Men Figurative Paintings

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

This is a painting of a man's head in a silver frame by Mark Beard. This work is made with oil on canvas, measures 12 x 9 inches, and is signed. ...

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...

Richard Gibbons Mother and Daughter, 2021 oil on canvas board 16h x 12w in 40.64h x 30.48w cm RAG090 Richard Gibbons Born in Toledo, OH 1972–1973 American Academy in Rome Archaeol...

Fisherman & Figures Signed by Fanch Lel Size: 10 x 12 inches (height x width) Oil painting on thick board, unframed Condition: Good condition overall with minor surface handling mar...

Old World, by 1943, oil on canvas, signed lower right, 43 ½ x 30 ½ inches, artist’s name and title inscribed verso; exhibited 1) Romantic Painting in America, Museum of Modern Art, N...

Violin Serenade - Blue Grass in the Nude Acrylic Abstract Expressionist on Paper A nude reclining in an emerald green chair gives an interesting o...

"Figures On The Beach" by Maurice Mazeilie (French) watercolour painting on paper, unframed double sided painting: 5 x 8 inches A delightful original oil painting by the 20th centu...

Using the striking imagery that is abundant in the California landscape, queer artist Kory Alexander creates dreamy paintings that are flooded with vibrancy and movement. Kory consid...

Using the striking imagery that is abundant in the California landscape, queer artist Kory Alexander creates dreamy paintings that are flooded with vibrancy and movement. Kory consid...

Medium: Oil on Board Signature: Signed Lower Left Sight Size 27.00" x 23.75;" Framed 34.50" x 37.50" Original cover illustration for The Saturday Evening Post, September 12, 1959. ...

Francois HEAULME Nude near the Source (Study after Courbet) Original Oil on canvas Signed bottom right On canvas 92 x 60 cm (c. 36 x 24 in) Excelle...

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...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Street Cleaners, c. 1940s, oil on canvas, signed lower right, 28 ¾ x 42 inches, Gallery Z...

"Watercolour Beach Scene" signed by Maurice Mazeilie (French) watercolour painting on paper, unframed stamped verso painting: 7.5 x 11 inches A delightful original oil painting by ...

Patrick Boudon. Inner Family. Post-war Expressionism. 1970s. Patrick Boudon. Art Informel. Ecole de Paris. Technique: oil on cardboard. This painting by Patrick Boudon from the 197...

Acr. on canvas painting. Evening walk - acrylic on canvas, impressionism seascape painting, 2019 Size of painting - 36cm x 36cm , (14" x 14") In the eve...

As an Antique sculpture, Dario Moschetta creates strength and movement in this artwork. Moreover, experimental technique brings an unique texture to the figure. Hair are waving alon...

"Fragment" by Rudolf Kosow is a deeply introspective miniature painting on wood that subtly plays with shadow and light to evoke a sense of hidden depths within the human form. This ...

Artist/ School: Berthe Noufflard, French 1886-1971, signed and dated 1937. Berthe Noufflard was the favourite pupil of Jaques Emile Blanche Title: 'Edga...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

San Ildefonso Market in Guatemala by artist William Kalwick depicts a typical market in one of the local towns that are held throughout Guatemala. This market takes place in Anti...

"Landscape" by Maurice Mazeilie (French) oil painting on artist paper, unframed stamped verso painting: 5.75 x 8 inches A delightful original oil painting by the 20th century Frenc...

Henry William Pickersgill, attributed to (London 1782 – London 1875) Portrait of Captain Samuel Wright Oil on canvas H. 92 cm; L. 73 cm Circa 1810/1815 Provenance: – Brother of the ...

Presenting a lifetime masterpiece painting by American artist Palmer Schoppe (1912-2001.) Mardi Gras: Commedia Dell’Arte, is an original oil on can...

A nude figure is suspended in air, being held up by an invisible force field and surrounded by loops of wire. The muscular figure is tense with all the defined muscles showing. The...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Presenting an absolutely stunning and large original oil by French artist Paul Alex Deschmaker. "Backstage" is an original oil on canvas, signed, dated 1931, beautifully framed an...

Ernani Silva, Brazilian - Six Figures, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 9.5 x 21 in. (24.13 x 53.34 cm)

A charming study of Gerhard ter Borch's 17th-century painting 'A Gallant Soldier'. The scene depicts a soldier and woman in a decadent interior exchanging coin. Unsigned. On canvas.

The concept of colour, race, and inequality is the concept of the mind caused by the general norms of a society, nation, or world at large . The general norms of the world that place...

Two figures float in a dark charcoal black ocean with their arms outstretched while cumulus clouds float in the coral sky overhead. Signed, dated and titled on verso. David Konigsbe...

One of kind creation by the famed artist. Collected worldwide. Homage to Benjamin Franklin and the Hundred Dollar Bill. Acrylic on Canvas Wrapped over Custom Made Box. About the Artist: Ultra Fine Money Artist TRAN$PARENT is an American based artist whose work is now on the moon. He specializes in museum quality, ultra-fine money art. Specifically American denominations from the $1 to the $10,000 bill and with special granted requests the Million Dollar Bill. He also specializes in various rare and well known International currencies. Creating game changing revolutionary art has been his life’s passion and he illustrates it beautifully in his TRANSPARENT artwork depicting the front, back and middle security features of his bills. His TRANSPARENT Art is actually a metaphor for being TRANSPARENT with your loved ones, with your business associates, but most importantly with yourself. He fine tunes each image to ensure the highest possible vibrancy and each image is personally quality controlled by him and is also hand signed and individually numbered. APs to Limited Editions his pieces are completely breathtaking and pop when viewed under regular or proper lighting. His pieces are not easy to come by and are becoming highly sought after. One of his many accomplishments was successfully orchestrating 12 different beautiful installations of his work at Miami’s Famous Art Basel 2018. His installations included being the featured artist at the opening night with the Miami Heat...

Unidentified French Artist (in the Manner of 17th Century Masters) "Saint with Icons" Medium: Oil on canvas Dimensions (Framed): 130 x 164 cm Dimensions (Canvas): 114 x 149 cm No sig...

A contemporary figurative painted portrait of a man in a blue shirt by Mark Beard/[Bruce Sargeant (1898-1938)] Portrait with Blue Shirt n.d. Signed in red, u.l. Oil on canvas 14...

Grand 17th-Century Style Genre Scene – Oil on Canvas A magnificent large-scale oil painting depicting an elegant gathering of noble figures in an architectural setting. This historic...

Figurative 1930's illustration of a just married couple in a classic car by Charles Kinghan (American, 1895-1984). Signed "Kinghan" in the lower left c...

Legendary Hollywood producer Samuel Goldwyn once said about making motion pictures, “If you want to send a message, use Western Union.” However, it’s likely that artist M.A. Calvin c...

Giuseppe Nuvolone (Milan, 1619 – 1703) Title: Adoration of the Magi Medium: Oil on paper applied to canvas Dimensions: without frame 16.5 x 24 cm – with frame 22 x 29 cm Antique sha...

Artist/ School: French School, 20th century Title: The Sword Fight Medium: oil painting on canvas, unframed canvas: 28.5 x 39.25 inches Provenance: pri...

Woman reading after Henri Matisse by Claire Ragueneau Impressionist seated woman reading a book after Henri Matisse by San Francisco artist Claire Ragueneau (American, 1901-1971). Cl...

Pair of Religious Scenes are an original pair of old masters' artworks realized in the 18th century by Anonymous Italian artist. Oil on canvas. Pr...

"Morning Beneath the EL" NYC American Scene Ashcan WPA Modern 20th Century Social Realism Bernard Gussow (1881-1957) "Morning Beneath the EL" 24 1/4 x 30 inches Oil on canvas Signed...

Large antique oil painting of Samson and Delilah after Anthony van Dyck Dutch, 17th Century Height 165cm, width 233cm This very large artwork ...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 12 x 9.25 inches Superbly decorative 1960's French portrait p...

Francis Mora is often considered to be the American artist who most depicted Hispanic culture in American and abroad. He made a trip to Spain in the early 1900's and created mostly ...

Sajal Sarkar - Untitled - 72 x 48 inches (unframed size) Oil on canvas Inclusive of shipment in a roll form. Style : In his paintings, the male nude form has fascinated him and has...

Flip Gaasendam The Service 55 x 50 cm Oil on Canvas This painting is framed (included in price) 60 x 55 cm This painting is made by Flip Gaasendam. An important member of the 'Dutch Northern Figurative Painters' . His paintings are called 'Poems in paint' . The place where he painted this work is at Schiermonnikoog, one of the Islands in the north of the Netherlands. He likes to stay and work on the island and pains he typical sphere of the old Dutch sphere in that famous Hotel, Hotel van der Werff. Flip Gaasendam tells with his paintings what he likes, there, in those places, he paints. His recognizable loose touch, carefully chosen colors, spherical landscapes, interiors and portraits have been part of the permanent collection of Galerie Bonnard for years. hat is, we believe, a good description of the works of this highly esteemed artist. "Poetry in paintings" is also a statement that fits with the work and can be read in the numerous descriptions that can be found about the artist. The artist himself says that he wants to put life to a halt in his work. He says the following about his way of working: 'Because I am an aquarellist from home, I learned how to paint transparently in tone and tone. I also use that in my oil paints. My work is classified as post-impressionistic. When I paint, however, I forget everything about art history. I like a lot of things, from Alma Tadema to Andrew Wyeth, but I am a painter of today. It therefore goes too far to say that I consciously go back to the past. I work unorthodox. I do not apply the paint with a fixed method. I brush with wipes, use the palette knife, work with my hands, etc. That my palette is heavily controlled by the color green, is because I often make a painting blond with cobalt and ocher. My themes are often nostalgic and romantic. as a child, I thought the morning mist was beautiful, and with the light effect in the Groninger station restoration it is just as well. ' This modest artist can rightly be called one of the forerunners of the new impressionism...

‘Fall’. Original Oil Painting by Jean-Luc Almond [2016] Original Figurative Oil paint on Wood Complete Size of Unframed Work: H:40 cm x W:30 cm x D:3cm Sold Unframed Please note that...

Portrait of Giuseppe Garibaldi is an original modern artwork realized in the late 19th Century It represents the "Hero of the Two Worlds", Giuseppe Garibaldi. Mixed colored oil pai...

This intimate painting of two women illuminated by a single candle creates a dramatic chiaroscuro effect that draws the viewer's attention to the central figures. The tender moment b...

Shana Wilson (Canadian, born 1966) "Seated Young Man" 2015 Oil paint on cradled wood board The artist signed the back of the painting. About the Artist: Shana Wilson, born in Edmont...

Listed price includes $150 additional cost of framing. This work is offered by ClampArt in New York City.

The Fisherman and his Catch 19th century British School, unsigned oil on canvas, framed framed: 13 x 15 inches canvas: 10 x 8 inches Proven...

MOONRISE WITH YELLOW CUP Size: 54.5 x 62.5 cm (including frame) Oil on canvas A quiet and introspective mid-century modernist figurative painting, executed in oil onto canvas by the...

"SunBathers" by Maurice Mazeilie (French) watercolour painting on paper, unframed stamped verso painting: 6.25 x 9 inches A delightful original oil painting by the 20th century Fre...

MAGDALENA SPASOWICZ Studied painting under prof. Jan Cybis and graphic arts with prof. Tadeusz Kulisiewicz at the Academy of Fine Arts in Warsaw. She receive...

Martin Mull is a singular artist whose iconography directly translate the American culture.