Men Figurative Paintings

'Chinatown, San Francisco', gouache on fine art paper, by Edward Wilson Currier (1903). Spofford Alley in San Francisco's Chinatown is best known for an address (number 36) where Dr. Sun Yat-Sen plotted the overthrow of China's last dynasty. During Prohibition, it was the site of turf battles over local bootlegging and protection rackets. Today it is lined with seniors' community centres. However, the quiet alley livens up in the evenings when a Chinese orchestra strikes up a tune, mah-jongg games begin with a cascade of clicking tiles, and barbers and florists use the pretence of sweeping their doorsteps to gossip. In this artist's depiction, a man smokes a long-stemmed Chinese pipe under the awning and colourful lanterns hanging from the wooden supports while a child looks on. The artwork is interesting from several standpoints including architectural, cultural and historical. Shortly after this work was painted, the neighbourhood was completely destroyed in the 1906 earthquake that levelled most of the city. From 1910 to 1940, Chinese immigrants were detained at the Angel Island...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Factory Worker, c. 1936, oil on canvas, signed lower right, 18 ¼ x 36 inches; exhibited in City ...

17th Century Italian School St Peter Oil on Canvas 55 1/2 x 41 inches This large and tender rendering of Saint Peter was painted by the hand of great Italian painter of the 17th Cen...

This portrait, attributed to the American painter Ralph Earl, captures Benedict Arnold, one of the most controversial figures of the American Revolutionary War. Ralph Earl, known for...

Modern naturalistic portrait painting by well-known Houston-based artist Herb Mears. The work features a detailed rendering of a jockey wearing a yellow and blue outfit standing next to his wife and a young lion. Signed by the artist in the front lower right corner. Retains the original DuBose Gallery label on the reverse. Currently hung in a complementary frame. Dimensions Without Frame: H 48 in. x W 54 in. Artist Biography: Born in New York City in 1923, Herb Mears was interested in art from a young age. He studied under Fernand Leger in Paris and went on to paint and study in various studios in France and Italy before his arrival in Houston in 1951. With colleague David Adickes, whom he had met in Paris, Mears decided to open an art school. Their Studio of Contemporary Arts finally settled in an old building on Main Street with Mears and Adickes hoping to give classes to potential students. However money was tight and Mears found himself as a draftsman for Houston Lighting and Power Company, a job he excelled at and enjoyed. Later, Mears was involved in the Contemporary Arts Association, frequently making trips to ensure security in addition to enjoying the art scene the Association provided. From the CAA to the Art League of Houston and the Museum of Fine Arts, Mears began to gain recognition. An abstract, or non-objective piece as he called it, won a prize at a competition held by the Museum of Fine Arts, earning him a teaching position at the Museum School. Mears also taught at the Contemporary Arts Museum, University of Houston...

Artist: Wilfrid Constant Beauquesne, French (1840 - 1913) Title: Men Fraternizing with the Ladies Year: c. 1890 Medium: Oil on Canvas, signed l.l. Size: 21.5 x 26 in. (54.61 x 66.04 ...

E. Salazar Texas Artist Image Size: 40 x 30 Frame Size: 47 x 38 Medium: Oil on Canvas "Scouts"

English artists, circa 1870 oil painting on canvas, framed framed: 36 x 31 inches canvas : 30 x 25 inches provenance: private collection, England condition: overall very good and pr...

Deer Dance, painting by Tonita Pena, Santa Fe, Cochiti, Pueblo, male, female Tonita Peña (born 1893 in San Ildefonso, died 1949 in Kewa Pueblo, New Mexico) was born as Quah Ah (meaning white coral beads) but also used the name Tonita Vigil Peña and María Antonia Tonita Peña. Peña was a renowned Pueblo artist, specializing in pen and ink on paper embellished with watercolor. She was a well-known and influential Native American artist and art teacher of the early 1920s and 1930s. Tonita Peña was born on May 10, 1893, at San Ildefonso Pueblo, to Ascensión Vigil Peña and Natividad Peña of San Ildefonso Pueblo, New Mexico. When she was 12, her mother and younger sister died, as a result of complications due to the flu. Her father was unable to care for her and she was taken to Cochití Pueblo and was brought up by her aunt Martina Vigil Montoya, a prominent Cochití Pueblo potter. Peña attended St. Catherine Indian School in Santa Fe. Edgar Lee Hewett, an anthropologist involved in supervising the nearby Frijoles Canyon excavations (now Bandelier National Monument) was instrumental in developing the careers of several San Ildefonso “self-taught” artists including Tonita Peña. Hewett purchased Peña's paintings for the Museum of New Mexico and supplied her with quality paint and paper. Peña began gaining more notoriety by the end of the 1910s selling an increasing amount of her work to collectors and the La Fonda Hotel. Much of this early work was done of Pueblo cultural subject matter, in a style inspired by historic Native American works, however, her use of an artist's easel and Western painting mediums gained her acceptance among her European-American contemporaries in the art world. At the age of 25, she exhibited her work at museums and galleries in the Santa Fe and Albuquerque area. In the early 1920s, Tonita did not know how much her painting sold for at the Museum of New Mexico, so she wrote letters to the administrators because a local farmer was worried that she got paid too little. In the 1930s Peña was an instructor at the Santa Fe Indian School and at the Albuquerque Indian School and the only woman painter of the San Ildefonso Self-Taught Group, which included such noted artists as Alfonso Roybal, Julian Martinez, Abel Sánchez (Oqwa Pi), Crecencio Martinez, and Encarnación Peña. As children, these artists attended San Ildefonso day school which was part of the institution of the Dawes Act of 1887, designed to indoctrinate and assimilate Native American children into mainstream American society. In 1931, Tonita Peña exhibited at the Exposition of Indian Tribal Arts which was presented at the Grand Central Art Galleries in New York City. Works from this exhibition were shown at the 1932 Venice Biennial. That year is the only time Native American artists have shown in the official United States pavilion at that biennial, and Tonita Peña's paintings were part of that exhibition.[1 Her painting Basket Dance, that had shown in the Venice Biennial was acquired by the Whitney Museum of American Art in New York for $225. This was the highest price paid up to this time for a Pueblo painting...

Signed illegibly to the lower right corner. On canvas.

Work on cardboard Golden molded wooden frame 60 x 50 x 4.5 cm

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

The Musik-Making Society is an original artwork realized by Henry Guillaume Schlesinger in the half of 19th Century. Mixed colored oil painting on canvas. Includes a beautiful gilded ancient frame: 150x127 cm Born in Frankfurt, Henri Schlesinger studied at the Fine Arts Academy in Vienna before moving to France...

You Got to be a Football Hero to Get Along with a Beautiful Girl. Masterfully composed and dynamic illustration that show a player getting punched in the jaw. During this period, there were no face...

The artist paints his wife as a small doe looks on, inspired by a real experience the couple had in their home in the woods. Artist Bio Nick Weber (b.1971) has exhibited mostly in the Northeast, with recent solo and group exhibitions at Harper’s Apartment, New York, NY, Guild Hall Museum, East Hampton, NY, Tripoli Gallery Southampton, NY, and Eric Firestone...

French North African early 20th-century Impressionist, Fishermen coming ashore with their daily catch. André Humbert was born in Paris on the 27th of November. He was a student of t...

Archery is a beautiful oil on canvas realized by an anonymous French artist of the end of XVIII century and the beginning of XIX century. This marvelous genre scene is very detailed...

Adélaïde SALLES-WAGNER (Dresden, 1824 – Paris, 1890) Portrait of Mr. Pierre Rougé Portrait of Mrs. Mathilde Rougé, born Rauch Pair of oils on canvas Signed lower right for one and ...

In the ethereal realm of "Solidarity," Dennis Onofua captures a moment of profound connection and unity between two female figures. The artwork, a testam...

By the river. Canvas, cardboard, oil, 55.5x70.5 cm

Circle of Giambattista Piazzetta (Venice 1683 - Venice 1754) - San Tommaso. 62.5 x 52.5 cm without frame, 72.5 x 62.5 cm with frame. Antique oil painting on canvas, in a contempora...

LARGE OIL PAINTING Antique 19th Century Fine Quality Piece OLD MASTER OIL PAINTING ITALIAN SCHOOL 19th Century in a Gold Frame Descripti...

late 19th-century Irish school portrait of a seated man smoking a pipe in a barn interior. A very well-painted and skillfully composed portrait of a wor...

Maurice Brianchon (French 1899-1979) Interior scene (backstage at the theater) Watercolor and gouache on paper Signed lower right “Brianchon” Frame measures 16 X 17.5. Sight Size 8.5...

Vinsent G. Stiepevich (1841 - 1910) Russian and American artist. Emigrated to New York in 1878, where he lived in Brooklyn, Vincent Stiepevich was noted for his realist painting style of portrait, figure and genre subjects, especially in Harem and Orientalist* settings. Memberships in New York included the Artists Fund Society* the Brooklyn Art Association*, 1878-82, 1891; National Academy of Design*, 1878-91; Pennsylvania Academy of the Fine Arts* annual, 1885, 1888-91; Boston Art...

Samir Sarkar - Untitled 36 x 72 inches Acrylic on Canvas ( Unframed & Delivered ) Style : He says, “All my paintings have people wearing some headgear that has a face painted on the...

A pair of large Glasgow School oil on canvas portraits by Scottish artist Stuart Mackenzie. The works are presented in plain baton wood frames. Thoug...

Adam Shaw's "Street Market" is an original, handmade oil painting on canvas created in 2021. This vibrant contemporary artwork measures 20 x 16 inches (50.80 x 40.64 cm) with a depth...

Contemporary figurative oil on canvas painting by Polish artist Waldemar Marszalek. Artwork shows four women and two couples. Women are wearing dresses and men are wearing suits. One...

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 Born in 1993 in...

"Self Portrait, sketch" is a realist oil on canvas painting. It is a self portrait of the artist, Steven Levin, sitting in a warmly lit room on a chair with a vase full of paint brus...

Riders of Pigeon Hill, c. 1940s, oil on canvas, signed lower right, 24 x 36 inches, label verso with title, artist’s name and address; same information inscribed verso; ex-collection...

Painting, oil on canvas, with dimensions of 128 x 120 cm without frame and 138 x 130 cm with frame, depicting a Parade. Russian painting, signed, 1950s, of fine workmanship, fresh,...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographi...

Mother and daughter on a tree-lined avenue, Paris Juan Soler, Spanish b.1951 signed oil painting on canvas, unframed canvas: 10.5 x 9 inches provenance: private collection, London c...

ABOUT THE ARTWORK In my "PERICHORESIS SERIES," the painting titled "Faith is Tested in Difficult Times" captures the essence of enduring spiritual strength amidst life's adversities....

Le Chef d'oeuvre inconnu, 2022 acrylic on canvas 73 1/32 H x 53 5/32 W in. 185.5 H x 135 W cm The work "The Unknown Masterpiece" (a paraphrase of Balzac's novella – Le Chef d'oeuvre...

Hommage to Judas (Triptych), 2008 Acrylic on canvas (Signed, front right corner) 59.06 H x 157.48 W in. (59.06 H x 59.05 W in. x 2 paintings, 59.06 H x 39.37 W in. x 1 painting) 150...

Michael Carson's (US based) "Portrait of Britt Daniel" is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis...

JOSÉ JIMÉNEZ ARANDA Spanish, 1837 - 1903 PARTIDA DE TRESILLO signed, located & dated “Jz. Aranda / Madrid. 1893.” (lower right) oil on canvas 31-1/2 x 39-1/3 inches (80 x 100 cm) unframed BIBLIOGRAPHY - This picture being mentioned and illustrated in “LA ILUSTRACION ESPAÑOLA Y AMERICANA”, Madrid, September 15, 1895 - B. Pantorba, José Jiménez Aranda, 1973, p. 75, 203 - José Jiménez Aranda, 1837-1903: Centro Cultural El Monte, Seville, October 2005, illustrated p. 102 EXHIBITED Madrid National Exhibition of 1895 PROVENANCE Private Collection, USA José Jiménez Aranda (7 February 1837 – 6 May 1903) was a Spanish painter and brother of the painters Luis Jiménez...

by Paul-Louis Bolot (French 1918-2003) signed inverso original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuffs/ e...

The Dancers by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner dated 1999 oil painting on canvas, framed canvas: 36 x 55 inches framed: 41 ...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

Calvin Lai's (US based) "Trust" is an original, handmade oil painting that depicts two acrobats with the female figure balancing on the male figure. Artist Bio: Calvin Lai's art i...

Oriental dancer is an artwork realized by a french artist of 19th century. Signed lower left, unreadable.  Includes a wooden frame. Good conditions.

Jean-Baptiste SANTERRE (Magny en Véxins 1651 - Paris 1717) Portrait of a couple Oil on original oval canvas H. 115 cm; L. 90 cm (140 x 115 cm with frame) Around 1695 Jean-Baptiste S...

Justus Juncker (1703-1763, Germany) Attributed to Scholar Sharpening His Quill Penn Expertise: We would like to thank Dr. Fred G Meijer for his valuab...

This illustration was created for the Hills Brothers Coffee company in 1929 and was used on promotional products as well as coffee cans in the ye...

Jesus Ortiz Tajonar (1919-1990) Mexican Boy with Papier-Mâché Animal Warrior Mask c.1950s Fantastic mid century modern oil painting by listed Mexican artist Jesus Ortiz Tajonar. W...

This work is framed. Unframed size: 70x80 cm, framed 75x85 cm Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicolas...

There is a common thread that binds us all, and that is our shared humanity. Everyone has a general desire in their heart - to be seen, heard and understood. Each of us has dreams, f...

The painting conveys the idea that what we perceive as life may be an illusion, while the true reality remains hidden. At the center of the scene, a man and a woman stand by a pool, ...

My library, My favorite spot in town, Where all my imagination meets. My place of timeless excitement and constant joy. I could travel the world from this point and could sail throug...

Portrait of Dave Winfield Edward Avedisian 20 x 14 inches, acrylic on stretched canvas Armenian-American artist, Avedisian was best known for his work made in New York City during the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. He was largely recognized for a series of Beach Ball paintings that emerged in the early 1960's and into the later 1960's the artist began painting larger horizontal paintings, featuring vertically intersecting beacon-like stripes that highlighted characteristics from both the Post-Painterly and Color Field movements. In this portrait, Avedisian using his signature use of color, combining bright rusty reds and oranges against a metallic green gold backdrop. A major work from Avedesian's color-stripe series was featured on the cover of Artforum's January 1969 issue (pictured here). Also pictured are photographs of the artist c. 1970 in his studio in New York City and catalog pages from Avedisian's inclusion in the American Painting Now Expo at the Institute of Contemporary Art in Boston, MA in Dec 1967 - Jan 1968. The exhibition, organized by art critic Alan Solomon, featured one of Avedisian's signature Beach Ball paintings alongside large works by Robert Motherwell and Jim Rosenquist. About the subject: Dave Winifield is American former Major League Baseball right fielder born in 1951 and who played for six teams (San Diego Padres, New York Yankees, California Angels, Toronto Blue Jays, Minnesota Twins, and Cleveland Indians) during his 22 year long career. He had the winning hit in the 1992 World Series with the Blue Jays over the Atlanta Braves. Winfield retired in 1996 and was elected to the Baseball Hall of Fame in 2001, in his first year of eligibility. About the Artist: In the 1960’s, Edward Avedisian was one of the youngest of those luminaries producing a grand new abstract painting. Shown first at Ivan Karp and Dick Bellamy’s Hansa Gallery and then at Robert Elkon, Avedisian’s insouciant mix of pop playfulness, color field cool and high formalist style put his art in a unique, and at the time generously rewarded, position. Paintings made it onto the cover of Artforum, were purchased by all the major museums, were among the few abstract works shown as representative of America’s post-war achievement at Expo 67 in Montreal and comprised a cornerstone in histories of the period written by Barbara Rose, among others. The artist was largely influenced by his Color-Field predecessors, Mark Rothko and Barnett Newman. Throughout the 1960's and into the mid 1970's the artist was celebrated in the Manhattan art scene, contributing to the Post-Painterly Abstraction movements with contemporaries Helen Frankenthaler, Andy Warhol, Jules Olitski, and Larry Poons. Museum Collections: Albright-Knox Art Gallery, Buffalo, New York Brooklyn Museum, New York Chrysler Art Museum, Norfolk, Virginia Denver Art Museum, Colorado Flint Institute of Arts, Michigan Jack S. Blanton Museum of Art, Austin, Texas The Larry Aldrich Museum, Ridgefield, Connecticut Metropolitan Museum of Art, New York Minneapolis Institute of Arts Minneapolis Society of Fine Arts Neuberger Museum of Art, State University of New York, Purchase Los Angeles County Museum, California Neuberger Museum, SUNY, Purchase, New York Parrish Art Museum, Water Mill, New York Solomon R. Guggenheim Museum *above description text is supported by Alexandra C. Anderson's article on Edward Avedesian in Artforum's January 1969 issue. NY Times Obituary, published Aug 23, 2007 by Roberta Smith: Mr. Avedisian was best known for his work in the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. A frequent motif was a cluster of bright seedlike orbs corralled at the center of a vibrant monochrome field by larger rings of color, creating an image that could resemble a buoyant cross-section of some unknown fruit. Mr. Avedisian was born in Lowell, Mass., in 1936 and studied art at the Boston Museum School. By the late 1950s he was living in New York, part of a generation of promising young painters that included Frank Stella, Larry Poons and Darby Bannard. From 1958 to 1963 Mr. Avedisian had six solo shows in New York galleries, including two at the Robert Elkon Gallery, where he continued to show almost every year until 1975. By the early 1960s Mr. Avedisian was a rising star. During that decade, his work appeared on the cover of Artforum, in “The Responsive Eye” exhibition of Op Art at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought by collectors and acquired by major museums in New York and elsewhere. In the mid-1970s Mr. Avedisian moved to Hudson and became less visible. His paintings soon began shifting toward representation; he took to calling his abstract paintings “a period style.” But he continued to be well served by his feeling for color, scale and surface. His landscapes described his surroundings in blunt, flat shapes and singing hues reminiscent of those of Marsden Hartley and Paula Modersohn...

Shana Wilson (Canadian, born 1966) "Seated Young Man" 2014 Oil Paint, Wood Panel, Wire The artist signed the back of the painting. Shana Wilson, born in Edmonton in 1966, has carved...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, until 1985; thence by descent to the present owners While old inscriptions on the verso of this panel propose its author to be Hans Holbein and the sitter Sir John More—a lawyer, judge, and the father of Sir Thomas More—this fine portrait has long been recognized to be by a Flemish hand. Max Friedländer gave the painting to Bernard van Orley (1487/1491 – 1541) in 1924, but did not include it in the volume dedicated to the artist in his Early Netherlandish Paintings...

Jon Wassom's "Peripheral Dream" is an original, handmade mixed media painting that depicts a male nude. This piece is unframed yet ready to hang. Jon Was...

Acrylics on canvas Carole Leprince is a French artist born in 1966 who lives & works in Houilles, France. Over the years, her personal photos have been the inspiration for painting...