Framed Nude Paintings

The Etruscan Goddess Nortia, 19th Century by George MORTON (1860-1904) Large 19th Century Pre-Raphaelite depiction of the Etruscan Goddess Nortia, oil on canvas by George Morton. E...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

"Alexandra Leaving" is both a realist & abstract oil painting of a woman riding away on her bike in the evening. in Springs, Long Island, where the artist lives - right near where Ja...

Bears monogram to the lower left. Signed and dated to the reverse although this painting is thought to be of a later date, On board.

One of the key lessons we can glean from the myth of Sisyphus is the importance of resilience and perseverance in the face of adversity. Sisyphus was condemned to an eternity of ceas...

An always available and willing subject, the artist paints himself in this deconstructed self portrait. Made up of three individual canvases, this triptych has a trompe l'oeil effec...

Julie Elise Hullgren, born July 29, 1879 in Aalborg, Denmark, died 1963, was a Danish-Swedish painter. She was the daughter of director J.G. Dinesen and Vilhelmine Marie Rodskier and...

‘Awakening’ by Herbert James Draper (1864-1920). This monumental oil painting – which depicts two wood nymphs rising to meet the morning sun – is signed by the artist and dated 1918...

Kevin McAlpin (American, 20th Century) Untitled, c. mid-20th century Mixed media on canvas 24 x 19 7/8 in. Framed: 30 x 26 x 1 1/4 in. Signed lower right: Kevin McAlpin

During a festive bacchanal a big satyr is eating grapes, lying on the ground and surrounded by a large group of putti who, with festoons and vine leaves, fill and populate the pictor...

Rich colors, nicely painted watercolor. Frame included.

Stark, surrealist study of two nude figures in a color saturated room by Clayton Anderson (American, 20th Century), 1970. Signed and dated by the artist, left margin. Presented in a ...

In 2024, Grégoire Mathias chose to create a series of paintings representing the 9 muses of Antiquity. This is the very first in the series. His style is closer to the cubism of the ...

A stunning, beautiful nude dancer exhibiting ideal proportions and crowned with an ornate floral headdress holds a luminescent Japanese Lantern. The lantern glows, and the dancer glows back in this light-infused painting. The background shows a Japanese screen with cranes...

Elie Anatole PAVIL 1873-1948 The Martinican nude woman Painting, oil on canvas Signed Painting: 41 x 33 cm (16.1 x 13 inches) Modern natural oak frame (American box): 51 x 43 cm (20....

Oriental motif. Oil on canvas, 100x73.5 cm At the turn of the century, the Viennese painter Eduard Ansen-Hofmann (1862-1955) became known with his oriental slave market and harem sc...

Black and White Figurative Nude - Oil on Canvas Black and white figurative nude by F Vasquez (20th C). The nude torso of a woman takes up the canvas. Her right hand is on her hip wh...

'Boxers' by David Shevlino's, oil on canvas, 37 x 40 inches unframed. Painted in 2024, created with a minimal range of colors, and featuring the artist's sensuous application of pai...

"Two Ballerinas Oil On Canvas By Maria Szantho Frame" Nice and large painting "two ballerinas", painted by the female artist Maria Szantho (1897 - 1998) Hungarian school. Maria Szant...

Artist: Paul Sieffert, French (1874 - 1957) Title: Reclining Nude Year: circa 1940 Medium: Oil on Canvas, signed l.r. Size: 15 x 24 in. (38.1 x 60.96 cm) Frame Size: 18.5 x 27.5 inches

Artist: Mel Ramos, American (1935 - ) Title: O from the Hollywood Suite Year: 2009 Medium: Oil on Canvas, signed and dated verso Size: 39.5 in. x 30 in. (100.33 cm x 76.2 cm) Frame S...

Artist: George Grosz, German (1893 - 1959) Title: Aroused Year: 1940 Medium: Oil on Paper, signed l.r. Paper Size: 24 x 18 in. (60.96 x 45.72 cm) Frame Size: 36 x 30 inches Prove...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Crossed Arms (Portrait of a Blonde) Year: circa 1964 Medium: Oil on Canvas Size: 35 in. x 25 in. (88.9 cm x 63.5 cm) Frame Size: 44 x ...

Bill Shields "Nude with Ball" 1990's Acrylic paint on board Site measures 10.5"x8.5 wood frame float mount on linen 15.5"x13" Unsigned came from artist's estate William Stephens Shi...

"Oil On Canvas Portrait Of A Seated Ballerina By Maria Szantho Framed" Nice and large painting "two ballerinas", painted by the female artist Maria Szantho (1897 - 1998) Hungarian sc...

Academic style figurative oil painting on canvas 48 x 24 inches unframed 58 x 32 x 3 inches in gold leaf wood frame This vertical, contemporary figurative painting of Le Martyr de Saint Sebastian was made by Mark Beard under his fictitious artistic persona, Hippolyte-Alexandre Michallon. Painted in a modern Academic style, Beard paints this Christian saint with dramatic detail and emotional gravity. The scene is a common artistic depiction of Sebastian who according to traditional belief, was killed during the Roman emperor Diocletian's persecution of the Christians. Here the artist depicts a nearly nude Saint Sebastian standing stoically while tied to a rustic brown post. A lush green forested terrain decorates the background while a white neo-classical building sits in the distance, which is perhaps the tomb where Saint Sebastian's remains were laid to rest. Saint Sebastian's pale blue-grey, stone-like stone tone is characteristic of Mark Beard's work who often portrays muscular young men similarly to Greek statues. The vertical Academic style figurative oil painting is complimented with a vintage style gold leaf wood frame. The painting is signed 'H. A. Michallon 1872' in red oil paint in the lower right corner. The gold frame is also signed and inscribed with black oil paint in several places (please see images). Mark Beard is a contemporary artist who made this work under the pseudonym Hippolyte A. Michallon who painted during the late 1800's so slight wear (see images) is intentionally staged to align with the factitious artist's purposed history. About the artist: Mark Beard is perhaps the most literal example of an artist pulled in so many different directions that he chose to “invent” six different personae in which to channel his overflowing energy and need for expression. Each painting style is radically different from the next, so it remains entirely believable that the work could stem from six completely different people of different time periods and different schools of thought. With a background in set design, Beard has always been one who could conjure total magic with anything available. Mark Beard has exhibited with Carrie Haddad Gallery for nearly twenty years and there has never been a dull moment. Mark Beard, born in 1956 in Salt Lake city, now lives in New York City. His works are in museum collections worldwide, including the Metropolitan Museum of Art, New York City; the Museum of Modern Art, New York City; the Whitney Museum of American Art, New York City; the Boston Museum of Fine Arts; and the Harvard, Yale, and Princeton University Art Museums; among many others. We would not be the least bit surprised to see new ‘personas’ emerge in the coming years. About: Hippolyte - Alexandre Michallon, 1849 -1930 The long and peripatetic artistic career of Hippolyte-Alexandre Michallon began in a conventional fashion. The only son of prosperous bourgeois parents in Tours, he first studied drawing with his mother, an accomplished amateur painter of insects. His father, an undertaker who appreciated his son's talent and supported his ambition to become a painter, sent him to Paris at age sixteen to enroll in the studio of Francois-Edouard Picot (1786-1868), an eminent history painter and professor at the Ecole des Beaux-Arts, with whom he studied for three years, until Picot's death. Under his aging teacher's guidance and tutelage, Michallon entered the preliminary stages of the Prix de Rome contest at the Ecole three times, winning an Honorable Mention in 1869 for his composition entitled The Solider of the Marathon. For the next twenty years Michallon regualarly exhibited paintings on historical and biblical themes at the Paris Salon, as well as commissioned portraits. By his own account, the most ambitious work of Michallon's career was a thirty-foot canvas depicting Noah's Ark, which he exhibited in the Salon in 1875. Michallon began painting atmospheric but zoologically correct images of exotic animals in the wild. These achieved a certain popularity among French and foreign collectors alike, providing Michallon with financial security for the first time in his career. Michallon moved to England in 1893. His outstanding technical skills easily earned him a position on the faculty of the Slade School of Art in 1900. The craze for animal paintings proved short-lived. He continued to teach at Slade for the next two decades, but his classes gradually dwindled in size as the academic approach and methods he espoused went from outmoded to downright unpopular. Finally in 1922, finding himself reduced to a single pupil, the talented young American Bruce Sargeant, he retired from Slade, persuading Sargeant to leave with him and undergo private instruction at home. Several years later he retired to a cottage at St. Ives, Cornwall, where he lived quietly until his death in 1930, forgotten by all but a few former students, among them Edith Thayer Cromwell...

Work on wood Black wooden frame 77 x 55 x 2 cm

Will good ultimately triumph over evil? Or is it a perpetual tug of war? WPA Artist Leonard Lopez paints a complex figural work addressing the theme of "the fight between good and e...

Oil on canvas by B.Robert, France, ca.1930. Younh nude lady lying. With frame : 24x43.7x2.4 inches - 61x111x6 cm ; without frame : 19.7x39.4 inches - 50x100cm. Signed "B.Robert" (see...

Antique American impressionist landscape with a nude bather by Henrik Hillblom (1863 - 1948).

"Nude with Cat" by R. Walker is a charming portrait of a woman and cat posed by a window.

Very well executed oil on masonite painting of a reclining female nude by the New York artist, Richard Clive. Signed lower left by the artist. Circa 1965. Condition is very good. T...

Charming woman nude pencil study by Russian-French painter Alexandre Pavlovitch Chemetoff (or Chemetov,) also known as Chem (1891 - 1981). It is a striking representation in which on...

This colorful mixed media painting depicts a nude woman with blonde hair holding flowers. The background of the piece has a mix of blues, purples, pinks, and oranges that bring a mor...

Oil on canvas by Fortunato Pirazzini (1907-2003), School of Paris, ca.1950. "Sleeping woman, Nude". Measurements : with frame : 56x71 cm - 22x28 inches without frame : 46x61 cm - 18....

A Day at the Beach by unkown American School painter, circa 1940-1950, oil on canvas. Framed: 31 x 29 inches

Alfred Aaron Wolmark 1877-1961, was a Polish born British artist who became a British citizen in 1894. He was a post impressionist artist considered one of the Fauves who pioneered b...

A colourful study of a lady standing nude, drawing herself a warm and relaxing bath. The painting has been executed in a wonderful impressionistic style with pointillist qualities th...

"Pastel Bust Of A Naked Young Woman Signed Fried Pal" Pál Fried (June 16, 1893 in Hungary - March 6, 1976 in New York) was a Hungarian artist known for his erotic paintings of dance...

Large oil on canvas by Fernande Horovitz-Edwards, France, 1930s. "Bathers". With frame: 117,5x90x4 cm - 46.3x35.4x1.6 inches. Without frame: 114x87 cm - 44.9x34.25 inches. Signed low...

Roni Taharlev's "Aya Sitting" is a poignant 55" x 33" oil on canvas that showcases the artist's masterful grasp of figurative nude painting. In subdued, earthy tones set against a ri...

Nudes Sunbathing On A Beach, 19th Century circle of PHILIP WILSON STEER (1860-1942) Large 19th Century English beach scene with nudes sunbathing, oil on canvas. Excellent quality a...

An original work by Shirley Smith. Signed and dated (1989) to the lower left. Presented in a complimenting cream and gilt frame. On board.

Figura femminile con calze rosse Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive resu...

Sophie Dumont's captivating painting offers a striking portrayal of the female form, expressed with remarkable finesse and mastery. The use of the palette knife imbues the artwork wi...

Oil on canvas by Yves DIEY (1892-1984), France. The Nude. With frame : 99x54 cm - 39x21.25 inches ; without frame : 90x45 cm - 35.4x17.7 inches. Signed "Yves Dieÿ" lower right (see p...

Acrylic on canvas, signed and dated (lower right), 44cm x 39cm (67cm x 63cm framed). (This work was kept by the artist for his personal collection. It remained in his collection unti...

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

Antique Male Academic nude painting Henri Brugnot with exposition label (1st prize). by Henri Brugnot (1874-1940) Oil on canvas board 15" x 30" The lab...

Unique etching in red chalk performed in 1930 in glass framed oak in mint condition Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and...

"Parisian Model" is an oil on canvas painting by Max Weber painted in 1908. The work is signed and dated, lower right, "Max Weber Paris 1908". The painting size is 35 1/2 x 19 5/8 inches. The framed size is 43 x 27 x 2 1/4 inches. "Parisian Model" was painted in 1908, when Weber participated in a life class in Matisse's studio in Paris and painted several nudes. Weber was influenced toward a more Cubist styler after seeing Cezanne's work in the 1906-07 Salon in Paris, and he consorted within avant-garde circles in Paris as early as 1905. After returning to the US in 1909, Weber was credited with showing American audiences Cubism based on his firsthand knowledge of the key players and the style. Several drawings of Weber's from this time are in museum collections at The Met, the Smithsonian, and MoMA and show a similar style and stocatto gesture. Parisian paintings by Max Weber are extremely rare as there are hardly any that have sold publicly. Provenance: Estate of the Artist Gerald Peters Gallery...

Unique etching in red chalk perfomed in 19030 glass framed oak mint condition. Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and graph...

Oil on cardboard by Nandor VAGH WEINMANN (1897-1978), France, 1930s. Naked back. With frame: 64x56 cm - 25.2x22 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Nandor V. Weinmann" lower left. In its Montparnasse frame. Very good condition. Born October 3, 1897 in Budapest, Nándor is the older brother of Elemer and Maurice Vagh-Weinmann. He came to Paris to present his work in 1931. He died on December 12, 1978 near Montereau (Seine-et-Marne) following an automobile accident. He is the most colorful of the three “expressionist” brothers. Painter of figures, landscapes, especially open mountains, and bouquets in bright colors. He is also a religious painter and then finds the tragic condition. Born in BUDAPEST on October 3, 1897, Nandor Vagh Weinmann belongs to a profoundly artistic people. Living in the heart of Central Europe where they came from Asia a millennium ago, the Hungarians have preserved a strong ethnic individuality whose mark is their very synthetic, non-Indo-European language. Resistant to secular invasions, they have kept the virtues of a very ancient humanity that have become rare in our modern world, especially since their way of life has remained essentially rural until today. In the arts they know how to express a generous, extreme sensibility and by the poetic verb, by the musical rhythms and also by a popular art of a richness, an exceptional harmony. Until the age of thirty-four, during the decisive years of childhood and youth, Nandor Vagh Weinmann was intimately imbued with popular life and the soul of Hungary. From the capital where his father was a jeweler and had a family of ten children, Nandor was the fifth, he knew first of all the suburbs, the populated districts, the rigors in winter of the cold and the snow. A very mobile existence made him acquainted with all of Hungary, from the Danube to Transylvania, its infinite plains and its wild mountains, its immense villages with ample low houses, and its towns which are still immense villages. The painter is passionate about rustic works, harvest scenes, beautiful folk costumes. Coming into direct contact with the peasants, he learned to know their soul. These contacts gave the artist a direct feeling for popular life and soul, as Millet once understood the peasants of Barbizon and Normandy whose existence he shared. What fascinated Nandor Vagh Weinmann above all were the festivals which enlivened the dreary life of the countryside, the circuses, the merry-go-rounds, the gypsies unleashing orgies of music, light and color. In the party, and especially the Hungarian party, the whole soul of a people, all its energy, its need for movement, for intensity, is expressed in its pure state and realizes the primary and essential form of what is called beauty. And as if melted at the party, there is the infinite steppe where herds of horses and oxen circulate where terrible storms sometimes roar where the seasons unfold their grandiose splendours. The young Nandor Vagh Weinmann nourishes his sensitivity to his inexhaustible shows, both eternal and always new, a sensitivity which very early declared itself that of a painter. Since the age of fourteen he painted, and since then he never stopped doing it. Two of his brothers Maurice, two years his junior, who had a remarkable career similar to that of Nandor and later Elemer who became Maurice's pupil, also devoted themselves to painting, despite family obstacles. And the three brothers united by a common passion worked together in Hungary and later in France. Painting was so much in the blood of the family, as in the past among the Veroneses, the Breughels, the Lenains, the Van Loos and so many other artistic dynasties, that three sons of the Vagh Weinmanns became painters in their turn. One of these, Emeric, son of Nandor, today occupies an important place in the contemporary school. Nandor, at fifteen, was a pupil of the Academy of Fine Arts in Budapest where he worked diligently, then at that of Vienna. He painted many portraits, but also landscapes, compositions and, by his relentless work, managed to live from his brush, although married very young and having to overcome many hardships. He therefore knew the hardships and miseries of life. These strongly impregnated his vision as an artist and explain the thrill of humanity that runs through all his work. A particularly moving experience was reserved for him at the age of twenty. In the hospitals of Budapest he had to paint extraordinary cases, operations, frightful wounds, the deformations to which our poor body is subjected by traumas and physiological decompositions. In these circumstances, it is not a question of gratuitous art, of formal research but of immediate, authentic expressions of our flesh and our being. We know that Breughel Velázquez and Goya had been haunted by the sight of cripples and of madmen Géricault by that of corpses. But life is ultimately stronger than anything, and it is life that Nandor Vagh Weinmann has passionately observed and translated through all the places where he has always painted on nature. Nothing stopped him. It happened to him to paint, for example in front of the mill of Linselles by a weather so cold, that nobody could stay outside, and that he did not leave the place before having finished his work. Because he works constantly on the ground, under the sky, in the silence he loves. His reputation is established. He exhibited at the national fair in Budapest, in the big cities of Hungary Szeged, Szombathely, Veszprém, Kaposvar. In 1931, like all artists in the world, he came to France. But unlike the others, he did not settle in Paris. Because Nandor Vagh Weinmann does not belong to this group of cosmopolitans that we call the School of Paris. He settled in Toulouse, where he remained for a long time with his brothers, and traveled throughout France, eager for new ties, exhibiting in the most diverse cities, in Bordeaux, Marseille, Lyon, Agen, Bayonne, Dax, Tarbes, Grenoble, Nice, Cannes, Strasbourg, Mulhouse, Colmar, Lille. He even crossed borders. He was in Saint Sebastian, in Geneva, and once in Egypt in 1927 where he painted King Fouad...