Paintings

This distinctive acrylic painting by Natasha Lelenco from her acclaimed series Ancestor Clones presents a captivating portrait characterized by a symbolic face composed entirely of s...

From the artist: "The symbol of the Apple has held significance for humans throughout recorded history. In the bible it represents the forbidden. It was used by Newton to explain gra...

"Jeni Stallings creates work that often draws from her dreams and personal experiences. She tends to render those moments in a muted, femininity-infused surrealism far from the hard-...

NUDE III Tribute to French painter Henri Matisse. Acrylic on canvas. 30in x 30in (76cm x 76cm). Ready to hang. :: Painting :: Pop-Art :: This piece comes with an official certifi...

Takashi Murakmai Flowers Drawing 2018: A unique Takashi Murakami hand-drawing featuring the artist’s 2 most iconic motifs: Flowers & DOB. This work was executed in 2018 on the interior front page of the 2018 exhibition catalogue: Takashi Murakami: The Octopus Eats Its Own Leg. Hand signed and dated. Medium: Felt tip marker drawing on a removed interior exhibition catalog page (Takashi Murakami: The Octopus Eats Its Own Leg). Approximate Dimensions. 11.25 x 9.5 inches. Signed and dated in ink on the lower edge. Unique. Very good overall condition. Provenance: Private collection, Washington, D.C. Swann Auction galleries New York. Takashi Murakami (American/Japanese, b.1962) is a painter and sculptor famous for his integration of Fine Art, commercialism, Japanese aesthetics, and cultural criticism into his work. Murakami received his BFA, MFA, and PhD from the Tokyo National University of Fine Arts and Music, where he studied Nihonga (traditional Japanese painting). He first gained recognition as a sculptor during the early 1990s, exploring otaku (the Japanese term for an obsession with anime and cartoons) and the contradictions between contemporary Japanese society and American culture in his work. In 1996, he created the Hiropon Factory in Japan, which later developed into Kaikai Kiki Co., Ltd., a large art-making and artist management corporation. Murakami is also a curator and a critical observer of Japanese art. In 2000, he founded the "superflat" movement, a post-modern style drawing inspiration from Japanese manga (comics created in Japan), graphic design...

The painting "Everyday Warrior" depicts a woman whose strength and resilience are manifested in the most important part of the battlefield - in the rear. Inspired by the real image o...

Nocturnal Walk - Moonlit Adventure by Gozo portrays a tranquil night scene where two figures, one wearing Mickey Mouse ears, journey toward a distant horizon beneath the glow of a lu...

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

Artist: Andy Warhol Title: Fish Portfolio: The Toy Suite Medium: Original painting on canvas Date: 1983 Edition: Unique Frame Size: 20" x 23" Sheet Size: 11" x 14" Signature: Estate...

Roland Weber (1932–1988) was a French painter known for his post-war and contemporary art. His works have been showcased in various exhibitions and auctions over the years. Born in V...

Wonder Woman by Dean Moore is created with mosaics using hand cut tiles. Mixed media, 30 x 25, framed to 32 x 26.5 It is a delightful, joyful, original artwork of this iconic Super Hero. We are thrilled to be representing this unique, creative artist. Dean Moore is a New York City based emerging artist. Being self-taught, Dean has experimented with various mediums and finds deconstruction to be a consistent theme in his work. Currently focusing on mosaics, Moore meticulously hand cuts ceramic tile, porcelain tile and glass into thousands of fragments—shaping and filing each piece precisely before thoughtfully positioning them together to create impactful mosaics. In the past, he used cereal boxes...

In this vibrant portrayal, I've merged multiple art styles to capture an explosion of emotions. By layering acrylics, watercolors, and colored pencils, I've created a textured harmon...

By Forrest Moses (American, b. 1934) Carmel California, 1967 Medium: Oil on Canvas Size: 18" x 24" Framed Size: 22.5" x 28.5" About the Artist: Fo...

We are please to announce that we are now representing the Pop Art cowboy and cowgirl paintings of the artist Matt Straub. We at the gallery have been exc...

"Jeni Stallings creates work that often draws from her dreams and personal experiences. She tends to render those moments in a muted, femininity-infused surrealism far from the hard-...

Oil on burlap. Oil measures 50x65 cm. Frameless.

Damien Hirst H12-4: Beautiful, Everlasting, Inexhaustibly Interesting, Self-Revelatory Gyration Painting, 2023 Mixed Media Giclée print on poly-cotton artist canvas mounted on a birc...

Lee Herring is a contemporary painter specializing in vibrant, textured, and abstract landscapes that convey fleeting moments. Herring's energetic artworks are inspired by everyday m...

This 24" x 24" abstract painting on canvas, Abstract Blue Balls, is by California artist, Linda Chrysler. The central motif is a vibrant cerulean blue organic form or shape dissected...

"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...

Love in Black and Gold - Original Acrylic on Canvas with Quartz Multicolored, iridescent abstract composition by Judith W Winslow (JW) (American, 1943-2023). This piece is textured ...

*For questions, special requests or commission inquiries, please text the gallery directly using ASK THE SELLER button. Grouping of 3 paintings is $2000 and of 4 paintings is $2500. ...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an authenticity unlike any other: layered, textural, controversial, open to imagination, colorful, personal, and inspiring. Coruzzi’s work encapsulates not only urban environments, but the inhabitants as well. Irony is laced between figures drawn with an energetic architectural hand. His work is colorful, funny, and biting through resolutely rendered vignettes of people and places. Coruzzi used acrylic paint and spray paint to create this one-of-a-kind original artwork on paper. This colorful 16-inch high by 20-inch wide artwork is framed in a white wood frame. Size and price include frame. This artwork is signed on the front. Convenient local Los Angeles shipping. Affordable Continental U.S. and worldwide shipping also available. A certificate of authenticity issued by the art gallery is included. Fabio Coruzzi was born in Foggia, Italy in 1975, and now resides in Southern California, USA. Remarking on his work in conjunction with his perspective on urban environments, Fabio states: "I wish that each painting I make should be like a poem of the place where I've been. I wish to become a poet of our time, like somebody would tell: "I've been there", but telling that my way, telling the audience that, no matter where we are, in a boulevard or in a restaurant, each single place is like an empty box that needs to be filled with the intense energy of our existence. Each place leaves a mark, like a scar, inside us. I wish that scar becomes poetry." Winner of the 2021 ENEGANART Prize, Coruzzi's work has been widely collected and exhibited internationally, with great acclaim for his faithfully candid approach to city life and human idiosyncrasy: "It’s a melting pot of different gestures, different perspectives. Mixed media molds together these different perspectives, creating the urban environment. Contemporary culture is made of controversy: modernity includes ugliness, imperfection, and contamination, anything that creates texture." REPRESENTATION Artspace Warehouse, Los Angeles, CA, USA EXHIBITIONS 2023 Solo show, Fabio Coruzzi: Statements, Artspace Warehouse, Los Angeles, CA 2022 “Breakthrough Artists of the Affordable Art Scene”, Artspace Warehouse, Los Angeles, CA 2021 Palazzo Strozzi, Firenze, Italy Artspace Warehouse, Los Angeles, CA 2020 LA Art Show – Los Angeles, CA 2019 Artspace Warehouse – Los Angeles 2017 AAF New York, NY 2016 Topography of Life – Artspace Warehouse – Los Angeles New York Affordable Art Fair – New York 2015 New York Affordable Art Fair – New York 2015 Pop Art Shakeup – Artspace Warehouse – Los Angeles 2014 Why War? – The Freud Museum – London Affordable Art Fair Hampstead – London Papergirl Belfast - PS2 House - Belfast Affordable Art Fair Battersea, London – Bicha Gallery London Art Fair – Bicha Gallery 2013 AAF Singapore – Bicha Gallery Sound Sight Exhibition – Shaw Gallery, Trinity School – London Affordable Art Fair Battersea – Bicha Gallery Cityscapes – Medici Gallery – London Affordable Art Fair Stockholm – represented by Bicha Gallery Not A Drop – 4749 Tanner Street Gallery – London Going Underground - Shoreditch Town Hall Basement – London AAF Hampstead - Bicha Gallery 21st Biennale of Humour and Satire – Gabrovo Museum - Bulgaria People in Motion – Artspace Warehouse – Los Angeles AAF New York - Bicha Gallery AAF Hong Kong - Bicha Gallery Commonplaces – The Hackney Cut – London AAF Brussels - Bicha Gallery London Art Fair – Bicha Gallery 2012 Art For All – Medici Gallery – London Affordable Art Fair – Singapore – Bicha Gallery ELP group show – Galleria Ostrakon – Milan Affordable Art Fair – London – Bicha Gallery Affordable Art Fair – Stockholm – Bicha Gallery Printhaton – Foreman’s Smokehouse Gallery – London Affordable Art Fair – New York – Bicha Gallery Alimentum s.p.a. – Fondazione Banca Del Monte di Foggia – Italy Waiting for the Sun – solo exhibition – Bicha Gallery – London 2011 Qijiang International Print Festival – Chongqing – China Affordable Art Fair – Bicha Gallery – Battersea – London Human rights? – Opera Campana dei Caduti – Rovereto - Italy Fishwick Papers – The Smokehouse Gallery – London MAGNET OPEN ART PROJECT – Concord, New Hampshire – USA RARITIES – Hastings/Brighton 13 ELP Annual Exhibition – Triangle Gallery – London Show Me The Monet – Royal College of Art – produced by BBC Dreams – The Freud Museum – London LightBite 2011 – Nottingham – UK Type/Script – Chapel Gallery – Ormskirk 2010 Artisti Mitteleuropei 2010 – Casa della Cultura – Calitri(AV) – Italy Wishing – ArteOra Spazio Arte Contemporanea – Foggia – Italy The Public Are Not Invited – The Nottingham Workshop - UK ELP Box Set 2010 Launch – 242 Gallery – London 6×4 Postcard Exhibition – Yorkshire ArtSpace – Sheffield Link – ArteOra Gallery – group show curated by Maria Vinella – Foggia – Italy Penang International Printmaking Exhibition – Penang State Museum – Malaysia Freud Experience – solo exhibition – Freud Café Gallery – London A Suite of Lighted Rooms – Pushkin House Centre for Russian Culture- London Acqua Bene Comune – Foggia – Italy Twelve – Space Gallery – London Print for Peace 2010 – Arte AC Tecnologico Institute – Monterrey – Mexico Prize Winner – “Copertine al Tratto” 2010 – Subway Edizioni – Milan – Italy C’era una volta Pasolini – group show – Galleria Terre Rare – Bologna – Italy F.A.C.T.S.– Center for the Study in Political Graphics – Los Angeles – USA London Fashion Week – MariaFrancesca Pepe collection – Somerset House – London 2009 The Grand Plasto-Baader-Books – Kaleid Gallery – London Alexandria MiniPrint Biennal – Bibliotheca Alexandrina Conference Center – Egypt Segni 20×20 – Micro Macro Gallery – Turin One Night Only – group show – Shoreditch Town Hall – London Quijiang International Print Festival 2009 – Quijian – China Eco Art Project ’09 – Rome IMPACT Centerpiece 09 – SpikePrint Studio – Bristol Pasquale Siniscalco Gallery – Milan Estetica 09 – Church of S.S. Annunziata – Calitri (AV) – Italy Premio Spazi Evasi ’09 – Francavilla al Mare (CH) Unplug – Solo show – EstremaDura Café Gallery – Verbania – Italy Eleven – ELP Group show – Banside Gallery – London Ex Libris – Group show – Meliusz Center – Debrecen – Hungary 2nd Guanlan International Print Biennial – Guanlan Museum – Shenzen – China Biennial of Humour and Satire in the Arts – Museum of Humour and Satire – Gabrovo – Bulgaria Sorry If I’m Not in Line – Factory-Art Contemporanea – Trieste Ex Libris Mini Print Biennal – Sint Niklaas Dienst Museum – Belgium CDO’s and Double Clubs – August Art Space – London Adreanlina 09 – Former Jewish Fish Market – Rome Wonderland – Brothers Grimm Museum – Kessel – Germany Vigna degli Artisti 09 2008 Light One Night – Group Show – ArteOra Gallery – Foggia – Italy Temptation – Group show – Cupola Gallery – Sheffield Urban Jungle – Group show – London City Hall Orange Calls Italy- Shortlisted for the final group show – PolarExpo Space – Bergamo ArteIngenua Second Act – ArteIngenua prize 08 – Guido Iemmi Art Studio – Milan – Italy Concorso Fumetto Giovani 2008 Jury Prize – illustration – Museum of Modern Art – Foggia – Italy Second Impressions – Romford Art Institute – Essex E17 Art Trail – Kelmscott School – walthamstow – London Sustainability – Latajaka Gallery – Warsaw – Poland Wonderland–Deutsches Maerchen und Wesersagen Museum – Bad Oeynhausen – Germany Lessedra International Mini Print – Lessedra Contemporary Art Gallery – Sofia – Bulgaria Evento MUSAE 08 – Museo Urbano Sperimentale Arte Emegente – Tourism Palace – Jesolo (VE) Decarbonart – Greater London City Hall – London – curated by Katja Rosenberg Art Fusion – Live painting performance – The Hub – Aldgate East...

Sky Blue Excess by Chloe Hedden captures the serene and infinite expanse of the sky in rich, sculptural texture. The swirling, fluid application of paint evokes the gentle movement o...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

This symbolic contemporary portrait painting on canvas, titled Ancestor Clone 14, is part of Natasha Lelenco’s ongoing series You Are The One. Executed in acrylic with expressive brushwork and a vibrant color palette, the piece presents a striking symbolic face composed of stylized and exaggerated features. The deep greenish skin tone contrasts with the warm pink background, evoking a dreamlike yet intimate atmosphere. Delicate white flowers surround the face, while a small anthropomorphic form is gently cradled in one hand—an ambiguous presence that may represent an inner discomfort, a fear, or a personal burden. The figure’s attitude towards this entity is not one of rejection, but of tender familiarity. In this visual encounter, the painting suggests a narrative where discomfort is no longer externalized but softly embraced. This piece belongs to the Ancestor Clones subseries, which reflects on repetition, inheritance, and the performative nature of identity. The You Are The One project as a whole questions the idea of individuality in a world where selfhood is shaped by collective memory, algorithms, and archetypes. Working across a range of aesthetic references—from naïve figuration to expressionism and echoes of urban art—Lelenco constructs a visual language that speaks of hybridity and psychological intensity. Her characters, often symmetrical and frontal, resemble ritual masks or avatars, and point to an exploration of the “posthuman” condition through the codes of contemporary portraiture. This work is intended to function both as an individual painting and as part of a larger polyptych installation. Many pieces in the series have already been collected worldwide and have appeared in international exhibitions. Natasha Lelenco is open to commission-based projects and multi-piece configurations that adapt to the needs of specific interiors or curatorial contexts. Please feel free to contact us to inquire about additional works or special arrangements. Keywords: contemporary portrait painting, symbolic art, psychological portrait, posthuman identity, surreal face, acrylic on canvas, pink and green artwork...

"Lipse" is a standout piece from Elizabeth Art Candy’s Fake Gum’s series, where her signature 3D mosaic technique transforms one of her most iconic subjects—the lips—into a playful, ...

"In the Fields" Pastel Painting 8" x 12" in (circa 1970) by Inji Efflatoun Stamped by artist's estate Not signed Inji Eflatoun pursued free studies in art. Since 1942, she has par...

This piece is a collaboration between Angel Ortiz (LAII) and Cindy Shaoul. They began collaborating in 2010 with their iconic "Street Cars" series, depicti...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

A unique work by the father of the Pop Art movement, Andy Warhol. A work on canvas from the 1980's inspired by the artist's personal commitment to support the Heart Foundation. The ...

Lowell Nesbitt (American, 1933-1993) Flower, 1978 tempera on board 60 1/2 x 40 1/2 inches. Provenance: Sold: Christie's East, May 18, 1999, Lot 224 Blair Nesbitt is an American p...

Alexander Girard designs belong in a museum. :: Painting :: Pop-Art :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Sig...

Swiss artist Marion Duschletta transforms luxury objects and urban landscapes from around the world into unique layered artworks. She combines an intriguing mixture of urban photogra...

With "Yellow Popsicle", Brennan creates a visually striking acrylic painting that elevates an everyday object to a new singular level of precision and questioning paying homage to Ph...

Michael Giliberti’s original artworks are characterized by vivid colors and powerful compositions. His work exemplifies Modernism and in particular modern wall art. The inspirations ...

Original acrylic painting on canvas. Hand-signed and dated in acrylic on front by Peter Max. Canvas size 96 x 48 inches. Frame size aprox 100 x 52 inches. Peter Max studio catalog...

Chloe Hedden’s Prussian Blue Excess from her Excess series embodies Excessivism through its thick, sculptural application of paint, creating a highly textured, almost turbulent surfa...

This painting is acrylic on deep-profile canvas, wired and ready to hang. :: Painting :: Pop-Art :: This piece comes with an official certificate of authenticity signed by the artist...

This piece is from my priate collection created by Jean Remlinger who has a figurative style reminiscent of the works of Francis Bacon. It is probably an acrylic gouache , as a print...

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...

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