Art by Medium: Enamel

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate.

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Mixed media on vintage enamel sign. KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimin...

Mixed media on vintage enamel sign. KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimin...

Mixed media on vintage enamel sign. KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimin...

Mixed media on vintage enamel sign. KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimin...

Mixed media on vintage enamel sign. KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the...

mixed media on vintage enamel sign KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimini...

Abstract geometric artwork by a contemporary artist Gerald Wolfe. Gerald Wolfe’s wall pieces have a three-dimensional, architectural feel. The artist’s approach to his paintings is intuitive. He meticulously creates his works step by step, imbuing shapes and lines with energy. The interplay of forms, color, and texture creates tension between flatness and depth. His work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Gerald Wolfe received a Bachelor of Arts degree in history from the University of Maryland in 1972, discovered his interest in art and went on to study fine arts at the School of Visual Arts in New York City. In the summer of 1974, he also studied at Skowhegan School of Painting and Sculpture in Maine. From his first show in 1979, a summer invitational at OK Harris Gallery, Gerald has shown his work on a consistent basis in New York, including such galleries as Denise Bibro Fine Art, NYC, and Kim Foster Gallery, NYC . In addition, he has had solo exhibits at the Paterson Museum in Paterson, New Jersey...

Creating sculptures of exquisite peculiarity is an art in which Takei excels. His elegantly crafted works embody the notion of the whimsical, contradictory and idiosyncratic. There is an immediately detectable sense of humor and quick wit about the sculptures in this exhibition. Beyond playfulness, however, Takei’s aim is to challenge the viewer to alter the way in which they look at reality. Taking cues from the Surrealists of the early 20th century, Takei transforms the mundane into the fantastic - and sometimes absurd. His work is a constant inquiry into the meaning of functionality and the perception of purpose. Much like Man Ray’s iconic readymade sculpture, The Gift (1921), and Meret Oppenheim’s infamous fur-covered teacup (Object, 1936), Takei recontextualizes those pragmatic objects that we immediately recognize. With his piece Soft Shoulders (2011), Takei deconstructs a wooden clothes hanger...

School Night, by Okay Mountain, 2012 Additional information: Medium: Foam, resin, enamel, wood, trash, and low astroturf plinth which can be customized to fit About artist: Okay Mo...

Luke Forsyth is a painter and illustrator living and working in Los Angeles, California. Known for a playful approach, Forsyth enjoys working in an array of colors and mediums. He dr...

The sculpture, "Rylee", is an artistic take on the 1960's shirtwaist dress. Made with plastic educational building pieces with repurposed aluminum disks.

Born in 1958, in Southern California, an only child to self employed parents, John spent many afternoons watching television and movies portraying perfect people, in perfect families...

Texaco Kadir Lopez, Cuban (1972) Date: 2015 Mixed Media on Enamel sign, signed, dated and titled lower left Size: 47.5 x 47.5 in. (120.65 x 120.65 cm)

24 x 20.75 in (60.96 x 52.70 cm)

24 x 20.75 in (60.96 x 52.70 cm)

24 x 20.75 in (60.96 x 52.70 cm)

24 x 20.75 in (60.96 x 52.70 cm)

Russell Young Mick Jagger, Hot White Acrylic and enamel and diamond dust screen print on linen, framed 62 x 48 inches This piece is unique Signed by artist Currently on display at A...

Russell Young Hendrix Wild Thing, White Haze Acrylic and enamel and diamond dust screen print on linen, framed 62 x 48 inches This piece is unique Signed by artist Currently on disp...

Russell Young Bardot Cowgirl, Thunder White Acrylic and enamel and diamond dust screen print on linen, framed 62 x 43 inches This piece is unique Signed by artist Currently on displ...

Russell Young Bardot Supreme, Riviera Pink Acrylic and enamel and diamond dust screen print on linen, framed 62 x 48 inches This piece is unique Signed by artist Currently on displa...

Leoncillo Leonardi (Spoleto 1915 – Roma 1968), Paesaggio siciliano (1958) Ceramica policroma di cm 89 x 66 x 20 firmata Leoncillo e datata 1958 sul retro. La scultura è accompagnat...

Mario Schifano (Homs 1934 – Roma 1998), Futurismo rivisitato (1972 – 1976) Smalto spray su tela di cm 100 x 120 in perspex policromo firmato Schifano. L’opera risulta archiviata ...

Maximilian Schubert Untitled , 2015 Cast acrylic polyurethane, fiberglass, acrylic, vinyl, enamel 28 x 21 x 2.5 inches (71.1 x 53.3 x 6.4 cm)

Carmen Almon uses copper sheeting, brass tubing, steel wire and enamel paint to create exquisite botanical sculptures. She captures the fragility of a moment in time by interpreting ...

Luke Forsyth is a painter and illustrator living and working in Los Angeles, California. Known for a playful approach, Forsyth enjoys working in an array of colors and mediums. He dr...

Home at Last (#1025) 2023 Signed, titled, and dated, verso Oil, enamel, and acrylic on canvas 56 x 52 inches This work is offered by CLAMP in New York City.

Sleeve (#146) 2006 Signed, titled, and dated, verso Oil and enamel on canvas 48 x 56 inches This work is offered by CLAMP in New York City.

This is a painting of a group of men standing around on a beach waiting for instructions. Waiting for Instructions, Plinth (#400) 2008 Signed, l.r. Oil, enamel, and ink on canvas ...

Carmen Almon uses copper sheeting, brass tubing, steel wire and enamel paint to create exquisite botanical sculptures. She captures the fragility of a moment in time by interpreting particular plants based on her memories of them. “These botanical compositions seem to defy their sheet-metal origins to come alive. Branches bend, vines loop, leaves twist, and a few surprising bugs, from butterflies to beetles, drop in to colonize her plants.” Through her work, one is reminded of the beautifully illustrated botanical books of the 17th and 18th century – Linneaeus, Ehret, Redouté – which Carmen often refers to for inspiration. Each piece takes up to twelve weeks to complete, therefore, few are realized each year making them rare treasures. In reference to our human connection to flowers, Carmen states, “Romance, marriage, funerals. Subconsciously, they represent so many things, innocent beauty, courage in the face of obstacles and continuity in the cycle of life and death. When I work on a plant, I am often thinking of this.” Almon grew up in Barcelona and Washington DC and resides in New Orleans, Louisiana. Her works are exhibited at the Chinese Porcelain Gallery, NY; and Octavia Art Gallery...

Carmen Almon uses copper sheeting, brass tubing, steel wire and enamel paint to create exquisite botanical sculptures. She captures the fragility of a moment in time by interpreting particular plants based on her memories of them. “These botanical compositions seem to defy their sheet-metal origins to come alive. Branches bend, vines loop, leaves twist, and a few surprising bugs, from butterflies to beetles, drop in to colonize her plants.” Through her work, one is reminded of the beautifully illustrated botanical books of the 17th and 18th century – Linneaeus, Ehret, Redouté – which Carmen often refers to for inspiration. Each piece takes up to twelve weeks to complete, therefore, few are realized each year making them rare treasures. In reference to our human connection to flowers, Carmen states, “Romance, marriage, funerals. Subconsciously, they represent so many things, innocent beauty, courage in the face of obstacles and continuity in the cycle of life and death. When I work on a plant, I am often thinking of this.” Almon grew up in Barcelona and Washington DC and resides in New Orleans, Louisiana. Her works are exhibited at the Chinese Porcelain Gallery, NY; and Octavia Art Gallery...

Carmen Almon uses copper sheeting, brass tubing, steel wire and enamel paint to create exquisite botanical sculptures. She captures the fragility of a moment in time by interpreting particular plants based on her memories of them. “These botanical compositions seem to defy their sheet-metal origins to come alive. Branches bend, vines loop, leaves twist, and a few surprising bugs, from butterflies to beetles, drop in to colonize her plants.” Through her work, one is reminded of the beautifully illustrated botanical books of the 17th and 18th century – Linneaeus, Ehret, Redouté – which Carmen often refers to for inspiration. Each piece takes up to twelve weeks to complete, therefore, few are realized each year making them rare treasures. In reference to our human connection to flowers, Carmen states, “Romance, marriage, funerals. Subconsciously, they represent so many things, innocent beauty, courage in the face of obstacles and continuity in the cycle of life and death. When I work on a plant, I am often thinking of this.” Almon grew up in Barcelona and Washington DC and resides in New Orleans, Louisiana. Her works are exhibited at the Chinese Porcelain Gallery, NY; and Octavia Art Gallery...

Magic Form 1 2015 Stainless Steel Enamel painted high-gloss lacquered -mirror finished 13.2283 in x 22.9134 in x 25.6693 in (336 mm x 582 mm x 652 mm)

Magic Form 3.1.1 2015 Stainless Steel Enamel painted high-gloss lacquered -mirror finished 42.32283 in x 41.06299 in x 20.4724 in (1075 mm x 1043 mm x 520 mm)

Magic Form 3.1.2 2015 Stainless Steel Enamel painted high-gloss lacquered -mirror finished 41.73228 in x 36.063 in x 47.87402 in (1060 mm x 916mm x 1216 mm)

Found object sculpture made of patina and paint on aluminum.

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

05.enero.2013 41 Black, 2013 Unique Piece Aluminum, Enamel 105 x 85 x 25 cm 41.3 x 33.4 x 9.8 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based artist...

27 mayo 2011 48 Purple, 2011 Unique Piece Aluminium, Enamel 100 x 91 x 31 cm 39.3 x 35.8 x 12.2 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based art...

This Niki de Saint Phalle Brooch is representative of her iconic NANA.

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

"Incomplete Solar System" Painting 55" x 79" inch by Gosha Ostretsov Acrylic & enamel on canvas Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and wo...

The set "Porcelain Beauty" consists of 6 porcelain enamel artworks on aluminum plate. Alex Katz was life-long influenced by advertising e.g. the Ame...

a sculpture by Hing Yi

Magic Form 2 2015 Stainless Steel Enamel painted high-gloss lacquered - mirror finished 29.9213 in x 29.9213 in x 17.9528 in (760 mm x 760mm x 456 mm)

Russell Young Bardot Thunder, Bruised Pink Signed by artist Acrylic, enamel and diamond dust on screen print on linen, framed 28 x 37 inches Currently on d...

Quim Bové is a Catalan artist known for his symbolic, abstract paintings executed through his dynamic brush strokes reflected across his collections. Much of Quim’s early influence ...

Russell Young Ali Diptych, Thunder White 62 x 94 inches Acrylic paint, enamel, and diamond dust screen print on linen, Framed Signed by artist Currently on display at Art Angels Los...

Hung Yi was born in Taichung, Taiwan in 1970. The artist’s works are inspired by Taiwanese culture or day-to-day life in Taiwan. In the 1990s, it was popula...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...

A sculpture multiple lightbox of a classic American Blonde by Pop Icon Mel Ramos. From an edition of only 12. Artist: Mel Ramos, American (1935 - 2018) Title: Peek a Boo #1 Year: 2...

Acrylic and enamel screenprint, diamond dust on Somerset paper.