Metal Figurative Paintings

Having associated with the likes of Keith Haring and Basquiat while living in New York, Sax Berlin has understandably retained a keen interest in outsider and street art. This has ta...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

This remarkable double-sided devotional painting on copper showcases exceptional craftsmanship and deep spiritual reverence. On the recto, a finely rendered portrait of Saint Bernade...

Unknown Italo-Flemish Artist (active circa 1600) Adoration of the Shepherds oil on copper unframed: 32 × 25.5 cm (12.6 × 10 in) framed: 43 × 37 cm (16.9 × 14.6 in) Provenance: Acq...

Mid 20th Century sgraffito work on plaster by Jean Pierre de Cayeux. The work is signed and dated on the skirt of the card player, bottom right, and on the stretcher of the chair, bo...

Maria Meriggi, born in 1935, is an Italian painter known for her evocative depictions of urban landscapes and everyday scenes, particularly those of Venice. Her notable works include...

Italian School, Late 17th Century (circa 1670–1700) Christ in the Garden of Gethsemane Oil on panel, in a carved and gilded Baroque frame The painting is unsigned A moving devotiona...

6201 Paris street scene made with enameled glass on copper plate Framed Image size 9.5x7.5" Signed Mingolla

Mimi Gross (American 1940-) Jewish Orthodox Scholar 1983 Aluminum and Paint Assemblage Hand signed, numbered 130/135 Dimensions: 24 X 12 X 9 inches From a great art collection of ...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Artist's Statement: This image was from a series made with a trail camera set up very close to my home in the Sonoran Desert in Arizona. I've captured many desert creatures, bobcat, ...

An elegant late-19th-century French portrait by René Avigdor, painted circa 1898. This original oil on canvas depicts a captivating red-haired beauty with the refined presence and i...

A beautifully executed and deeply evocative late 19th-century painting of the Virgin of Guadalupe, signed “Y. Gons. Cervantes pinxit / Abril 1887.” Rich in symbolism and devotional i...

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

Veronica Offering the Holy Veil to Christ – Flemish School, oil on copper. Oil on copper. Framed size: 41 × 47 cm Unframed size: 36 × 30 cm 19th-century later frame. Copper plate ...

Lady Godiva 19th century oil on canvas after Joseph Van Lerius (1823-1876) Very beautiful oil on canvas painted by the Belgian artist JH Mols (19th century artist) Additional inform...

Sichuan Forest (2019), oil painting, ecosystem, animals, panda, monkey, fauna "Sichuan Forest" by Alexis Kandra. Figurative oil painting with pigmented metal foil in metallic green ...

Karlo Kacharava (1964-1994). Harlequin in a Landscape, ca. 1985. Enamel paint and marker on gloss paper, sheet measures 19.5 x 15.25 inches. Signed lower left. Unframed. Wit...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Imperial Pine III is a unique painting by contemporary artist Lumi Mizutani. The painting is made with Chinese painting, Japanese pigment and gold leaf on Japanese cardboard, dimensi...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Portrait of a Noble Lady French School, early 1700's period oil painting on copper, unframed copper: 5 x 3 inches condition: very good, minor paint fading and deteriation. provenanc...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

"Severance" Oil Painting 48" x 60" inch by Genevieve May Medium: Oil and gold leaf on panel Severance: It will always be hard to say goodbye, no matter how many times we endure it...

Unique piece with a painted background Each layer are handcut Comes framed in white

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...

**Oil Painting on Canvas** This oil painting on canvas presents a human figure whose head merges with animal forms, establishing a relationship between humanity, nature, and the sym...

Description Opaque water-based pigments with raised gold leaf and glass stones on canvas South India/presumably Tanjore, 19th century Illustration of Krishna the Butter Thief Krishna as the divine child enjoying a butterball and holding a pot of butterballs Attended by his mother Yashoda With lavish gold foil ornamentation Framed under glass with light brown wooden frame Dimensions, framed: 20.25 x 26.75 inches. Provenance: Private collection, Philadelphia. Tanjore painting...

Portrait of a Gentleman wearing a Ruff Collar Dutch/ French artist, 18th century oil painting on copper, unframed copper board : 6.75 x 5 inches provenance: private collection, UK co...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

This exquisite early 17th-century oil on copper depicts The Baptism of Christ. Its composition is derived from an engraving by Adriaen Collaert (c.1560-1618) after Maerten de Vos (15...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Magical Ecstasy presents a composition in which birds, animals, and human figures coexist within a single pictorial space. The image is organized through fields of color, symbols, an...

Original numbered on 8 and 4 AP With 22 carat hand applied gold leaf Signed (lower right)

Serene is a unique painting by contemporary artist Chen Yi Ching. The painting is made with mineral pigments and silver leaf on Japanese paper mounted on wood, dimensions are 61 × 50...

Sax Berlin's Skull series form part of his Neo-Expressionist works. Berlin works with speed on these pieces, gives them a sense of urgency. In "person" they are electric and magnetic...

Summer – Lotus is a unique painting by contemporary artist Lumi Mizutani. The painting is made with japanese pigments, silver and gold leaves on Japanese paper mounted on panel, dime...

"Killing Them Quietly" Oil Painting 24" x 24" inch by Genevieve May Medium: Oil and gold leaf on panel Killing Them Quietly: The serpent is an animal of instinct and calculation. I...

Jeanne Donnadieu (French, 1864–1941) Portrait of Mlle Henriette Bépoix Oil on canvas Canvas: 51 × 61 cm A historically documented Belle Époque portrait by French painter Jeanne Lou...

Memory is a unique painting by contemporary artist Lumi Mizutani. The painting is made India ink and Japanese pigments on panel covered with copper leaves, dimensions are 31.8 × 40.9...

"Merciful" Abstract Calligraphy Painting 32" x 32" inch by Mohamed Hassan Medium: ink & gold leaf on paper Mohamed Hassan is a traditional Arabic calligraphist, he obtained his...

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". Bright and viv...

No signed This 18th-century oil on copper painting, by an anonymous artist, exemplifies the refinement and technical sophistication associated with this highly prized medium in Euro...

Sébastien Ardouin Dumazet (b. 1972) – "Japanese Chrysanthemums" Oil on oxidized gilded leaf on canvas, 2026, 25⅝ × 36¼ in. (65 × 92 cm) "Japanese Chrysanthemums" is a floral composi...

Green Iron Jungles N7 is a unique round acrylic on aluminum and gloss varnish painting by Spanish contemporary artist Calo Carratalá, diameter is 120 cm (47.2 in). The artwork is sig...

This is a large, framed acrylic painting with collaged photographs, gold leaf, metallic paint, burn marks, and other mixed media. Is it by artist Lavett Ballard, who is the first Bla...

Brian Keith Stephens' "Wild Things Return Act III" (2020) is an original oil painting capturing the essence of a bison with expressive and vibrant brushwork. Painted on Artefex ACM p...

Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, le...

Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, le...

"Oil On Canvas Family Portrait After Sir Anthony Van Dyck" After Sir Anthony van Dyck (Flemish painter, 1599-1641), Group of three young girls with a bust of Mercury Oil on canvas (doubled), probably end 19th century, with French wax seal...

"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...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

About the artist: Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers a...

In a shimmering realm of pure gold, two celestial beings emerge in graceful harmony, their elegant silhouettes carved with quiet reverence against a luminous field of radiant gold le...

Kristen Santucci's "Spring Peonies" is an original, handmade oil painting that depicts a portrait of three blooming pink peonies. Kristen grew up in Greenbelt, Maryland. She was always creative as a child and had an interest in art, but it wasn’t until she moved to Florida in 1988 and worked as a picture framer that she started painting. Florida’s sunsets...

Ernani Silva, Brazilian - Mother and Child, Medium: Acrylic, Collage and Enamel on board, signed in marker lower right, Size: 10.75 x 21 in. (27.31 x 53.34 cm)

An important 18th century Italian Old Master tempera on copper panel Baroque painting, "The Road to Emmaus", circa 1700. The painting represents the early resurrection biblical story...

The Flagellation of Christ Old Master Flemish School 17th century Medium: Oil on copper Dimensions: Image size 22 x 17 cm, frame size 39 x 31 cm

Primary Colour Series- Blue Cat is inspired by Japanese woodblock Print and the a nod to calligraphy tradition. With strokes of gilded gold leaves, gesso and acrylic, Shizico Yi pain...

Panagia Paramythia (Mother of Consolation) Artist: Oliver Samsinger. Technique: Egg tempera on gesso and wood, with 24‑karat gold leaf. Dimensions: 37 × 31 × 2.5 cm. Description of...