Paintings

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...

Unique acrylic painting and silkscreen on canvas. Hand signed and dated by Andy Warhol on verso. Martin Lawrence provenance label on verso. Canvas size 20 x 20 inches. The artwor...

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...

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...

Alexandre Schaller is a Swiss artist from Geneva, known for his contributions to the Pop Art movement. His artwork exemplifies his distinctive style, characterized by vibrant colors...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

US Navy veteran Randy Morales fuses nostalgia and graphic expressionism within his street-pop artworks. The choice of subjects within his artworks is strongly influenced by his exper...

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 artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Emilio Rama's captivating pop art-inspired paintings featuring origami animal figures are a distinctive and original contribution to the realm of contemporary art. With a vibrant int...

*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. ...

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...

"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...

US Navy veteran Randy Morales fuses nostalgia and graphic expressionism within his street-pop artworks. The choice of subjects within his artworks is strongly influenced by his exper...

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 ...

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 ...

Cuban-American artist Frankie Alfonso creates interwoven paintings using lively colors and spontaneous, well-balanced compositions. His work is best described as a style of automatic...

Frida Kahlo is an iconic Mexican artist and a great inspiration to me. She transformed her personal pain into art, a feat that resonates deeply with me. Her surrealistic artwork is c...

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

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...

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...

🔸 _Title: Paths of Memory 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 200 x 160 cm 🔸 _Medium: Acrylic, Enamel, Oil Pastel, ...

English artist Jonjo Elliot's large scale still life works are a collision of expressionistic fauvism and his collections encourage a youthful candor. Plants thrive in environments t...

Kerry Smith Led Zeppelin - Ramble On (made-to-order) Mixed Media on Crescent board Year: 2018 (first painted) - Made-to-order painting shows the creation year Size: 12x12in Signed, d...

Unique and original painting, ready to hang. Campbell La Pun’s unique spray can paintings merge street art sensibilities with vibrant pop culture influences, transforming ordinary s...

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

Artist: Jozza Title: "Flying High" Year: 2024 Media: Original acrylic on canvas Size: 30x24 Inches Hand signed on the recto and signed "Jozza", Titled, Dated, and ID numbered on the ...

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 ...

This vivid circular mixed media on paper by Jose Palacios, showcases his signature abstract pop art style, blending vibrant colors and dynamic forms. This painting feels like a playf...

Venetian Rose, Sap Green, and Forget Me Not Trio Combo by Chloe Hedden brings together a delicately balanced spectrum of emotional and sensory contrasts. In this grouping, Hedden’s s...

"Four Injections of Light" mixed media painting on canvas in wooden frame by street artist Omar Hassan, who is diabetic. Inspired by the daily insulin injections taken by the artist ...

Stencil and mixed media on paper. Hand signed on front; signed and dated on verso with studio catalog number and thumbprint. Artwork is in excellent condition. Mr. Brainwash studio...

So Do I, Layered, Stained and Painted Birch Wood Artwork by Texas Artist, Mitch McGee. This female figurative Pop Artwork is 40" Round. She is a Brunette with Green Eyes. The in...

Robert Lebsack creates artworks using mixed media with ink, acrylic and charcoal on archival copies of newspaper, textbooks, or sheet music. His street art tends to focus on social a...

Charlotte Gibbs’ "flag" and "star" paintings often reference the artist's interest in Pop art and sometimes incorporate 23 karat gold leaf in addition to oil paint, but not always. With its depiction of a graphically idealized British flag. "Union Jack (Blue and Gold) " is at once lovely and bold. Part of a series of 'flag' paintings (American, British, French, Japanese, Scottish) these elegant works of rich color are sophisticated examples of Gibbs' ability to both pay homage in a straightforward way to these international cultural symbols, as well as to the broader tradition of pure geometric abstraction in painting. They can be perceived on both levels. The artist's simple distressed slightly distressed white wood double lattice frame is the perfect complement. Also available are paintings of the 'Union Jack" in white and 23 karat gold leaf and bright, 'day-glo' like colors of blue, chartreuse and red, and red and gold. See also: "Sgt. Pepper Jack," "Union Jack Red and Gold," "Union Jack Navy and Gold," and "Union Jack White and Gold"), the Scottish flag...

Get into the holiday spirit with this unique acrylic painting of Santa catching waves! Perfect for lovers of coastal and holiday decor, this piece brings the joy of Christmas with a ...

Virginie Schroeder is an innovative artist based in Quebec, Canada. She puts in play lines, circles, and other geometric forms to create works with subjects that are not immediately ...

The work took part in the exhibition "Draw me a poem" in the National Museum of Kiev-Pechersk Lavra 2024. The painting "On the Link of Times" reveals the theme of anti-fragility thro...

Mixed media with acrylic painting and color lithography on paper. Hand-signed in acrylic paint on front by Peter Max. A unique variation. Frame size 18 x 15.5 inches. Artwork siz...

Bad date, 59x42cm, tempera/paper

Amy Smith is a self-educated contemporary artist. Born in New Jersey, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community. In her Collage Portrait Series, Amy Smith uses photography, and layers of hand cut stencils, and torn recycled fashion magazine pieces to simultaneously represent her love of fashion and her contempt for excessive consumerism. In addition, she showcases female portraits to empower and unify, creating a space to feel connected to oneself and to each other. Smith’s mixed media collages have been shown at Wallspace, Saatchi’s The Other Art Fair, La Art Fair to name a few and been part of auctions such as revered Julien’s Auctions...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express emotions akin to silent poetry while drawing inspiration for her palette from the layered world around her. Her artworks include layered textures and playful details along the surfaces. This original colorful graffiti-inspired painting measures 13 inches square. The artwork is framed in a white wood frame, size and price include the frame. It is wired and ready to hang. This painting is signed and titled by the artist on the back. Convenient local Los Angeles area shipping. Affordable Continental U.S. and global shipping also available. A certificate of authenticity issued by the art gallery is included. Amber Goldhammer is best known for creating vibrant abstract paintings with a street art edge. She originally started painting with pigments, powders, and waxes and went on to experiment with different mediums and processes to keep evolving her artworks. As love and joy are paramount emotions in life, Goldhammer hopes her series incorporating the “I Love You” message expands to reach a wide audience. Connecting people through public art is one way she believes her street murals can impact lives, as it is impossible to view her work and not feel a sense of joy and love. Painting a convergence of color and emotion, she builds and layers bold colors organically, allowing the process to determine the outcome. There is no analyzing, conceptualizing, or judging that takes place. It all happens in the moment, as a union between her, the canvas, and the paint. Amber Goldhammer frequently draws inspiration for her palette from the colors of the ocean, saying, “I get to take in the essence of the ocean every day, which fuels my creativity and brings me peace.” Embracing a profound love for existence unveils a world adorned with beauty at every turn. When one's heart is entwined with the sheer joy of life, the ordinary transforms into the extraordinary, and the mundane becomes a canvas of boundless inspiration. This sentiment resonates eloquently in the captivating artworks by Amber Goldhammer. Within her original creations, positivity takes center stage, as vibrant hues dance harmoniously to convey a celebration of life. Hearts and declarations of love, intricately painted onto the canvas, serve as visual affirmations of the artist's unwavering affection for the world. Each stroke tells a story of optimism, inviting viewers to share in the enchanting journey where love and art converge to create a tapestry of uplifting emotions. Amber Goldhammer's works are not just paintings; they are vibrant expressions of a love affair with life itself. A worldwide collected young artist with ongoing concurrent exhibitions in galleries throughout the United States and Switzerland, Goldhammer's artworks have also been exhibited at major international art fairs. Her original paintings have been showcased in print and online publications, and on such TV series as “Million Dollar Listing,” “Being Mary Jane,” “The Catch” as well as both multi-Emmy® nominated series, “Crazy Ex-Girlfriend”, and “Scandal.” Goldhammer’s art is also featured on Netflix’s original series, “G.L.O.W.” by “Weeds” creator, Jenji Kohan. Artspace Warehouse has been representing and exhibiting Amber Goldhammer's original artworks since 2011. The gallery has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a large selection of affordable original artworks from established and emerging international artists with diverse backgrounds at high standards. Artspace Warehouse is known to provide accurate descriptions, images, reliable services, communication, and delivery. REPRESENTATION Artspace Warehouse, Los Angeles, California SOLO EXHIBITIONS 2022 Christopher Martin Gallery, Dallas, TX 2022 Merritt Gallery, Washington, DC 2021 Artspace Warehouse, Los Angeles, CA 2020 Christopher Martin Gallery, Dallas, TX 2012 Meridian’s, Ventura, CA 2010 Healing Bodywork, Santa Monica, CA GROUP EXHIBITIONS 2023 Artspace Warehouse, Los Angeles, CA Kunstwarenhaus, Zurich, Switzerland Christopher Martin Gallery, Dallas, TX Merritt Gallery, Washington DC MAC Fine Art, Ft Lauderdale, FL Clarendon Fine Art, London, England 2022 Artspace Warehouse, Los Angeles, CA Kunstwarenhaus, Zurich, Switzerland Christopher Martin Gallery, Dallas, TX Merritt Gallery, Washington DC MAC Fine Art, Ft Lauderdale, FL Clarendon Fine Art, London, England 2021 Artspace Warehouse, Los Angeles, CA Kunstwarenhaus, Zurich, Switzerland Christopher Martin Gallery, Dallas, TX Merritt Gallery, Washington DC MAC Fine Art, Ft Lauderdale, FL Clarendon Fine Art, London, England 2020 Kunstwarenhaus Zurich, Switzerland Artspace Warehouse, Los Angeles, CA Kevin Barry Fine Art, Las Vegas, NV Ethos Contemporary, Newport Beach, CA Christopher Martin Gallery, Dallas, TX 2019 Artspace Warehouse, Los Angeles, CA Kevin Barry Fine Art, Las Vegas, NV Ethos Contemporary, Newport Beach, CA 2018 Artspace Warehouse, Los Angeles, CA Kunstwarenhaus, Zurich, Switzerland Kevin Barry Fine Art, San Francisco, CA 2017 Artspace Warehouse, Los Angeles, CA Jackson Gallery, Palm Springs, CA Kevin Barry Fine Art, San Francisco, CA Kunstwarenhaus Zurich, Switzerland 2015 Artspace Warehouse, Los Angeles, CA JCC Gallery, Santa Barbara, CA Kunstwarenhaus Zurich, Switzerland Michael Kate Design, Santa Barbara, CA 2014 National Peace Project USA 2014 Artspace Warehouse, Los Angeles, CA Burbank Creative Arts Center, Burbank, CA 2013 Artspace Warehouse, Los Angeles, CA 2012 Artspace Warehouse, Los Angeles, CA Artlife Gallery, El Segundo, CA Encino Community Center, Encino, CA ART FAIRS 2024 AAF New York, NY AAF Austin, TX 2021 AAF New York, NY 2020 AAF New York, NY Art Palm Springs, CA LA Art Show, CA 2019 AAF New York, NY Art Palm Springs, CA 2018 AAF New York, NY AAF Hong Kong Art Palm Springs, CA 2017 AAF New York, NY 2016 AAF Hong Kong AAF New York, NY 2015 AAF New York, NY 2014 Love Art Fair Toronto, Canada 2013 Affordable Art Fair New York, NY Affordable Art Fair Seattle, WA PRESS 2023 Home and Design Magazine 2023 So Cal Design Magazine 2021 Art Daily Swagger Magazine Grey Journal 2020 Paper City Magazine, Dallas 2018 Architectural Digest Magazine 2018 LA Yoga Magazine 2015 Scene Magazine - Santa Barbara, Ca 2014 Avant Garde Magazine – Nationwide (USA) 2013 Blick Winter Catalog 2013 Fusionart, Rassouli 2011 Origin Magazine – Nationwide (USA) TV & FILM Insecure, HBO GLOW, Netflix L.A.’s Finest, Netflix Planet of the Apps, Apple TV The Catch, ABC Crazy Ex-Girlfriend, CW Scandal, ABC Million Dollar Listing LA, Bravo Being Mary Jane, BET Staged to Perfection, HGTV Beyond Hope, Al Diaz Silicon Valley, HBO The Laundromat (2019) Love, Simon (2018) REPRESENTATION Artspace Warehouse, Los Angeles, CA Kunstwarenhaus Zurich, Switzerland COLLECTIONS The STRAT Hotel, Las Vegas, NV Cooperative of American Physicians, Los Angeles, CA Casting Networks, Los Angeles, CA Capital One Headquarters, Los Angeles, CA Brentwood Country Club, Los Angeles, CA Ritz Carlton, Los Angeles, CA Meredith Baer...

The rural landscape will inspire you with the beauty of nature, bright autumn colors. Will give you comfort and dreams.

10 color screen print on coventry rag 290 gsm paper with deckled edges. Hand signed and dated lower front by John 'Crash' Matos. Hand numbered 6/50 lower left front. Artwork size ...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Original acrylic painting on canvas. Hand-signed in acrylic on front by Peter Max. Canvas size 71.75 x 35.75 inches. Custom framed with hand painted filet. Frame size approx 86 x 50 inches. Max studio catalog number and year on verso. Artwork is in excellent condition. Gallery Art issued Certificate of Authenticity included. All reasonable offers will be considered. About the Artist: Peter Max (American, born 1937) is a German artist known for his unique brand of rainbow-hued prints and paintings, which he has created since the early 1960s. Employing painterly strokes, his illustrations incorporate a wide spectrum of colors and patterns as seen in his Umbrella Man series. “I'm just wowed by the universe. I'm just glad to do something I love to do. I love color, I love painting, I love shapes...

Mandarins" interior landscape in a baguette of Volsky Lily. Christmas Eve.The modern style of painting. Relief lines and fruits are created using texture paste on canvas. All year ro...

This vibrant and dynamic artwork " Boy on his scooter " captures an essence of playful spontaneity and youthful exuberance. The piece, rendered in a vivid palette of bold primary a...

"Flower" is a striking piece from Elizabeth Art Candy’s Fake Gum’s series, where her signature 3D mosaic technique transforms bold pop imagery into a sculptural experience. Featuring...

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 auth...

Unique hand painted silkscreen on canvas. Hand signed on verso by Steve Kaufman. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included. ...

This acrylic painting features a bumblebee, depicted in an abstract style, with vibrant strokes of blue, gold, and orange, and a touch of dripping technique. The background is filled...

As one of the world’s most collected, significant pop artists today, Nelson De La Nuez is a born iconoclast. Using his unique juxtaposition of pop culture and surrealism, blended with America’s rich culture and history, De La Nuez has created works of art that are considered timeless. Listed on the “Who’s Who List of the Most Collected Artists of Our Time,” his works are original, bold and outspoken. De La Nuez is known for his distinctive, trademarked style called “Art on the Edge,” which is creating art on all sides of the canvas and wood. This unique painting measures 48 inches high by 40 inches wide. It is signed on the front and the back by the artist. This artwork is framed in a black wood frame. Size and price include frame. It is wired and ready to hang. Free local Los Angeles area delivery. Affordable U.S. and global shipping options available. A certificate of authenticity issued by the art gallery is included. De La Nuez’s artwork is hanging in some of the most prominent, private collections of movie stars, directors, producers, comedians, corporations and art connoisseurs, as well as purchased recently for future auctions by Sotheby’s. His art has been featured on countless television shows, including: VH1: Fabulous Life of: “The Latest in Billionaire Home Décor,” “Inside Edition,” MTV “Cribs,” HGTV “Designer’s Challenge,” E! “Celebrity Favorites,” “America’s Next Top Model”, HGTV’s “Extreme Homes,” countless Bravo TV shows and “TMZ: Michael Jackson’s Final Art Purchase.” His works have been in high demand at international art shows and galleries. His works are represented by Artplex Gallery, Los Angeles. Nelson De La Nuez was born in 1959 in Havana, Cuba and came to the US at age seven. He was raised in Glendale, CA. De La Nuez studied art history at Boston University. He sees life as a “backwards ride on a Ferris wheel while sitting in an enlightening philosophy course.” His images become performances – his characters the source of laughter and enjoyment. Nelson tries to create a new generation of art lovers, drawing upon icons and art history to entice younger minds, in turn provoking the interest of the generation above them. De La Nuez is an innovative artist who captivates people with his outlandish juxtaposed art. He is constantly creating new, thought-provoking images, which have been collected worldwide. The L.A. Times called De La Nuez “the comedic da Vinci of our times.” His ability to use these non-related images to achieve a whole new and stimulating outlook on life has brought him many awards and published features. The artist continues to challenge himself to incorporate new and exciting ideas into his art and his style. He believes he is a success if his art inspires people to think beyond the norm. Artplex Gallery has been representing and exhibiting Nelson de la Nuez's original artworks since 2016. Artplex Gallery is a partner gallery of Artspace Warehouse. Artspace Warehouse has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a large selection of original artworks from established and emerging international artists with diverse backgrounds at high standards. Artspace Warehouse and Artplex Gallery are known to provide accurate descriptions, images, reliable services, communication, and delivery. REPRESENTATION Artplex Gallery, Los Angeles, California, USA EXHIBITIONS 2023 "Perspectives on Street Art", Artplex Gallery, Los Angeles, CA 2022 "Freestyle Iconography", Artplex Gallery, Los Angeles, CA 2021 Hamptons Market Art & Design. The Bridgehampton Museum 2021 Beach Life, DTR Modern Gallery, Nantucket 2021 “Live It Up” De La Nuez, Jennifer Balcos Gallery, Buckhead, ATL 2021 “Winter Wonderland”, DTR Modern Gallery, Washington DC 2020 DTR Modern Gallery, New York 2020 White Room Gallery, Bridgehampton, NY 2020 A Style Gallery, Solo Show, Hong Kong 2020 DTR Modern Gallery, Boston 2019 Pop Art Then & Now, DTR Modern Gallery, Boston, MA 2019 Melbourne Art Fair, Royal Exhibition Building, Australia 2019 Hamptons Market Art & Design, the Bridgehampton Museum 2019 Art Fair Hong Kong 2018 Art Fair, New York, NY 2018 Baselworld, Basel, Switzerland 2018 Art Market San Francisco, CA 2018 LA Modern & Contemporary Art Show, CA 2018 Pop, Bang; De La Nuez, DTR Modern Palm Beach, FL 2017 Hong Kong, HK 2017 Corum Bubble Watch...

Original mixed media drawing with watercolor on paper. Hand signed by Peter Max. Frame size approx 17 x 21 inches. Artwork size 11 x 15 inches. Artwork is in excellent condition....

Acrylic Abstract Painting, Original artwork created by Ronald Hunter. Spice up your home with this bright and bold painting! This original Pop Art piece or neon painting is ready ...

Vintage American modernist portrait of iconic artist Peter Max. Signed. Framed. Original oil on canvas.