Pennsylvania - Portrait Paintings

"Erlin" is an original artwork by Eustace Mamba and measures 10"h x 8"w x .75"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of texture and colo...

This piece titled "Christian (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-B...

"Pink Hair Lady" is an original artwork by Eustace Mamba and measures 14"h x 11"w x 1.25"d. The artists cuts, arranges, sews, and collages fabric and paints to create layers of textu...

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...

19th Century portrait of Quintin Campbell in the style of Thomas Sully. The 30 x 25 inches oil on canvas is framed in an ornate frame. Provenance: Private collection, Bucks County, P...

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...

"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...

"Woman by Basin" by Philadelphia born modernist and surrealist painter Leon Kelly, is a framed and matted portrait of a female nude. The 22.5" x 17.75" mixed media on artist board i...

"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...

"Woman with Earrings" is an oil on board portrait painting by Philadelphia born Expressionist painter Bernard Harmon of an elegantly dressed woman sitting on a chair. This work features a second environmental portrait on verso. The painting is 40" x 34" in size and is signed "Harmon" on verso. Figurative expressionism in the style of Alice Neel. Provenance: Estate of the Artist; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke...

Denied Warhol Green Self Portrait Fright Wig Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 12 x 12" inches 2...

Denied Warhol Jackie in Black and White by Charles Lutz Silkscreen and gold spray enamel on vintage 1960's linen with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 1...

"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 piece titled "The Lovers" is an original artwork made from oil on double vintage portrait paintings on wood by André Schulze. This piece...

"Heroine (Intercessor)" is an original oil painting by American artist Paul Romano. The piece ships ready-to-hang in the pictured artist-made frame, measuring 34in x 32in x 2in. Art...

This figurative painting titled "Representative" is an original artwork by Lauren Rinaldi made of oil on canvas. This piece measures 48"h x 60"w. Rinaldi’s new series was inspired by the feminist debate on how women's appearances are constantly judged, criticized and dissected; often done so with the intent of diminishing their work and contributions. This issue is prevalent in all industries, but especially in the very public and important realm of politics. Throughout mainstream media, Rinaldi found countless examples of coverage depicting what a female politician was wearing and why it was deemed “inappropriate”, rather than discussing their policies. Typical of Rinaldi’s practice, most of the works found in Representative are not classic portraits, but zoomed in studies of the subject’s legs, shoes and body from the neck down. By doing so, the work focuses on the experiences and outside societal forces that these women, and women like them, have faced. To create the works in Representative, Rinaldi used sourced photographs of female politicians that felt meaningful and powerful to her. Before painting or drawing, Rinaldi manipulates each image through cropping, elongating or changing its composition, background and color. Color is especially important in Representative, as it is an expression that is frequently rejected or criticized in politics by men. Rinaldi uses vibrant jewel tones and color swaps, like Congresswoman Alexandria Ocasio-Cortez’s jacket from black to fuchsia, to represent the bold new ideas and diversity these women are bringing to United States politics. While Rinaldi does not specifically name any of her subjects, viewers will be able to recognize familiar leaders from across both sides of the aisle. Visitors will see snippets of stories through these works, like Former First Lady Michelle Obama’s sparkly boots...

"No Hay Nada Mas" is a 31in x 43in original oil painting by Katherine Fraser in a handmade wood frame. Artist Statement // Life often strikes me as a string of moments, like a serie...

"The Potter" is an interior portrait of a young man working on a vase at his potter's wheel by Philadelphia born Expressionist painter Bernard Harmon. The 24.25" x 14" oil on cardboard painting is signed "Harmon" in the lower left and it is framed in a new black wood frame. Figurative expressionism in the style of Alice Neel. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke, Paul Keene...

This piece titled "Out of Sight, Out of Mind" is an original painting by Sarah Detweiler and is made from oil paint on canvas. This piece measures 36”h x 24”w framed, and is shipped ...

This black and white figurative painting titled "BANGS" is an original acrylic on canvas painting measuring 60"h x 48"w by Jasjyot...

Cheryl Ladd in the role of Princess Grace Kelly of Monaco. Cover illustration for TV Guide, February 5-11, 1983. Richard Amsel had a brilliant ...

This piece titled "Layers of Meaning" is an original artwork by Katherine Fraser and is made of oil on canvas. This piece measures approximately 68" x 58" and is shipped in the pictu...

"Not Speaking" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 36" x 40" oil on board portrait of a mother and her son is painted in a vibrant color pale...

"Resting" is an interior portrait of a young man resting on a sofa. This work was painted by Philadelphia born Expressionist painter Bernard Harmon. The 24" x 32" oil on board painti...

"New Hat" is a figurative, interior portrait painting by Philadelphia born Expressionist painter Bernard Harmon from 195. The 20" x 16" oil on board portrait features a young African...

Illustration celebrating important women throughout history, published in McCall's magazine, May 1959. This large canvas by Stanley Meltzoff presents a compelling tribute to influen...

"Jazz" is a figurative painting by Philadelphia born Expressionist painter Bernard Harmon from 1968. The 34" x 40" oil on board portrait features a young African American woman playi...

Louis Icart Portrait de Fanny Icart Excellent Condition Original oil painting on canvas Hand-signed in paint in the lower right by Icart 1935 31 1/2 X 39 inches Framed in an antique ...

Medium: Oil Painting Signature: Unsigned Contact for dimensions.

"Child Resting in Chair" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 41" x 35.75" oil on board portrait is painted in a vibrant color palette. The painting is framed in a new, black wood frame and signed "Harmon" on verso. Figurative expressionism in the style of Alice Neel. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists...

This watercolor painting with ink accents depicting a young fashionable woman with a confident direct glance is in excellent condition -- no stains, tears, etc to the painting; antiq...

Unknown Artist (English or American, nineteenth century) William Shakespeare Oil on canvas, mounted on board; 9 x 7 1/4 inches FRAMED: 14 1/2 x 13 inches (approx.) This work depicts...

Original cover for Good Housekeeping, published August 1906 A young woman in pink sitting in a rowboat

Oil on board Provenance Estate of Marjorie MacMonnies Wysong (the artist's granddaughter); Hap Moore Auctions; Martin Ferrick Antiques Exhibitions Avery Galleries, Bryn Mawr, Pennsylvania, American Women Artists: 1860–1960, October 13–November 10, 2017. Description During her expatriate career, between the mid-1880s and return to the United States in 1920, painter and muralist Mary Fairchild MacMonnies (later Low) was one of the most successful American women artists of her generation. Mary Fairchild was born in Connecticut, but was raised largely in St. Louis, Missouri. Inspired by her mother's work as a painter of miniatures and dissatisfied as a school teacher, she enrolled in the St. Louis School of Fine Arts, where she led a movement for women to be permitted to draw model posed in the nude, an important component of artistic training then considered improper for well-bred young women. Impressed by her talent and drive, the school's director, Halsey Ives...

Denied Warhol Repent & Sin No More Black and White Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Aut...

"Upright Bass" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 40" x 34" oil on board group portrait of a musician is painted...

"Knee Sock Girl" is an oil on board portrait painting by Philadelphia born Expressionist painter Bernard Harmon of a woman, seemingly lost in contemplation....

Medium: Oil on Canvas Signature: Signed Lower Right In the Timken War Bond campaign, JC Leyendecker completed more than a dozen paintings that were rep...

"Patterns and Shapes" is a portrait painting by Philadelphia born Expressionist painter Bernard Harmon. The 40" x 36" oil on board portrait is painted in a vibrant color palette. "St...

"Pattern Skirt" is an oil on board interior portrait of a young woman sitting, painted by Philadelphia born Expressionist artist Bernard Harmon. The painting is 39 1/2" x 36" in size...

Denied Warhol Grey Self Portrait Fright Wig Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 12 x 12" inches 20...

"Girl Thinking" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 40" x 30" oil on board portrait of a young woman is painted in a vibrant color palette. The painting is framed in a new, black wood frame and signed "B Harmon" on verso. Figurative expressionism in the style of Alice Neel. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke...

Bask, Original Contemporary Surrealist Figurative Mixed Media Portrait Painting 42" x 33" x 1.5" (HxWxD) Oil and Print on Canvas This mixed media portrait by artist Sarah Jacobs...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 40.00" x 30.00", Framed 47.00" x 37.00" Cover of the Saturday Evening Post, April 1, 1933.

Medium: Oil on Canvas Used for signage and marketing purposes. Thanhardt-Burger carved gilt frame. Painting is fully conserved. Client / Usage: K...

"Drums" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 34" x 40" oil on board group portrait of three musicians playing t...

Price on Request. The Saturday Evening Post cover, August 10, 1940

"Stars and Stripes" is an oil on board portrait of a young woman with an American Flag, painted by Philadelphia born Expressionist artist Bernard Harmon. The painting is 41 3/4" x 35...

Medium: Oil on Canvas Signature: Signed and Dated 'N.C. Wyeth' (Lower Left) The Country Gentleman, vol. 91, no. 11, November 1, 1926, cover illu...

"The War of Independence" is an original oil painting on canvas by Katherine Fraser in a handmade wood frame measuring fifty-nine inches in height ...

Denied Warhol Mona Lisa Reversal Silkscreen Painting Charles Lutz 20 x 26" 2008 Silkscreen on canvas Lutz's 2007 ''Warhol Denied'' series gained him international attention calling...

"The Illusion of Progress" is a 59in x 79in original oil painting by Katherine Fraser in a handmade wood frame. "Life often strikes me as a string of moments, like a series of film ...

Medium: Watercolor on Board Dimensions: 18.00" x 14.00" Signature: Signed Lower Right

Medium: Oil on Canvas Laid Down on Board Signature: Inscribed with Title (Lower Center) Joseph Christian Leyendecker created the Arrow Collar Man in 1905 for Cluette, Peabody & Comp...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 38.25" x 29.25", Framed 45" x 35" Cover of The Saturday Evening Post Magazine, June 13, 1925 Edmund Davenport was a New Yorker and a successful illustrator in the 1920’s. He painted covers for Women’s Home Companion and The Saturday Evening Post, and at the same time, he worked in the art department of Paramount Studios. At the time of this publication, a young woman’s graduation from college was a rare accomplishment, and the opportunities for employment that required a college diploma, were even rarer. Nevertheless, it was a good reason for this pretty, young woman to be sitting on top of the world in the vicinity of “cloud nine.” “Top of the World” appeared on the cover of The Saturday Evening Post on June 13, 1925. Exhibited: Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 A luminous and rare Golden Age of Illustration cover...

Date: 1979 Medium: Acrylic and Pencil on Canvas Laid on Board Dimensions: 20.75" x 13.25" Signature: Initialed Lower Center TV Guide Cover Illustration, June...