Please see the photos, the photos are part of the description. Measures with the frame 41" X 34.5", painting 30" x 25". Free insured shipping. Free delivery in 200 miles from Boston. Please read some interesting information about Artist...

This is an oil painting on board in good condition. Measures 12x10. In good condition

Sarah Warda's "In a Dream " is an original, handmade oil painting that depicts a white clad female model reclining on a bed of grass with her hands folded o...