Pennsylvania - Figurative Paintings

"American Cheese" is an original artwork by Eustace Mamba and measures 24"h x 24"w x 1.5"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of textu...

This piece titled "Rest"is an original artwork by Alain Jean-Baptiste and measures 48"h x 36"w x 1.5"d. This work is made from oil paints on canvas and ships with a gallery-issued Ce...

This piece titled "Marie (Mother)" is an original artwork by Alain Jean-Baptiste and is made of oil sticks and oil paints on canvas and measures approximately 60"h x 48"w. Alain Je...

Please contact me for best shipping rates and speediest delivery. Ellen Powell Tiberino, matriarch of the Tiberino artist dynasty that includes her artist-husband Joseph and three artist-children (Raphael, Gabriel, and Ellen), often looked to Black women and girls as subjects, in the contexts of motherhood, pregnancy, and childhood, as well as subjects drawn from her neighborhood communities. Her work is expressionistic and passionate with dramatic gestures and dark colorism in her figures, but it is also intimate and highly personal. At this point in her career, Tiberino had been struggling with cancer, and as a result, her palette became brighter and more colorful than her former dark palette. "Three Sisters" includes Ellen Powell Tiberino’s self-portrait in the front of the composition, nursing an infant. Tiberino’s two sisters, Joyce and Anne, sit behind her. Tiberino likely paints from memory or imagination here, since her four children were well beyond nursing age when she created this painting. "Three Sisters" is likely among the last large-scale canvases Tiberino completed, opting to work on a smaller scale and while seated as her illness progressed. Tiberino ultimately lost her battle in 1992. "Three Sisters" comes from a private Main Line, PA collection, acquired directly from the artist immediately upon its completion. Framed in original wood strip frame. It is in excellent condition. Tiberino graduated from the Pennsylvania Academy of the Fine Arts in 1959, where she was awarded a prestigious Cresson scholarship to study in Europe. After returning to the US, she lived and worked in New York until she married fellow artist (Joseph) and returned to her hometown of Philadelphia where she continued to create oil paintings, oil pastels drawings, sculptures, murals, and mosaics. In Philadelphia, she was part of social and professional circles that included Moe Brooker, Barbara Bullock, Walter Edmonds, Charles Pridgen, Leroy Johnson, John Simpson, James Dupree...

This piece titled "Voisine (Neighbor)" is an original artwork by Alain Jean-Baptiste and measures 48"h x 36"w x 1.5"d. . This work is made from oil paints on canvas and ships with a ...

This piece titled "Xavier (Brother)" is an original artwork by Alain Jean-Baptiste and measures 60"h x 48"w. This oil work on canvas reflects on the buildup and aftermath Jean-Baptis...

This piece titled "Lego Madonna" is an original artwork made from oil on paper by Lauren Rinaldi. This piece is shipped with the pictured white frame and measures 15"h x 12"w. This ...

"Lumberville in Winter" is a 14 x 20 inches winter landscape by American Impressionist painter, Laurence A. Campbell. This regional, Pennsylvania scene is an excellent example of the...

This piece titled "The Results Are In " is an original artwork by Katherine Fraser and is made of oil on canvas. This piece measures approximately 40" x 54" and is shipped in the pic...

This piece titled "Everywhere and Nowhere" is an original painting by Sarah Detweiler and is made from oil paint on gallery wrap canvas with preserved moss edges. This piece measures...

Ralph Cahoon Jr.'s whimsical paintings are not only lighthearted and charming, they are also the hallmark of his creativity and imagination. His playful approach to painting and info...

This piece titled "Adelphiae" is an original artwork made from acrylic, aerosol, & ink on canvas by Still Life Crew. This piece is shipped in the pictured wooden frame, is signed by the artists and measures 29.25”h x 29.25”w. The artists behind the joint "Gardening Above" collection, Mando Marie...

This interior portrait of a woman dressed in an elegant lace shawl is a 30" x 25" oil on canvas painting in the style of Jacob Eichholtz. The artist is unknown but the painting is believed to have been painted in the 1840's. It is not signed but framed and in good condition. Provenance: Private Collection, Old Queens Gallery...

Original study for the cover illustration of The Saturday Evening Post, published June 2, 1923 Medium: Oil on canvas Artwork Dimensions: 21.5 x 15.75 in. Framed Dimensions: 25 x 18...

Original Painting Steel Workers Fabric Design Industrial Deco American Modernism Antonio Petruccelli (1907 - 1994) Steel Workers Textile design 19 1/4 X ...

"Old Swede's Church in Winter" is an American Regional city scene in Philadelphia, Pennsylvania by American Impressionist painter Albert Van Nesse Greene...

Original cover for The Saturday Evening Post magazine, published May 14, 1932 Joseph Christian Leyendecker’s Circus Bareback Rider (1932) is a standout example of his work for The S...

This architectural wall-hanging artwork titled "In Isolation Series VI" is an original artwork by Seth Clark made of collage, charcoal, pastel, graphite, and acrylic on wood. This pi...

"As Far as the Mind Can See" is a 62in x 82in original oil painting by Katherine Fraser in a handmade wood frame. Artist Statement // Life often strikes me as a string of moments, l...

"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...

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...

Original advertisement for the Treo Girdle Company, published in the October 1923 issue of McCall’s Magazine, page 93, and likely in other publications as well. This original adver...

Provenance Private collection, New Jersey; Thomas Colville Fine Art, Guilford, Connecticut; Private collection, Connecticut, until present John Koch’s portraits of New York high soc...

"The Coward" (Woman Kissing Soldier). Original cover illustration for Life Magazine, published April 1919. Norman Rockwell’s The Coward (or, Woman Kissing Soldier) was published on...

"In Our Nature" is an original oil on canvas painting by American painter Katherine Fraser measuring 23.5”h x 28.5”w. This piece is from Katherine's newest series, which just recent...

"Eyed Wide" is an original artwork by Akira Gordon made from acrylic and oil on wood panel. This piece is a diptych and measures measures 48"h x 46"w complete. Akira hopes to give black people images that they can relate to in some way without making an overt political statement; instead, showing figures in leisure, doing the mundane and the ordinary. She finds the most authentic way to do this is through self-portraiture and referencing her experiences. She uses herself as a reference for her paintings because she believes examining your own life is important. Her artworks delve into the complex emotions associated with her struggle to transition into adulthood while clinging to the familiarity of "childish" things. It's an introspective journey, an attempt to reconcile the inevitability of growing up with the desire to preserve the youthful spirit that continues to reside within her. Akira Gordon, a Philadelphia-born painter and recent graduate of the University of the Arts, is a captivating artist driven by a passion for contemporary art and self-portraiture. Inspired by Kerry James Marshall and Sasha...

Illustrated for the 1949 Four Seasons Calendar, published by Brown and Bigelow. A young girl holds a freshly-picked bouquet of flowers as she strolls alongside a boy who carries he...

Benjamin Weaver creates spatial tension through his use of contrasting colors arranged in a geometric framework. Imagery and color work both with and against each other to create mov...

Mat Tomezsko's "NOW" series of mixed media street art paintings are built through an elaborate process of layering, patterning, adding, and subtracting an...

Original cover illustration for Collier's Magazine, published June 24, 1916. The image features a handsome young blond man holding oars Literature: Laurence S. Cutler and Judy Goff...

Original cover for The Saturday Evening Post, published November 22, 1930 A sweet scene of a child ill in bed and getting checked by a doctor as his concerned mother and dog look on...

Excerpted from The Painter's Journey: The Art of William S. Robinson, The Cooley Gallery Born in East Gloucester, Massachusetts, William S. Robinson became a talented and successful...

Provenance The artist; Collection of Walter Stuempfig, Philadelphia; Private collection, Massachusetts until 2022 The Philadelphia modernist Arthur B. Carles was a brilliant coloris...

Medium: Oil on Board Signature: Signed Middle Left Cover of Saturday Evening Post magazine (Easter edition), April 1905. This is one of Leyendecker's first Easter covers for the Sa...

This piece titled "Won't Take the Easy Road" is an original artwork by Crystal Latimer and is made of acrylic, pastel, ink, flock, 24k gold, cotton tassels on panel. The dimensions a...

This female nude piece titled "Paradox" is an original artwork made from oil on panel by Lauren Rinaldi. This piece measures 24”h x 18”w. Lauren Rinaldi (b. 1983, Brooklyn, NY) is a...

Signed by Artist Lower Left The present work was published on the cover of the September 4th, 1948 edition of The Saturday Evening Post. An accompanying “Keeping Posted” article about Norman Rockwell’s process behind the painting was printed on page 10 inside the issue. (Image above) The Post described, “Boston baseball fans saw a strange spectacle at Braves’ Field early this summer. As the stands filled, two respectable-looking men stood on the field staring at the spectators. Every now and then they would point to someone, run up into the stands and invite the man or woman to sit in a box above the dugout. Then the thinner of the two would contort his face into an expression of wild delight or disgust and invite the spectator to do the same, while a photographer made pictures. The explanation is on our cover. The two suspicious characters were Kenneth Stuart, the Post’s art editor and the artist, Normal Rockwell. For a detailed description of how Boston...

This layered paper and drawing collage titled "House Studies Series V" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a ...

Signed by Artist Lower Right The Saturday Evening Post, February 11, 1939, cover illustration Literature The Saturday Evening Post, February 11, 1939, cover illustration Thomas S....

"God Bless Our Home" is an interior and figurative scene of a woman sitting on her couch in serious and proper expression. The Americana style paint...

This layered paper and drawing collage titled "House Studies Series II" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a...

This piece titled "The Night Calls To You" is an original artwork made from acrylic, aerosol, & ink on canvas by Still Life Crew. This piece is shipped in the pictured wooden frame and measures 24.75”h x 32.5”w. The artists behind the joint "Gardening Above" collection, Mando Marie...

Original cover for The Saturday Evening Post, published March 30, 1929. J.C. Leyendecker's holiday covers, particularly his iconic New Year's baby, were instrumental in driving The...

Contact me with zip code for best shipping rates and timely delivery. "Birth of the Blues" is a large acrylic painting with a photograph portraits and a number of found objects integ...

oil, rope, embroidery thread on canvas

This piece titled "Dancing In The Wind" is an original artwork made from acrylic, aerosol, & ink on canvas by Still Life Crew. This piece is shipped in the pictured wooden frame and measures 29.25”h x 29.25”w. The artists behind the joint "Gardening Above" collection, Mando Marie...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

This layered paper and drawing collage titled "Mass Study II" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood panel. Using found ...

In High Grass Full Moon, Kurt Herrmann channels his signature colorist instinct into a bold, multichromatic geometric abstraction. Executed in acrylic on a square canvas, the paintin...

This architectural wall-hanging artwork titled "In Isolation Series VII" is an original artwork by Seth Clark made of collage, charcoal, pastel, graphite, and acrylic on wood. This p...

This original acrylic and aerosol on watercolour paper, deckled edges work on paper by Amanda Marie (aka Mando) measures 53.125”h x 41.25”w approx. unframed. This piece is pencil sig...

This Western Landscape by New England Impressionist painter Richard Edward Miller is a 12.5 x 23.5 inches, oil on board painting from 1931. A plein-air and impressionist painter as ...

Signed by Artist Lower Right Maxwell House Coffee

Provenance Private collection, St. Petersburg, Florida; Arthur and Holly Magill, Greenville, South Carolina, acquired from the above; Sotheby’s, New York, 30 November 2000, lot 11, s...

"Market in Paris" is a European townscape and market Scene by American Impressionist painter Albert Van Nesse Greene, featuring towns people at a busy outdoor market. The painting i...

"Surrounded By Fuzzy Friends" is a piece by Akira Gordon made from acrylic and oil on canvas. This piece measures 48"h x 60"w unframed. Akira hopes to give black people images that they can relate to in some way without making an overt political statement; instead, showing figures in leisure, doing the mundane and the ordinary. She finds the most authentic way to do this is through self-portraiture and referencing her experiences. She uses herself as a reference for her paintings because she believes examining your own life is important. Her artworks delve into the complex emotions associated with her struggle to transition into adulthood while clinging to the familiarity of "childish" things. It's an introspective journey, an attempt to reconcile the inevitability of growing up with the desire to preserve the youthful spirit that continues to reside within her. Akira Gordon, a Philadelphia-born painter and recent graduate of the University of the Arts, is a captivating artist driven by a passion for contemporary art and self-portraiture. Inspired by Kerry James Marshall and Sasha Gordon...

This is a large, framed acrylic painting with collaged photographs, gold leaf, metallic paint, and other mixed media. Is it by artist Lavett Ballard, who is the first Black woman to ...

J.C. Leyendecker's "Boy Scouts Signaling with Flags," first published on the cover of The September 9, 1911 edition of The Saturday Evening Post, quickly became an iconic image of the Boy Scouts of America, which was founded the previous year. Embodying core values like leadership, teamwork, and preparedness, its widespread reproduction cemented its status as a defining visual representation of the organization. The painting depicts two scouts practicing flag signaling, a vital early 20th-century communication skill and a requirement for the Eagle Scout...