Men Art

Prometheus Freed is a sculpture by Guatemalan artist Walter Peter Brenner. Dimensions are 50 x 30 x 16 cm (19.7 x 11.8 x 6.3 in). This artwork is signed and numbered. Prometheus hol...

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

This piece depicts a colorful collage composition portrait of Marilyn Monroe, as Jon Davenport explores the process of deconstructing iconic imagery from the past and present. Davenport start’s out with photos of his paint-stained studio floor and collages in articles/advertising from an array of vintage magazines collected over the years; plus any other interesting stuff captured on his travels. He then transfers the images to a panel board, layering them on with gel medium, together with strokes, splashes, drips, and splats of paint. Once it's dry, another layer of gel medium is poured on to give it a melting effect. After it drys off again, another layer of paint is added to embellish a few areas and to accentuate or fade out certain aspects. And then, he finally adds a coat of polyurethane for protection and making the colors pop. This unique work is executed on a wood panel board and comes ready to be displayed with hanging wire on verso, signed by the artist lower right. Art measures 36 x 36 in From biology student to owning and running a creative agency in London to a career as a fine artist, life has taken Jon Davenport on a rewarding and unconventional journey. Despite his scientific beginnings, he’s always had a strong artistic streak weaving its way through his different career paths. Growing up in Ipswich, UK, Jon was always an avid drawer, and could often be found with a pencil and paper in hand. With the arrival of his first computer, he embraced the new frontier of digital art and had work published in one of those early computer magazines. His creative urges took a backseat to get a biology degree at Brunel University in London. It was afterward, in his first job working at the Archant newspaper group in Ipswich, that he quickly progressed from plate maker to becoming an integral member of the art studio. It was during this time that he taught himself photoshop, desktop publishing, and graphic & web design. After a few years, he set up a design agency, and eventually went full time and moved to London. This proved to be a successful move, working for a number of clients such as Nike and Virgin, and gaining praise from the likes of Richard Branson and Tony Blair. It wasn’t until Jon moved to the USA to marry his wife, Atlanta artist Christy Kinard...

Italian painter (17th–18th century) - Seated Franciscan friar writing (preparatory sketch). 14 x 16.5 cm (without frame) - 19 x 21.5 cm (with frame). Oil on panel, in wooden frame ...

George Valentine Dureau (1930 - 2014) was active/lived in Louisiana. George Dureau is known for Male nude figure, genre, portrait.

Antonio Diaz Cortes (Mexico, 1935) 'Primavera/otoño', 2006 woodcut on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 ID: DIA-106 Unframed

Kabuki is an original artwork realized in 1864 by Utagawa Kunisada (1786-1865). Breast portrait of the actor Sawamura Toshi in front of a dark blue background, he's wearing a lion dance costume. In the inset portrait of Kataoka Nizaemon with a feather costume. Signed: Oshio Toyokuni ga (77 Toyokuni). Publisher: Ebiya Rinnosuke in Horie. Censorship: Aratame. Wood engraver: Matsushima Masakichi. Excellent impression with visible wood grain and baren print lines...

Venetian sculptor (late 16th century) - Pair of flag-bearing lions. 40 x 30 x h 75 cm. Full figures in carved, painted and gilded wood. The two lions, conceived as a mirrored pair...

A Fine 1930s, Modern Academic Figure Study Drawing of a Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, early 1930s ...

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

19th Century Portrait Miniature, Young Man in Blue Coat As is

Cold Cast Bronze Bust Sculpture of Vincent Van Gogh by British Artist & Sculptor Anthony D Padgett BA MA PGDip, Born in 1969. Everyone has an idea o...

Original acrylic on canvas painting by the well known Saint Tropez artist, Michel Guy Nochet. Signed lower left “Guy Nochet. Dated in pencil on fra...

The Resurrection of Lazarus Flemish Old Master, 17th century (unsigned as is typical for the period) oil on canvas, framed framed: 30 x 38 inches canvas: 19 x 27 inches Provenance: ...

The London Gentleman by Philip Henry Rideout (British, late 19th century/ early 20th century) signed oil on canvas, framed Framed: 17.5 x 14.5 inches Canvas : 12 x 10 inches Provenan...

SEAN CONNERY. “007, JAMES BOND: GOLDFINGER” [1964] (Goldfinger), directed by GUY HAMILTON. A great shot of Sean Connery on set as the secret agent - together with the infamous Aston...

Title: Figural Group Study Pencil Drawing L J Wortley No 10 Artist: L. J Wortley Medium: pencil on paper, mounted Size with mounting: 8.75 x 11 inches (height x width) Inscribed: upp...

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

Drzwi w Murze is a vintage offset poster on paper realized by M. Wasilewski in 1974. Good condition and aged. Print: M. Wasilewski

Michelangelo Cerquozzi (Rome 1602–1660) circle Battle Scene oil on canvas 38 x 48 cm. with frame 55 x 66 cm. The compositional and stylistic characteristics of this delightf...

About this work: A superb example from Crite’s celebrated Neighborhood Series, this work is both a vibrant portrait of everyday life and an irreplaceable record of a vanished Boston ...

The Prince and His Horse Oil on canvas en grisaille 26 x 20 1/2 inches (66 x 52.1 cm) Framed dimensions 34 1/4 x 30 3/4 inches Signed lower right: Pushman Provenance Private collect...

'Galloping Horses' Limited Edition Archival Pigment Print Horse Racing at Churchill Downs, Louisville, Kentucky, USA, August, 1984. Note all prints are limited edition Archival P...

Title: Sailing Boats At The Jardin Du Luxembourg Paris With Figures By The Pond By Tony Herbert (1927-2024) Signed: Bottom left corner Medium: Watercolor on paper, unframed Size: 9.2...

Work on paper mounted on wood 35.5 x 45.5 x 2 cm

Interior Still Life by Harry Bloomfield (British, 1883-1940) *see notes below signed verso oil on canvas, framed framed: 28 x 24 inches canvas: 22 x 18 inches Provenance: private co...

Marilyn Monroe in her last formal photo shoot captured by legendary photographer Allan Grant on July 7, 1962. In the summer of 1962, LIFE magazine sent two journalists to spend time...

To the Calvary with Maddalena is a superb and impressive original oil painting on canvas, realized by the Italian artist Ippolito Borghese (Sigillo, 1568 - after 1627) Original Title: Andata al Calvario con l'incontro con la Maddalena...

Big Brass-New Orleans Ink and watercolor on paper, c. 1965 Signed in ink lower right (see photo) Titled in pencil lower left (see photo) Illustrated: Longstreet, "Sporting House, New...

Vintage Photo. The actress and dancer Alessandra Martines dancing in a television ballet. Photo by Italian news agency S.P.A.

A romantic oil study depicting a couple resting on a woodland floor feeding each other fruit. The scene appears to be a play on the Four Seasons series by François Boucher where the...

An original circa 1940 acrylic painting by American modernist Hugh Edward Weller (1898–1982), “Chilis,” presenting a lively Southwestern subject through simplified forms, expressive ...

This piece is an original crayon lithograph on transfer paper created by Pablo Picasso in 1959. The zinc in this piece has been re-worked with crayon marks and this composition was u...

Bahamas Speed Week 1963 by Slim Aarons Slim Aarons Limited Estate Edition Gordon Butler’s Chevrolet Corvette Sting Ray at the Bahamas Speed Week at th...

Copperplate stipple engraving with hand coloring in watercolor, 17 1/2 x 10 1/4 inches (445 x 260 mm), the full sheet, full margins. In very good condition with some minor, light sta...

The Line Up Photo by Markus Klinko Limited Estate Edition Nude model with nude mannequins C Print Produced from the original transparency Certificate of authenticity supplied P...

John Sloan (1871-1951), Romany Marye in Christopher Street, 1922, etching, signed in pencil lower right, titled, dated and inscribed 100 proofs bott...

Nude Lady by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 32 x 26 inches Provenance: all the paintings we have by this artist have come ...

The Posing Woman is an Original lithograph realized by Louis Touchagues in the mid 20th Century. Hand-signed on the lower by the artist and signed on the plate. Included a Passepar...

A Scene of the Film Au revoir les Enfants is a vintage black and white photograph realized in the 1987. Good conditions.

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

Screen print on paper after Andy Warhol, published by Sunday B Morning in 2011. Edition of 271/2000. Certificate of Authenticity by Sunday B Morning. On the back: "Fill in your ow...

Henri Matisse Martiniquaise 1946 Etching on annam appliqué on wove paper, Edition of 25 Paper size: 38 x 28 cms (15 x 11 ins) Plate size: 25.2 x 19 cms (10 x 7 1/2 ins) Henri Matiss...

Joseph Radetzky von Radetz (1766-1858) was an Austrian field marshal. He fought at the Battle of Leipzig against Napoleon, and embarked on reforms of the Austrian army. His victory a...

Childhood’s Sails VII is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 109 × 27 × 36 cm (42.9 × 10.6 × 14.2). The sculpture is signed and numbered,...

Henri de Toulouse-Lautrec's "Divan Japonais, 75 rue des Martyrs" poster, created in 1896, is an emblematic example of the poster art of the period. It is part of the "Maîtres de l'Af...

Ver Bronze Sculpture Nude Male Figure Boy Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high school, he intensively practises...

A spirited and humorous lithograph by Jean‑Gabriel Domergue (1889–1962), titled Zeppelinade and dated 29 May 1915. Created during the early years of WWI, the work captures the era's ...

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

Mona a Barcelona Original vintage exhibition poster - made on the occasion of the exhibition at Joan Prats Gallery 1980 In great condition

Maurice Milliere (1871-1946) An artist in his studio, signed lower right oil on canvas 46 x 27 cm framed : 52 x 33 cm It is particularly interesting to find Maurice Millière working in a genre very different from that for which he is best known: depictions of young Parisian women. This unique portrait shows Millière in a more original and intriguing light. It captures a painter in his studio, creating a scene with various details: canvases on the floor to the right, a stretcher frame on trestles and even shoes that must have been quite striking at the time. The painter appears to be taking a break to smoke and pose for Millière. There is a real sense of complicity between the two artists. At the same time, however, everything in this painting is carefully chosen and composed, such as the admirable red background against which the model stands out. Combining elements of both a portrait and a studio scene, the painter's intention was to create a unique piece that pays homage to the bond between the two artists. Maurice Georges Louis Millière was born in Le Havre in 187. He came from a working-class family in Le Havre; his father was a salesman for a merchant. Millière began by studying painting at the École des Beaux-Arts in Le Havre. He moved to Paris in 1889 and enrolled at the École des Arts Décoratifs, also attending certain workshops at the École des Beaux-Arts. His first notable graphic works were posters and sheet music for companies such as Le Boulch and Le Divan Japonais (1899). From 1917 onwards, he published large numbers of depictions of scantily clad women: first in Fantasio (1917), then in Bagatelles, La Vie parisienne, Le Frou-frou, Le Sourire, Le Gai-Paris, etc. At the end of 1920, he joined the République de Montmartre, a charitable association. Contemporary with those of Louis Icart, his “little women” were to enjoy great success outside France: during the 1920s, American periodicals reprinted his creations, as well as those of Suzanne Meunier and Georges Léonnec...

Oil on canvas attributed to Philipp Peter Roos Rosa da Tivoli, realized in the late 17th Century in Italy. Large work with very fine workmanship, in particular in the creation of an...

8 x 10" vintage silver gelatin photograph of Rudolf Nureyev and Sonia Arova photographed during the curtain call after his triumphant American debut performance March 10, 1962. This ...

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

The Duel by Alcide Joseph LORENTZ (French 1813-1891) signed and dated 1857 oil painting on canvas, framed framed size: 30 x 25 inches canvas: 25 x 20.5 inches condition: very good an...

Une place vide is an original etching realized by Tobias "Toby" Edward Rosenthal ( 1848 - 1917 ). Hand signed on the lower right. Is not dated but we can attribute the period late 19...

"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...

Here for your consideration is a vintage bronze statuette from the mid-20th century depicting Quan Yin. Created during the midcentury period, this bronze statuette features the Quan ...

Artist: Harold Altman– American (1924-2003) Title: Market with Oranges Year: 1980 Medium: Etching Sight size: 17.75 x 23.75 inches. Sheet size: 22.5 x 28 inches Publisher: Lemont E...

Printer's Proof /2 Beryl Cook's appeal was classless and she rapidly became Britain’s most popular artist. She was a ‘heart and soul’ painter, compelled to paint with a passion. He...