Michelle Pfeiffer

Pencil Portrait by Antonio Bosano.

Michelle Pfeiffer Pencil Portrait
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The quality of the prints are at a much higher level compared to the image shown on the left.


A3 Pencil Print-Price £45.00-Purchase

A4 Pencil Print-Price £30.00-Purchase

*Limited edition run of 250 prints only*

All Pencil Prints are printed on the finest Bockingford Somerset Velvet 255 gsm paper.

P&P is not included in the above prices.


Interviewed in October 2013 by Nisha Lilia Diu, Michelle Pfeiffer was keen to reiterate the motivation behind several of her recent film projects. She had wanted ‘to play with our obsession with youth and the ludicrous degrees to which women will go to reclaim it’.

‘The loss of youth, the loss of beauty – it definitely plays havoc with your psyche’, she was moved to say; ‘There’s this transition from – “Wow, she looks really young for her age” to “She looks great for her age”. And there’s a big difference. I’m now at “She looks great for her age”. Laughing a trifle ruefully, she added: ‘There is certainly a mourning process to that. But you know, it’s kind of liberating. I don’t need to look younger than I am, because it ain’t gonna change anything’.

For an actress of such considerable renown, these concerns will surely prove to be academic. Her career is unlikely to miss a beat.

Recommended viewing

Frankie and Johnny (1991)

Falling squarely into that tradition of inspirational Hollywood romance, and low on surprises, ‘Frankie & Johnny’ nonetheless gives Pfeiffer and Pacino room to create warm, expansive characters, whilst offering a single fresh element, capturing as it does, the dull romantic ache people can carry around with them for years.

There’s humour courtesy of a pair of gays who share an appartment with Frankie, especially when our beleagured chef is beseiging Pfeiffer with telephone entreaties – “I’m going to hang up now Johnny as we’re expecting another call from Johnny” – and Kate Nelligan provides pathos as the over anxious, over accomodating Cora.

The movie is mature enough to understand that love, contrary to our starry-eyed fantasies, often demands a spark of will — that at some point you have to leave your cloister behind and say that, yes, this is the person I’m going to take a chance on.

I saw the movie on the big screen – even in my early 30’s, there was a weariness creeping over me about the never ending wave of mind numbing action thrillers on offer – and the plot unfolded in an intelligent manner. In the final analysis, you care about these characters and what happens to them.

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Love Field (1992)

Pfeiffer is Lurene Hallett, a Dallas housewife who identifies readily with her role model Jacqueline Kennedy, and the First Lady’s life at ‘Camelot.’.She is devastated when President Kennedy is shot a few hours after she sees him arrive in Dallas, and despite her husband Ray’s prohibition, resolutely sets out to attend the funeral in Washington, D.C.

Compelled to travel by bus, she befriends Jonell, the young black daughter of Paul Couter. Sensing something wrong, her well intentioned interference leads the mixed race threesome on an increasingly difficult journey to Washington with both the police and Ray looking for them. Amidst the racial intolerance of the deep South, a bond develops between the protagonists as they become increasingly dependent upon one another.

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