Portrait Paintings

Self-portrait by Edouard Dumoulin (1898 - 1973) 1928 Oil on canvas 48 x 37 cm (54 x 42 cm with frame 18.9 x 14.57 in (21.26 x 16.54 in with frame) Signed and dated lower left Online...

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 Bey...

Everything about Verena is 'Tiki'. When not in uniform as a re enactment WASP ( womens' Airforce service pilot) she is tikified. I love the details here... hibiscus dress, flower in hair, bamboo...

Oil on Canvas framed to Guild of Framers Specialist in Exeter, to the highest standard. Size is 12"x16" plus frame size - for this simply add approximately 3" all round. Framed by So...

This little jewel of a pastel of a young boy in his smart red jacket and silver trimmed waistcoat is by an artist working in the circle of Arthur Pond and ...

Giovanni Camillo Sagrestani (Florence 1660 - Florence 1731) circle of - San Girolamo. 96 x 72 cm unframed, 112 x 88 cm with frame (not signed). Antique oil painting on canvas, in a...

Oil on canvas Nino Tolomashvili is a Georgian painter born in 2003 who lives and works in Tbilisi, Georgia. After completing her schooling, she pursued her studies at the Tbilisi St...

Jean Louis Hamon artfully presents the mythological subject: Aurora the Goddess of Dawn. She is dressed in a flowing toga, standing on a large leaf and smelling the sweetness of a flower in bloom. Surrounded by lush plants in an idyllic setting of pinks and blues, one would not think that this peaceful and beautiful work was painted in 1864 at the time of the American Civil War. Hamon meticulously renders the scene with the academic precision of Bouguereau. The closer you get, the more detail you discover. Two butterflies sit atop Aurora's head. Droplets of water gracefully roll down her hair. There was a hand colored steel plate...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

"Marilyn -II" is a painting by Maestro Stanislav Belovski. About the painting: Style and Technic: POP ART, Contemporary, Acrylic on canvas The painting is unframed. “The impressio...

A vivid figurative portrait in acrylic that blends floral patterns, emoji-inspired motifs and saturated color to explore digital identity and self-representation. This vivid figurati...

A vivid figurative portrait in acrylic that blends floral patterns, emoji-inspired motifs and saturated color to explore digital identity and self-representation. This surreal figura...

In Scheherazade, the artist presents a quietly enigmatic figure set against a serene coastal horizon. A woman kneels in sandy earth, dressed in work clothes—boots, gloves, and overal...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Hand carved gilt frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece with a fl...

Jasper Leadbeater, Notorious, 2025 Spray-paint and shotgun shells combine to create Notorious. Biggie Smalls, The Notorious B.I.G., rendered in shades of purple, looms large in this...

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...

Art-Deco style, Colonial atmosphere, inspired by floral and dark skinned powerful beauty of Betty - Mysterious Rose Collection. Large scale Cabarete co...

Art-Deco style, Colonial atmosphere, inspired by floral and dark skinned powerful beauty of Mary Ann - Mysterious Rose Collection. Large scale Cabarete...

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...

Oil on canvas Helen Uter is an established Franco-American painter born in 1955 who lives and works in Donnery, near Orléans, France. Heavily influenced by Edward Hopper, she crea...

The Christ Child as Redeemer of the World Oil on Canvas, 69.3 x 49.7 cm Provenance Private Collection, Belgium The present painting is known in different versions. One of them is ...

Tobias Harrison is a British figurative painter born in 1950 who lives & works in Menton, France.

B. Zickler Msrienbad (Marienbad?), c. 1920s Oil on wood panel 13 1/4 x 10 1/4 in. Framed: 17 x 14 x 1 in. This painting was likely executed by a German artist, who is only known to ...

Portrait of my friend, reading :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes...

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 Oluw...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

Portrait of a Mother & Baby, 19th Century School of Friedrich August Von Kaulbach (1850-1920) Fine large 19th Century portrait of a mother and b...

The first image of this painting comes from a migrant worker I took. He is tough, hard-working, and the cruelty of real life has not crushed him. His body is deformed and distorted, ...

Émile Munier, a French academic artist born in 1840, was renowned for his exquisite depictions of children and domestic scenes during the late 19th century. "Mom in Love," a masterpi...

Man lives for himself. Interested in the surrounding world. History is so fascinating, science reveals secrets, books teach, travel inspires! And a fish in an aquarium and a bird in a cage, and a candle and ancient manuscripts...

Portrait Identified as Frances Maria Fountayne (1730-1750), 18th Century circle of Henry PICKERING (1720-1771) Large 18th English portrait of a young girl identified as Frances Mar...

Symbolism, angel, paradise, black, vertical The painting "Young Angel" is a deeply symbolic work, a revelation that came to the artist in a dream. It is a mystical scene on the bord...

Acrylic on canvas, signed and dated (lower right), 91cm x 62cm (112cm x 82cm framed). (Provenance: in the collection of the artist Michael Leonard (British 1933-2023) until his dea...

A dream spills open like an old book without words— Its pages breathe smoke and feathered wings, keys that unlock nothing, clocks that refuse to tell time. In the half-light, a figur...

“I paint the human figure and explore further till I reach the Beauty of Being, the Soul.. the part of Human Being where everything is in total Serenity, Goodness and Harmony, where ...

The Cotswolds Stone Wall Builder by John Edwards (England, 1940 - 2020) signed oil on canvas, framed framed: 29 x 23.5 inches canvas : 23 x 18 inches Provenance: private collection, ...

"Unknown Legend" is a colorful portrait of an enigmatic face in nature, an oil painting. Nick Weber (b.1971), living and painting in Springs, NY (about a b...

Long-necked , elegant slender fingers and spellbinding eyes define a quintessential Latin beauty. The painting is has a simple, architectonic composition of vertical and horizontal e...

In a meadow of white roses, a figure lies in surrender— eyes closed, body adrift, as though the earth itself has lulled them into rapture. The roses are not still. they breathe, they...

Circle of Willem Wissing Dutch, (1656-1687) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24.5 inches Size including frame: 35 inches x...

Signature: Signed Lower Left Medium: Oil Paint Story illustration for "Farewell Without Regret" by Sarah-Elizabeth Rodger for Good Housekeeping, published September 1940, page 47. ...

Verdant Soul speaks of transformation, just like how felled trees sprout little grasses after a time of abandonment, so too do forgotten parts of ourselves begin to grow again. From ...

Kiddie Kar exemplifies the integration of the primitive aesthetic and the depiction of family in William’s work. The primitive aspect of this particular painting is apparent in its d...

Signed on reverse Born in Turkmenistan, in the sunny city of Ashkhabad. From his youth was into artistic activities, currently the earlier works are kept in the family archives. In ...

Luis Ricardo Falero 1851-1896 Spanish The Tempest Signed and dated "Falero / 1889" (lower right) Oil on canvas Luis Ricardo Falero, the renowned Spanish painter celebrated for hi...

Original cover for Liberty magazine, published August 29, 1931. Lil and Sandy have been enjoying their summer weekends together as they begin to search for a new vacation home. Howe...

Emile VERNON Blois, 1872 – Blois, 1920 Oil on canvas 44 x 61 cm (57 x 74 cm with frame) Signed lower right “Emile Vernon” Very beautiful 19th century frame in carved and gilded wood ...

Portrait PS 108 Technique: oil, acrylics and ink on thick paper (430g) 48x36cm ■■ 18.9x14.2 in ⏩》-------------------SHIPPING -----FLAT----------------《⏪ 🟢 → Original signed work....

Rio de Janeiro Carnival, Brazil. Gigantic eyes, splashing in colors, stimulating me and intoxicated to be. I was overwhelmed twice, triple. It's just that everything became unfathoma...

Frédéric-Christophe, Comte d'Houdetot (Paris, France, 1778 - 1859) Title: Portrait of Giovanni Antonio Filippini Medium: Oil on canvas Dimensions: without frame 72.50 x 42 cm - with ...

The Portrait of John Wakefield Francis by James Herring depicts a distinguished 19th-century American physician and educator. Dr. Francis, renowned for his pioneering work in medical...

Original cover for Liberty magazine, published June 22, 1929. Sandy, away on a business trip, calls Lil to check in. The two discuss bills and talk about how much they miss each oth...

➡️ Portrait of Thom Yorke - Radiohead⬅️ ⏩Technique: oil, acrylic, glue, ink on old book pages on wooden frame 55x55cm ■■ 21.7 x21.7inch⏪ ⭐Sustainability⭐: Wooden frame is made by t...

Portrait of a Gentleman in Formal Attire French School, 19th century oil on board, framed framed: 17 x 14 inches board : 13 x 10.5 inches Provenance: private collection, Paris, Franc...

This accomplished nineteenth-century portrait depicts a monk with his eyes closed in prayer. Dated and indistinctly signed to the lower right. Presented in a vintage black frame with...

Original hand cut stencil and spray paint on metal panel. Hand signed on verso by Snik. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable of...

Acrylic portrait painting, girl, love, expressionism, large vertical format "Dreams. Through. Her" is an emotionally charged portrait painted in acrylic on canvas, measuring 80 x 10...

Pegah Samaie's captivating original artwork, "Elegance," is a stunning testament to the artist's mastery of oil painting. This 2023 piece, offered directly by the artist, showcases S...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

A fine 19th-century study of the Madonna and Child, painted in a slightly naïve yet deeply expressive manner characteristic of the German School of the period. The artist’s brushwork...