Anna Airy

Portrait of a Boy - British Art Deco interior painting seated male female artist

circa 1930

A fine detailed watercolour on paper by Royal Academician William Dring who was a noted portrait artist of the 20th century. This portrait depicts a young woman in profile - and was painted circa 1937. A very evocative Art Deco portrait. In excellent condition and framed in gallery frame. A fine example of mid 20th century British portraiture...

A really lovely early 20th century British watercolour and chalks portrait on paper by Stefani Melton Fisher. It depicts in a realistic palette a beautiful young woman and was painte...

This stunning Victorian Impressionist portrait painting of a lute player is by noted Scottish Glasgow Boy artist James Paterson. Painted circa 1900 and exhibited at The Royal Scottis...

This stunning exhibited Pre-Raphaelite 19th century watercolour painting is by British Victorian female artist Marcella M Walker. The painting was painted in 1880 and exhibited at th...

A superb British Victorian watercolour by Owen Dalziel which is titled A Morning Concert and is dated 1883. A fine large painting, it is a super historical record of a Victorian beach...

This beautiful exhibited Pre-Raphaelite detailed British Victorian watercolour portrait is by noted Birmingham School artist Edward Tayler. Painted circa 1897 it was exhibited that y...

Watercolour on paper Paper size: 10 x 13.75 inches Framed size: 18.75 x 21.5 inches Signed lower left

Mon dieu, gardez-moi mon enfant is an original artwork realized by Paul Delhommeau, in 1868. Watercolor drawing on brown cardboard glued on on a white paper ...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

William F. Buckley and Pat Buckley at home in NY, 2014 by Manuel Santelices From the Interiors series Unframed A new series inspired by architecture, décor and stylish personalities...

SEDUCTRESS is a unique original mixed media watercolor and graphite on paper, hand drawn and painted by the Dutch artist Nico Vrielink. SEDUCTRESS portrays a dark haired young woman wearing an off-shoulder evening gown and long elegant evening gloves looking sideways over her shoulder, seductively posing on a modern settee, her warm coral pink lipstick, rose lavender eye shadow and warm rose blushed cheeks enhancing her passionate mood. SEDUCTRESS is an erotic fashion portrait of expressive, modern boudoir art...

By Virginia Conroy Dedini (American, 1922-2006). Titled lower left, 'Mitsuko ''Okaido Born''' and dated August 1976. Exhibited: Carmel Art Associati...