Men Art

Kings Of Hollywood 1957 - Slim Aarons Estate Print Enjoying a joke at a New Year’s party held at Romanoff’s in Beverly Hills, 31st December 1957. 20 x 24" inches / 51 x 61 cm paper...

This is a fabulous study of a boxer. It was done by the British artist Nigel Mould. It is so life like one would think it was painted in oil. But he did this in pastel. It measures 1...

Resting in Waters by Anne Darby Parker is a serene 48 x 36 inch acrylic on canvas that captures a quiet, introspective moment through fluid brushwork and soft, layered color. Parker’...

Screen print on Beckett High white paper. From the Mao Portfolio. Hand signed by Andy Warhol and stamp numbered with the Andy Warhol Copyright and Styria Studio ink stamp on the rev...

Green oil pastel on paper realized by Mino Maccari in 1960s. Hand signed lower right. Very good condition.

Sun Image, 1936, oil on canvas, signed lower right, 30 x 24 inches, presented in a newer frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry stu...

The Wrestlers is a life-size 19th-century Belgian plaster cast after the celebrated ancient marble group in the Uffizi Gallery, Florence, retaining its original Brussels atelier de m...

Offset and screen print on grey paper realized by Sergio Barletta in 1973.  Not signed nor numbered, as issued. Very good condition. Sergio Barletta  (1934) is an Italian cartoo...

Henry CLEWS (1876–1937) The Court and the God of the Humormystics, 1959 Engraving (transferred to copper by Bacons-Duplessis and André Collot) Unsigned Authenticated by Henry Clews’...

Henry CLEWS (1876–1937) The Hostess, 1959 Engraving (transferred to copper by Bacons-Duplessis and André Collot) Unsigned Authenticated by Henry Clews’s studio stamp on the reverse ...

Figures is a watercolor drawing realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Hand-signed. Good conditions with slight foxing. Mino Maccari (Siena, 1924-Rome, Jun...

Jim Dine (Born 1935) Harvard Self-Portrait with Glasses in Sepia etching, soft-ground etching, drypoint and photogravure printed in red-brown ink, 1978 Signed in pencil lower left (see photo) Annotated A/P lower center Dated 1978 lower right Inscribd in red pencil beneath the image (see photos) Published by Pace Printed on Richard de Bas Narcissus Edition: 10, plus 4 AP, this one of the A/P Proofed by Mitchell Friedman, Cambridge, printed in New York Photogravure by Deli Sacilotto, New York Dedicated in red pencil: "Happy Birthday, Joel/Nancy & Jimmy, April 1978" Provenance: Gift of the artist and his wife Nancy Joel Grey, Famous actor and artist Reference: D'Oench and Feinberg 25 Jim Dine etching...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - a fantastic quality and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble genre scenes and allegorical figures as well as copies of antique and Renaissance sculpture catered to a prominent international clientele which included European and Russian aristocracy, and the Industrial fortunes being made in England and Americas drove considerable export demand. In 1861 the studio was awarded the medal for 'Ercole con cinghiale sulla spalla' (Hercules with boar on shoulder), 'Due Cani' (Two dogs) and 'Cinghiale' (Boar) sculptures at the National Exposition in Florence. In 1874 he exhibits his works in London and in 1876 in Philadelphia. Bazzanti frequently returned to the subject of 'After the Bath' or 'The Bather' in his works, having carved examples of the bathing Venus after the Antique and in dynamic and dramatic compositions such as the present sculpture. The finely-detailed work relates closely to popular figures produced by Bazzanti’s contemporary, Cesar Lapini, whose La Sopresa depicts a young woman stepping back from approaching waves. The sculptor’s penchant for realism is on full display with the contrasting matte and highly-polished finishes of the gently lapping waves at the figure’s feet, to the jutting rocks and soft skin. Elegant handling of textures is further exemplified in the draped fringe of the cloth. This monumental and Fine work is illustrated in situ at Bazzanti’s studio circa 1900 among other fashionable works of the period. Notes: Pietro Bazzanti was also known as Pietro Barzanti. There are conflicting dates of Pietro Bazzanti/Barzanti's birth/death year. Some auction houses and art galleries have described 'Pietro Barzanti' as Italian, 1842–1881 and Pietro Bazzanti as Italian, 1825-1895. However, according to Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78, 'Pietro Barzanti' was in fact 'Pietro Bazzanti' one and the same, and it questions his year of his birth/death as "Firenze (?), ?, ?." thus we believe that the Italian, 1825-1895 description is the most plausible. Literature: Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78. Auctions: Another example of this sculpture, probably also Pietro Bazzanti but almost a foot shorter (Height 44¾ in. (113.5 cm), unsigned and without its pedestal, was sold at Christie's New York, 19th Century Furniture, Sculpture, Works of Art and Ceramics Sale...

On the Beach Artist: Pierre Neveu (French b.1929) signed lower left Medium: oil on canvas, unframed Canvas: 21 x 18 inches inscribed verso Condition: Good and sound condition Proven...

'Schwarzenegger Is My Idol 10' Limited Edition Hahnemühle Rag Baryta print Edition size 10 only. Large 20 x 24" inches paper size. by Sergey Melnitchenko 2012-2013 “Schwarzenegger Is My Idol” is the story about the young guys from Nikolayev (Ukraine) who are united by one thing – it’s a goal to become the best of the best and they will do everything possible to achieve it. The photos show the young people who engage in athletics, acrobatics, fitness, and bodybuilding. I asked one of the boys to tell me what role his hobby plays in his life. Here’s what he told me: “For me, my sport is what I live for. Daily control and hard work – that leads me to success. Sport disciplines a man, enables him to understand the value of labor, the value of choice. I always wanted to be something more than an ordinary man in the street, more colossal than an ordinary representative of the society, so in my sport I do all the best I can, because I want to reach the top”. Why are my 'models' naked on photos? I think it adds them a kind of courage and naturalness. Of course it also looks funny and ironic. About Sergey Melnitchenko : SERGEY MELNITCHENKO Born in 1991 in Mykolayiv, Ukraine. Member of UPHA – Ukrainian Photographic Alternative. Started photography in 2009 and for less than 10 years participated in more than 70 solo and group exhibitions around the world. Winner of Ukrainian and International competitions, including the “Photographer of the year” 2012, 2013 and 2016 (Kiev, Ukraine), “Golden Camera 2012” (Kyiv, Ukraine), one of 10 finalists of the Showoff section within the month of photography in Krakow 2013, shortlist of “Pinchuk Art Center Prize 2015”. “Leica Oskar Barnack...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

A young woman resting peacefully in a vibrant, patterned setting, resting surrounded by four small, watchful brown dogs. Rich shades of purple, turquoise, and pink create an expressi...

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...

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.

Signed lower right, 'Harriet Fischer' (Danish, 1890-1981); additionally signed, verso, dated 1951 and titled, 'Motiv fra Ibiza' Harriet Fischer grew up in a busy artist's studio whe...

"Study for The Rose, Atelier" offers an intimate glimpse into Richard MacDonald’s creative process, capturing the dancer in a moment of quiet introspection. Sculpted in her leotard, ...

Screen print on Lenox Museum Board. Hand signed lower right by Andy Warhol. Hand numbered 94/200 on lower right (there are also 30 APs, 5 PPs, and 3 HCs). Artwork size: 40 x 32 in...

Limited Edition of 20 Archival Pigment Print

Edition of 20 Fashion and fine art embrace each other in the photography of Jacques Olivar (b. 1941), where the miseen-scene often subtly references literature and film. Olivar orig...

Italian sculptor (18th century) - Venus at the Bath. 27 x 22 x h 45 cm. Full figure in modelled terracotta. The sculpture depicts a seated Venus on a rocky support, caught in the ...

Rainy Day by Josine Vignon (French 1922-2022) ink/watercolour/pencil drawing on thick paper, unframed signed J.V paper: 10 x 6.25 inches double sided very good condition provenance...

BRASS SECTION(Jamming at Minton's) is a limited edition color lithograph by the renowned African American artist Romare Bearden, printed on archival printmaking paper, 100% acid free...

Paul Graf (1866–1903), Swedish Children Bathing by a Rocky Shore, 1892 signed Graf and indistinctly dated 1892 oil on canvas mounted on panel unframed 139 × 175 cm (54.7 × 68.9 in)...

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...

The Sketches of Figures is an original Drawing on paper realized by French painter Norbert Meyre in the mid-20 century. Drawing in pencil and pen. Good conditions with some foxing ...

A beautiful signed and dated 1855 French oil on board depicting jockeys in a weighing room, by Jean-Maxime Claude. A jockey sits in the foreground with his arm in a sling, whilst mor...

Original GONE WITH THE WIND, U. S. 1 sheet Clark Gable, Vivien Leigh, de Havilland, all-time movie classic! Conservation linen backed and ready to frame. Original issue fold marks professionally touched up. Excellent condition. Film Description: Gone With the Wind, the classic 1939 Victor Fleming Civil War romantic melodrama epic ("The Greatest Motion Picture Ever Made!"; "In the New Screen splendor… The most magnificent picture ever!"; "David O. Selznick's production of Margaret Mitchell's story of the Old South"; "Screen play by Sidney Howard") starring Clark Gable (in his nominated for Best Actor Academy Award role; "as Rhett Butler"), Vivien Leigh (in her Best Actress Academy Award winning role; "and presenting Vivien Leigh as Scarlett O'Hara"), Leslie Howard ("as Ashley Wilkes"), Olivia de Havilland (in her nominated for Best Supporting Actress Academy Award role; "as Melanie"), Hattie McDaniel ("as Mammy"), Thomas Mitchell ("as Gerald O'Hara"), Butterfly McQueen, Ann Rutherford ("as Carreen O'Hara"), George Reeves, Victor Jory, Jane Darwell, Ward Bond, Ona Munson ("as Belle Watling"), Yakima Canutt, Harry Davenport ("as Dr. Meade"), Carroll Nye ("as Frank Kennedy"), Laura Hope Crews ("as Aunt Pittypat"), Alicia...

A fine German classical oil on canvas by the genre and portrait artist Albert Friedrich Schröder (1854-1939), signed & dated 1899. The painting is by one of Germany's prolific cl...

The Incredible Shrinking Man 1957 Unframed Original Vintage Cinema Lobby Card Extra Large 10x14" inches / 25x36 cm paper size Unframed (framing options available - please enquire) ...

An original woodcut print depicting the social unrest of the 1960s by Herman Roderick Volz. Pencil signed by the artist lower right. Image measures 11 1/2" x 14 1/2," sheet measures...

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...

"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...

Walter Sinz (American, 1881-1966) When the Lights Go On Again, 1943 Cast Stone 10 x 4.5 x 8 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. ...

French Landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolour/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and re...

Diogenes is a masterfully executed oil painting that reinterprets the legendary Greek philosopher through an elegant fusion of classical idealism and poetic symbolism. Seated in cont...

Basquiat Bearbrick 400% and 100%: Bearbrick and Estate of Jean-Michel Basquiat Vinyl Figures: Set of two (400% & 100%): A unique, timeless collectible trademarked & licensed...

Marcel Dzama (Canadian, b. 1974) Farewell loved ones (black), 2018 Medium: Lithograph on wove paper Dimensions: 68 x 50 cm Edition of 20: Hand-signed and numbered Condition: Mint

Fernand LÉGER Cubist Wood Logs, 1959 Original lithograph and stencil Printed signature in the plate On vellum Auvergne 38,9 x 50 cm (c. 15,3 x 19,6 Inches) Published in 1959, under the control of the wife of the artist, Nadia Léger...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 8 3/4 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a...

The Bol d'Or is a world-renowned endurance motorcycle race. Since its inception, this legendary competition has seen some memorable moments and impressive records. The original poste...

Open and Limited Edition Silver Gelatin Prints
Hand Signed by Bob Gruen Please contact us for inquiries of desired size

Expressive Male Portrait French, mid 20th century from the studio collection of Simone Forge (1930's-1950's female French artist) oil on canvas, unframed Canvas: 24 x 19.75 inches Pr...

Hal Frater (American, 1909-2008) "The Artist as a Young Man" 1950 Oil paint on canvas, stretcher bars The artist signed the bottom right and the back of the painting. Framed Dimensions: 25" x 19" x 1.5" Hal Frater's "The Artist as a Young Man" is a striking piece that captures the essence of the artist himself, rendered in a raw, emotive style. The palette is earthy, with natural browns and creams contrasted against subdued blues and hints of muted red, evoking a sense of both the mundane and the profound. Frater's use of color and form reflects a contemplative mood, a moment of introspection. The artist's gaze is direct and unflinching, suggesting resilience and a deep inner life. This mid-20th-century piece, evocative of American Realism, offers a personal narrative, exploring themes of identity and self-perception. About the Artist: Hal Frater was not just an artist, but a storyteller who left us on February 3, 2008, on the cusp of his 99th birthday. His fifty-year tenure as a commercial artist was a testament to his adaptability and appeal. Yet it was in his private studio where Frater’s true passion lay, painting not for clients, but for his own soul's expression. His work, always striving to capture the nuances of the human spirit, reflected his sharp observational skills. His artistry was honed not in formal schools but alongside his peers in spontaneous gatherings, painting from life, sharing techniques and critiques that fueled their collective growth. Influenced by the likes of Jack Levine, Raphael Soyer, John Sloan, Thomas Hart Benton, Reginald Marsh, and Phillip Reisman...

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate collections throughout the Unite...

Ansel Adams and Ed Towler by Wilson D. Ellis (American, 20th Century). Titled "Ansel and Ed Towler 1936" on verso and signed "Wilson D Ellis" with date 7/16/35 under mat. Silver Brom...

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...

6156 Dancing in the south of France SurLes Arbres by Crosse Rapped canvas

Sizes including stone pedestal 97 x 22 x 22 cm 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 his profession as a sculptor. Only when his work would measure up to his own standards, he decided to present it to the rest of the world. In 1995, he exhibited for the first time with Morren Galleries. Van der Kant desires to sculpt young people who still stand uninhibited and curiously in life. The reason he chooses to sculpt boys is, because he is one himself, this way the subject is closer to him. The anatomy of his figures testify of perfectionism. Van der Kant's subjects show similarities with the sculptures from the Greek and Roman antiquity...

A striking mid-century portrait depicting a distinguished gentleman seated in an upholstered armchair, dressed in dark formal attire with a black hat. His relaxed pose suggests an ai...

René Mels (1909-1977) Portrait of a young man, signed lower right oil on canvas 73 x 60 cm Framed : 77.5 x 64.5 This impressive portrait is obviously tou...

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...

Charcoal and watercolour on paper 67cm × 49cm (72cm × 49cm framed) An émigré from Argentina in the early 1950s who settled in Paris with her partner Yvonne Bilis-Régnier, exhibited ...

Bronze Numbered 2/10 57cm × 18cm × 40cm (incl. base) Ian Rank-Broadley is one of the foremost sculptors working today. His effigy of the late Queen Elizabeth II appears on all UK an...

Luis Rey Polo (Spain, 1924-2000) 'Rehén', N/A silkscreen on paper 17.8 x 17.4 in. (45 x 44 cm.) Edition of 300 ID: POL1362-001-300 Unframed Hand-signed by author

Portrait is a modern artwork realized by Francisco Bores in 1950. Charcoal drawings. Good conditions.