Head Paintings

Portrait realized by Franco Settimj in 1932. Oil on cardboard. Hand signed and dated lower right. Good condition except for some minor issing parts on edges.

Antonio Monasterio – Angel Among Humans. No. 8 Medium: Mixed media on paper (pastels, wax crayons, red pen) Dimensions: 56 x 44 cm Signature: Signed lower right in cursive Support: W...

This heavily-inscribed early 17th-century half-length portrait depicts an officer wearing a silk doublet with a gorget, presented in a feigned oval. He’s standing alongside an anchor...

Beautiful oil painting of nude study titled "The Red Table Cloth" by Bay Area, California artist Shirley Loyst (American, b-1928), circa 1960. Exhibition...

Up for sale is an original antique 19th-century oil painting on canvas depicting a scene in the interior of a house with a male figure dressed in a traditional hooded robe seated at ...

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) Holy Family with the Young St John The Baptist and St Elizabeth Oil on canvas A Royal Coat of Arms lower left Canvas size...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Signed in red, u.r. Oil on canvas 66 x 84 inches This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York...

The Madonna & Christ Child Italian, 17th century oil on wood panel, unframed board: 9.5 x 7.5 inches provenance: private collection, Paris condition: very good and sound condition fo...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

French school of the 20th century, portrait of elegant, oil on canvas monogrammed and dated E.B. 1931 lower left. The monogram E.B. is also repeated on the back of the canvas. The...

Mark Beard Collegiate Swim Match Oil on canvas Signed in red upper right corner

This evocative oil painting, titled Studio Muse, depicts a seated nude in a quiet moment of contemplation. The model is shown in profile, resting on a simple wooden stool against a n...

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...

Nicely painted American modernist interior portrait oil painting. Framed. Oil on canvas. Signed. Image size, 28H by 22L.

This captivating oil portrait from the late 18th to early 19th century depicts a mysterious charming young woman, painted by an unknown but clearly professional master, presumably Fr...

Giacomo Ceruti, known as Il Pitocchetto (1698-1767) – “Turnip” Medium: Oil on canvas Dimensions: 204 x 124 cm (unframed) Provenance: Private collection This remarkable painting, “T...

Oil on paper realized by Luigi Granetto in 1998. Hand signed. Includes a wooden frame realized by the artist cm. 50x40

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...

Initialled 'R.M.' lower left. On canvas on stretchers.

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

“Orientalist Portrait of an Arab Man” Half-length, turned to the left, oval Jean-Horace Vernet (French 1789-1863) Circa 1830s Watercolor heightened with touches of white on paper Sig...

Staunch and utterly absorbed, the Art School Model is seized in a moment of confident detachment, posing not for the students, but for posterity. Here is a remarkable and historicall...

Portrait of the Artists Mother *see below by Gladys Marguerite Baker (British, 1889-1959) signed, titled verso oil on canvas, framed framed: 29 x 17 inches canvas: 24 x 12 inches Pr...

Gerard Soest (c. 1600-1681) Portrait of a girl, possibly Dorothy Bigg (née Wither) (1661-1717), c. 1674 Half-length, wearing natural pearl and gemstone jewellery ​ Oil on canvas In...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 26 by 34 inches overall and 20 by 28 painting alone. In excellent condition. Handsomely framed in a period ar...

Unsigned. On board.

"Sergei," an original oil painting on canvas created in 2016 by Viktoria Savenkova, is an expressive realist portrait rendered with skillful precision and emotional depth. Measuring ...

Portrait Of A Nude Male, 18th Century School of Jacques-Louis David (1748-1825) 18th Century French School portrait of a nude male, oil on paper laid to board. Excellent quality an...

Antique Indian Mughal portrait of a Prince, late 18th cent. , by repute possibly depicting Maharaja Vijay Singh of Marwar (1729 - 1793) Rajasthan, circa 1800’s The Maharaja is ...

Artist/ School: French School, mid 20th century, indistinctly signed lower right corner. Title: Portrait of a Young Girl Medium: oil on canvas, framed Framed: 23.5 x 17 inches Pa...

Modern Cubist inspired portrait painting by the iconic Houston based artist David Adickes. The work features a male figure wearing a white jacket, blue shirt, and red tie. Signed in ...

"The Portrait" by Geneviève Zondervan (French 1922-2013) Pencil/ charcoal on thick paper, unframed Paper size: 25 x 19 inches Beautifully decorative, mid 20th century French origin...

Incredible early American modernist portrait by Stephen H Booker (1933 - 2016). Oil on canvas. Signed verso. Finely framed. Measuring 24 by 28 inches overall and 16 by 20 paintin...

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 superb British Old Master portrait oil painting is attributed to circle of noted artist Michael Dahl. Although born in Sweden, Dahl lived and worked most of his life in England ...

Nude of Klaudia from one side is one of the best works by the artist Marco Fariello. It is made on canvas, painted in oil in 2021. The subject of the work is the representation of a...

Signed lower right, 'Fiedler' (20th century) and painted circa 1965. A sensitively realized study of a young boy dressed for a costume party as Arlequino and shown gazing directly t...

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 Sam...

Court Portrait Of A 17th Century Girl, oil on canvas English School Large antique court portrait of a young girl holding berries & flowers, oil on canvas. Excellent quality and con...

Copy after Titian's Renaissance Painting "Lucretia and Her Husband Lucius Tarquinius Collatinus" Robert Azensky Fine art is pleased to offer this copy after Titian's Renaissance mas...

Portrait of a Bavarian Gentleman with Pipe by Theodor Recknagl (1865-1945) German signed oil on board, framed board : 7 x 5.5 inches Provenance: private collection, UK Condition: som...

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

Original and unique artwork by Russell Young. Acrylic paint and enamel screen print on linen, unframed dimensions 62 x 48 inches, 2008, from the series "Fame + Shame". Bright and viv...

Giambattista Piazzetta (Venice 1683 - Venice 1754) circle of - Six Half-Length Apostles. 62.5 x 52.5 cm unframed, 72.5 x 62.5 cm with frames. Group of six oil paintings on canvas, ...

The Tailor Continental School, 19th century after the earlier Renaissance work by Giovanni Battista Moroni (16th century). oil on canvas laid over board, framed Framed: 16 x 12 inch...

Madonna and Child Workshop of Andrea del Sarto, pseudonym of Andrea d'Agnolo di Francesco (Florence 1486 - 1530) Attributable to Jacopo di Giovanni di Francesco, known as Jacone (...

Oil on canvas by Yves Dieÿ (1892-1984), France – The Nude. A striking oil on canvas by the renowned French artist Yves Dieÿ (1892-1984), depicting a sensual and elegant nude. This wo...

6128 Portrait of a French woman Set in a gilt frame Image size 15.5x19.5"

John Tarantola's original nude portrait "Blake of Night" (2012) is a beautiful surrealist oil on panel painting that depicts an athletic nude male figure crawling forward on a slab o...

The Crucifixion French School, circa 1830's circle of Eugene Delacroix (1798-1863) oil on canvas, unframed canvas: 37.5 x 22.5 inches provenance: private collection, northern France ...

Vicente Romero Redondo was born in Madrid as the eldest of four sons. Due to the work of his father, he grew up in many different towns all over...

Antonio Balestra (1666–1740) – "Samson & Delilah" Artist: Antonio Balestra (1666–1740) Title: "Samson & Delilah" Medium: Oil on canvas Framed Dimensions: 147 x 165 cm Canvas Dime...

Carlos Gamez de Francisco’s "The House at the End of the Road" is a striking blend of hyperrealism, figurative surrealism, and imaginative narrative art. This 12-inch round acrylic p...

Strength is not always measured by the noise we make, the battles we fight in the open, or the weight of the words we speak. Sometimes, true strength is found in stillness—in the gra...

Technical Sheet - Title: *The Secret in Her Eyes* - Artist: Rosendo González Carbonell - Technique: Oil on canvas - Dimensions: 24 x 20 inches - Framing: Unframed - Style: Romantic realism...

Outstanding painting by the italian artist Donato Frisia, dated 1930. Signed lower left in red. A sensual nude of woman reclined on a sofa is depicted with, at the same time, appeal...

Portrait of a Woman/ double sided image French, circa 1930's, unsigned oil on board, unframed Board : 13.5 x 11 inches Double sided Provenance: private collection, France Condition: ...

Act. Oil on canvas, 58x69 cm Victor Karnaukh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painter, a monument designer, graduate of Latvia...

Laura M. GREENWOOD (1897-1951). Portrait of Woman in Winter Coat Oil on canvas, 18 x 24.5 inches. Signed lower left. Excellent condition. Would beneifit from a cleaning. Origina...