Portrait Paintings

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

This superb, large British Victorian portrait in an interior oil painting is attributed to circle of Ralph Peacock. Peacock painted a large number of children of wealthy 19th century families, often with luscious ornate backgrounds and textiles such as the wall paper, marquetry piano...

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 (issued by The Gal...

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

Oil on canvas Signed in red, u.r. 14 x 11 inches, canvas size 14.5 x 11.5 inches in distressed gold leaf frame This artwork is offered by ClampArt, located in New York City. “Bruc...

William-Adolphe Bouguereau 1825-1905 French Jeune mère contemplant deux enfants qui s'embrassent (Young Mother Contemplating Two Embracing Children) Signed “W-Bouguereau” (bottom ...

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 (Issued by the Gal...

This intimate portrait depicts an elderly woman with graying hair wearing a dark grey dress with white lace collar detailing, painted against a soft, luminous background that suggest...

Sisterhood is also about growth and transformation. As we go through life, we change and evolve as individuals, and our relationships with our sisters change and evolve with us. The ...

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 January 10, 1991, lot 82. Christie's, London, July 7, 2010, lot 186, where it was purchased after the sale by the executors of the will of the late Edmund de Rothschild (1916-2009) for display at Exbury House The Trustees of Exbury House Literature : R. Brown, Bulletin of the Art Division, Los Angeles County Museum, VIII, 1957, pp.8-9, no. 4; S. Schaefer and P. Husco, European Paintings and Sculpture in the Los Angeles County Museum of Art (Los Angeles, 1987), p. 53 (illustrated and dated c. 1735) This sumptuous ceremonial portrait, executed around 1725-1730, depicts Monsieur Aubert, the French General Comptroller of Bridges and Roadways, as we learn from a letter on the desk beside our model. The virtuoso treatment of the fabrics, the authoritative yet confident pose, the vigorous treatment of the two hands, are representative of Largillière's talent, here at the peak of his art as portraitist. The portrait also has a rather extraordinary provenance: donated by Arnold S. Kirkeby, an American hotel magnate and real estate developer, it was exhibited during almost forty years in the collections of the Los Angeles County Museum, before being acquired in 2010 by the executors of Edmund de Rothschild's will to adorn his former home Exbury House (Hampshire), where it remained until its sale in 2022. 1. Nicolas de Largillière, a great European portraitist Nicolas de Largillière (or Largillierre), one of Europe's premier painters of portraits, history paintings, and still lifes during the late seventeenth century and the first four decades of the eighteenth, was born in Paris in 1656. He was the son of a hatmaker and merchant who moved with his family to Antwerp in 1659. As a boy of nine, he traveled for the first time to London in the company of an associate of his father. After returning to Antwerp more than a year later, his artistic gifts were recognized and his father apprenticed him to Antoni Goubau (1616-1698), a painter genre scenes and landscapes. Something of a prodigy, he was admitted to the painters' Guild of Saint Luke when he was only seventeen. In 1675 he made a second trip to London, where he was employed at Windsor Castle and worked as a restorer under the direction of Italian painter and decorator Antonio Verrio (c. 1639-1707), who brought him to the attention of King Charles II (r. 1660-1685). At this time Largillière painted several still life paintings in the manner of the Dutch and Flemish masters. Thereafter he practiced this branch of painting with consummate skill, a talent that allowed him to make brilliant use of flowers, fruit, and animals in some of his most ambitious portraits and contemporary history pictures. In 1679 Largillière settled in Paris, where he specialized in baroque portraiture in the grand manner of Peter Paul Rubens (1577-1640), Anthony van Dyck (1599-1641), and Peter Lely (1618-1680). The Flemish battle painter Adam Frans van der Meulen (1631 or 1632-1690) introduced him to Charles Le Brun (1619-1690) who, as First Painter to King Louis XIV (r. 1643-1715) and director of the Académie royale de peinture et de sculpture, was the predominant figure in France's official art establishment. Upon his acceptance as a candidate for admission to the Académie, he agreed to execute as his diploma picture a large portrait of Le Brun (completed 1686, Paris, Musée du Louvre, eight photo in the gallery) seated in his studio surrounded by the accoutrements of his art and an oil study for the ceiling of Galerie des Glaces at Versailles. In 1686, Largillière made a final trip to England, where he painted portraits of the newly crowned king, James II (r. 1685-1688) (Greenwich, National Maritime Museum) and his consort Mary of Modena...

Portrait of Horatio Nelson (1758-1805), early 19th Century English School - circle of Lemuel Francis Abbott (1760-1803) Large 19th Century English School portrait of Horatio Nelson...

Portrait of a Fisherman with a Pipe Newlyn (Cornish) School, 19th century oil painting on canvas, unframed canvas : 20 x 16 inches provenance: ...

The Young Shepherdess by Charles Amable Lenoir (1860-1926) Oil on canvas 48 x 32 inches unframed (121.92 x 81.28 cm.) 58 ½ x 42 ¾ inches framed (148.59 x 10...

Unsigned ; attributed to Joseph Biel Good friend of Dr. Mufson View is from New York University School of Medicine. Overall size with original frame 25.5 x 21 in.

Work on canvas

At first glance, "The Goddess" invites viewers into a world of grace and poise. The central figure, the young woman, serves as the focal point of the artwork. Her refined and intrica...

This formal mourning portrait depicts a woman in traditional mid-19th-century attire, featuring a dark dress with a distinctive white collar or shawl and a white bonnet or cap that f...

oil on canvas no signature restored condition piece 47 x 55 cm The Biedermeier era emphasized the domestic, bourgeois, middle‑class life: comfortable, inward‑facing rather than gr...

Huguette Ginet-Lasnier (French 1927-2020), signed lower front inscribed verso oil painting on canvas 24 x 19.5 inches. All the paintings we have for sale by this artist have come fr...

Signed in red, u.r. Oil on canvas Listed price includes $150 additional cost for framing. This work is offered by ClampArt in New York City.

Marinus van Reymerswaele c.1490 – c.1546 Dutch The Tax Collectors 16th century Oil on wood panel Marinus van Reymerswaele stands among the greatest and most beloved artists of 16th-century Antwerp. Entitled The Tax Collectors, this oil on board original exudes the technical skill and life-like vibrancy for which the artist is renowned. In a quiet interior scene, two men sit at a green table covered in coins, jewels, and empty moneybags. While the man in the red turban...

Energy is the essence of life. Every day you decide how you are going to use it by knowing what you want and what it takes to reach that goal. Spend your energies on moving forward t...

Anonymous - Old man - Oil on board Oil size 34x25 cm. Frameless

70 x 100cm mixed media and oil on canvas. Part of the "Fragments of Self" collection, "Alchemy" evokes transformation and inner evolution. The muted tones with touches of gold swirl...

Anita Zotkina’s “Shared Dreams” is a 20 x 16 x 0.7 inch surreal oil painting on gallery-wrapped canvas. The work depicts a woman with luminous golden hair and upward-looking eyes, su...

Portrait of Woman by Stream in Traditional Robe and Hat Di Li Feng, Chinese (1958) Date: 2001 Oil on Canvas, signed l.l. Size: 38.5 x 31 in. (97.79 x 78.74 cm) Frame Size: 51 x 46 in...

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...

Small limited edition run of 49 and 6 E.A."s (Edition of the artist). Each canvas reproduction is crafted by a skilled printer under the supervision of the artist. Román Francés has...

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

"Dialogue," a thought-provoking creation by artist John Ali, beckons viewers into a realm of symbolism and introspection. The artwork features a young man with his head covered in ny...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on board, unframed Size : 18.75 x 12.5 inches Provenance: private collection, France Condition: The painting is in ov...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

A charming 19th-century genre scene after Anton Dieffenbach (1831-1914) depicting a young girl feeding her eager pets, who wait patiently atop a small table. As she prepares to slice...

Mark Bradley Schwartz's (US based) "Untitled 12" is an original, handmade charcoal drawing that depicts a woman in profile with her long dark hair draped over her right shoulder with...

Artist: Nathan Wasserberger, Polish/American (1928 - 2012) Title: Blonde Nude Year: circa 1960 Medium: Oil on Canvas, signed l.l. Image: 36 in. x 24 in. (...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Certainly a family of artists, such as, of course, Amadeu (1912-2004), known for a long artistic career, as a teacher of several generations of painters and as an artistic popularize...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

Oil on canvas 133,5 x 116 cm (161,3 x 146,5 cm avec l’encadrement) = 52.6 × 45.7 in (63.5 × 57.7 in with frame) Signed lower right A pile of luxurious fabrics, a velvet jacket and t...

RARE museum-quality example of a 19th‑century Russian plein‑air oil study on canvas, executed with swift, confident brushstrokes by the skilled hand of a masterful artist. The tall f...

Title: Pensive Woman Artist: Frederic Lloveras Herrera (1912–1983) Year: 1980 Technique: Oil on canvas Dimensions: 28.7 x 23.6 in (73 x 60 cm) Support: Canvas, unframed Signature: Si...

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 (Issued by the Gal...

Wencke Uhl is a contemporary figurative paintress living and working in Germany. She draws inspiration from human beauty and the female form. As a teenager Uhl wanted to become a f...

La obra va firmada en firma apócrifa y fechada del año 1899 La obra se presenta enmarcada (el marco tiene las esquinas un poco separadas y despegadas) Medidas obra: 55 cm. De altur...

This painting is a finalist of the international art contest organised by Artbox project and was exhibited as finalists in Basel International airport during Art Basel week in 2024. ...

This impressive British 1940's portrait oil painting is by noted artist Arthur Royce Bradbury. Painted in 1949 it is a half-length portrait of a young Scottish girl in a mountainous ...

Important Victorian painting depicting Alexander Smith. It has a fantastic frame and is in excellent condition. Written Alex Smith (...) on the letter.

"Evelyne" French School, mid century titled verso signed oil on board, unframed dated 51' board: 24.5 x 20 inches provenance: private collection, northern France condition: very good...

French School 19th century Close to François Xavier FABRE (1766-1837) The Princess and The Chaperone Oil on canvas One can read on the reverse "Fabre Fecit" and the name and address of the canvas dealer shop...

It ain't easy in the rase of success Sometimes I feel tired Sometimes I feel depressed Sometimes I feel like giving it up But I know If I quit, I will never win. So no matter how I f...

Born and raised in New York City, Grace (Gay) Betts (1883-1978) became a peripatetic painter of Western and Southwest landscapes and Indians, and her subjects included Yosemite National Park and Arizona tribal members. She was also a muralist who did backdrops for animal displays...

Emeline #4, 2020

French Romantic School 19th Century Manly head of bearded man oil on canvas 46 x 37.8 cm In fairly good condition, some inpaintings visible under UV light, mainly in the backgrounds ...

Ohio-born painter William J. Forsyth (1854-1935) spent most of his life in Indianapolis and initially trained at the Indiana School of Art. But by 1882 Forsyth wanted to hone his drawing and rendering skills abroad. He enrolled at the Royal Academy in Munich, Germany. Fellow Hoosier students in Munich included artists T. C. Steele and J. Ottis Adams, which helped the new arrival’s transition. Forsyth painted figures like this one while in Munich. One intriguing indication that this piece may have been done during the artist’s Academy period is that a very similar portrait of a remarkably similar sitter was described at auction as "German School, 1891" with the inscription "G. Büttner/Munich '91." However, while there Forsyth shifted his interest to landscapes under the influence of American artist J. Frank Currier...

Ron Hick's (US based) "Odd Woman In" is an original, handmade oil painting that depicts an impasto rendering of a female model with dark hair and an abstracted background. Ron Hick'...

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...

The Gray Kimono, 1901, by William Merritt Chase (1849-1916) Oil on canvas 20 x 16 inches unframed (50.8 x 40.64 cm) 28 x 24 1/16 inches framed (71.12 x 61.11875 cm) Paper (Alice Wil...

William Roth Born 1754 Portrait of Captain George Meek Oil on canvas, signed & dated 1782 lower right Image size: 25 x 18 ½ inches (64 x 47 cm) Provenance Murray Cassy Jean Piere O...

[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

This portrait of Fannie Hurst may have graced the cover of another major newsstand magazine. Most likely, it was a non-published alternate cover for Redbook. One of the most widely-read female authors was painted by one of the most widely-viewed female illustrators. Edna Crompton was an in-demand and prolific for-hire female illustrator/artist for some of the most prestigious newsstand magazines of the day. She regularly did covers for the Saturday Evening Post, Redbook, Colliers and Judge to name a few. Crompton presents Fannie Hurst - the nation’s highest-paid short story writer and advocates for suffrage and race relations - as a confidently attractive young woman bathed...