Men Paintings

OIL PAINTING By ? Beautiful lady of Nobility in a Neoclassical Frame FINE Portrait OIL PAINTING Old Master Early 19th Century French artist ...

Authentic drawing from the early 20th century by the well-known French painter Gustave Guetant (1873-1953). Technique: pencil and charcoal on paper. Bottom right stamp: ATELIER GUET...

Signed Lower Left

Depiction of a male nude in diffuse architectural scenery. Signed lower right (Paul) Anton Kaulbach (1864 Hannover - 1930 Berlin). Oil on canvas, in gold-patinated frame. Image size:...

(After) Sebastiano Conca (Gaeta 1680 - Naples 1764) The Adoration of the Shepherds oil on canvas, (cm): 122 x 100, framed The proposed table, datable in the first decades of the e...

Antoni Vives Fierro (1940) - London - Oil on canvas Oil measures 81x100 cm. Frameless. He was born in Barcelona in 1940. He is a versatile painter specialized in urban landscape and...

Mid-Century Modern portrait of a man by California artist Genevieve Rogers (American, 1904-1984). The abstracted background has texture created with d...

"The Woman on the Sofa" is a beautiful and impressive oil on canvas by Antonio Feltrinelli. It was realized between the end of the 1920s and the beginning of the 1930s and represents...

Rudolf Latcher Self portrait, 1928 Oil on canvas 97,3 x 72 cm (106 x 81,5 x 4,5 cm with frame) Signed and dated upper left

Friedrich Ortlieb (German, 1839-1909) A fine and large oil on canvas titled "New Year's Day at The grandfather's". The joyful indoor family scene depicting a Christmas and new year's...

A delightful head and shoulders portrait of a young boy in a white collared shirt and buttoned brown jacket. Presented in a textured gilt-effect frame with internal slip. Indistinctl...

Dame Ethel Walker DBE ARA (1861-1951) Young Man in a Red Tie Oil on canvas 51 x 40.6 cm.; (within frame) 70 x 59.7 cm. Provenance: The Lefevre Gallery, London, stock number X890; Christie’s, London, Modern British Pictures, Watercolours, Drawings and Sculpture, 12 September 1996, lot 58; Bonhams, London, Modern British and Irish Art, 23 November 2022, lot 177; Private Collection, United Kingdom. This focussed composition is dominated by a handsome young man in profile, frowning with a concentrated glare. His slender cheeks meet a jaw brushed with a masculine grey, complimented by the blue of a flower or pocket square, and the shadow of a loose strand of oiled hair that rests across his forehead. The stylistic sophistication shows Walker at her best, ambitiously combining measured figuration with expressive abstraction, as delicious dashes of pigment appear still wet, and dissonant swipes energetically mark the surface of the canvas. With an elegance that borders on the effete, the sitter’s urbane style includes a spearpoint collar, framed by the wide lapels of his suit jacket. Most significantly, the young man’s dandyish fashion is augmented by the conspicuous titular red tie which he wears – an established expression of queerness in the 20th century. Painted by the lesbian artist Dame Ethel Walker, it is likely that the portrait is that of a gay man belonging to London’s queer artistic circles. Indeed, Walker’s male sitters (who constitute but a fraction of her output) are typically conceived as modish, and often wear striking colourful ties. Walker was one of the earliest lesbian artists to overtly explore her sexuality in her works, and an aesthetic fascination with the female form culminated with her glorious large-scale ‘decorations’, exemplified by Decoration: The Excursion of Nausicaa (Tate, N03885). Red neckties had been established in the 20th century as a coded (though appropriately colourful) expression of queerness, not dissimilar to the green carnation of the Wildean aesthetes. The gay writer and musician Mikhail Kuzmin was painted in 1909 in a stark red tie. Two decades later, the Anglo-French physician Havelock Ellis described the red necktie as an emblem amongst queer New Yorkers: ‘[…] there has been a fashion for a red tie to be adopted by inverts [homosexuals] as their badge’ (Ellis, p. 299). The motif permeated fiction, and in Thomas Mann’s 1912 novel Death In Venice, the protagonist Gustav von Aschenbach begins to wear a red necktie after he develops an infatuation with a beautiful young boy staying at his hotel. William Faulkner’s 1929 novel The Sound and the Fury includes an unnamed male character identified throughout by his distinctive red necktie, which is the subject of veiled insinuations against his masculinity. Walker must surely have been familiar with this symbolic importance when she executed the present portrait. Her few portraits of male sitters include colourful neckties almost exclusively, and include numerous examples of red neckties. Indeed, the artist herself preferred to wear a red tie, a declaration which so impressed itself on Virginia Woolf that she noted it in a diary entry after tea with Walker (Bell, p. 282). Walker, who painted Woolf’s sister Vanessa Bell, had once offered to paint Woolf in the nude, as Lilith. Around the same time, Augustus John painted the gay peer Evan Morgan, 2nd Viscount Tredegar, in a loose red necktie or neck scarf. The portrait passed through the Lefevre Gallery, which also represented Walker, and which inventoried the present work. While the sartorial choice may have been incidental, a colourful accessory chosen to enliven the portrait, its prominent inclusion would suggest a personal significance to Walker, the recognition of a shared experience between artist and subject. Dame Ethel Walker was hailed as a leading female artist of her generation, and as late as 2010 was one of only four women artists to have been honoured as a Dame Commander of the Order of the British Empire. Walker was born in Edinburgh in 1861 to the botanist Arthur Abney Walker, a descendent of the Walker family of iron industrialists, whose estates included Clifton House (Rotherham) and Blythe Hall (Nottinghamshire). She attended school in London after the family moved to Wimbledon, and in 1880 met the fellow artist Clara Christian, with whom she would form an important personal and professional bond. The women’s relationship was later allegorised by the writer George Moore as that of Stella (Christian) and Florence (Walker) in his fictionalised three-volume memoir Hail and Farewell. Walker went on to Putney School of Art and Westminster School of Art, and studied under Frederick Brown, who became a lifelong mentor. Around 1893 Walker took further study at the Slade School of Art, partly under Walter Sickert, and returned in 1912, 1916, and 1921. Although Walker enjoyed painting floral still lifes and seascapes, her best work was portraiture. She worked from her studio at 38 Cheyne Walk for most of her career, and enjoyed a prominent role in London’s artistic milieu. Her sitters included the artists Lucien Pissarro, Orovida Camille Pissarro, Vanessa Bell, and Barbara Hepworth; she painted Nancy Astor, the Countess of Strathcona, the editor Joan Werner Laurie, and author Leo Walmsley. The actors Flora Robson and Elsa Lanchester sat for Walker, as did the young Christopher Robin Milne. Walker herself was photographed by the bisexual photographer and painter Humphrey Spender...

Andrea Pozzo (Trento, Italy, 1642 – Vienna, Austria, 1709) Title: Christ in the house of Simon the Pharisee Medium: Oil on canvas Dimensions: without frame 88 x 128.5 cm - with frame...

Oil on canvas Signed Born in California, John Button (1929-1982) was educated at University of California, Berkeley. After moving to New York City in the early 1950s, he became frie...

Portrait of a Lady wearing a turquoise blouse and black blazer with touch of rogue on her lips and cheeks. Well-presented in a smart gilt frame. Unsigned. (Provenance: private collec...

Italian painter (18th century) - Portrait of a gentleman with aphorism. 92 x 68 cm. Antique oil painting on canvas, without frame (not signed). - Inscription: "There are more madm...

Teofimo was painted over several days in the artist studio in Florence, Italy. The painting measures 16 x 12 with a handmade frame from Italy. This is oil on a linen panel which mos...

Jan Thomas van Kessel 1677-1741 Flemish A Peasant Country Scene Signed (lower left) Oil on canvas A quintessential example of Flemish genre painting, A Peasant Country Scene refl...

BILLY SCHENCK "Gratuitous Violence" Oil on Canvas 37.5 x 37.5 in. framed Billy Schenck utilizes specific frames of reference in his oil on canvas depictions of the American West, e...

Alfred William Strutt British, (1856-1924) Good Sport Oil on canvas, signed, old hand written exhibition label verso with the artist’s address Image size: 31.5 inches x 54.5 inches S...

Patrick Oates' work explores the intersection of landscape, identity, and family history. His experimental paintings delve into queer identity, trauma, and the unknown, weaving a com...

Early figurative portrait painting by Houston-based artist Buford Evans. The work features a black man looking to the sky with an anguished expression on his face as a young child cl...

Medium: Oil on Canvas Signature: Signed Indistinctly Sight Size 40.00" x 30.00", Framed 46.00" x 36.00" All Around Magazine, Dec 1915. #872 in N.C. Wyeth Catalouge Raisonne 2008 This rare pulp painting by Wyeth was originally published as the cover illustration for "The Return of the Four" by Edwin Bliss, All Around Magazine, December, 1915. The painting was reproduced as catalog no. 872 in N.C. Wyeth, Catalogue Raisonné of Paintings, Brandywine River Museum, 2008. Notes: NEWELL CONVERS WYETH (American, 1882-1945) The Return of the Four, All Around Magazine, pulp cover, December 1915 Oil on canvas 40 x 30 in. Signed indistinctly This rare pulp painting by Wyeth was originally published as the cover illustration for "The Return of the Four" by Edwin Bliss, All Around Magazine, December, 1915. The painting was reproduced as catalog no. 872 in N.C. Wyeth, Catalogue Raisonné of Paintings, Brandywine River Museum, 2008. PROVENANCE: Graham Gallery, New York; Private Collection. EXHIBITED: Graham Gallery, New York. Artist biographical notes: N. C. Wyeth produced over 300 illustrations for hundreds of articles, books, posters, and magazine covers. In 1911, he was accepted by Scribner's to illustrate such classics as "Treasure Island, " The Last of the Mohicans...

A charming oil portrait featuring a richly detailed figure set against a warm, rustic background. The artist's expressive brushwork and earthy palette bring depth and character to th...

PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The gallery is the representative of the artist. The Gallery of Katarzyna Napiorkowska is one of the first private art gall...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

This artwork might be one of two versions, the other one being in the Museum in les Invalides Paris. Note. This version has a more accomplished academic style. Dimensions with original gold frame 107 x 87 cm Conditions Excellent overall, supported by an original frame withan antique glass. EDOUARD DETAILLE The emperor is accompanied by his aide-de-camp, Colonel Castelnau, and Marshal Canrobert. In a gilded wooden frame, under a Marie Louise blue background. Life and time Born in 1848 into a close-knit bourgeois family, Édouard Detaille, the eldest of eight children, displayed early talent in drawing. “He was a prodigy,” notes François Robichon. By the age of thirteen, he exhibited an astonishing surety of hand and a phenomenal sense of composition. His father, connected to Horace Vernet, encouraged him. At seventeen, after passing his baccalaureate, he entered Meissonier’s studio. This relationship, which developed into mutual affection, spared Detaille the academic detour through the École des Beaux-Arts. Rather than dictating an official art style, Meissonier, at the peak of his fame, traveled with his students, introducing them to the nuances of Titian, Rembrandt, and Rubens in Brussels and Lille. In 1867, the Paris of “free trade” dominated the world through the technological revolutions of the Universal Exhibition, and the amiable young man, striking in appearance, discovered the salon of Princess Mathilde and the theater of Dumas fils. He even approached the Empress, noting in his journals, “Not bad, the Empress.” This observation encapsulated Detaille: he had no doubts about his talent, cultivated panache, enjoyed the company of beautiful women, and aimed to conquer the circles of power without sacrificing his freedom. From childhood, he listened to his calling: “Before I could read, I could guess the subjects of battles, the names of famous generals, the weapons of officers and soldiers from the images I admired in the books of Norvins and Laurent de l'Ardèche.” He mingled with collectors and regularly attended military reviews on the Champs-Élysées. His first painting exhibited at the Salon in 1868, “La Halte de tambours,” was praised by critics who immediately recognized “a remarkable truth of observation and simplicity of effect.” The purchase of this work by Princess Mathilde, cousin of Emperor Louis-Napoleon, made Detaille, at twenty, an envied celebrity known to Sainte-Beuve, Théophile Gautier, the Goncourt brothers, and Flaubert. The young artist’s humanistic vision contrasted with the compositions of his predecessors, depicting soldiers in maneuvers, contemplative and resigned as war loomed. **The Combatant’s Vision** The Siege of Paris, where he nearly lost his life in 1870, and the deaths of two brothers in that defeat darkened his outlook. From 1871 onward, Detaille no longer concealed the cruelties of war: German riflemen mowed down by machine gun fire, cavalrymen and panicked horses caught in ambushes, fields plowed by shells strewn with dead animals. The unvarnished tragedy: “It is an absolute fact that no painter has ever rendered a battlefield covered with corpses as it is,” commented Jules Claretie. The fallen bodies still bear the appearance of life in their frozen rigidity. Detaille’s testimony of the devastating defeat and the catastrophic effects of the first total war in history was not a celebration of heroism but a lament, a “lesson in darkness.” “From war, once considered the supreme effort of human genius, we now see only melancholy and horrors,” judged one writer in response to his canvases. “Detaille experienced the reality of combat at a young age during a war that foreshadowed the two world conflicts of the 20th century,” explains François Robichon. With great realism, Detaille painted war from the perspective of the combatant. He introduced a humanity and a critical lucidity regarding the evolution of warfare. His works intensely captured the violence and firepower of new weapons like machine guns. Before he turned thirty, Detaille had become a chronicler of these painful years. He exhibited, as a critic noted, a “striking portrait of modern war” that both French civilians and soldiers had experienced firsthand. He embodied a youth humiliated and eager for revenge. Yet this scrupulous artist also remembered, in his expansive landscapes—from the chalky plateaus of Île-de-France to the Russian plains—the lessons of Corot and Courbet. Manet was not far off. “I wouldn’t want my art to be reduced to mere patriotic art,” he asserted. “A system I often employ and love is to first execute the landscape, very effective, very tight, based on nature…” Echoing Meissonier’s advice: “Always nature, always nature!” Detaille remained close to this father figure, constructing a grand townhouse next to his mentor’s studio at 129 boulevard Malesherbes at the age of 26, having purchased 425 m² of land from the Pereire brothers. He even chose the same architect as Meissonier: Paul Boesvilwald. A bachelor and incorrigible seducer, the painter welcomed his conquests, including Valtesse de la Bigne, amidst his collections, having built his studio in the courtyard. Diplomatic Actor As Detaille’s fame grew, his Malesherbes townhouse quickly became a gathering place for foreign princes, politicians, and heads of state, where Juliette Adam, Léon Gambetta’s muse, offered him valuable advice. The Prince of Wales, the future Edward VII, developed a genuine friendship with the painter. “This fervent patriot, friend of Déroulède, was extraordinarily open to the world,” recounts François Robichon. In just a few years, he gained considerable social, cultural, and international stature. Received at Windsor, at the English court, he was close to Tsar Alexander III and a great friend of Félix Faure. In this capacity, Detaille played a decisive role in the Entente Cordiale, signed in 1904 between England and France, and in the Franco-Russian alliance of 1894, thereby contributing to the Triple Entente among the three powers. An engaged witness of his time—associated with the birth of the “Ligue des Patriotes” alongside Alphonse de Neuville...

Victorian Figurative Oil Painting of a Young Lady Lacemaker in a Cottage Interior. Oil on Canvas laid on artists board and Framed in its original Gilt Frame. William H Weatherhead 1...

Oil on plywood signed and dated . Second of several works depicting butchers. Recently exhibited at the Bartow-Pell Museum on the Bronx NYC. ABOUT Stephen Basso Stephen Basso's h...

To begin "Feeling Free," I generously applied Acrylic molding paste to the entire canvas adding textures and shapes to complement the form of the horse. After that, I added layers of...

Alexandre Akar is a French artist born in 1961 who lives & works in Gennevilliers, France.

Contemporary pixelated cowboy portrait painting of "Lone Coyote" McGraw. Similar to pointillism, the individual hand-painted blocks of color come together to form the image when view...

Stark and emotional depiction of a family after a natural disaster by Charles Kinghan (American, 1895-1984). This grayscale painting was created as an ...

A striking nude, maybe one of the most impressive portraits from the collection, this 20th Century life study shows a seated woman with pastel toned skin sitting against a dramatic b...

Oil on Canvas. Southern Italian school of the 17th-18th centuries. The scene , full of characters, sees standing in the center, well-defined in the details of armor, crest, as well a...

Moshe (Matusovski) Matus (Polish Israeli , 1908-1958), Depicting an orchestral concert. Hand signed lower right. Dimensions: (Frame) H 31" x W 37", (Sight) H 21" x W 28" Moshe Matus (Matusovski) 1908, Warsaw, Russian Poland - November 23, 1958 Toronto, Canada. was a Polish Israeli modernist painter who lived during the last decade of his life in The United States and Canada. Matus was born in 1908 in the Russian city ​​of Warsaw, into a traditional and Zionist family, the eldest of the three children of Dr. Josef Matusovsky, a dentist, and was a member of Hashomer Hatzair in Warsaw in 1924. When he was 15, He studied at the Bezalel Academy of Art and Design in the 1920s with Boris Schatz and was educated at the Herzliya Gymnasium where he studied painting and sculpture. He studied for several years at École nationale supérieure des Beaux-Arts (Bose-R) in Paris. He returned to Tel Aviv and lived there on Sheinkin Street. From the 30s was one of the most prominent artists in the country. he exhibited In shows general as well as in solo shows - which exhibition at the Herzliya in Tel Aviv, which opened Benzion friends (1932); in Allenby 15, Tel Aviv (1935) exhibition in Pomrock , which opened the poet Saul Tchernichovsky and Moses (1936), at the Steimatzky Gallery in Jerusalem , opened by Dr. Moshe Duchan (March 23, 1937); An exhibition at the Cosmopolitan Gallery in Tel Aviv (formerly the Bach Gallery, 1 Hess Street), opened by Mayor Israel Rokach (March 5, 1938); and an exhibition at the Tel Aviv Museum (1946). He painted the stage...

Joseph B. O'Sickey (American, 1918-2013) Evening Still Life Oil on canvas Signed lower right 32 x 24.5 inches 34.25 x 27.25 inches, framed Joseph O'Sickey, born in Detroit in 1918, ...

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53...

Early American oil portrait on canvas of a man seating wearing a suit holding a book. The painting has a signature in the bottom right corner as seen in the photographs. The painting's style is similar to American artist, William Matthew Prior, John Stanley, and John Brewster...

Rabbi Reading by Candlelight (6-F) Abraham Straski, Polish (1903–1987) Date: 1959 Oil on Canvas, signed and dated Size: 23 x 19 in. (58.42 x 48.26 cm) Fr...

An original work by Noche Crist (1909- 2004). Titled "Femme Fatale" and signed on reverse. Wonderful work made with cut wood, paint and plaster. Catalogue of an exhibition in 2008 ...

Sunil Das - Confrontation Series - 57.5 x 65 inches (unframed size) Oil on Canvas Inclusive of shipment in ready to hang form. Sunil Das (1939-2015) was a Master Modern Indian Artis...

"Tense," a thought-provoking piece by Rudolf Kosow, presents a surreal interplay between a colossal bulldog and a diminutive baseball player. The dog's face, detailed with astonishing realism, conveys a palpable intensity through its piercing gaze. The size disparity between the dog and the player underscores a narrative ripe with anticipation. The baseball player, clad in traditional attire, stands with bat at the ready, embodying a moment of concentration and readiness. This portrayal of the player, so starkly contrasted against the vastness of the bulldog's features, evokes a feeling of an undercurrent of suspense, as if the outcome of this encounter balances on a knife-edge. Through "Tense," Kosow delves into the theme of confrontation and the moments that precede action. The artwork captures the stillness before the storm, the quiet before the play, offering a metaphor for life's high-pressure situations where individuals face larger-than-life challenges. The painting invites reflection on the psychological interplay between fear and courage, the small against the mighty, and the personal tenacity required to stand firm in the face of overwhelming odds. "Tense" is not just a snapshot of a surreal encounter but a broader commentary on the emotional landscapes we navigate when confronted with formidable obstacles. keywords; painting on canvas, surrealist painting, animal vs human, americana, nature, man, man vs nature, surrealism, giant animal...

Watercolor on paper, signed lower right Agustus Knoller and dated 1884. Inscribed on the reverse in pencil "This trotting came off Aug 15th 1884 at Belmont Park...

medium: paint chip sample mosaic on panel Born in 1971 in Cincinnati, Ohio, Carlton Scott Sturgill received his Masters of Arts (Fine Art) from London’s Chelsea Collage of Art in De...

Original French Artwork by Robert Ladou (French 1929-2014) original acrylic painting on unstretched canvas stuck on paper, unframed overall size: 12.5 x 9.5 inches size: 6 x 4.5 inc...

This artwork "Haitian Market" c.1990, is an oil painting on canvas by Haitian artist Maurice Guerre, b.1947. It is signed at the lower right corner by the artist. The canvas size is ...

This Stan Laurel and Oliver Hardy illustration was used as a traveling show sign for the comedy duo. Medium: Oil on Wood Panel Signature: Unsigned

An old-fashioned bottle siphon painted on a yellow background. The painting is simple in its design. However, a combination of a greenish-blue bottle with a red tablecloth and a ye...

Judith Beheading Holofernes, 17th Century School of Carlo MARATTA (1625-1713) Carlo Maratta Large 17th century Italian Old Master depiction of Jud...

This equine racing painting "Irad Ortiz" by artist Anne Wolff is a 24x18 original oil painting on canvas. Featured is the back view of famous jockey Irad Ortiz on horseback. He is ...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

Daniel Ludwig. Residue of Yesterday- this work of art is an original oil painting on linen. Size: H:76 cm x W:61 cm Daniel Ludwig is an American figurative artist who lives and wor...

Giuseppe Antonio Petrini, (Carona, Italy, 1677 – 1757 ca.) Title: Portrait of Saint Peter Medium: Oil on canvas Dimensions: without frame 75.5 x 63 cm - with frame 96 x 83 x 5 cm Not signed Expertise by Professor Giancarlo Sestieri Provenance: Luigi Koeliker - Koetser Collection. Collection number 858 on verso. The apostle in half-length portrait, looking upwards. His shoulders are bare from his blue shirt, a brown cloak is draped over his arm. In his hand he holds the ‘keys to paradise’, which make him attributively recognisable. The bearded face shows the pleading remorse for his defamation of Christ described in the biblical account. The painting style immediately reveals Petrini's brushwork. The painter, who was born in Ticino, is one of the northern Italian-Lombard artists of the late Baroque period, who was possibly associated with Bartolomeo Guidobono (1654-1709) in Turin after 1700 and is documented with works in his home city between 1711 and 1753. Works by his hand were mainly found in the Como, Bergamo and Lugano areas. Other depictions of St Peter can be found in the church of Dubino and in a private collection in Montagnola. In 1991, an exhibition of his works was organised at the Villa Malpensata in Lugano, Switzerland. The painter was the son of a sculptor and, according to the sources, a pupil of the Genoese painter Bartolomeo Guidobono (1654-1709). However, he was also inspired by the works of Andrea Pozzo (1642-1709). Works by his hand can be found in several churches in Piedmont, such as San Maurizio in Pinerolo. At the end of the 1730s, a strong development towards the Rococo style can be recognised, as demonstrated by his ‘Allegories of the Seasons’ (Lugano Art...

A fine 18th century Flemish Old Master oil on panel depicting three well dressed gents in a tavern interior. Excellent quality work by an accomplished hand, presented in a fine fra...

The Greeting British School, mid 19th century signed with initials oil on canvas, framed in antique gilt swept frame framed: 37 x 32 inches canvas : 30 x 25 inches Provenance: priva...

A passion for horses, equestrian pursuits, and painting define Brooke Major's life and career. A native of Atlanta, GA, Brooke Major has been living and working as a professional art...

Signed lower left: “Freeman”. Artist’s frame.

Modernist Portrait of St. Francis Compelling modernist oil on canvas portrait of St. Francis by Dr. Tarmo Pasto (American, 1906-1986). Presented in a taupe painted wood frame. Signed "Tarmo Pasto" bottom right, and titled "St. Francis" bottom center. Image size, 25.5"H x19.5"L. Dr. Pasto was a long-time contributor to the California art scene, as well as an art teacher and psychologist to many successful artists. He also authored a book on art, "The Space-Frame Experience in Art", published in 1964. He, however, was mainly known to the world for introducing the works of one of his patients, Martin Ramirez...

Secrets, oil painting on canvas after Norman Rockwell The original painting was used for the cover of a 1942 Saturday Evening Post. Hand-painted edition after the Painting of Secre...