Metal Figurative Paintings

This refined devotional painting, executed in oil on copper, is a distinguished example of the 19th-century Spanish School, known for its emotive sacred imagery and profound spiritua...

A key piece of Berlin's popular Shooting Star series. Diamonds Across the Sky is sumptuously rendered with the finest custom ground pigments and precious metal leaf. Scintillating an...

Private readings - Angelo Granati Italia 2013 This is his reinterpretation of a greatest old master painting "Comparisions"by Sir Lawrence Alma-Tadema. ...

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...

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 art...

This beautiful 3D wall sculpture by David Gerstein consist of 3 layers of laser cut pieces that are assembled on the wall. As all of Gerstein's pieces, it is very colorful, dynamic a...

Sergey VINOGRADOV ( 1869 - 1938 ) Rough sea with steamer on the horizon Sergei Arsenievich Vinogradov ( Russian: 1869–1938 ) was a Russian-Soviet Impressionist painter; known for l...

We would like to thank Dr. Ursula Härting who, after examining the work, confirmed the autograph nature of this painting by Frans Francken the Younger in a certificate issued on December 9, 2024. In this previously unpublished painting coming from a French private collection, Frans Francken the Younger tackles one of his favorite themes: the adoration of the Magi, the wise men who come from the East to adore the infant Jesus in Bethlehem, Judea. This theme was often taken up by the artist, but this version, which can be dated around 1610, is one of the earliest interpretations. 1. Frans Francken the Younger, "a surprisingly inventive painter". Frans Francken the Younger is the best-known member of an extended artistic family that worked in Antwerp from the late sixteenth to the late seventeenth century. Born in 1581, he almost certainly studied with his father, Frans Francken the Elder (c. 1542-1616), before becoming a master in the Antwerp Saint Luke's Guild in 1605. In 1627 he became a member of the Antwerp archers' guild De Oude Handboog. Francken was an extremely productive and imaginative artist who specialized in expressively rendered small-scale religious and mythological scenes. He also painted larger altarpieces for Catholic churches. His depictions of collectors' cabinets introduced a genre of painting that influenced several artists, including Jan Brueghel the Elder...

Christ with the Angry Gaze (The Savior of the Burning Gaze), after a Russian icon from the mid-17th century Artist: Oliver Samsinger Technique: Egg tempera on gesso and wood, with 24...

Fred Wessel's "Sagittarius Study (Jeanne D'Arc)" is a stunning egg tempera painting on gold leaf. Created in 2018, this piece depicts a young woman, Joan of Arc, looking forward with...

"Bolonia IV" by Conrado López is a striking original 2024 painting depicting a female nude figure executed in acrylic, gold leaf, and oil on canvas. Measuring 39.37 x 25.59 x 1.18 in...

"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...

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...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

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

Day and Night II is a unique painting by Japanese contemporary artist Lumi Mizutani. This painting is made with India ink, colour pigments, gold and silver leaf on Japanese cardboard...

The Butterfly series for Ash began as a sentiment to her late Father. Butterflies began to appear in unexplainable ways after his passing, the artist later discovered that Butterflies represent spiritual rebirth, transformation, change, hope, and life - she goes on to say: "The butterfly series draws inspiration from Rivera's quote 'Butterflies can't see their wings. They can't see how truly beautiful they are, but everyone else can.'" After coming to the fruition that Butterflies pose as not only a symbol for beauty and rebirth, Almonte felt a feeling of deep comfort. Her passion for sharing this message of hope and renewal through her colorfully diverse canvases is achieved with resilience leaving her audience glimmering much like the inner voice and the spark of Joie de vivre that fuels her purpose in life to create. This piece is painted on thick gallery wrap canvas and is signed lower right and on verso, it comes with hanging wire on verso ready to be displayed. Art measures 48 x 48 inches Inspired by vibrance and an optimistic outlook on life, Ash Almonte is recognized for her distinct abstract expressionistic style. She is best known for her series of Chandeliers, Butterflies, and Fashion from the Seventh Avenue Design District. Almonte's award-winning works can be found in private and permanent collections around the world. She is motivated by change, compassion for others, and miraculous phenomena that can impact others for good. Her flair and admiration for fashion and art have been a staple of her life since childhood. As a young girl, she would experiment using anything she could find to make art; from tearing apart bushel baskets at her father’s fruit stand, to tearing out old magazine clippings from her mother's magazine collection; anything and everything around her could potentially be used to create. She would continue to seek out opportunities throughout her young adult years, as her love for fashion grew, allowing her to collaborate with celebrity stylists creating looks for top billboard artists, as well as apparel worn at New York Fashion Week for designers Sherri Hill...

Breeze II is a unique painting by contemporary artist Chen Yiching. The painting is made with mineral pigments, gold and silver leaf on Japanese paper mounted on wood, dimensions are...

The Lightning is a unique pigments and silver crayon on wood painting by contemporary artist Franco Salas Borquez, dimensions are 80 × 60 cm (31.5 × 23.6 in). The artwork is signed,...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

"Le Rouge Cloitre sous la neige" oil painting on canvas by Louis Clesse 20Th c. Wonderfull oil on canvas by Louis Clesse , Belgian School (1889 -1961 ). Clesse was a Belgian figurat...

Painting Oil On Canvas, a Reclining Nude by Legendre French school of the 20th century Beautiful and large oil on canvas, French school from the 1920's representing a naked young rec...

Orignal and unique artwork by Russell Young. Acrylic paint, enamel and diamond dust screen print on linen, unframed 62 x 48 inches, from the series "Diamond Dust". Dark colors, hand...

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...

"Christ Crucified" is a striking oil on copper painting by an anonymous German School artist. This bold composition presents a powerful portrayal of the crucifixion, a central theme ...

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...

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

This small-format acrylic portrait explores ancestral identity through a hybrid face shaped by emoji logic and stylized digital codes. Part of the Ancestor Clones group within Nata...

Maples is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments, India ink, gold leaf on panel mounted on Japanese paper, diameter is 22.7 cm (8....

Vibrant, large-scale multimedia artworks incorporate reflective mediums and thick textures in Kate Tova's recent work. Colors splash across the page melding into flourishes of sequins, rhinestones, and glitter. The natural beauty of her subjects is juxtaposed against the "engine of technology" inspiring personal and innovative compositions. Surreal and vibrant, Tova's work thematically and stylistically layers her life experiences. This unique 48 inch square artwork...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Yugal Kishor Sharma - The Haveli-1 15 x 15 inches (unframed size) Gouache & Gold Leaf on Handmade Paper. (Unframed & Delivered) Yugal Kishore Sharma The Haveli-1 Gouache & Go...

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 vertical format abstract painting by Modernist artist Stanley Bate measures at 26" x 50" framed. The original gold-hued floater frame pulls out the vibrant and warm pops of yell...

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...

Oil Painting of Seated Female Nude Figure by British Contemporary Artist Art measures 13 x 20 inches Frame measures 18 x 25 inches Mark Clark is a British Artist, born in 1959. Cla...

Wind is a unique painting by contemporary artist Yiching Chen. The painting is made with Mineral pigments, gold and silver leaves on japanese paper mounted on wood, dimensions are 30...

Wencke Uhl is a contemporary figurative paintress living and working in Germany. She draws inspiration from human beauty and the female form. As a teenager Uhl wanted to become a f...

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...

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)

Christ Pantocrator (Closed Book) – Byzantine Icon, Egg Tempera & 24K Gold Artist: Oliver Samsinger. Technique: Egg tempera on gesso and wood, with 24‑karat gold leaf. Dimensions: 43...

"Soulcollector" is a striking gothic surrealist painting by acclaimed realist painter Mariska Karto, created with oil paint, photo paper, and an aluminum plate. Mariska was born i...

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...

Mark Hilltout has always been drawn to the random, the discarded and the broken. Car dumps fascinate him - he is attracted to the broken edge, not the perfectly straight line. For th...

LOOK FOR FREE SHIPPING AT CHECKOUT. Automation of an Angel II 28" x 24" x 1" mixed media Cuba Automation of an Angel II was recently painted by the Cuban artist Brian Sanchez in 2...

Materials: Oil on canvas, texture paste, gold leaf, mirror stainless steel, brass A symbolic image of the night by the sea, the stripes create, as it were, the relief of the mountai...

Sunset to Kyo is a unique painting by Japanese contemporary artist Lumi Mizutani. This painting is made with India ink, Japanese pigments and gold leaves on cardboard, dimensions are...

This is a mirror image copy of an earlier painting which was destroyed in the 2025 Malibu fires. Trust your intuition, embrace your journey and follow the path that resonates with y...

Basquiat: Caught in the Crossfire is a very heartfelt and personal tribute to Basquiat and a large statement piece and with this painting Sax takes up the mantle and upgrades the con...

The Archangel Michael (after the one by Rubliev in the Tretyakov Gallery-Moscow). This icon is an original work by the Viennese iconographer Oliver Samsinger. According to the artis...

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...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

GREG CLARK "LEAVING THE GARDEN" MIXED MEDIA ON COPPER, SIGNED CALIFORNIA, DATED 1992 32 X 48 INCHES GREGORY CLARK IS AN ARTIST FROM SAN DIEGO CALIFO...

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....

Wonderful genre painting from 18th Century of pipe smoker. Signed lower right edge with monogram "I I E". Oil paint on copper. Condition: good: minor wear/rubbing from frame's rabbet...

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...

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 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

Item description S.O.H acrylic paint on monofilament, metal, hemp on board 14 H x 9.25 W x 11 D inches 2018 Rosh from Chris Dorosz is a suite of small busts, each an individual scul...

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