Armory Paintings

"Paper Making" WPA Industrial Mid-Century American Scene Social Realism Workers Douglas Crockwell (1904-1968) "Paper Making" 19 x 39 inches Oil on board, c. 1936 Signed verso Framed: 28 x 47 Provenance: Estate of the Artist BIO Spencer Douglass Crockwell was born into a comfortable middle class household on April 29, 1904 in Columbus, Ohio. His father, Charles Roland Crockwell, was a mining engineer; his mother, Cora, was the daughter of an Iowa attorney. He became a commercial artist and experimental filmmaker who spent a good part of his career creating illustrations and advertisements for the Saturday Evening Post. In 1907 the Crockwell family moved to St. Louis, Missouri, where he graduated from high school and then attended from Washington University. Initially he studied engineering, but soon switched to business. While still an undergraduate, Crockwell took courses at the St. Louis School of Fine Arts and quickly realized that he wanted to be an artist. After graduating from Washington University in 1926, Crockwell continued to study at the St. Louis School of Fine Arts until 1929. The following year he relocated to Chicago and continued his studies at the American Academy of Art. In 1930 and 1931 he studied in Europe on a Traveling Fellowship. In 1932 Douglass Crockwell moved to Glens Falls, New York, which was to be his home for the remainder of his life. The following year he married Margaret Braman. They had three children, a son Douglass and two daughters, Johanna and Margaret. During the depression he created murals and posters for the Works Progress Administration including Post Office murals in White River junction, Vermont; Endicott, New York; and Macon, Mississippi. In 1934 he painted Paper Workers, Finch Pruyn & Co. (the leading Glens Falls, New York company) for the WPA. In the 1930s Crockwell developed an interest in experimental animated films that occupied him for the rest of his life. In 1936 and 1937, he collaborated with David Smith, a sculptor, to create surrealist films. Because of his interest in experimental films, his output of paintings was limited to just twenty to forty illustrations a year during this time. Crockwell painted his first of many Saturday Evening Post cover in 1933. He also worked for Life, Look, and Esquire, and numerous national advertisers including Friskies dog food, Welch’s Grape Juice, Republic Steel...

Paul Riba (American, 1912-1977) Untitled Oil on panel Signed lower right 30 x 18 inches 39.25 x 27.25 inches, framed Paul Riba was a painter of Magic Realism. He explored the unrea...

Oliver Dennett Grover Grand Canal, 1926 Signed and dated lower left Oil on canvas 24 x 30 inches Grover's family relocated to Chicago during his childhood. There, he dedicated a si...

About the artwork Having always had a love for vintage watches, Martin thought it was about time he painted a couple. Here we have a timeless classic the Rolex Submariner. Launched ...

"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...

A striking still life arrangement of sardines and a lemon on a plate, accompanied by a bottle and knife positioned on a table. The composition employs an unusual aerial perspective, ...

Pierre Henry (1924 - 2015) Hand signed and dated '66 lower right. Dimensions: (Frame) H 29.25" x W 13.25" ; (Painting) H 23.75" x W 8" Intentionally crackled paint finish. Pierre-Henry sociétaire des grands Salons à Paris et vice-président de la Société Nationale des Beaux-Arts. PIerre Henry studied painting, the art of fresco and of etching in the Ecole Nationale Supérieure des Beaux Arts, in Paris. Since 1950, his first exhibition, his talent led him to become one of the leaders of the French figurative expressionist school. He was of the period of Jean jansem and Pierre Serrier andBernard Buffet "I believe that the artists, painters, poets, and musicians, are our society’s prophets, its preachers. They bear witness to their anguish face to face with humanity in total confusion, which feels and knows it is threatened. At first smooth, the painting slowly acquires reliefs. The lacquer color is dazzling and the backgrounds alone make up genuine paintings. That especially sumptuous texture emphasizes their graphic precision. Smooth paint, flattened out, provides a lacquered effect, and brings to mind the great Flemish masters’ works. Of the generation of great post war French artists he has shown with Jean Pierre Alaux, Lucien Philippe Moretti, Edouard Pignon, Henri Michaux, Guy Cambier, Jean Fusaro, Mara Tran Long, Claude Mourier...

Original and unique artwork by Russell Young. Acrylic paint, enamel and diamond dust screen print on linen, unframed dimensions 48 x 62 inches, 2011, from the series "Guns". Hand sig...

Ulysses at Home, 2011 Acrylic Paint on Canvas, (Signed, front left corner) 94.48 H x 86.61 W in. 240 H x 220 W cm The artwork "Ulysses at Home" was part of the solo show “Epic”. Thi...

Piccola guarnitura Colleoni Milano (?) ca. 1600 - ca. 1610 Colleoni Garniture An armor garniture is a complete suit of armor with a set of exchange elements designed to adapt the basic unit to different uses, such as tournament or battle. This armor is extraordinarily complete and homogeneous. Its ornaments are in the French style, but the type of workmanship reveals the Milanese origin of this armor, dating to about 1600. According to tradition, it belonged to the Colleoni family of Bergamo and Guardino Colleoni probably owned it. Historical references per the Museum Poldi Pezzoli. Armor for Heavy Cavalry French ca. 1600 One of the best-preserved French armors...

Candle Lit Interior by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 25.5 x 36 inches condition: overall very good, minor surface s...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Ma...

Title: 701 Tank Medium: Oil on canvas Size: 20 x 20.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting...

Contemporary figurative oil on canvas painting by Polish artist Waldemar Marszalek. Artwork shows woman in nude holding an apple in each hand while man in a long coat and white colla...

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...

French school early 18th Century Portrait of a cleric, oil on canvas 68 x 54 cm, oval Not signed which is normal for this type of artwork I recently had this painting cleaned and r...

French School, second half 20th century Signed oil painting on board, unframed board: 26 x 21 inches provenance: private collection, France condition: overall good with a few scrat...

"How Come" is a Modern surrealist oil on canvas painting by Irving Norman in 1968. The artwork is 90 x 60 inches and 91 1/4 x 61 1/2 x 1 5/8 inches with the fram, weighing less than ...

"Impenetrable Princess" (2020) by Denise Dambrackas is an original mixed-media painting that depicts a young girl firing a bow in front of a crowd. This painting measures 25.5 x 31.5...

The battle depicted here takes place between the Lapiths and the Centaurs at the wedding feast of Pirithous to Hippodamia. Pirithous, the king of the Lapiths, had long clashed with ...

One might reasonably ask: What were the 16th-century Spanish colonizers thinking when they took on the conquest of the Philippines? The archipelago nation is comprised of 7,641 islan...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2014 Style: Contemporary Art Title: Still Life Composi...

William Bailey’s still life paintings present seemingly everyday objects, including bowls, pitchers, and cups, in groupings that conjure the familiar world while offering a metaphysi...

These paintings reflect the love Nancy Baker has for combining classical imagery with an image that is strange. The most direct example is in Alien Nation where i have a potter at a ...

Title: Fruit - Kiwi Medium: Oil on canvas Size: 19.5 x 19.5inches Frame: Framing options available! Age: 2000s Condition: Painting appears to be in excellent condition. Note: ...

Work on canvas

Kar_Part is an LA native, mechanical engineer product designer turned street artist fueled by a growing frustration with socio-political, economic, and behavioral conditions. His l...

This painting, one of ten, belonging to a series of works exhibited in 2017 for the " DECADES " exhibition, that tell the atmosphere of 70's Dimension: 150 cm x 150 cm. Acrylic on C...

Contemporary neutral toned social commentary collage by Texas based artist Ken Luce. Created using modified shooting range targets after experiencing an armed robbery, the work feat...

Justin Allen Springfield, MO Justin Allen brings extraordinary technical mastery to oil painting, rendering everyday objects with precision so striking they verge on the surreal. A...

Stephen Hall's thought-provoking imagery draws attention to the profound impact of consumer culture on the environment, emphasizing the urgency of addressing climate change. Through ...

LeMat Debut by celebrated realist painter Ken Orton is a commanding 36 x 48 inch oil on canvas that fuses photorealistic technique with cinematic storytelling. At first glance, it’s ...

Denied Warhol Guns (Silver Black Red ) Painting on canvas by Charles Lutz Silkscreen and Aluminum paint on canvas with artist's Denied stamp of the Andy Wa...

after: Hans Memling's "The Last Judgment" triptych (c. late 1460's), Bambi's mother from Disney's "Bambi" (1942) acrylic on panel, mounted on a J.P. Sau...

SALE ONE WEEK ONLY This painting of four different species of fish that can be found in South Korea is from the mid-20th century Korean artist Kim Kyung. Seafood from both the seas that surround the peninsula and from its rivers are an integral part of the livelihood and cuisine of Koreans. Kim Kyung (in Hanja, 金耕, in Hangul 김경) was born in South Korea, his real name, under the current Revised Romanization was Kim Gyeong-Eun (in Hanja 金萬斗, in Hangul 김경은). His name follows the East Asian convention of family name first, though some Western galleries choose to reorder his name with the Western convention as Kyung Kim. He was born in Hadong, Gyeongnam during the Imperial Japanese occupation, as the eldest son of a poor farm family, and at the age of 18 he entered the art department of Japan University. In 1943, he returned to his hometown to escape being drafted into the Japanese army...

This painting captures a moment of reckoning—the body collapsing toward the earth, fists clenched in a visceral acknowledgment of defeat. The figure’s surrender is both physical and ...

Denied Warhol Guns (Silver) Painting on canvas by Charles Lutz Silkscreen and Aluminum paint on canvas with artist's Denied stamp of the Andy Warhol Art Au...

Denied Warhol Guns (Salmon/Pink) Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with artist's Denied stamp of the Andy Warhol Art Auth...

Date: 2011 Medium: Acrylic on Canvas Dimensions: 30.00" x 24.00" Signature: Signed and Dated Lower Right and Verso

Denied Warhol Gun I (Salmon/Pink) Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with artist's Denied stamp of the Andy Warhol Art Aut...

John Little, Canadian, b.1928 Quebec, 1991 Oil on canvas 8 x 10 Signed on the lower right: John Little Titled, dated and signed on the reverse: ’91 Provenance Galreie Walter Klinkho...

Landscape BW is a unique and original artwork created with mineral oxide on round canvas (40 cm diameter). Part of Marilina Marchica’s ongoing research on landscape and sign, the pie...

This captivating trompe-lœil painting showcases Jean Grimal’s extraordinary mastery of illusion. A vivid red cardinal, a black wooden flute, curling manuscripts and brittle music she...

American, 19th Century Signed: J. Perry '99 (Lower, Right) " Memorial for the Michigan Unit Co. L 33 That Fought in The Spanish-American War ", 1899 Oil on Canvas 23" x 46 1/4" ...

Date: 1909 Medium: Oil on Canvas Dimensions: 26.00" x 22.00" Signature: Signed Lower Right PRICE ON REQUEST- The Saturday Evening Post Magazine Cover, December 10, 1909

This still-life is made by Dutch painter Erik Zwaga. The painter started in the style of the romantic school, Erik Zwaga began to search more and more for his own visual language...

Elena Burykina's "Ceremonial" (2025) is an original, handmade oil painting on panel. Artist Statement: Ceremonial Armor French ca. 1575-80 The helmet is a part of armor that is impo...

Juris Dimiters is among the most intellectual and witty artists of his generation. The characters of his works – paintings and posters – mostly are anthropomorphized fruits and objec...

Marshall Jones is a realist painter born in Atlanta Georgia, and presently working and living in New York City. From 2008 to 2015 Marshall was the recip...

Title: Gondolas on the Grand Canal with Santa Maria della Salute Venice By Tony Herbert (1927-2024) Signed: Bottom right corner Medium: Watercolor on paper, unframed Size: 11.25 inch...

John Atherton 1900-1952 American The Bass Season Saturday Evening Post cover, June 29, 1946 Signed "Atherton" (lower right) Inscribed "The Bass Season opens in the east July 1st /...

Oil measures 46x55 cm. Frameless.

Jasper Leadbeater, Money Lending Business, 2025 Spray-paint and shotgun shells combine to create Money Lending Business. Vinnie Jones, in his iconic role, looms large in this incred...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Ma...

Story illustration for “Last Gun of the Confederacy” by Charles E. Hinkson published in Reader’s Digest, September 1964, pages 58-59. Original copy of magazine included. The illustr...

Juris Dimiters is among the most intellectual and witty artists of his generation. The characters of his works – paintings and posters – mostly are anthropomorphized fruits and objec...

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Ma...

"The Kitchen Interior" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) signed bottom right oil painting on board, unframed Measures: painting: 10.5 x 13.75 inches A fine 20...

Medium: Oil on Canvas Signature: Unsigned Study for the July 7, 1917 cover of Collier's National Weekly (the title story was "Why I'd Let My Boy Go To War").