New Arrivals: Portrait Paintings

Beautiful painting of the daughter of Permeke. The piece is signed and at the back you can read the titel on the label. Paintings by Permeke can be found in museums all over the world.

Portrait of Jane Seymour (1508-1537) Second Wife of King Henry VIII , 17th Century English School Large 17th Century English Court portrait of Jane Seymour (1508-1537), Queen of En...

Portrait Of Lady Emilia Lennox (1763-1832), 18th Century School of JOHN HOPPNER (1758-1810) Large 18th century Portrait of Lady Emilia Charlotte Lennox, oil on canvas. Excellent qu...

Title: Women Series IX Medium: Oil on canvas Size: 23.5 x 31 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This p...

Amazing ca. 1950 illustration of children by American artist, Florence Kroger (1897-1980). Oil on canvas measures 20 x 24 inches. Signed lower right. ...

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...

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...

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 Penuel Heber Ma...

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 Penuel Heber Ma...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

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 Penuel Heber Ma...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...

ARTIST: Circle of Michael Dahl (1659-1743) Swedish / English TITLE: "Portrait of Mrs Wyndham" SIGNED: unsigned MEDIUM: oil on canvas laid to board SIZE: oval 75cm x 63cm and frame...

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

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...

Francisco Ribera Gómez (Madrid, 1907 – Barcelona, 1996) Title: Offering Year: 1969 (MCMLXIX) Medium: Oil on canvas Dimensions: 100 × 80 cm (39.4 × 31.5 in) Support / Mounting: Relin...

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...

Marianne Loir (Paris 1705 – Paris 1783) Presumed Portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm Unsigned Grandda...

Artist: Jack Graves III (American, 1988-) Title: "Princess Diana Icon V" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Medium:...

Nicholas Alden Brooks American, 1840-1904 Woman in a Red Hat Oil on canvas 9 ⅜ X 6 ⅜ in. w/ frame 13 ⅛ X 10 ¼ in. Signed "N. A. Brooks 1883" lower left

“Inner Being” is a contemporary portrait by French artist Natalya Mougenot, part of her ongoing exploration of the human presence beyond appearance — a direction closely connected to...

Artist: Jack Graves III (American, 1988-) Title: "Apollo Icon" Series: Icon *Signed by Graves lower left. It is also signed, titled, and dated on verso Year: 2022 Medium: Original A...

Pal Fried Hungarian-American, 1893-1976 Mona Lisa Oil on canvas 30 X 24 in. w/ frame 37 ⅛ X 31 ⅛ in. Signed lower left Pal was born in Budapest and studied at the Hungarian Academi...

Artist: Jack Avetisyan Title: Self Portrait Medium: Oil on Canvas Year: 2016 Style: Portrait Dimensions: 20" x 16" x 0. 2" inch (51 x 41 x 1cm) Presentation: Unframed, Gallery Wrappe...

Antoine Louis MANCEAUX (Calvi, 1862 - Beauvais, 1939) The sculptor Jean-Paul Aubé working on the plaster cast of a statue of Shakespeare Oil on canvas, formerly mounted on cardboard ...

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.

Líbero Badii Argentine, 1916-2001 Frente Y Perfil Oil on canvas 23 ½ X 15 ¾ in. w/ frame 25 ½ X 17 ⅜ in. Signed verso Born in 1916 in Arezzo, Italy, Badii arrived with his family i...

Michelle Michaux French, b. 1927 Portrait of a Woman in Black Oil on canvas 15 by 18 in, w/ frame 23 ¾ by 27 in Signed lower right Born in Paris in 1927, she studied with Monsieur ...

Líbero Badii Argentine, 1916-2001 Cuatro Ojos Oil on canvas 15 ¾ X 11 ¾ in. w/ frame 17 X 13 in. Signed verso Born in 1916 in Arezzo, Italy, Badii arrived with his family in Argent...

Luis Graner y Arrufi Spanish, 1863-1929 The Glow Oil on board 26 ½ by 33 in, w/ frame 35 by 43 ¼ in Signed and dated 23 lower left Luis Graner y Arrufi was born in Barcelona in 186...

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.

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.

Artist: Jack Graves III (American, 1988-) Title: "Ecstasy of Saint Teresa Icon III (Bernini)" Series: Icon *Signed by Graves lower left. It is also signed, titled, and dated on verso...

"Portrait of Woman in Yellow" Painting 20" x 16" inch by Salah Abdel Kerim Medium: watercolor on paper Not signed Born in Fayoum to a big family of 5 brothers and sisters. In 1938...

Jules Marie Auguste Leroux Self Portrait, in a White Shirt 1871-1954 Oil on canvas, signed and dedicated "à l'ami Blaise" lower left Image size: 18 1/2 x 22 inches (46.8 x 55.7 cm) C...

From the late 1920s to the eve of World War II, Anton Vorauer was an art professor at the Vienna Fine Art Academy. While painting at the Parthenon during the Nazi invasion of Greece,...

English Illustrator Barbara C. Freeman depicts Thumbkin resting on the edge of the petals of a White Water-Lily. She's taking in the scenery as a yellow butterfly takes flight. It w...

"LA VIUDA NEGRA" Figurative Portrait Painting 24" x 18" inch by Isaac Pelayo Medium: oil and aerosol on wood ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between ...

"TRES MIL" Figurative Portrait Painting 24" x 20" inch by Isaac Pelayo Medium: oil and aerosol on wood ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Re...

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...

20th century Judaica realist oil portrait, synagogue interior.

Mid century, manner of Marcel Vertes, 20th century painter, printmaker and illustrator.

"Ephemeral One" (FRAMED) Portrait Oil Painting 14" x 11" inch by Genevieve May Ephemeral One The symbolism of black butterflies appears in many cultures often carrying themes of dea...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", (Panel) H 27.5" x W 20...

Early 17th-century Lombard painter Daniele Crespi (Busto Arsizio, 1597-1600 – Milan 1630), Circle of Saint Sebastian oil on canvas Dimensions: 82 x 60 cm. In frame 100 x 7...

Lazzaro Donati (Italian, 1926-1977) Oil on board. Colorful woman. La Regina (the Queen) Hand signed upper right. signed, titled on back of panel. Dimensions: (Frame) H 37" x W 29", ...

Chéri Samba - "Je suis le même mais je ne suis plus le même, 2004, Oil and glitter on canvas, 150x120 cm In this work, Chéri Samba constructs an image that is at once portrait, manif...

Juliette Lemontey (b. 1975, Metz, France) is a French artist based in Arles. Her work is an intimate exploration of the human presence, capturing both the weight and fragility of the...

Portrait of Mary Hooper (née Davie) in a Blue Dress & Seated in a Parkland c. 1715–1725 Jonathan Richardson the Elder (1667–1745) This portrait, presented by Titan Fine Art, is of p...

Robert Antoine PINCHON (Rouen 1886 – Bois-Guillaume 1943) Portrait of Geneviève Pinchon in a Hat (believed to represent the artist’s daughter) Oil on canvas, 50 × 39 cm Unsigned ...

Tania Rivilis Etcetera 100 x 80 cm Oilpaint on wood (OSB board) Tania Rivilis (born in Ukraine 1986) 2022 winner of the 'William Locke Price' from the Royal Society of Portrait P...

“Inner Beauty” is a contemporary portrait by French artist Natalya Mougenot, part of her ongoing series dedicated to Women — a body of work that explores femininity not as an externa...

Let’s Be Happy Every Day This painting is a gentle, optimistic message from the artist — a celebration of everyday joy and emotional warmth. It is not meant to be interpreted intell...

shipped in roll We Were Happy That Day This painting is not a statement, but a memory. It speaks not about constant happiness, but about a moment when happiness already existed — qu...

This painting speaks about a simple and rare moment of sincerity — a smile that appears not for performance or display, but because warmth already exists within. The faces are intent...

For those who collect antique Christmas items, this is incredibly rare to find from this period. Late 19th Century Signed: Lennhoff ? (Upper, Left) " Santa Claus ", circa 1890s P...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...