Oil Figurative Paintings

A beautiful oil painting on canvas by the French artist Georges Gerbier, depicting a tremendously vivid and alive street scene from Paris in the 20th Century with a view of "Palais G...

Italian painting from the first half of the 20th century. Oil on board artwork depicting a bright view of a port with a ship of excellent pictorial quality. Small-sized painting ador...

As an artist, I believe people go beyond just their physical selves. To create meaningful and selfless change, one must connect with their inner self, discovering hidden treasures wi...

Signed impressionist figurative oil on canvas circa 1890 by sought after French impressionist painter Jean Louis Forain. The piece depicts bathers in a dark landscape. Signature: Signed lower right Dimensions: Framed: 32"x37" Unframed: 24"x29" Provenance: Private French collection Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue...

This artwork "Le nid ( The Nest)" 1962 is an oil painting on canvas by renown French artist Jean Pierre Serrier, 1834-1989. It is signed, Titled, dated and insc...

Josep Serrasanta (1916-1998) - Gypsy woman - Oil on canvas Oil measures 65x50 cm. Frame measures 88x73 cm. Josep Serrasanta was born in Buenos Aires (Argentina) in 1916 - 1998 Valdo...

Signed and dated impressionist oil on panel landscape by French painter Camille Roche. This beautifully coloured piece depicts a view of the River Seine in Paris, France on a bright ...

Rudolf Kosow’s Forever delivers a striking blend of surrealism and vintage aesthetics, reinforcing his thematic exploration of fragility and disintegration. The figures—a well-dresse...

"Curious," by Rudolf Kosow, is an engaging portrayal of inquisitiveness and wonder, bridging the natural world and humanity. Dominating the scene is a giant bulldog, its face a tapestry of textures from the soft fur to the glistening nose, each detail crafted to convey a lifelike presence. Facing the monumental canine is a small-scale girl, her posture embodying the essence of childhood wonder as she stands before the immense animal. Her tilted head and attentive stance suggest a moment of mutual discovery and fascination. This poignant interaction is a snapshot of the innocent and pure connections that can occur across the divides of size and species. Kosow's "Curious" captures the beautiful moments of discovery that occur when the young and the gentle giants of the animal kingdom meet, encapsulating a shared curiosity that transcends words. The artwork serves as a reminder of the universal language of wonder that connects us all. keywords; painting on canvas, surrealist painting, animal vs human, americana, nature, man, man vs nature, surrealism, giant animal...

Gorgeous tonalist oil painting woman walking in field by pond with home in background by Willis Seaver Adams (American, 1844-1921), circa 1880. Trees and an amazing sky in the background add depth and interest to this beautiful piece. Signed "W. S. Adams" lower right corner. Condition: Previous restoration includes relining of canvas. Frame is vintage gilt molded and wood frame and shows previous repair of molding losses. Image size: 20"H x 24"W. Auctions records for the artist exceed $6,000. Willis Seaver Adams was known for his landscapes of the Connecticut River Valley. A relative recluse for much of his artistic life, his loneliness can be seen in much of his works. Oil miniatures were the focus for almost all of his later works. He is credited with over 425 oils, watercolors, and drawings. Willis Seaver was born in 1844 on a farm in Suffield, near the Connecticut River. He intermittently attended the Suffield Academy, and always wanted to be a painter. A wealthy doctor became his patron, and financed his studies in 1868 at the Royal Academy in Antwerp. When the doctor passed away, Adams returned home and struggled to make a living painting. After working for a photographer for three years, he opened his own studio. Adams helped organize Cleveland's first watercolor exhibit in 1876. Soon thereafter, he completed a portrait of Rutherford B. Hayes, then governor of Ohio, prior to his becoming President of the United States. This portrait enhanced Adams notoriety. In 1878, Adams traveled to Italy where he opened a studio in Venice, and became friendly with neighbor James Whistler. Prior to returning to Springfield, Adams lived in Florence, Italy for three years. He returned to became an instructor for the Springfield Art Association, and began to exhibit his works at the galleries of James D. Gill. His first one-man exhibit was held there in 1894. Other successful exhibitions took place in Chicago, New York, and Boston. Although his works garnered respectable prices and reflected his success, Adams felt he was due more recognition. In 1906, he moved to Greenfield, Massachusetts and converted a barn into a studio. There, he fell into relative obscurity, accompanied mainly by his dog, Collie. In 1921, Adams passed away. Examples of Willis Adams works can be seen at the Kent Memorial Library, the Wadsworth Atheneum, and the Suffield Academy. Several Suffield residents are thought to own Adams paintings.

Oil on board realized by Emile François Rouseau in 1910. Hand signed, dated and dedicated by the author. Includes a coeval gilded wooden frame.

A male figure wearing a white t-shirt and baseball cap stands knee-deep in inviting pink water holding a fishing pole, the curving fishing line traced in 22-carat gold leaf. Green fo...

Hendrik Barend Koekkoek Amsterdam 1849 – 1909 London Dutch Painter 'Figures Strolling through a Forest in Winter' Signature: signed lower right 'H B Koekkoek', c. 1882-1900 Medium: oil on canvas Dimensions: image size 76,5 x 64 cm, frame size 103 x 89,5 cm Biography: Hendrik Barend Koekkoek, often signing as Hendrik Barend (H.B.) Koekkoek, in the realm of 19th-century art, emerges as a captivating painter born in Amsterdam on November 23, 1849. A scion of the esteemed Koekkoek family, he gained renown for his landscapes and woodland scenes, following in the artistic footsteps of his father, marine painter Hermanus Koekkoek. Barend Hendrik Koekkoek’s life unfolds with a certain mystery, his artistic journey shaped by training from his father and, likely, his uncle Marinus Adrianus. In 1878, he tied the knot with Carolina Allardina Cornelia Pierson and ventured into the artistic scenes of Hilversum and Brussels, simultaneously opening an art dealership in Amsterdam. Around 1882, the call of London beckoned, echoing the path paved by his brother Hermanus Koekkoek the Younger. In England, he painted landscapes near Guildford, akin to his cousin Pieter Hendrik Koekkoek. The latter part of his life remains shrouded in obscurity. Barend Hendrik Koekkoek’s artistic style, steeped in the romantic tradition of the Koekkoek family, adorned canvases with landscapes, woodlands, and marine scenes. His London sojourn witnessed the creation of winter landscapes with towering trees, showcased in exhibitions across Dutch cities. He breathed his last in London before 1909. His artistic legacy lives on in institutions like the Paul Tétar van...

Peach Tree is a unique oil on canvas painting by contemporary artist Christophe Dupety, dimensions are 114 × 146 cm (44.5 × 57.5 in). The artwork is signed, sold unframed and comes w...

Artist/ School: F. E. Jamieson, British 1895-1950, signed Title: The River Cottage Medium: oil on canvas, framed Framed: 15 x 23 inches Painting: 12 x 20 inches Provenance: priv...

In this oil painting, I've blended abstract, figurative, and surreal elements to capture the fluid motion and raw emotion of an intimate dance. The intertwining forms, awash in shade...

Immerse yourself in the tranquil beauty of "Banks of Solitude," a charming oil painting on board from 1926. Though the artist is unknown, this exquisite piece captures the essence of...

Original and unique artwork by Hunt Slonem. Oil on canvas, measuring 76,2 x 91,4 cm Signed Verso Bunnies by Hunt Slonem When Hunt Slonem enters his studio each morning, he warms up...

Examining with interest this "Sacred Scene" from the end of the 1500s/beginning of the 17th century (oil painting on canvas, 32 x 26 cm without frame and 40 x 33 cm with frame) representing the Madonna supporting the Infant Jesus on her knees, S. Giovannino with the lamb of god, I can say that it is a Cremona school close...

Dan McCaw's (US based) "Waiting" is an original, handmade oil painting that depicts an abstracted figure in an interior setting. Artist Statement: Born: 1942 A solid foundation o...

"Les deux moitiés" is a contemporary ethereal nude figures in green and blue water. Astone brought professional dancers into her studio and let them improvise as she painted them. Sh...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2010 Title: Changed Size: 18.5" x 18.5"...

Christine van der Cingel (1966) paints mainly cityscapes, people and animals. In her portraits the emphasis is on movement. It is more about t...

This artwork "Harbor Scene" c.1975 is an oil painting on canvas by Austrian artist M. Edward Griff. It is signed at the lower right corner by the artist. ...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

Misty Golden Yellow River Landscape with Winter Trees in the English Countryside, by 20th Century British Artist, Christopher Osborne. Art measures 16 x ...

Attributed to Mason Chamberlin 1729-1787 British Portrait of Benjamin Franklin No visible signature Oil on canvas This exceptional portrait of Benjamin Franklin represents one of ...

Le misure senza la cornice in legno intagliata e dorata sono 97 x 72 cm. Il compianto su Cristo morto è uno dei temi più diffusi dell'arte cristiano cattolica, dove il corpo stesso ...

Mother & Child at a Beach on the West Coast of Ireland by 20th Century Irish Artist, Manson Blair. Presented in a high quality vintage gold frame with gre...

With hints of hot spicy colour this piece also reflects the cooling effect the water has on the surrounding temple area. It's a more pastel coloured work offering time for contemplat...

"Not Speaking" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 36" x 40" oil on board portrait of a mother and her son is painted in a vibrant color pale...

A very early, seminal work by this highly important British artist dating to 1893. The artist was a good friend of John Singer Sargent and they painted together around Europe. The...

19th century English impressionist scene of the Barbizon forest, near Paris France, with a river, cows, and trees. Boyle was a pioneering 19th-century British artist inspired by E...

This captivating 1950s oil on canvas portrait, possibly depicting the French singer Barbara, exudes an air of mystery and existential reflection. While the identity of the subject re...

ANNA KINCAIDE "Seasons Change" Oil on Canvas 48 x 48 inches Communicating emotion and narrative with limited assistance from her figure’s facial expressions, Anna Kincaide creates c...

Landscape is an original oil painting on canvas, realized by the British artist George William Mote (1832-1909). Hand-signed and dated in red oil color on lower right corner "G.W. M...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

"Gumball Machine" by Suzy Smith (US based) is an original oil painting that depicts a colorful and realistic gumball machine. About the Artist: Suzy Smith is a Wyoming native, who c...

Victoria Novak’s "Umbria," a 2012 oil on canvas, is an intimate portrayal of still life that measures 15.70 x 15.70 inches, enclosed in a frame that bri...

Loose oils capture a quiet moment at the harbour. The artwork holds a fluid realism and renders the tranquil moment to a pristine effect. The artwork is unsigned and is well presente...

Raymond Bonilla's (US based) "York St.'" is an original, handmade oil painting that depicts a red brick house peeking out from lush trees contrasted with blue sky. About the Artis...

Elizabeth Dailey Untitled, c. 20th Century Oil on board Sight: 19 1/2 x 23 1/2 in. Framed: 21 x 25 x 1 in. Signed lower right: Elizabeth Dailey This lovely painting by an American a...

FIGURE IN THE DARK Size: 49 x 40 cm (including frame) Oil on canvas An emotive and expressive semi-abstract figurative portrait, executed in oil onto canvas and dated 1975. The co...

The Country Cottage English School, first half 19th century circle of John Constable oil on board, framed framed: 10.5 x 12 inches board: 6 x 8 inches provenance: private collection ...

Well painted French late 20th Century Anglo/American Impressionist painter Charles B. Hall. This was painted on a trip to France circa 1988 Hall painted marine scenes, landscapes,...

DANIEL HERNÁNDEZ Peruvian, 1856 - 1932 LADY LYING DOWN signed "Daniel Hernandez." (lower right) oil on wood panel 10-5/8 x 14 inches (27 x 36 cm.) framed: 18-1/2 x 22 inches (47 x 55...

Oil and tempera on cardboard attributed to William Dyce and realized in 1873. Hand titled and dated lower right. Includes a modern gilded wooden frame, cm. 23.5x32.5.

Signed figures in riverscape oil on canvas by French Barbizon painter Leon Augustin Lhermitte. The piece depicts a rural landscape with washerwomen in traditional Breton clothing was...

Morgan Cameron’s (US based) “Break From Flight” is an oil painting on panel that depicts a bird perched on a branch with fruit. This painting is unframed, but ready to hang. Abou...

Alexander O. Levy was a painter, illustrator, printmaker and designer who was born in 1881 in Bonn, Germany. He died in 1946 in Buffalo, New York. At age three, he was brought to ...

George Gustav Adomeit (American, 1879-1964) Barn Scene Oil on canvas mounted to masonite Signed lower right 16 x 20 inches 21.5 x 25.5 inches, framed A major painter of American sce...

New York Harbor by John Chapman LEWIS (American, 1920-1994) signed & dated 1948 oil on canvas, unframed Canvas: 14 x 22.5 inches Provenance: Private colle...

"Fragment" by Rudolf Kosow is a deeply introspective miniature painting on wood that subtly plays with shadow and light to evoke a sense of hidden depths within the human form. This ...

Michel Marie POULAIN French National Day : Sailors having Fun Original oil on canvas Handsigned in the lower left corner On canvas 55 x 65 cm (c. 22 x 26 inch) Presented in golden w...

Enhance your space with White and Glass, a stunning original oil painting by renowned artist Millie Gosch. This 8x8 inch piece, beautifully framed to 11x11 inches, showcases Gosch’s ...

Late 19th century figurative painting of the battle of Trevilians Station and of the wounding of Colonel Sackett June 11, 1864. Oil on canvas in giltwood frame. Signed or notated indistinctly lower right. Image, 20.25"H x 36.25"W. Military History Prior to 1865 The 9th New York Cavalry contained two companies from Cattaraugus County. It was mustered into the service October 1, 1861 and, until mustered out in July, 1865, lost 619 officers and men out of a total enlistment of a little less than two thousand. It participated in many battles and skirmishes and lost its colonel, William Sackett, who was killed at Trevilian Station, Virginia, on June 11, 1864. From the Albany Evening Journal, July 20, 1864: Another name is added to the list of hero martyrs who have fallen in the service of their country. Col. WILLIAM SACKETT, of the Ninth New-York Cavalry, (son of Hon. W.A. SACKETT,) was mortally wounded in the engagement, under Gen. SHERIDAN, at Pavillion Station, Va., and died on the 14th ult. As he was left behind, the sad intelligence of his decease has but just been received. Col. SACKETT had seen much service. He entered the army on the 22d of April, 1861, was appointed Major of the Ninth New-York Cavalry in October of the same year, was promoted to Lieutenant-Colonelcy in August, 1862, and in March, 1863, became commander of the regiment. He was with Gen. MCCLEELAN in the Peninsula campaign, was in all the cavalry actions of the campaign which followed, was with the army in its advance after the battle of Antietam, and in almost constant conflict with the enemy until after the battle of Fredericksburgh. He participated in most of the cavalry engagements under Gen. HOOKER's command, was in all the principal cavalry actions during LEE's invasion of Maryland and Pennsylvania in 1863, and was among the first engaged in the terrible conflict at Gettysburgh, where he performed distinguished service in holding a rebel brigade in check a long time while our forces were getting into position on the crest of the hill. He was active in the cavalry skirmishes which ensued in the latter part of the Summer. During the present campaign he was with Gen. SHERIDAN in all his brilliant expeditions up to the time when he fell. He died while leading a charge against the enemies of his country -- died, as he wished to die, doing his whole duty. He was brave, he was generous, he was unflinchingly faithful to the cause of the Union. He loved the old flag with a love that was stronger than life, and esteemed it glorious to fall in its defense. He was born in Seneca Falls, and was 25 years of age. When the great civil war broke out [William Sackett] was practicing law at Albany, N. Y., having a short time previous been admitted to the bar. In December, 1861, he was commissioned Major of the 9th Regiment of New York Cavalry, and taking the field served with credit in several engagements in which that command participated. On June 27, 1862, his immediate superior, Lieutenant- Colonel Hyde, resigned and three days later Major Sackett was commissioned to fill the vacancy. On the 30th of the following May he was advanced to the Colonelcy of his regiment, with rank from March 15, 1863. It is stated in "Battles and Leaders of the Civil War" that the cavalry pickets commanded by Colonel Sackett fired the first shot at the battle of Gettysburg. He subsequently led his command, in a gallant manner, in numerous engagements, including the battle of Trevilians Station, fought June 10, 1864. There he received a mortal wound and died inside of the enemy's lines some three days later. The report that he had been severely wounded and was in the hands of the enemy soon reached his wife, who immediately determined to make an effort to reach and care for him, not knowing that he was already dead when the report reached her. The following correspondence, copied from Official Records published by the War Department, tells in most emphatic terms of her devotion. City Point, Va., July 7, 1864. General R. E. Lee, Commanding Confederate Army, Mrs. Sackett, the wife of Colonel William Sackett, who was wounded on the 11th of June, near Trevilians Station, Va., is here in deep distress and feeling great anxiety to learn the fate of her husband. Colonel Sackett was left at a house some two miles and a half from the station, in charge of...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Vue de la Côte Normande by Claude-Émile Schuffenecker (1851-1934) Oil on canvas 58 x 69 cm (22 ⁷/₈ x 27 ¹/₈ inches) Sig...

Red Rumps -Horses Racing an original painting by Garth Bayley. Oil on Canvas There they go into the distance, a convivial bunch. Affordable art. Horses Capturing the Heart of Moments...

Artist: Sally Kissinger Wilt (American, 1936-2004) Title: End of Street I Year: Circa 1963 Medium: oil on canvas Size: 48 x 53 inches unframed Signature: Signed “Wilt” reverse Condi...