Men Paintings

Painting oil on canvas depicting the myth of Diana and Actaeon measuring 110 x 130 without frame and 120 x 140 with frame by the painter Francesco Solimena. According to the myth, d...

Beyond the Limits is a work that explains what youth in a developing country goes through. Most youth who have to experience the squalor of a developing economy are characterized by wholesale dejection and despair with many of them resorting to drug use and various crimes that jeopardized their lives. Many cannot see a future beyond their present abode. Artist Busari Adewale...

Erte Original Gouache Painting Rare And Absolutely Stunning. Made in 1928. Condition is good this is ertes better gouaches. Must have for any ser...

Medium: Oil on Canvas Dimensions: 28.00" x 21.00" Signature: Unsigned Literature: The Saturday Evening Post, June 14, 1923, illustrated as Kuppenheimer Clothing Company advertisementLaurence S. Cutler and Judy Goffman Cutler, J.C. Leyendecker: American Imagist, New York, 2008, p. 91, illustrated in color p. 92 Notes: The Kuppenheimer Clothing Company used this painting as an advertisment for its men's clothing. The advertisement printed...

Oil on canvas Image size: 25 1/2 x 19 1/2 inches (40 x 50 cm) 19th century gilt pierced frame This is a wonderful scene featuring a dark bay racehorses mounted by its jockey. The pa...

Signed lower right, 'Cathcart' for Marjorie Cathcart (American, 1918-2014) and painted circa 1965. Additionally signed, verso, and titled, 'Alpine Landscape'. Marjorie Cathcart first attended the University of California in Berkeley, where she studied with Lundy Siegriest, Tom Holland and Anne O’Hanlon and was also influenced by the work of Wayne Thiebaud. Cathcart received her Bachelor's degree in 1943 and subsequently studied, and then taught, at the California College of Arts and Crafts, Over the course of a long and successful career, Marjorie Cathcart exhibited widely and with success including at the California State Art Exposition, the Jack London...

"Country Fields" by Camille Meriot (French 1887-1975) pastel on unframed paper paper: 6.75 x 9.5 inches Fine original French Impressionist painting by the well listed and popular F...

Stella Jae El Santo de la Muerte 2024 Oil on canvas Size: 31.49 x 23.62 x inches (80 x 60 cm) Signed by hand COA provided *Framing options are available. Please inquiry. Stella J ...

A fantastic MidCentury interior scene painted in 1963 and signed illegibly. This work comes in a contemporary wood frame.

Bartolomeo Guidobono (Savona, Italy, 1654 - Turin, Italy, 1709) Title: Bacchanal with Maenads, Satyrs and Nymphs Medium: Oil on canvas Dimensions: without frame 120 x 110 cm - with f...

19th century American silhouette of man Ink and Watercolor Painting 6.26" x 10" unframed 11.5" x 15.5" framed

Andreas Claussen’s "Search" (2022) is a striking oil painting that blends surrealism and contemporary realism. Measuring 31.5 x 47.2 inches, this compelling work depicts a lone astro...

T W QUINN Born of Irish parents in 1918, Tom W. Quinn has quite simply dedicated his life to art.A life dedicated to art? Yes, and a heart and soul, too. ...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Auth...

A rich merchant is an original old master artwork realized in the 18th Century. Mixed colored oil painting on canvas depicting a merchant looking at a coin in his left hand. Provena...

Harold Walton Freckleton. English ( b.1890 - d.1979 ). Milly With Minstrel. Oil On Canvas. Signed Lower Right. Image size 24.4 inches x 29.52 inches ( 62cm x 75cm ). Frame size 30.7 inches x 35.8 inches ( 78cm x 91cm ). Available for sale; this original oil painting is by the Nottingham artist Harry Freckleton and dates from the 1960s. The painting is presented and supplied in its’ original wooden frame (which is shown in these photographs). The frame, canvas and the painted surface have benefitted from cleaning, restoration and conservation, which was performed on our instruction, supervision and approval. The original cotton covered slip has been replaced. This vintage painting is now in very good condition, defying its age. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. The acclaimed artist Harry Freckleton was born in Nottingham in 1890 and lived there for most of his life. He studied at the Nottingham School of Arts, as it was then known, from 1904 to 1912 under Wilson Foster and was much influenced by the local painter Arthur Spooner. He worked as a lithograph artist, and then served in the army during World War 1. He then worked as an artist for New Zealand Cine Studios and went on to run his own photographic business from 1924-65. Freckleton married the artist Vera Freckleton and they spent most of their married life living in at Whitegates in The Park, Nottingham. Most of Freckleton’s art is painted in oils, and he specialised in still life, landscape and figurative work, especially childhood scenes. His best works have a strong human interest, with an individual technique showing quality and fine execution. He was a member of the Nottingham Society of Artists, exhibiting there and becoming an esteemed Associate. As a successful artist Freckleton exhibited work seven times at the Royal Academy, as well as the Royal Society of Portrait Painters and the Royal Society of British Artists. His work continues to be sought-after and is today represented in permanent collections in Nottingham, Blackpool, Huddersfield and elsewhere. © Big Sky Fine Art This beautiful oil on canvas painting by Harry Freckleton shows a scene in an English farmyard. Besides an old green painted barn and a tall haystack, we see Minnie, a young girl sitting astride Minstrel, her brown pony. She is wearing a riding hat, white blouse and red trousers, and looks down at her left side towards a second figure, in a blue top and tan trousers, who is possibly adjusting her stirrups. A third figure, another girl, in grey blouse...

Mixed media (acrylic, gouache,oil) on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of E...

Frank Owen Salisbury (1874-1962) Male portrait painting, 1934 Oil on canvas 39 x 48

Giclee on canvas. Hand signed lower right by Doug Bloodworth. Hand numbered 39/150 lower right. Canvas size 38 x 50 inches. Canvas is not stretched. Artwork is in excellent co...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25.5 x 19.5 inches Superbly decorative 1960's French portrait painting. I...

Luis Miguel Valdes (Cuban, 1949) "Painter painting to painter painting", 2017 Tribute to Henri de Toulouse-Lautrec Oil and Acrylic on Canvas 58 × 8...

Lightness of Being 36.0 x 24.0 x 1.5, 10.0 lbs Acrylic Hand signed by artist Artist's Commentary: My first 2022 painting titled 'The Lightness of Being' indicates a change in m...

Portrait Of A Elizabethan Gentleman Traditionally Identified As Edmund Spenser (1552-1599) Large Elizabethan School portrait of gentleman traditional...

Serra (French, 20th Century) Homage au violin Oil on canvas laid down on board Signed ‘SERRA’ (lower right) 16.7/8 x 20.7/8 in. (43 x 53 cm.)

Though life will farce and meddles, to keep a face-up and steady ride is to be determined. Though dribble and roll over to have an eye fixed are to focus and never to lose sight of i...

Absurd scenery in the middle of nowhere: a section of a giant cat's head suddenly appears out of nowhere, an event that lets seemingly random passing...

Signed lower right, 'Anne Virlange' (French, 20th century), titled, verso, 'Comter Fleurette', and inscribed 'Gordes, Jun 2001'. Statement of the artist: "For 26 years, I have been exhibiting, painting and living in my creative universe. I alternate 6 months of painting and 6 months of exhibiting in my gallery in L'isle-sur-la-Sorgue. Previously, I studied textile design (which is apparent in my work), cultural management and the history of art in Paris. I began exhibiting my work in France and abroad in 1994. In 1997, I opened my first permanent exhibition space in Gordes until 2012. In 2014, I moved to L'isle-sur-la-Sorgue. My paintings invite you to open yourself to a universe of tales, dreams and poetry...

Feminine Mistique, ink on archival paper. Keith Carrington’s experiences have led him to express his talents through the fluid & exacting mediums of watercolor and ink. He has honed...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

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...

A fine mid 20th century post impressionist oil of a young woman sewing by lamplight circa 1960's oil on canvas 46cmx 70cm good gallery frame 63cmx 88cm Very atmospheric light effect painted in expressive colourfield palette creating a soft diffused atmosphere under the old lamp...

Rest of the Holy Family during the Flight into Egypt Workshop of Pieter Coecke Van Aelst (1502-1550) 16th century Flemish school Oil on oak panel, Dimensions : panel: h. 34.25 in., ...

Belgium. Gent - A Morning Market by Leonard Machin Rowe (1880-1968) signed and inscribed front lower right corner, inscribed and signed to the back watercolour painting on artist's ...

Oil on canvas Su Yu is a Chinese artist born in 1987 who lives & works in Beijing in China. He was an old student of prestigious art teachers as Shi Liang & Chen Danqing at Oil Pain...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Image : 12 x 9.5 inches Superbly decorative 1960's French portrait painting. Ideal for ma...

Using layers of thick, expressive brushwork, solid colors and slightly flattened space, Jennifer Hornyak has created an elegant portrait of a man in black shirt and white sun hat. The simple, modern forms outlined in black on an indigo ground emphasizes the stillness of the oil portrait on canvas that is reminiscent of the work of Jean Paul Lemieux...

This atmospheric 18th century portrait oil painting is attributed to a Scottish artist. Painted circa 1790, The painting is a half length portrait of a seated gentleman. He is wearing a blue bonnet, the badge of a Scottish country gentleman and smoking a clay pipe. The way the light catches his hand and face and gleams on his buttons is lovely. The frame is super in that it echoes the button on his jacket. This is an excellent example of an 18th century Scottish portrait...

Le Pont Neuf by Rene Ligeron (French 1880-1946) signed lower left watercolour painting on paper, framed framed size: 6 x 7.75 inches Delightful French Impressionist painting capturi...

Huge late 1950's oil on canvas depicting a figure in an industrial landscape by Peter Freeth RA. The work comes with wonderful provenance, having originally been sold at the prestigi...

"Friends" original acrylic painting on paper 70x52 cm. The artwork is unframed. The artwork is signed, dated and titled. Original artwork has signed certificate of Authenticity.

Roger Bonafe (French b. 1932) signed oil painting on thick art paper, inscribed verso Size 29.75 x 20 inches Bonafe was born in the town of Caux (Her...

Work on cardboard Golden wooden frame 42 x 34 x 3.5 cm

Step into a world of serenity and natural beauty with "Three Bathers," a captivating vintage 1940s oil painting on board by renowned Colorado artist Morgan Wagner. This exquisite art...

Sometimes waiting is the hardest thing of all. -Luanne Rice Painting Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied ...

Menashe Kadishman was an Israeli sculptor, painter, and graphic artist best known for his colorful paintings of sheep and large-scale metal sculptures. In the painting, Theodor Herzl...

A painting of a young man's head by Mark Beard/Bruce Sargeant. Signed in red, u.l. Oil on canvas “Bruce Sargeant is a mythic figure in the modern art movement. He embodies a world...

Earth tones, totem with female figures, dog, florals; lime wash, acrylic ink, flashe and pastel painting on canvas; custom wood float frame; folk art inspired Hand signed by the art...

The present pair of portraits would make an exceptional addition to any collection of early American art not only because they were painted by the notable William Jennys, but also because the sitters are members of notable and influential New England families. In addition, these pendants have impeccable provenance: they have never left ownership of the decedents of the Kimball family and this is the first time they have been available for purchase. David Kimball (1766-1848) and Nancy Stacy Kimball (1774-1844) were members of historic Massachusetts families. David Kimball is a sixth-generation decedent of Richard Kimball (d. 1675) and Ursula Scott (d. 1659), who emigrated from Rattlasden, Suffolk County, England to Watertown MA around 1634. The family then relocated in 1637 to Ipswich, the city with which the family is now most strongly identified, when Richard was appointed to be a wheelwright.[1] Nancy likewise had early New England ancestry, descended from Simon Stacy and Elizabeth Clark, who were married in London in 1620.[2] Nancy Stacy was the second wife of David Kimball, and the two were married in 1799. Given this, the present pendant portraits were likely completed shortly after the marriage. David had two children by his first wife Mary Morse, who died in September of 1798. David and Nancy would have nine additional children between 1801 and 1815.[3] Most notably, the couple were parents of the Boston politician and showman Moses Kimball (1809-1895).[2][3] Moses would found the Boston Museum, an early for-profit museum and theater opened in 1841 that resembled European curiosity cabinets: the museum displayed paintings of Thomas Scully and Charles Peale alongside Chinese artwork, stuffed animals, dwarves and mermaids. Alongside these exhibits, visitors could attend the theater which held performances by gymnasts and contortionists, followed by performances of Shakespeare and Dickens.[4] This museum set the model for the Museum of Fine Arts, Boston, which when founded in 1870 held a similarly diverse collection and appealed to the interests of a diverse set of visitors.[5] Moreover, some Greek antiquities from Moses Kimball's museum were eventually given to the MFA and Moses donated approximately $5,000 to the MFA's endowment upon his death.[6][7] William Jennys (1774–1859), also known as J. William Jennys, is an important American primitive portrait...

America Martin "Song For The Animals" Oil & Acrylic on Canvas 61.5 x 41.5 in. Framed Exploring the identity of both her namesake and country, LA-based America Martin draws inspirati...

Portrait Of 1st Baron Hawkstone, Sir Rowland Hill, Tory MP for Lichfield (1705-1783) by Charles JERVAS (1675-1739) Large 18th Century portrait of Baron Hawkstone, Sir Rowland Hill,...

Work on canvas

A charming oil study depicting two farm hands steadying an ox-drawn plough as turns the soil ready for sowing. The miniature work has been composed in a wonderful folk art style, pac...

"Maritime Maternal" Oil painting 68" x 86" inch by Omar Abdel Zaher Abdel Zaher is a graduate of the Academy of Fine Arts in Helwan and has been painting for three decades and has n...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1961 En la parte trasera, va con una etiqueta con los detalles de la obra Se presenta enmarcada la p...

A dynamic study of a child helping an elderly gentleman in a drunken state on the street. Signed and dated to the lower right. Presented in a wooden frame with decorative carvings. O...

Mixed Technique Collage, Textile, Acrylic on Canvas

This colorful piece, "Clean Round", is a 47x47 equine oil painting on canvas featuring a bay horse mid jump during a jumping competition. Bright pinks, purples, and blues dance aroun...