Head Art

George Platt Lynes 1948 Photograph #8 of George Balanchine’s Ballet ‘Orpheus’. George Platt Lynes rare original vintage 1948 gelatin silver photograph (dated by the NY City Public Library) of nude dancers Francisco Moncion and Nicholas Magallanes in George Balanchine's iconic mid-20th Century ballet 'Orpheus'. Stamped on verso in dark blue ink at upper center, "GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK”. Photo shoot took place in NYC. Costumes and Set by ISAMU NAGUCHI. Photo is 7 5/8 x 9 1/4 inches, soft satin finish in excellent condition. This photograph is from Francisco Moncion's original collection given to him by George Platt Lyons. It is one of 14 different poses in the 'Orpheus' series. 8 different photographs are remaining for sale and are available on request. All are original Platt Lyons gelatin silver prints original to Moncion's collection and are stamped by the photographer. Photographs from this celebrated series are in the permanent collections of the Metropolitan Museum of Art (NYC), Museum of Modern Art (MOMA, NYC), the NYC Public Library, and many university art archives. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950...

This artwork is sold framed. Available for presale. Please note: this artwork will be exhibited during Ashvin Harrison’s solo show (Nov 29–Dec 7) and can be collected or shipped aft...

Baron Robert Heinrich Freiherr von Doblhoff (1880 Vienna - 1960 ibid.) Woman with Red Hair Ink and watercolor on paper, image measures 6.25 x 7.25 inc...

Framed size: 33" x 38" La Seine, Bougival is a luminous and leisurely riverside scene, capturing the charm and quiet vitality of life along the Seine. The composition draws the viewe...

Medium: multi-stone color lithograph (after the original Bonnard lithograph). Printed in Paris on Renage paper in 1952 by the Mourlot atelier, in faithful recreation of the original....

Vintage b/w photograph realized by David Macey in 1990s. Copyright and provenance: Playboy. Excellent condition.

The circa 1970 original poster by René Gruau for Federico Fellini's La Dolce Vita (1960) is a masterpiece of cinematic art and graphic design, capturing the allure and decadence of o...

The Artists Model Interior Scene French School, circa 1970's oil painting on card, unframed inscribed verso size: 25.5 x 18 inches condition: overall very good, a very few light mark...

Mary Cassatt 1844–1926 American Smiling Sara in a Big Hat Holding Her Dog Signed "Mary Cassatt" (lower right) Pastel on paper “I love to paint children. They are so natural and t...

'Mon Colonel', pencil and crayon on paper, by noted French artist, Auguste Chabaud (circa 1914-1918). A delightfully simple drawing of a French Army colonel in profile along with clo...

This exquisite lithograph by Andre Derain (1880–1954), titled La Grande Chasse (The Great Hunt), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from the 1940 ...

Orignal and unique artwork by Russell Young. Acrylic paint, enamel and diamond dust screen print on linen, unframed 62 x 48 inches, from the series "Diamond Dust". Dark colors, hand...

Sidney Jimenez Bust with Floral Top (INV# NP5235) stoneware, underglaze, and glaze 10.75 × 9 × 5.5” 2024 signed Sydnie Jimenez is a ceramic artist whose work centers on the figures ...

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...

Augustus Jules Bouvier (1827–1881) was a French-born English painter active in London. He exhibited at the British Institution and the Royal Academy. He is best known for oil paintin...

Portrait of Lord Jeffreys of Wem British School, 20th century (presumably after an earlier work) oil painting on canvas, framed framed: 30.5 x 24.5 inches canvas: 26 x 20 inches prov...

A very unique bronze that touches upon the classic, female strength in form and the details beaux arts style in America. A work that really is for a collector and to be put in a spo...

This limited edition color lithograph, titled Le Petit Prince et le Renard (The Little Prince and the Fox), beautifully recreates the iconic watercolors from the beloved book Le Peti...

An Exceptional and Monumental White Marble Figural Sculpture Clock, "A Nubian Slaying The Lion" by Jean-Joseph Jacquet (Belgian, 1822–1898), circa 1860 This extremely impressive whi...

Underwater black and white photograph of a topless woman caught in fishing net. Original gallery quality archival pigment print. Limited edition of 12 Paper size: 18"x24" Image si...

Artist: Hans Bellmer, German Title: Petit traite de Morale Year: 1968 Medium: Color Etching, signed in pencil Image Size: 10.5 x 8.5 inches Frame Size: 20 x 16 inches

A Compelling, 1951 Mid-Century Modern Portrait of a Young Man by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Artwork size: 12 x 9 1/2 inches. Artwork is unframed, matted/...

Jean Cocteau original , certified by Madame Annie Guedras . drawing size : 23.5 x 17.7 cm

Mark Morrison (1895-1964) Head of Woman , ca. 1950 Carved stone 7.75" wide, 9" deep, height is 20 7/8" Signed at base. Provenance: Estate of Mrs. Mark Morrison. Born: Kingf...

Figurative oil on canvas painting of a young athletic male 24 x 20 inches, 29.5 x 23.5 inches vintage gold painted wood frame signed B. Sargeant in red in upper right hand corner T...

Hand Signed by Ken Heyman Limited Edition of ? ...

Philosopher - Ciro De Rosa Italia 2008 - Oil on canvas cm. 60x50 Gold leaf gilded wooden frame available on request The painting by the painter Ciro De Rosa portrays an old and wise ...

A naive yet charming 19th-century study of a small family gathered around a baby. The mother cradles the infant in a chair while a small white cat watches quietly in the background, ...

Andrea Vaccaro (Naples, Italy, 1604 – 1670) Title: Penitent Magdalene Year: 1630-1635 ca. Medium: Oil on canvas Dimensions: without frame 75 x 62 cm – with frame 87.5 x 74.7 x 5.5 cm...

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

Dennis Hopper, Out of the Sixties 1986 exhibit poster published Tony Shafrazi Gallery, New York 1986 Image: Dennis Hopper's Biker Couple' (1961) Off-set lithograph. 17 x 24 inche...

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...

A Laborer Resting, 1930, oil on canvas, signed and dated lower center, 36 x 30 inches, inscribed verso “July – 1930 / Title – A Laborer Resting / Artist – Robert Gilbert / Price - $2...

American School, Portrait of a Woman, Oil on Burlap, circa 1920, apparently unsigned, painted wood frame. Image: 23.5" H x 26.5" W; frame: 27.75" H x 30.75" W.

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "Let's Keep Them for Ourselves" delves into the i...

Jules Chéret Folies-Bergère (L'Arc-en-Ciel), 1895 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 21 of "Les Maîtres...

Elena Burykina's "Katherine the Warrior" (2025) is an original, handmade oil painting on panel. Artist Statement: Barbute Armorer Pietro da Castello Italian ca. 1470-80 Most Italian...

Artist/ School: Rene Leroy (French b. 1932) Title: Figurative sketch of figure Medium: oil painting on canvas Size: painting: 7 x 5.5 inches Provenance: all the paintings we have...

Title: "Theseus and the Minotaur II" Artist: Derek Overfield Revisiting a subject from 2016, this painting portrays the brutal encounter between the hero Theseus and the monstrou...

A finely painted watercolour portrait of an old man in green hat and yellow cloak, drinking from a flagon. Signed G. Rushton to the lower right. Presented in a quality gilt effect fr...

Skull, Original Signed Contemporary Black and Green Painting 18" x 18" x 0.75" (HxWxD) Acrylic on Canvas Hand-signed by the artist. Finished with a gloss varnish. A black background allows the subject matter of this acrylic painting by artist Lindsay Hall, a human skull, to both pop forward and recede into the background. There is an amount of chiaroscuro happening on the left side of the skull, keeping it in shadow, falling into the depths. An item in a cabinet of curiosities, this memento mori work serves as a pausing point to sit and reflect on one's own mortality. The green tones to the white of the skull give this work an interesting dimensionality to it, almost imbuing it with life, ironically. The black background is reminiscent of artists like Caravaggio and the subject matter is highly reminiscent of Van Gogh's Skull of a Skeleton with a Burning Cigarette. Artist Commentary: I painted this when I lived in Richmond, VA above an oddities shop. Being in such close proximity to various curiosities like taxidermied animals, preserved animal organs, coffins, and the like definitely kept my mind in the spooky mood all year round. The building itself was black and had a giant grim reaper...

Auguste Rodin, French (1840 -1917) - Buste de Bellone, Year: 1883, Medium: Etching, signed in pencil, Image Size: 5.25 x 3.5 inches, Size: 13 x 9 in. (33.02 x 22.86 cm), Frame Si...

Artist: Richard Corman Year: 1983 Title: Madonna Bathroom #1 Edition Details: 12-color archival pigment print on 100% cotton fine art paper, signed and numbered in the margins by ...

Astrid Kirchherr ( 20 May 1938 – 12 May 2020) was a German photographer and artist known for her association with the Beatles (along with her friends Klaus Voormann...

Frank Sinatra Hollywood Music Movie Legends 20th Century Oscars Grammys Litho Al Hirschfeld (1903-2003) Frank Sinatra Lithograph on heavy paper Plate Size: 12 3/4 x 9 1/4 Paper Siz...

Oil painting on canvas representing an encounter between dreamlike or symbolic figures, arranged in an undefined space. An elongated blue figure with a human face extends from the le...

If something about this painting seems familiar, it is for good reason! Dating from circa 1905-10, it is a work by Lucien Boulier (1882-1963), who was effectively Renoir's last stude...

"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...

Portrait sketch. Original drawing by Jean-Paul LE VERRIER (1922-1996) Studio stamped. Inscribed verso. Pencil drawing on paper, unframed. Double sided. Measures: 10.5 x 8.25 inches. ...

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...

AT THE OCEAN CLUB by the woman artist Robin Morris, is a hand drawn limited edition lithograph printed in 15 colors using hand lithography techniques on archival Arches paper, 100% acid free. AT THE OCEAN CLUB is a modern Art Deco style nightime party portrait of a man and two women elegantly dressed to go out posing on the boardwalk holding bubbling champagne glasses...

Title: 9-11, Peace on Earth, 2001 Year: 2001 Medium: Offset lithograph in colors on gloss archival paper Size: 24 x 18 inches Inscription: Hand signed by Peter Max in ink and unnumbe...

[Bruce Sargeant (1898-1938)] Two Men on Beach is a painting by the artist Mark Beard which depicts two men in speedos standing on a beach. n.d. Signed i...

This is a wonderful example of Louis Bouché's charming Nude portraits. The artist was truly a master of capturing the energy of the times, and character o...

Splendid Italian painting from the first half of the 17th century. Oil on panel artwork of remarkable pictorial quality depicting Christ carrying the cross. The subject found particu...

'Art Deco Greta Garbo' Greta Garbo in 'Mata Hari,' 1931. (Photo: Clarence Sinclair Bull) Beautiful mint condition Giant Archival Pigment print measuring a very large 60 x 40 inches / 152 x 101 cm's Edge Prints...

Mark Morrison (1895-1964) Sleeping Bobcat, 1943. Carved stone 9.5" by 8", height is 4.25" Signed and dated 1943. Provenance: Estate of Mrs. Mark Morrison. Born: Kingfisher,...

Gregor MacGregor was a Scottish wicketkeeper for Middlesex and England. Tayler was an English artist who was a member of the Royal Academy of Painters. He was a cricketer himself, a...

Sükan created the series as he was working for international magazines such as L'Uomo Vogue (Italy), A Magazine (France), Crash (France), Faces (Switzerland), and Muse Magazine (Ital...

MUSEUM CORPUS CHRISTI Spain/Catalonia or Asturias Around 1250 Corpus hardwood, arms softwood Remains of the original polychrome setting Height 109.5...