Men Figurative Paintings

Oil on canvas Signed in red, u.r. 14 x 11 inches, canvas size 14.5 x 11.5 inches in distressed gold leaf frame This artwork is offered by ClampArt, located in New York City. “Bruc...

Henri van Seban was born in Brussels in 1825. He was a pupil at the Academy of Den Haag, studied with Hubertus van Hove and at the School of Xylography in Den Haag. An accomplished p...

"Fisherman" by Maurice Mazeilie (French) watercolour painting on paper, unframed stamped verso painting: 5.5 x 9.5 inches A delightful original oil painting by the 20th century Fre...

Portrait of a Fisherman with a Pipe Newlyn (Cornish) School, 19th century oil painting on canvas, unframed canvas : 20 x 16 inches provenance: ...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2003 Title: Cupid and Psyche Size: 20" ...

Artist/ School: British School, mid 20th century, signed lower corner Title: Huntsman on horseback with hounds. Medium: oil painting on canvas, framed. Size: framed: 18 x 26...

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "My Brave Princess" from the "PERICHORESIS SERIES...

18th Century French Maestro Title: Bacchanal Medium: Oil on canvas Dimensions: without frame 24 x 30 cm - with frame 33.5 x 39 cm Antique shaped wooden frame lacquered in mustard col...

Huguette Ginet-Lasnier (French 1927-2020), signed lower front inscribed verso oil painting on canvas 24 x 19.5 inches. All the paintings we have for sale by this artist have come fr...

In this piece, I captured a rainy London day filled with quiet strength and introspection. Using oil paints, I blended realism and impressionism to evoke the city's misty atmosphere,...

Hendrick van Somer o Someren o de Somer (Lokeren, Belgium, 1607 - Naples, Italy, 1656) Title: Saint Jerome Medium: Oil on canvas Dimensions: without frame 91 x 72 cm - with frame 108...

Figurative oil on canvas painting by young professional European artist Waleria Matelska. Artwork is minimalist and composed with synthesized shapes. Painting is both vibrant and pas...

Portrait of a Distinguished Military Officer pencil sketch on artist paper painting: 11 x 8.5 inches provenance: private collection condition: good and sound condition - a few wear a...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 1999 Title: Magic Melody Size: 22.5" x ...

Tending his Nets English School, signed by the artist, H Wright signed and dated 1860 oil painting on canvas, unframed canvas : 10 x 10 inches provenance: private collection, UK cond...

Pietro della Vecchia (Vicenza, Italy, 1603 – Venice, Italy, 1678) Title: Bacchus and Ceres Medium: Oil on canvas Dimensions: without frame 109 x 130 cm – with frame 128 x 152 x 8 cm...

Paris, rue des Solitaires, oil painting by Pierre Coquet Reference number F489 The painting is framed with a natural oak floated frame. 65 x 50 cm (70 x 55 cm frame included) This work is painted with oil on a paper that is laid on a board and placed in a made to measure wood strectcher. It is signed in the low right Paris is one of Pierre most important subjects. Pierre's Paris is always depicted in a grey atmosphere. Buildings are stylized but the city is recognizable with its typical grey galvanised steel and orange terracota chimneys. The composition here is a little atypical, as there is a certain symmetry between the top and bottom of the painting. You could almost turn it upside down, there's a kind of mirror effect. The support for the painting is a cardboard box salvaged from the art school where he taught (Corvisart-Paris). The students used it to protect their tables. Pierre kept them and painted on them, and we can see little drawings or annotations made by students who had fun scribbling on them. Provenance : Workshop of the artist (stamped and numbered on the back) About Pierre : Pierre Coquet (1926-2021) is a French painter who was born in Limas near Lyon, France. He entered the Ecole des Beaux Arts in Lyon in 1942 and followed the teaching of Antoine Chartres, Henri Vielly and René Chancrin...

Black & White Painting of Figures at Hammersmith Bridge in London - a unique original from leading British Urban Landscape & Cityscape Artist, Angel...

Oil on canvas mounted on board, realized by Francesco Settimj in 1933. Hand signed and dated lower left. Good condition.

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Diego Glazer's "Lenaia" is an original, handmade oil painting that is framed and ready to hang. The framed measurements are 21 in H x 29 in W. About the Artist: For as long as I ca...

Jim Beckner's (US based) "Bright Lights" is an original, handmade oil painting depicting pedestrians strolling down a brightly lit city street at night. About the Artist: (Born 19...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Martha Walter (1875-1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followed by the Pennsylvania Academy of the Fine Arts. It was at the Academy that Walter’s artistic talent was discovered. An admiring instructor by the name of William Merritt Chase took young Martha under his wing, giving her both inspiration and direction. She additionally enrolled with Chase at his summer school in Shinnecock, Long Island and in 1903, was awarded the Cresson Traveling Scholarship by the Pennsylvania Academy. This sent Martha Walter on travels to France, Italy, Spain, and Holland, where she attended the Grand Chaumiere and the Academie Julian in Paris. Afterwards, she established a studio on the Rue De Bagneaux in France with several other American women artists. In 1909, Walter won the Mary Smith Prize from the Academy for a portrait she had painted while in Europe. At the onset of World War I, Martha returned home and began painting plein-air subjects, such as Ellis Island, the fishing village of Gloucester, scenes of cheerful children, and the quintessential American beach scenes which have brought her national acclaim. Throughout her life, Walter continued to travel with great regularity capturing in oil and watercolor a wealth of landscapes and cultures across the globe. Martha lived a charmed life...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

François Désiré Antoine Gailliard. Belgian ( b.1861 – d.1932 ). Le Petit Jardinier, 1887. Oil On Canvas. Signed & Dated Lower Right. Image size 36.6 inches x 28.5 inches ( 93cm x 72.5cm ). Frame size 41.7 inches x 33.5 inches ( 106cm x 85cm ). Available for sale; this original oil painting is by the Belgian luminist artist François Gailliard and is dated 1887. The canvas and the painted surface have benefitted from cleaning, restoration and conservation, which was performed on our instruction, supervision and approval. The painting is presented and supplied in its original frame. The frame has been restored and reinforced with supporting brackets along with new replacement hanging fittings. This antique painting is now in very good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed and dated lower right. The renowned Belgian luminist painter, François Désiré Antoine Gailliard (also known as Frans or Franz Gailliard) was born in November 1861, in Brussels, Belgium. He was the son of Désiré Gailliard, a baker, and Anne Hubert. He grew up during a period when the country’s artistic landscape was flourishing. Raised in an atmosphere that encouraged artistic expression, Gailliard showed an early talent for drawing and painting. He pursued formal training at the Académie Royale des Beaux-Arts in Brussels, one of Belgium’s most prestigious art institutions. There, he studied under influential artists and developed the foundational skills that would shape his career. Gailliard initially joined the studio of Jean-François Portaels, then went on to study with Jules Hoeterickx, François Bossuet, and James Ensor. He also worked alongside Fernand Khnopt and became friends with James Abbott McNeill Whistler, the American artist, who he met in 1887 during stays in Berlin and Paris. He became part of the artistic and intellectual circles of Belgium, and other close friends included artists such as Alfred Stevens, Jean-Louis Forain and Félicien Rops. Finally, he joined the studio of Jean-Léon Gérôme in Paris. The academic environment in Brussels exposed Gailliard to various artistic traditions, but his work reflected an interest in pushing beyond academic conventions. Gailliard was particularly drawn to the evolving styles of the time, especially Realism and early explorations of Impressionism and Luminism, which would later define his signature style. Gailliard’s early work showed influences from the Barbizon School and other European Realists, focusing on meticulous, lifelike representations of nature, figures, and everyday scenes. Like many artists of his generation, he was deeply impacted by the works of French artists such as Jean-François Millet and Camille Corot, who emphasized the beauty in the ordinary and the rural. This focus on realism, combined with a sensitivity to light and atmosphere, became a defining feature of Gailliard’s work. However, Gailliard also admired Impressionism and its experimental use of colour and light. By the late 19th century, the work of French Impressionists like Claude Monet and Pierre-Auguste Renoir had gained international attention, and Belgian artists, including Gailliard, were beginning to incorporate these new approaches into their own work. His art became a fusion of detailed realism and a growing interest in capturing fleeting moments, light, and atmosphere—characteristics that placed him in alignment with Belgium’s Luminism movement. Gailliard’s paintings from this period are characterized by their use of light and their focus on everyday scenes, especially those connected to nature and the rural life of Belgium. While he was not a strict follower of Impressionist techniques, his work often employed similar methods, particularly the soft, diffused use of colour to create atmosphere. “Le Petit Jardinier” (1887), is one of his most notable works and exemplifies his ability to render both figures and nature with careful attention to light. Gailliard’s paintings were usually large canvases presenting genre scenes, portraits, nudes and landscapes. His works often highlighted the beauty in the ordinary and displayed a sense of quiet dignity and respect for his subjects. He also produced news cartoons, presented in French, Belgian and English weekly newspapers such as Le patriote illustré, Le petit bleu, and the London Illustrated News. Gailliard’s work was regularly exhibited both in Belgium and abroad. He presented his first painting at the 1881 Brussels Salon, then from 1882 to 1891 exhibited at the Salon des Artistes Français de Paris. He also exhibited in Berlin, and participated in major exhibitions, including those organized by influential art societies in Belgium such as Les XX and La Libre Esthétique, both known for promoting avant-garde art. Although Gailliard was not a founding member of these groups, his participation in their exhibitions placed him alongside other significant artists of his time, and he gained a reputation for his refined style and technical mastery. In 1897 he painted a portrait of King Chulalongkorn of Siam during his official visit to Belgium. Gailliard married Julie Constantine Maus in Brussels in 1898. They had a son, Jean-Jacques Gailliard, who also became an artist, designer and engraver. As Gailliard matured as an artist, his style remained rooted in realism and Luminism, though he also incorporated elements of Symbolism and Romanticism. His later works showed a deepening appreciation for mood and emotion, with a focus on portraits, landscapes, and scenes that often carried a sense of introspection. His paintings evoke a sense of calm and reflection, with light used not just to illuminate but to convey a deeper emotional or symbolic meaning. Gailliard went on to become the director of the Academy of Fine Arts of Saint Gilles, where, through the later efforts of his son, his reputation lives on. François Gailliard died in 1932 in Saint-Gilles, Brussels, where a street was named after him. He left behind a body of work that, while perhaps overshadowed by more radical movements of the time, remained respected for its craftsmanship and its commitment to realism and light. In the decades following his death, his work has been rediscovered and appreciated for its role in bridging the gap between Realism and the evolving movements of Impressionism and Luminism in Belgium. In 1957 he was given a retrospective tribute exhibition in the City Hall of Saint Gilles, organised by the Group d’Art Saint Gillois. Today, Gailliard’s paintings are celebrated for their quiet elegance, their masterful treatment of light, and their sensitive portrayal of everyday life. His work continues to be exhibited in Belgian art institutions, and he is regarded as one of the key figures of late 19th and early 20th century Belgian art. © Big Sky Fine Art “Le Petit Jardinier” (1887) by François Gailliard (also known as Franz or Frans Gailliard) is a captivating and significant oil on canvas painting, signed and dated by the artist in the lower right corner. In this evocative piece, a young boy, dressed in a blue apron over a striped shirt, stands confidently against a textured background of warm, earthy tones. His gaze is calm and proud. He holds a red geranium plant in a terracotta plant pot...

Title: French Impressionist Oil Painting of Montmartre with Sacré-Cœur Basilica By Fanch Lel (French b. 1930) Size: 10.5 x 8.75 inches (height x width) Oil painting on board, unframe...

The girl's gentle gaze, calm demeanour, and virginal dress convey a sense of innocence and purity. The large pearl earring may symbolise wisdom, intuition, and inner knowledge. The p...

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

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...

Oil on canvas Ramaz Chantladze is a Georgian artist was born in 1960 who lives and works in Tbilisi, Georgia. He studied at Jacob Nikoladze School of Art. In 1979-1985 he studied at...

Hieronymus FRANCKEN III (Antwerp 1611 - 1671) 17th century Antwerp School The Denial of Saint Peter Oil on panel, dim. h. 53 cm, l. 76 cm Framed, h. 82 cm, l. 106 cm Sold with the ...

Artist/ School: French Impressionist, after the earlier work by Manet (see verso). Title: Figures by boats on the river Medium: oil painting on canvas, unframed canvas: 24 x 19.7...

The Wounded Traveller Signed M. Bishop lower right (thought to be Irish) dated 1918 verso (possibly depicting a soldier returning home from WW1?) signed oil on canvas, unframed canv...

RARE museum-quality example of a 19th‑century Russian plein‑air oil study on canvas, executed with swift, confident brushstrokes by the skilled hand of a masterful artist. The tall f...

Oil on canvas 133,5 x 116 cm (161,3 x 146,5 cm avec l’encadrement) = 52.6 × 45.7 in (63.5 × 57.7 in with frame) Signed lower right A pile of luxurious fabrics, a velvet jacket and t...

Ray Richardson is a contemporary British artist known for his cinematic paintings. The artist employs icons of working-class London, including bull terriers, soccer pitches, and grit...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

La obra va firmada en firma apócrifa y fechada del año 1899 La obra se presenta enmarcada (el marco tiene las esquinas un poco separadas y despegadas) Medidas obra: 55 cm. De altur...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Ar...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Omo...

Oil on canvas mounted on board, realized by Luis Burgos in the early 2000s. Hand signed and dedicated. Very good condition.

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...

His paintings, created to the very last detail using the techniques of the Old Masters, work with classical compositions while depicting a subject of central importance to their crea...

Title: French Impressionist Oil Painting of Fishing Boats by the Village Shore By Fanch Lel (French b. 1930) Size: 7 x 9.5 inches (height x width) Signed: Yes Oil painting on board, ...

This intimate genre scene depicts figures gathered around a table in a dimly lit tavern interior, rendered in the characteristic warm earth tones and dramatic chiaroscuro lighting ty...

Important Victorian painting depicting Alexander Smith. It has a fantastic frame and is in excellent condition. Written Alex Smith (...) on the letter.

Anicet Charles Gabriel LEMONNIER (Attributed to) Rouen, 1743 – Paris, 1824 Venus and Adonis Oil on wood panel Not signed 24 x 20 cm (35 x 31 cm with frame) Very beautiful old frame i...

Born and raised in New York City, Grace (Gay) Betts (1883-1978) became a peripatetic painter of Western and Southwest landscapes and Indians, and her subjects included Yosemite National Park and Arizona tribal members. She was also a muralist who did backdrops for animal displays...

Emeline #4, 2020

NYC Subway Mid 20th Century Modern American Scene Social Realism Contemporary David Atkins (1910 – 2012) Subway Train Departure 24 x 30 inches Oil on can...

French Romantic School 19th Century Manly head of bearded man oil on canvas 46 x 37.8 cm In fairly good condition, some inpaintings visible under UV light, mainly in the backgrounds ...

Provenance: Private Collection, Palm Beach, Fl. AB Levy Gallery, October, 2019 Description: Experience the captivating artistry of Anna Richards Brewster (1870...

Keimpe van der Kooi Garden Party 122 x 122 cm Framed: 132 x 132 cm ( This frame is included) Oil on wood panel This Painting is made by Dutch Artist Keimpe van der Kooi. The impre...

[Bruce Sargeant (1898-1938)] Man with Red Fez n.d. Signed in red, u.r. Double-sided oil painting on panel 30 x 24 inches

Albert Heckman Cubist Landscape Oil on canvas 16 x 20 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art w...

A Charming, 1960s Mid-Century Modern Portrait of a Young Man by Francis Chapin (Am. 1899-1965). With wonderful expressionist brushwork and a vibrant palette, the painting most like...

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra con un marco del siglo xix en madera estucada y policromada (el marco presenta algún leve descolche) El es...

Giovanni Battista Beinaschi (Fossano, Italy, 1636 - Naples, Italy, 1688) Title: Saint Bartholomew Medium: Oil on canvas Dimensions: without frame 9...

Abstract Figurative ARTIST: Hayk Gasparyan WORK: Original oil Painting, One of a Kind Medium: Oil on Cardboard, Unique style, YEAR: 2016 STYLE: Abstract, Figurative SUBJECT: Bycking...

Oil on canvas realized by Alberto Gallerati (b. 1945) in 1970s. Hand signed. Very good condition.