Men Art

Poster for the Kerry James Marshall exhibition titled 'Mastry' which was held at the Metropolitan Museum of Art October 2016 - January 2017. "Mastry" exhibition at the Metropolitan...

A fantastic oil painting on canvas by the renowned artist Heywood Hardy. The image shows a traditional English scene with a huntsman dressed in his riding jacket seated on his horse...

She need not move (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3298 Not mounted. St...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

Ten color screenprint on hand torn archival paper. Dimensions of 20.5×22.5 in. Released in 2016 from a sold out edition of 125. Mr. Brainwash is an icon and a great investment. Pri...

'The Bather', oil on board, by Charles Kvapil (1934). The world of art has for centuries depicted bathers in one form or another. Kvapil's wonderfully allur...

Andrés Barajas (Spain, 1941) 'Untitled from Portfolio "Los Deseos"', ca.1990-1999 mixed media on paper 20.9 x 15 in. (53 x 38 cm.) Edition of 200 ID: BAR1017-022-200 Hand-signed by a...

Medium: original lithograph. This Beaudin lithograph was printed in Paris in 1961 by the Mourlot Freres atelier and published by Editions Verve. Size: 11 1/2 x 8 3/8 inches (293 x 21...

This ambitious composition illustrates the ancient episode of The Ring of Polycrates, drawn from Herodotus. In the story, the king of Samos, blessed with continuous success, is advis...

Oil on wooden table realized by Luigi Granetto in 1998. Hand signed. Includes a wooden frame realized by the artist cm. 50x60.

Open and Limited Edition Silver Gelatin Prints
 Hand Signed by Bob Gruen Please contact us for inquiries of desired size: 8" x 10" Unframed
Open Edition 11" x 14" Unframed
Open Edi...

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

ARTIST: Salvador Dali TITLE: La Quete du Graal The Pass og Gadalore MEDIUM: Etching EDITION NUMBER: XV/XXV SIGNED: Hand Signed by Salvador Dali PUBLISHER: Pamela Verlog MEASUR...

Raymond Pettibon Black Flag poster circa 1983: Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic l...

This primitively rendered but admiring tribute to George Washington has a distinguished artistic lineage. The painter was undoubtedly in the presence of a much admired print engraved...

This mid-1970s landscape photograph, captured by society photographer Slim Aarons, features friends boarding a riva boat in Monte Carlo, Monaco, This is an estate stamped and hand n...

Circle of Giambattista Piazzetta (Venice 1683 - Venice 1754) - Six Half-Length Apostles. 62.5 x 52.5 cm (unframed) - 72.5 x 62.5 cm (framed). Group of six oils on canvas, in contem...

This superb Italian religious Old Master portrait oil painting is attributed to follower of Guido Reni. Painted circa 1620, it is a head and shoulders portrait of Saint Jerome (about...

A striking Art Deco watercolor created after an original design by René Vincent (1879-1936), this lively golfing scene captures the playful elegance and graphic charm associated with...

A print by Russell Young. "Easy Rider (black+silver)" is a black and silver, contemporary Pop Art screenprint on canvas by UK artist Russell Young. The artwork is edition RY and is p...

"Crowning Glory" by Bert Hardy Premium Rates Apply. An elegant Parisian spends the morning in a Champs Elysees cafe. Original Publication: Picture Post - 5343 - Sunday Morning In Th...

Correccion is an original artwork realized by Francisco Goya and published for the first time in 1799. Etching on wove paper. This artwork belongs to the Third Edition published in...

Vanity Fair legal portrait of John Patrick Murphy QC. 380mm by 260mm (sheet)

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Pete Townshend of The Who "If The Hat Fits" taken during an outdoor photo session Jackson, Mississippi August 2, 1967 Special co-signed limited edition, image selected by Pete Towns...

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...

This reproduction of De Kaartspelers (The Card Players) by Theo van Doesburg was published in the Netherlands by Art Unlimited. The original painting, created between 1916 and 1917, ...

Original watercolor and gouache artwork of the New York Public Library mounted to board by Charles Cobelle. Signed lower right. Condition is very good. Circa 1960. The artwork is h...

Gustaf Höglund (1910-1994) Sweden Självstudie (Self Study), 1939 signed and dated lower left oil on canvas unframed 71 × 31 cm (28 × 12.2 in) framed 79 × 39 cm (31.1 × 15.4 in) T...

Artist Comments
A woman wearing a ribbed long-sleeved top, loose jeans, and white shoes sits on the steps. Viewed from an elevated angle with her head cropped out of the frame,...

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...

Vintage black and white photograph realized in 1970s. Very good condition.

This exquisite lithograph after Marc Chagall (1887–1985), titled Le Bouquet d'amoureux (The Lovers' Bouquet), from the folio Les Peintres mes amis (The Painters My Friends), originat...

The present work depicts a voodoo healing ceremony unfolding. By mixing nature-based religion originating in West Africa with Christian beliefs, the ceremony serves as a surrogate fo...

Original horizontal “Resilio Scotchspun” vintage fashion poster. Archival linen backed and presents in excellent condition. “A Bonnie Heila...

A mother and her two young children examine a bird's nest beneath the shade of a tree in this idyllic scene by Belgian artist Clara Wulffaert (1812-1867). Signed to the lower left. W...

Vintage darkroom Cowboy photograph circa late 1980s: A superbly rendered vintage darkroom photograph, surrealistically exploring the mythology of the American cowboy set amidst blazing skies. Cibachrome (darkroom print) circa 1989. Bright, lush colors. Paper size: 11 X9 inches. Image: Approximately: 8x10 inches. Very good overall vintage condition. Unsigned from an edition of unknown from unknown photographer. Related Categories: Landscape photography. Cowboys. Richard Prince Cowboys...

Couple Sharing a Chair at Party - Romantic Couple Silver Gelatin Photograph An amorous couple embraces intensely at a party, almost catching the attention of nearby partygoers... Th...

“Goofy Eyes” is a contemporary acrylic painting by French artist Natalya Mougenot, created on heavyweight Italian paper as part of her expressive series of character-driven animal po...

THE LAMP is a hand drawn limited edition color lithograph by the renowned American master artist Romare Bearden, proofed and printed using hand lithography in 19 colors plus silver f...

Two men stand back-to-back, their mirrored poses creating both tension and harmony. One is dressed in a vibrant turquoise suit paired with a crisp white cowboy hat, while the other w...

'Topers in a Tavern' Circle of Jacob Toorenvliet (Dutch 1635 - 1719) oil on panel, framed framed: 9 x 7 inches panel: 7.5 x 6 inches provenance: priv...

Self-portrait 1 2009, canvas, acrylic, 140x98 cm. Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially active and political art. Juris ...

Oil on canvas by Amedee de La PATELLIERE, France, 1928. Eclipse with four characters. With frame: 63x54 cm - 24.8x21.25 inches ; without frame: 41x33 cm - 16.15x13 inches. Format 6F....

Signed Adolfo Perez Frame size 75x66 cm.

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition

Medium: original lithograph (in two sections). Printed in 1964 and published by Eberhard Kornfeld for the 1 Cent Life portfolio in an edition of 2000. Size: 16 x 22 3/4 inches (408 x...

H.C. Westermann Untitled (Scarecrow with Cow), 1972 2 Color Photogravure Year: 2000 Edition: 2 of 30 Paper Size: 20.75 x 26 inches (52.7 × 66.0 cm) Publisher: Landfall Press, Chicag...

Artist: Oleg Kateryniuk Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2022 Style: Figurative Art Title: Lo...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hart Ski Vintage Poster...

" Deconstruccion V " original bronze iron original sculpture Sculpture by the Spanish artist AMANCIO GONZALEZ Artist well known for his large format works on the street. Iron and bro...

This mid-1960s photograph, captured by society photographer Slim Aarons, features Gordon Butler's Chevrolet Corvette Sting Ray at the Bahamas Speed Week at the Oakes Course, Nassau. ...

The illustrated title page to The English Dance of Death, designed and etched by Thomas Rowlandson, one of the most celebrated British caricaturists and satirical artists of the late...

‘Hunt the Slipper’ by Frederick Goodall R.A. (1822-1904). The painting – which depicts a large group of figures playing in English country woodland – is signed and dated 1848. 'Hunt...

This is a well done self portrait of the listed American artist Bernard Stafford Good. Painted in 1937, it is a fine example of American illustration art produced by the Brandywine School of Southeastern Pennsylvania and Delaware of the period. It also relates to Norman Rockwell and his illustrative style of the early twentieth century. The portrait is oil on c...

This intense bronze sculpture was made by the well known Italian artist, Aron Demetz, in 2004, Italy. This is a lost wax bronze hand painted. The title is "Guardando" translated in ...

Julian Trevelyan 1910-1988 Thames Ditton, 1969 etching and aquatint 41 x 55 cm 16 1/8 x 21 5/8 in signed, titled and inscribed in pencil, aside from the edition of 75 Julian Trevely...

Medium: Lithograph Edition Size: 100 Image Size: 25.6 × 20 inches Nahum Zenil’s Otro Sueño (“Another Dream”) merges autobiography, myth, and desire into a powerful symbolic composit...

"The Vanguard Series Nr. XXIII: A Collection of Postwar European Abstractions", oil on board, by unknown artist (circa 1950s–70s). A compelling body of work emerging from the forgott...

Rebecca at the Well Follower of Pietro da Cortona (Cortona 1596 - Rome 1669) Oil on canvas (50 x 66 cm. - Framed 63 x 84 cm.) The painting depicts the biblical episode from the...