Head Paintings

JAMES WOLANIN "I Dream in Color" Acrylic & Gloss Varnish on Panel 48 x 48 inches ______________________ James Wolanin’s paintings transport the viewer to an effervescent, candy coa...

This is most likely a self-portrait. We see the artist in a reflection holding a small 1950s camera while his wife in the foreground holds a large bran...

Portrait of Dwight D. Eisenhower, oil on board, signed Girardet, French School (circa 1950s). A compelling vintage oil portrait of General Dwight D. Eisenhower, one of the most influ...

A fine small oil study of a Buddha in Japan by American artist Lilla Cabot Perry (1848-1933). Perry was born in Boston, Massachusetts, and went on to...

"No Pets Allowed" Figurative Oil Painting (FRAMED) 24" x 18" in by Isaac Pelayo Medium: Oil and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 32.5" x 22.5" inch ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance and Street Art. In a household where constant turmoil and violence were more apparent than most a young Pelayo met escape and peace within the confines of himself and his own creativity. Hispanic born in the heavy beating heart of Los Angeles on the seventh day of June 1996. Pelayo was caught in the crossfires of everything that surrounded him but art served as his only guidance. After dropping out of college Pelayo turned from his hyperrealistic pencil portraits to oil painting where his passions grew more immensely. As of today Pelayo’s work is most influenced and fueled by the crème de la crème of old master painters like Da Vinci, Caravaggio, Rembrandt, and Velazquez as well as graffiti artists such as RETNA, Shepard Fairey, and EL MAC. In 2017 his work caught the attention and landed in the firm grasp of renown rapper and collector Alvin “Westside Gunn” Worthy. He has created several album covers and artworks for the Buffalo rap moguls music label Griselda Records including his personal collection. Pelayo’s paintings are widely recognized and sought out from all over the globe. His collectors include Sean “Diddy” Combs, Westside Gunn, Benny The Butcher, Jeff...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

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...

Expressive Nude Sketch Josine Vignon (French 1922-2022) signed black biro drawing...

Classic acrylic on canvas depicting a jockey 'up' in lilac & yellow stripe silks signed 'Leyland' (LL) Art Sz: 9 1/2"H x 7 1/2"W Frame Sz: 13"H x 11"W w/ linen matte & gilt bambo...

A pencil, chalk and crayon drawing of the Virgin and Child with St Anne inspired by the 'cartoon' of Leonard da Vinci currently held in the National Gallery London. An elegant and c...

Birendra Pani - Boy Dancer with Mahanadi - 66 x 42 inches (unframed size) Acrylic on Canvas , 2009 ** Will be delivered in rolled form. Should you want the work in ready to hand condition please contact gallery for freight calculation. In this series of works - “Boy - Dancer”, Gallery Kolkata revisits the artists very popular and well lauded ‘Boy Dancer’ suite of paintings on the plight of traditional Gopitua dancers from his native land, Odisha. The boy dancers who perform a devotional dance ritual are quickly declining in today’s cosmopolitan world. Pani entwines his empathy for the dying art with an opinion on our post-Modern era. In that respect, Pani does not try to create nostalgia for the decline in the taste for the dancers, instead he problematizes the issue by bringing in a dispassionate view of the issue. The ten canvases on display in this exhibition, features the Gopitua dancers in different situations. The canvases are a hyper-real portrait, far & close shots of a Gopitua dancers with liquid innocent eyes and a small smile playing upon his lips as he confronts the viewer. The blade is a recurring motif in Pani’s work and it has multiple functions and meanings. In this instance its meaning is rather clear — one where modernity eclipses tradition. Style : His fresh, perspective and contemporary canvases have loud and vivid images and use colors like green and shocking pink unashamedly. Pani says his works are preoccupied with exploring contemporary materials, culture and current lives of people, the negligence of local places, their culture, history, memory and their identity in present times. Further he feels the consumerist attitude has penetrated deep into the human psyche. Human beings are being consumed by the commodity rather than them consuming it. In his works, Pani explore the struggles, contradictions, dichotomies and critical reflections of the embodied selves with changes in value, knowledge and culture in our present society. “I have extensively used body parts like brain, heart and other organs, and everyday objects like capsule, syringe, blade etc to create a new visual language. Deriving from life experiences, my idea is to create a new vision by the juxtaposition of the above experience with the rich legacy, diverse visual culture and sensibility of the vast tradition of Odisha’s miniatures and Pata paintings, stone carvings, monumental visuals of temples and dance forms like Gopitua dance and Chhau-dance in Odisha.” Pani, thus attempts to create a new phenomenology and the reinvention of ‘self’ in a globalized and yet very localized world. About the Artist and his work : BORN : 1969, Bhadrak, Odisha, India. FINE ARTS EDUCATION : 1997-1999 MFA – (First class with Distinction) Faculty of Fine Arts, M.S. University, Baroda. 1991-1997 BFA - Kala Bhavan, Viswa Bharati University, Shantiniketan, West Bengal. 1987-1990 2nd world “Studio for Fine Arts”, Bhadrak, Odisha. SOLO EXHIBITION IN INDIA AND ABROAD : 2017 Towards a new Viewership / Audience & Reproduction Aesthetics, Curated by Dr. Rajashree Biswal, organized by New Bridge India and North Odisha University, Baripada, Odisha. 2016 “Mahanadi”- A Journey through History, Memory and Culture curated by Maurice O Riordan of Australia at Lalit Kala Akademi, Rabindra Bhavan, New Delhi. 2015 Re-Vision / Relationship- a visual literary engagement of Birendra Pani and poet Jayanta Mahapatra, curated by Dr. Rajashree Biswal, and organized by New Bridge India, Forum on Contemporary Theory, Vadodara, Sarat Chandra Library, Baripada and Revenshaw University, Cuttack, Odisha at Revenshaw University, Cuttack. 2012 “Soft- Subversion” at Red Earth Art Gallery, Baroda. 2011 “Re – Vision” at Aakriti Art Gallery, Kolkata. 2010 “Re – Vision” at Gallery Sumukha, Bengalore. 2009 “Re – Vision” at Gallery Espace New Delhi and R.L.Fine arts, New York. 2007 “Boy Dancer’’-The convergence and continuum, at Gallery Espace, New Delhi. 2007 “Boy Dancer’’-The convergence and continuum, at Faculty Gallery, M.S.U., Vadodara. 2006 “Risk’’-The Double Edge of Society, at Gallery Espace, New Delhi. 2005 “Echo” at Kaleidoscope Art...

Miçao Kono was a Japanese artist who came to Paris in the early 1920s. He painted in oils and watercolors, and also did a number of etchings. Micao Kono became famous with his nude p...

Renowned for his mastery in design and sculpture, Tena embarked on a profound personal journey in 2023, which rekindled his passion for painting after a 30-year hiatus. His return to...

In 1936, Alfred Landon and Frank Knox were the Republican candidates for President and Vice President. They were defeated in a landslide by Franklin Roosevelt. Clyde Singer captures ...

Rose Freymuth-Frazier Stimulus oil on linen 50h x 53w x 1.50d in 127h x 134.62w x 3.81d cm RFF066 Rose Freymuth-Frazier Employing the techniques of the past in the service of contem...

Shipping Procedure FREE Shipping Worldwide 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 Authent...

Unsigned, 20th Century " David Bowie ", circa 1974 Diamond Dogs Tour Oil on Canvas 33" x 18" Housed in a 2 1/4" Frame Overall Size: 37 1/4" x 22 1/4" In nice original conditi...

Represented by George Billis Gallery, NYC & LA -- The idea of meditation and contemplation play a major role in the paintings of artist Craig Carlisle. His paintings articulate inde...

This piece comes with a A Star is Born album signed by Kris Kristofferson, which inspired this work.

In this vibrant and dynamically expressive artwork "My little sweet boy on the playground" , the artist employs a striking array of colors and bold lines to convey a whimsical scene ...

Artist: Roger König b. Dessau, Germany (1968) Master student of Kurt Schönburg, HWK Halle, Germany. König combines modern painting with acrylic with old techniques and in this way, h...

Steve Kaufmann (SAK) „Roommate, Homage to Lichtenstein“ 2004 Original Hand Painted Oil on Canvas Silkscreen Size 39 x 48 x 2 inches, 99 x 122 x 5 cm Hand signed on front and verso by...

Jennifer Nehrbass is a painter living and working in Albuquerque, New Mexico. She was born in West Bend, Wisconsin in 1970. She received her B.S. in Art and Textile Design from the U...

Invitée par le ministre ivoirien de la Culture Bernard Dadié à exposer son travail à Abidjan, Emmanuelle Vroelant a réalisé plusieurs peintures sur les femmes et les enfants

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 Elie HATUNGIMAN...

The work is unsigned. Provenance: Given directly by the artist to the present owner who was a friend of the model. Condition: Good condition apart from some scratches and pressure ...

Work on canvas Dimension with frame 103 x 63 x 3.5 cm In this striking work, the artist captures an introspective scene of his grandmother Polli smoking in front of her dressing tabl...

Portrait Of A Red Haired Holding Flowers, circa 1900 English School signed JM Circa 1900 English School portrait of the young girl holding flowers...

Mersad Berber was a Bosnian painter and printmaker. Known for his particularly skilled draughtsmanship in depicting historical and contemporary Bosnian events, Berber frequently empl...

Kelly Birkenruth's (US based) "Lost in Thought" is an original, handmade oil painting that depicts a lone female figure in profile looking towards Japanese blossoms in the background while resting her elbow on her knee. Kelly Birkenruth’s captivating paintings are in the style of contemporary realism while staying firmly grounded in the tradition of the Old Masters. She is able to pull the viewer into her paintings by interweaving emotion with a humanistic quality through her supreme handling of light. Through her portraits and still lifes she is able to evoke sensitivity and empathy, which in turn allows her to create images which transcend mere representation to capture the true essence of her subject. Kelly’s arresting compositions, draftsmanship, use of color and observation of detail allow her to create paintings with a timeless quality. After earning her degree from Pennsylvania State University, Kelly moved to southern California where she began a career as a fashion model. Her agency soon sent her abroad to Paris and Tokyo, where she spent the next several years modeling. When she wasn’t walking the runway, she spent endless hours in the great museums of the world, closely observing and studying the works of the Old Masters. “My time abroad, particularly in Paris, opened my eyes to the vast beauty and power of a great painting. After that I knew I wanted to dedicate my life to the pursuit of Fine Art” said Birkenruth. After returning to the States, Kelly studied at Otis College of Art in Los Angeles, CA. She then continued her studies through workshops and private study with renowned artists such as Daniel Sprick, Steven Assael and Jesus Emmanuel Villarreal. In the spring of 2019 Kelly...

My beauty is one of a kind, my color is one of a kind, and I cherished my skin which brings out the strength in me Painting Ships in a well-protected tube from Nigeria This work is ...

Untitled, c. 21st century Mixed media on wood 28 1/2 x 20 1/4 x 1 in. Inscribed in Japanese verso

19th Century Continental School (unsigned, as one would expect) A study of a saint Medium ; oil on panel, unframed. Size: 26" x 12" inches

Acrylic paint on canvas Signed Unique work Julien CALOT Discover the new works on canvas by the French emerging and talented artist Julien Calot in his personal exhibition "Passenge...

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...

La obra no va firmada, es de augtor anónimo Se presenta sin enmarcar la pintura El estado de conservación de la pintura dse puede ver, presenta faltas y precisará restauración Com...

Born in Turks and Caicos, Bradley Theodore is a contemporary artist who started his career in New York City and has been an internationally-inclined artist and collaborator from his ...

As an Antique sculpture, Dario Moschetta creates strength and movement in this artwork. Moreover, experimental technique brings an unique texture to the figure. Hair are waving alon...

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...

A charming study of a determined looking woman seated on a bench surrounded by woven baskets. One hand propped on her him and another through the handle of her basket, she looks to the right with an intense stare. The artist depicts her on a street lined with tall continental buildings on a summer's day. Painted in a style influenced by 18th century artist...

The painting is a stunning portrait of a black African woman with an intricate afro hairstyle that dominates the canvas. The use of vibrant oil colors on Ankara fabric gives the painting a rich texture and a sense of depth as if the woman is emerging from the fabric itself. The woman's gaze is direct and unwavering, conveying a sense of strength and resilience in the face of adversity. The Ankara fabric, a traditional African textile, adds a cultural dimension to the painting, highlighting the importance of heritage and identity. The combination of traditional fabric and contemporary art techniques makes the painting a unique and powerful piece that celebrates the beauty and strength of black African women. The painting invites the audience to appreciate the rich cultural heritage and diversity of Africa and to recognize the beauty and power of African women. 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 Bakare Babatunde...

Wonderful young standing life size realist girl with peacock by Elias Delman (1898-unknown). Oil on canvas, circa 1910. In a period frame, overall with frame 51x43 inches and image...

"Portrait of a Lady" French School, early 1900's oil painting on canvas, framed painting: 48cm x 41cm framed: 69cm x 60cm Beautiful quality early 1900's French Impressionist oil pa...

Marcia Gaylor b.1947 American Casablanca Declaration Signed "M. Gaylor" (lower left) Oil on canvas In her original oil on canvas titled Casablanca Declaration, American historica...

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...

- Title: *The Model Posing* - Artist: Rosendo González Carbonell - Technique: Oil on canvas - Dimensions: 38.2 x 45.7 in (unframed) ...

Mid Century figurative painting of a pensive sitting nude figure with moody, mid-century color palette in the background. Attributed to Elmer S. Albritton, unsigned (American, 1922-...

The biggest surprise for new parents is how much their child’s personality is already baked-in at birth. Croatian painter Vilko Šeferov responded to this toddler’s innate intensity i...

Portrait of a young lady. Oil on canvas. Signed and dated lower right. Dimensions with frame: 74 cm x 88 cm Without frame: 57.5 cm x 70.5 cm The painting has several paint chips an...

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 ...

Juan Pablo SALINAS (Attributed to) Madrid, 1871 – Rome, 1946 Oil on canvas on a panel 34 x 22 cm (43 x 31 cm with the frame) Trace of signature lower lef...

"Amber" by Primary Hughes (United States) is a handmade nude portrait of a woman, made with charcoal and pastel on paper. This piece of artwork is framed and ready to hang.

A dramatic, one of a kind oil study. Certainly not your run of the mill 19th Century portait! Depicted is a young man, whose face is brightly lit from what is likely is an open fire....

Unknown Artist - Homage to Woman with Book by Picasso, Medium: Giclee and Acrylic on Canvas, Size: 24.5 x 20.25 in. (62.23 x 51.44 cm)

"Insomnia" by Ritchelly Oliveira is a thought-provoking painting that draws viewers into the depths of the human psyche. Against a white background, the central focus of the artwork ...

In his oil painting, “Coastal Scene,” George Lafayette Clough depicts two children resting beside a seaside path, while figures in the backgrou...

Mildred Barrett Original Painting On Canvas “Woman With Children”. in good condition measures 18x15

An Allegory Of Motherhood & Charity, 17th Century Huge Italian Old Master Huge circa 1600 Italian Old Master scene of a mother and infants as an al...

Isidoro Bianchi (Campione 1581 - Campione 1662) - Putto plays with a veil. 69 x 87 cm. Old oil painting on canvas, unframed (not signed). - Inscription on the back: "Gavnø / Nr. 1...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...