Photography Art

A fine impressionist landscape in the Souhegan Valley of New Hampshire, probably Wilton, by American artist Chauncey Foster Ryder (1868-1949). Ryder grew up in New Haven, Connecticut...

Original color Lithograph, 1957. Still life with fruit bowls, carafe, woman and goat. Printed by Solier. As published in the journal Derrière le Miroir,...

This candid black and white vintage original photograph features Marilyn Monroe posed chatting on the phone. -- One-of-a-kind original vintage press print from the Celebrity Vault ...

Crystalised - 2021 50x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1091. Not ...

Skindeep, 2018, 50x50cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2018-448. Not mounted...

11 x 14" vintage silver gelatin photograph of Modern Dance Masters: Martha Graham, Twyla Tharp, Jose Limon, Merce Cunningham, Paul Taylor, Erick Hawkins,...

Modern Art Poster. Screenprint on smooth, ivory wove paper , edited in 1967. Limited edition of 300 copies , numbered as 111/300 in lower right corner. Hand-signed by artist in penc...

Zarina - Limited edition archival pigment print, 1987 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then print...

Blomme #08, 2012 [From the series Vintage Diva's] 31x40cm Digital archival pigment print based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH paper 305gsm, 100% cott...

I'll be yours - 2019, 20x20 cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Certificate and signature label Artist inventory PL2019 ...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

A finely detailed silhouette of a Victorian clergyman. Frederick Frith (1819-1871) The Reverend James Metze, bust length, turned to the right, wearing coat and cravat Inscribed to t...

Candid - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-969. Not mounted. ...

Lee Teter, born in 1959, has used American historical events as common themes throughout his pieces. From American wars, to Native American struggles, Lee has used oil paints to prod...

Ghislain Dussart ( 1924 - 1996 ) BB " Sa Marguerite ". Don de BRIGITTE BARDOT photo originale : 31 x 21 cm encadrement : 49 x 39 cm . Ghislain Dussart a travaillé comme photog...

Faye Dunaway The Morning After, 1977 Co-Signed Edition Print by Terry O'Neill and Faye Dunaway Mint condition C print hand numbered 37 / 50 and hand signed by both photographer ...

Portrait of a Man in Suit French, mid 20th century oil on canvas, in a slip wooden frame Framed: 18.5 x 15.5 inches Canvas : 18 x 15 inches Provenance: private collection, France Con...

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

Divine Nude No.14 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

Clare Grossman Overture 2 Limited edition of 70. A solar plate etching on Somerset 300gsm paper. Image Size: H 12.5 x W 17.5cm Sold Unframed Please note that insitu images are purely...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

"Last Night" is an original oil on linen artwork by contemporary artist Matt Talbert, completed in the year 2023. This piece measures 10 x 8 inches (25.40 x 20.32 cm), and with its f...

The Pass of Glencoe by Edwin Longstaffe (British, late 19th century) signed with monogram to the lower corner titled to label verso Oil painting on canvas, framed Framed: 24 x 18 inc...

Black and white candid capture of actress Sophia Loren in a fur hat, circa 1962. Sophia Loren is an Italian actress, active in her native country and the United States. With a caree...

Vintage Photo. The Italian actress and singer Loretta Goggi during "Canzonissima '72". Lightly damaged.

A new coffee table book has just been released titled "Poster Child" The Psychedelic Art & Technicolor Life of David Edward Byrd. This original drawing is featured on page 104 of the...

Irish Setters in the Field is an original etching by Leon Danchin showing two adult Irish Setters in a field pointing to the right.This etching is printed on Arches paper, pencil si...

Photograph of Jerry Garcia with guide in 1978 at the Pyramids in Egypt. The Grateful Dead played 2 shows in Giza, Egypt on September 15 & 16th. Signed and numbered by photographer

Edition 10 Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Black and white portrait of actor Heath Ledger in young age. From personality portra...

Still Life of Fruit by Oliver Clare (British 1853-1927) oil on canvas, framed framed: 11 x 14 inches canvas : 6 x 9 inches Provenance: private collection, England Condition: very go...

Paul Jenkins Phenomena With Two Black Threads, 1964 Acrylic on paper Hand signed lower right Inscribed and dated on the reverse Painting size 36.4 x 25.3 cm Frame size 44 x 33.4 x ...

In her first solo exhibition, Joan Baez celebrates the “Mischief Makers" - portraits of people who have brought about social change through nonviolent action - the risk-taking vision...

Fallen Angel 2023 Signed, titled, numbered, and dated in pencil, verso Cyanotype print toned with ammonia and tannic acid (Edition of 5) 10.5 x 8.5 inc...

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

Jean La Forgue (French 1901-1975) signed oil on unstretched canvas, unframed painting: 24 x 17 inches provenance: the artists estate, France condition: the painting is on unstretched...

"The Red Boots" by Jean Marc (French 1949-2019) gouache paint painting: 15.5 x 15.5 inches provenance: private collection, South of France Superb original ...

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Black and white portrait of a nude male model in front of a wall. From personality portraits and advertising c...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...

Portrait of Victor Hugo is a photografic albumen print in CDV size. The print was made around 1870 by J.M. Lopez in Paris, for the publisher Hautecoeur. Photographer's logo on fron...

Revolution 2016, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2016 - 7...

MARC CHAGALL (1887-1985) "Monde familier" lithograph in colours, 1983, on wove paper. Signed in pencil, Numbered 23/50 in pencil Image 350 x 270 mm. Sheet 545 x 430 mm. LITERATURE: M...

This limited-edition signed photograph by Ugnė Pouwell is a timeless exploration of light, shadow, and texture, capturing the themes explored in her debut photography book, Solace. E...

Anne Siems has created this artwork by painting and drawing over an archival print on thick 100% cotton fiber paper. All archival materials. Unframed size: 8.5x11 inches Frame size: 15x12x1 inch ANNE SIEMS (b. 1965, Germany) Artist Statement I was born in Berlin, Germany. From 1969 to 1971 I lived near Buenos Aires, Argentina. My first extended stay in the US was as an exchange student in 1986. Then in 1991, after finishing my MFA in Berlin, I moved to Seattle, WA. My work has moved from semi-abstract, room-filling plant and insect drawings...

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (02158) 23...

Very rare and important work for a set design.

Kim Gordon of Sonic Youth, 8”x10” Hand-printed darkroom print, made at the time of the shoot in 1994, and stored flat in a temperature-controlled environment. The print is in perfec...

Man against wall Two by Ricky Cohete From Motion series Sepia Archival Pigment print Medium 36" x 24" Ed of 10 + 1AP unframed Throughout his exploration of the movement of the body...

Linda Grubb is an American artist who created this captivating oil painting that is beautifully framed in a cherry wood. It is signed by the artist. (This woman on the beach could po...

Archival pigment print, painted frame (Edition of 4 + 1 AP) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Price includes mounting and ...

Centre Line, by Ricky Cohete From the series "Acto Uno" Archival Pigment print Medium size: 24 in H x 36 in W. Edition of 10 + 1AP Unframed 2020 Black and White Photograph All pric...

'Oui Mon Cul' #20 (The Eyes Of The Fox), 2015, Edition 2/7, 40x31cm. Art print based on a Polaroid photograph on beautiful PHOTO RAG ULTRA SMOOTH, 305gsm, 100% cotton by HAHNEMÜHLE...

Morris Katz original oil on board unique colors. Some minor frame wear . Measures 17x15

Vintage Photo. The American Actor Kevin Kline in "Cry Freedom", a 1987 drama film directed by Richard Attenborough.

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

Pablo Picasso Untitled from Le Cocu Magnifique, 1966 Etching with aquatint Hand signed lower right Numbered 12 / 30 mage size: 22.5 × 32.5 cm Frame size: 50.5 x 58 x 2 cm Published ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 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 are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Circa 1890 Signed verso on stretcher bar Original period gold leaf frame Overall size framed 21 x 18 in

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...