Enamel Figurative Paintings

Unique; Water-based enamel paint on paper stacks

In the enigmatic realm of "Esoteric," Dennis Onofua unveils a mesmerizing tapestry of mystery and introspection. This captivating artwork beckons viewers...

In Nuclear Era, Diego Tirigall explores the environmental and economic complexities surrounding nuclear power. Towering reactor structures dominate the scene, accompanied by striking...

Original artwork. 'High Emotion' is striking original artwork by Adam Bartlett, hand rendered in acrylic and emulsion paint, featuring his signature Cheetah, beautifully tray framed....

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Ernani Silva, Brazilian - Figures Playing Drums, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 10 x 21 in. (25.4 x 53.34 cm)

Unique; Water-based enamel paint on paper stacks

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

"Exotic," 2019. Enamel on panel, sign painting, black, white, and red. Hand lettering

K.G. Subramanyan - Untitled - 12 x 12 inches (unframed size) Oil on Enamel plate Inclusive of shipment without frame. Style : K G Subramanyan was one of the leading artists who was part of India’s post-Independence search for identity through art. A writer, scholar, teacher and art historian, K G Subramanyan was prolific in his art, spanning the spectrum of mediums from painting to pottery, weaving, and glass painting. He believed in the value of Indian traditions and incorporated folklore, myth and local techniques and stories into his work. Critic Geeta Kapur has stated that Subramanyan was deeply influenced by popular, modern, classical and indigenous traditions. No matter what the medium, be it handmade paper or acrylic sheet, his artistic practice has integrated fluid traditions so as to create a new lingua franca. The strokes that shape the faces and the little blobs, the vertical and horizontal drama all become like a choreographed symbolism that has a sense of play in line and length. Nothing is in excess, nothing is obnoxious but each stroke forms the finesse of versatile ventures. About the Artist and his work : K.G. Subramanyan (1924-2016) was born in Kerala. Education : He completed his Bachelor’s Degree in Economics from the Presidency College in Chennai. In 1948, he graduated from Kala Bhavan in Santiniketan, where he studied under the tutelage of Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij. In 1955, he received a British Council Research Fellowship to the Slade School of Art at the University of London. He was an inspiration to generations of students as a member of the Baroda M S Fine Arts Faculty. His focus there in later years was on terracotta and pottery. Solo Shows : 2014 – The Government Museum & Arts Gallery, Chandigarh. 2014 – Red Earth Gallery, Vadodara. 2018 – Art Musings, Mumbai, KG Subramanyan...

Ernani Silva, Brazilian - Flea Market, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 11 x 21 in. (27.94 x 53.34 cm)

This blue, red, and white artwork titled "Bob's Termite Service" is an original hand-painted oil based enamel on sign board artwork by Marissa Cianciulli measuring 20"h x 16.75"w. M...

The Police, unique painting on panel with black frame. Enamels and acrylics, hand-signed. Realized in 2018. Dimensions with frame: approximately 76 x 86 cm.

Contemporary pop art inspired pixelated portrait of Mexican artist Frida Kahlo wearing a rebozo, a Mexican garment worn like a shawl or scarf. Similar to pointillism, the individual ...

Flowers in a Vase, intensely and seductively colored: almost in a Japonaise style. Swooning purples and reds, ecstatic lemon yellows, Jostling shapes, lyrical and soft-edged, refuse ...

An original enamel on metal painting by emerging contemporary conceptual artist Craig Sheperd (b. 1984) Craig Sheperd’s paintings, most of which are enamel on metal, were created o...

"Palm Tree," 2019. Enamel on panel, sign painting, black, white, yellow, green and red.

Ernani Silva, Brazilian - West Meets East, Medium: Acrylic, Collage and Enamel on board, signed in marker lower right, Size: 10.5 x 22 in. (26.67 x 55.88 cm)

Ernani Silva, Brazilian - Festival, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 21 x 15.5 in. (53.34 x 39.37 cm)

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

Ernani Silva, Brazilian - Seven Figures, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 9 x 19.5 in. (22.86 x 49.53 cm)

Some Days (#2269) 2022 Signed, titled, and dated, verso Oil and enamel on canvas 46 x 42 inches This painting by Jack Balas is offered by CLAMP in New York City.

Santiago Fuente Bo pieces are exceptionally high in detail, but as well are playful and thought provoking. He is influenced with the ever-changing idea of what home means. His consta...

Original and unique artwork by Russell Young. Acrylic paint and enamel screen print on linen, unframed dimensions 62 x 48 inches, 2008, from the series "Fame + Shame". Red and dark c...

Toasted Hermes is a very amusing and surrealist enamel and China ink on cardboard realized in 1970 by Pablo Echaurren. Signed and dated in black ink on the lower right margin. On the...

Ernani Silva, Brazilian - Women with Flowers, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 9.25 x 27.5 in. (23.5 x 69.85 cm)

Ernani Silva, Brazilian - Local Cuisine, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 10 x 21 in. (25.4 x 53.34 cm)

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

This painting by Jack Balas is offered by CLAMP in New York City. O Canada (#1680) 2018 Signed, titled, and dated, verso Oil and enamel on canvas 60 x 48 inches $13,750

"Spicy Asian Food" (FRAMED) Abstract Painting 72 x 48 in by Yoram Katz Medium: Used items, Enamel and Spray paint on Canvas Size framed: 73 x 49 in Recycling Series ABOUT THE ART...

Ernani Silva, Brazilian - Dancing Figures, Medium: Acrylic, Enamel and Collage on board, signed in marker lower left, Size: 21 x 14.5 in. (53.34 x 36.83 cm)

Ernani Silva, Brazilian - Women and Children, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 11.25 x 22 in. (28.58 x 55.88 cm)

Ernani Silva, Brazilian - Six Figures, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 9.5 x 21 in. (24.13 x 53.34 cm)

Trees Kiln-fired enamel 4.5" h x 3.5" w 9" h x 8.5" (framed) Max Karp is widely recognized as the chief innovator of modern enameling. Self-taught and driven, over the years he perfected a unique process which allowed for his creation of museum-quality, kiln-fired two-dimensional painting. Karp was born in Ohio in 1916 but raised in California. He began painting as a child by depicting various species of birds and insects for his father who was an ornithologist and entomologist. In the mid-1960's, Karp became interested in the enamel process. Over the last half century, his paintings have received critical recognition and in 1970 Hamilton Mint commissioned Karp to produce paintings of the four seasons of the year, which were then issued as a limited edition of plates on precious metal. In 1980 Karp's enamel portrait of Beverly Sills, the American Queen of Opera, was presented to the singer following her final performance. His work is included in numerous private collections including those of Jacqueline Kennedy Onassis, Margaretta “Happy" Rockefeller, and Sarah Churchill...

"Nestcafe Society" and Corporate Ideals A striking painting by Diego Tirigall prompts deep thoughts about the relationship between appearances and reality. The painting features a rough sketch of a well-known instant coffee brand logo with words "N3stcafe Society" beneath it. This serves as a powerful symbol of the illusions that society and corporate ideals can create. The Illusion of High-Quality Coffee The painting highlights the gap between the promise of high-quality coffee and the reality of mass-produced, preservative-filled coffee packaged in an industrial jar. The large axe that cuts through the words "N3stcafe Society" symbolizes the destruction of these false promises and the consequences of pretending to be something one is not. The red coffee jar...

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

Artist: Pietro Bulloni, Italian (1947 - ) Title: Vista Mare con Cornice Year: 2012 Medium: Enamel on Canvas, signed, titled and dated Size: 51 x 23.75 in. (129.54 x 60.33 cm) Frame: ...

Oil, enamel, and ink on canvas Signed in black, l.r. This artwork is offered by ClampArt, located in New York City. Inscriptions read: THE WALL, NOGALES In Nogales, I walk across...

The Joshua Tree is an original painting in enamels and mixed media, a unique piece depicting the rock band U2. Hand-signed.

Ernani Silva, Brazilian - Five Moons, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 12.75 x 21 in. (32.39 x 53.34 cm)

Ernani Silva, Brazilian - Ceremony under Moon, Year: 1993, Medium: Acrylic and Enamel on board, signed and dated in marker lower left, Size: 21 x 22 in. (53.34 x 55.88 cm)

Ernani Silva, Brazilian - Emperor, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 22 x 9.75 in. (55.88 x 24.77 cm)

Ernani Silva, Brazilian - Women in the Wind, Year: 1993, Medium: Acrylic and Enamel on board, signed and dated in marker lower left, Size: 10.5 x 20.5 in. (26.67 x 52.07 cm)

Ernani Silva, Brazilian - Drumming Under the Moon, Medium: Acrylic, Collage and Enamel on board, signed in marker lower right, Size: 10.5 x 21 in. (26.67 x 53.34 cm)

Ernani Silva, Brazilian - The Hunt, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 10.25 x 21 in. (26.04 x 53.34 cm)

Ernani Silva, Brazilian - Man and Child, Medium: Acrylic, Collage and Enamel on board, signed in marker, Size: 7 x 14.5 in. (17.78 x 36.83 cm)

Ernani Silva, Brazilian - Joy, Medium: Acrylic, Collage and Enamel on board, signed in marker lower left, Size: 8.75 x 19.5 in. (22.23 x 49.53 cm)

Allegories of Carnal Love and Chaste Love by Paul GRANDHOMME (1851-1944) and Alfred GARNIER (1848-1908) Very important plaque in translucent and opaque polychrome enamel on copper, with gold spangles and gold highlights. Set in its original silver setting. Presented in its original morocco leather box...

REDSKIN is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around the...

"DRAWING INVENTORY (Jamón y Gasolina)", 2019, painting in acrylic, charcoal, watercolor, collage, silkscreen enamel on cotton rag paper by artist Andrew Cornell Robinson...

Diego Tirigall's "Mona Lisa, Gioconda 2" introduces an exciting dimension to his reinterpretations of classical art, featuring his first-ever round canvas at 80x80 cm. This unique fo...

"Blast" (FRAMED) Abstract Painting 72 x 48 in by Yoram Katz Medium: Enamel and spray paint on Canvas Size framed: 73 x 49 in ABOUT THE ARTIST: Born in Israel. Graduated from the ...

Artist: Michael Knigin, American (1942 - 2011) Title: Outside Choice Year: 1984 Medium: Acrylic and Enamel on Canvas, signed l.l. and verso Size: 34 x 96 in. (86.36 x 243.84 cm) Fram...

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

Artist: Michael Knigin, American (1942 - 2011) Title: Sign of Power Year: 1990 Medium: Acrylic and enamel on canvas, signed and dated in pencil Size: 75...

Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lowe...

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

Artist: Max Karp Title: Clown with Flower Medium: Enamel on copper, signed lower right Image Size: 29.5 x 23 inches Frame Size: 40 x 34 inches

Translated title: "Up to the sky" Acrylic enamel on canvas.

Dive into the rebellious spirit of "Vincent Van Gogh, Decentralized," a provocative piece from the same series that reimagines the storied artist under a modern lens. This 2022 artwo...