Pennsylvania - Figurative Paintings

This piece, titled "Wanderer 10" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through" is made of collage, charcoal, pastel, acrylic, and gra...

This female nude piece titled "Paradox" is an original artwork made from oil on panel by Lauren Rinaldi. This piece measures 24”h x 18”w. Lauren Rinaldi (b. 1983, Brooklyn, NY) is a...

This large-scale oil painting on a wood panel bursts with kinetic energy and bold color, dominated by a vivid red background that envelops and contrasts with dynamic strokes of blue,...

“Impressionist Landscape, c. 1915-1920” by Francis Stillwell Dixon (American, 1879-1967). One of Dixon’s finest canvases, depicting a tranquil forest scene bathed in soft, dappled l...

Warm air seems to move through this scene as the eye wanders along a gentle swale dotted with granite boulders, low stone walls and scrubby autumn color. A ribbon of meadow pulls us ...

“Jamaican Girl by the Palm Tree, c. 1930” by Will Howe Foote (American, 1874-1965) A fantastic portrait of a young Jamaican woman set against a vibrant palm frond, painted by the re...

“Portrait of a North African Man, 1872” by August Holmberg (1851-1911) This striking oil painting by the German painter, August Holmberg, depicts a richly detailed and intimate port...

This piece titled "Home Plate 14" is an original artwork made from oil paint and acrylic on panel by Lauren Rinaldi. This piece is freestanding and measures approx. 7.25"h x 2.5"w x ...

Bucks County Farm in Winter is a figurative landscape by Pennsylvania Folk Art painter, Jean Halter. The 12" x 16" oil on board painting is framed and signed "Jean Halter" in the lower right. Jean Harris Halter was born in 1916 and spent her youth between Thornburg, Pennsylvania where her father oversaw Harris plumbing, and Camden, South Carolina, where they also had a home. She studied art, among other things, in Converse College. In 1939 she married Robert Halter, a musician with a traveling big band, which he quit soon after marrying. While he was gone for three years with the Signal Corps in the South Pacific, Jean took care of their two little daughters, their kennel of Pulis, and began to paint antique chairs...

“North African Man, c. 1916-21” by Caleb Arnold Slade (American, 1882-1961) Inspired by Slade’s travels in Algeria and Tunisia, this remarkable portrait depicts a young man standing...

“A Lady in Black, 1894” by Paul-Marie Lapierre Renouard (1854-1940) This exceptional pastel portrait of an elegant woman in black is among the artist’s finest works. A close examina...

Known for his evocative, snow-covered landscapes, Koeniger brings this subject to life with his bold, confident brushwork and keen eye for natural light. The composition centers arou...

This piece, titled "Wanderer 16" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of collage, charcoal, pastel, acrylic, and graphi...

"Path to Joy" is an original piece by Kevin Snipes made from ink, gouache, and acrylic on paper. This piece measures 19.5”h x 9.25”w and is signed en verso. Kevin Snipes (he/him) is...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

“Quebec City, 1853” by Edmund C. Coates (American, 1816-1871). A luminous 19th-century view of Quebec City by the American painter Edmund C. Coates, known for his detailed Hudson Ri...

With a studied hand, Sloan captures the human theater of a snow-covered Central Park filled with bundled-up New Yorkers, sledding, walking, chatting, and caring for children. The exp...

A vibrant Bermuda seascape depicting the rocky shoreline with turquoise waters breaking against sunlit boulders beneath a sweeping tree. Mears uses bold, textured brushstrokes and a ...

“A Mulatto Girl, 1879” by Walter Scott Boyd (British, c. 1860-c. 1950) The identity of this young girl is presently unknown; however, the title of the work reveals some information ...

“The Big City, 1948” by Anna Elkan Meltzer (American, 1896-1974) One of Meltzer’s finest works, this painting encapsulates the organized chaos of Grand Central Terminal in NYC in th...

Original cover illustration for Collier's magazine, published March 22, 1930 EXHIBITED: The Frederick R Weisman Museum of Art, Pepperdine University, Malibu, California, "Illustrat...

A beautiful coastal painting by Massachusetts artist Joseph H. Greenwood, known for his evocative New England landscapes. This work captures the quiet charm of the Dartmouth coast ne...

“Guitar Player in Recife, Brazil, 1886” by Ferdinand Piereck (1844-1925) An extremely rare 19th century painting of a Brazilian guitarist by Austrian-Brazilian artist Ferdinand Pier...

A wonderful view of a charming European town. This work captures the quiet intimacy of a cobbled lane, its golden stones leading the viewer toward a cluster of whitewashed and brick ...

This piece titled "Everywhere and Nowhere" is an original painting by Sarah Detweiler and is made from oil paint on gallery wrap canvas with preserved moss edges. This piece measures...

This piece titled "Rest"is an original artwork by Alain Jean-Baptiste and measures 48"h x 36"w x 1.5"d. This work is made from oil paints on canvas and ships with a gallery-issued Ce...

"Samskaras" is an original oil painting by Lauren Rinaldi, debuted at the artist's solo exhibition, "At Arms Length". Lauren Rinaldi works using unbiased portraits of women’s bodies ...

This piece, titled "Wanderer 9" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through" and made of collage, charcoal, pastel, acrylic, and gra...

"Shape Up (diptych)" is an original artwork by Eustace Mamba and measures 24”h x 18”w x 1”d (left panel), 48”h x 24”w x 2”d (right panel). The artists cuts, arranges, sews, and coll...

This interior portrait of a woman dressed in an elegant lace shawl is a 30" x 25" oil on canvas painting in the style of Jacob Eichholtz. The artist is unknown but the painting is believed to have been painted in the 1840's. It is not signed but framed and in good condition. Provenance: Private Collection, Old Queens Gallery...

Ralph Cahoon Jr.'s whimsical paintings are not only lighthearted and charming, they are also the hallmark of his creativity and imagination. His playful approach to painting and info...

Maxfield Parrish’s Egypt, commissioned for the 1922 calendar and likely painted in 1920 or 1921, formed part of his series chronicling humanity’s evolving mastery of light, following...

“The Champ, 1942” by Theodore Fried (1902-1980) This important portrait by Hungarian-American artist Theodore Fried depicts the legendary boxer Joe Louis aka “The Brown Bomber” and ...

"American Cheese" is an original artwork by Eustace Mamba and measures 24"h x 24"w x 1.5"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of textu...

“Portrait of a Lady in White, c. 1905-10” by Joseph Oppenheimer (1876-1966). An exceptional portrait by Oppenheimer of a spirited young woman turned in half-profile. This work exemp...

An exceptional example of Hartman’s early post-impressionist works. This lovely work depicts several female bathers alongside various birds in an enchanting landscape. In the lower ...

“Boats Resting, Nantucket, 1940” by Emily L. Hoffmeier (American, 1888-1952) A lovely depiction of a serene harbor scene by the important Nantucket painter and founding member of th...

This piece, titled "Wanderer 13" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through", made of collage, charcoal, pastel, acrylic, and graph...

This piece titled "Marie (Mother)" is an original artwork by Alain Jean-Baptiste and is made of oil sticks and oil paints on canvas and measures approximately 60"h x 48"w. Alain Je...

This piece, titled "Wanderer 11" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through" and is made of collage, charcoal, pastel, acrylic, and...

This piece, titled "The Meeting 29" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, an...

The painting "AUTOMATON BACKDROP" by Libby Rosa blurs the distinction between abstraction and representation. And that rational/irrational alignment is only...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. 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...

Cover of The Saturday Evening Post, October 27, 1906 Edward Penfield, widely recognized as the father of American poster design, revolutionized visual communication with his minima...

This piece, titled "The Meeting 30" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, a...

"Lunar Encounter with Child" by Philadelphia born modernist painter Leon Kelly, is a large, brightly colored surrealist portrait of two figures. The 40" x 30" oil on canvas was paint...

"Lumberville in Winter" is a 14 x 20 inches winter landscape by American Impressionist painter, Laurence A. Campbell. This regional, Pennsylvania scene is an excellent example of the...

"Looking Glass" is an original oil painting on canvas by American painter Lauren Rinaldi. The piece measures 36in x 36in. Lauren Rinaldi works using un...

Lauren Rinaldi works using unbiased portraits of women’s bodies as a vehicle to explore ideas about body image, sexuality and self-identity and is often informed by her own personal ...

Medium: Oil on Board Signature: Signed Center Left Study for Saturday Evening Post Cover 'Who, Me Work?' January 23, 1926

A wonderful example of Roseland’s beloved genre scenes from the turn of the 20th century. This painting depicts an elderly man seated at a cluttered table, gently interacting with a ...

Pastel on silk by Elizabeth O'Neill Verner. Verner (December 21, 1883 – April 17, 1979) was an artist, author, lecturer, and preservationist who was one of the leaders of the Charle...

An exceptional post-impressionist view of Florence, Italy by Carl Schmitz-Pleis (1877-1943). In the spring of 1910 Schmitz-Pleis and fellow friend/artist Walter Hugo Ophey travelled...

Provenance Private collection, New Jersey; Thomas Colville Fine Art, Guilford, Connecticut; Private collection, Connecticut, until present John Koch’s portraits of New York high soc...

ink on rice paper

"The Coward" (Woman Kissing Soldier). Original cover illustration for Life Magazine, published April 1919. Norman Rockwell’s The Coward (or, Woman Kissing Soldier) was published on...

This piece titled "I Give Myself Grace Now" is an original painting by Sarah Detweiler and is made from oil paint, recycled fiber packing material, crochet thread, acrylic mirror tiles on canvas with acrylic painted edges. This piece measures 48”h x 36”w and ships with a gallery-issued Certificate of Authenticity. In Unmasquerade, Detweiler positively redefines the ADHD term of masking as a purposeful and playful act, as her figures wear novelty sunglasses, fur suits...

A fantastic example of Marsh’s renowned depictions of ladies walking in downtown Manhattan. This richly worked ink and wash composition captures a sidewalk populated by stylish women...

Signed by Artist Lower Left The present work was published on the cover of the September 4th, 1948 edition of The Saturday Evening Post. An accompanying “Keeping Posted” article about Norman Rockwell’s process behind the painting was printed on page 10 inside the issue. (Image above) The Post described, “Boston baseball fans saw a strange spectacle at Braves’ Field early this summer. As the stands filled, two respectable-looking men stood on the field staring at the spectators. Every now and then they would point to someone, run up into the stands and invite the man or woman to sit in a box above the dugout. Then the thinner of the two would contort his face into an expression of wild delight or disgust and invite the spectator to do the same, while a photographer made pictures. The explanation is on our cover. The two suspicious characters were Kenneth Stuart, the Post’s art editor and the artist, Normal Rockwell. For a detailed description of how Boston...

Signed by Artist Lower Right The Saturday Evening Post, February 11, 1939, cover illustration Literature The Saturday Evening Post, February 11, 1939, cover illustration Thomas S....