Enamel Paintings

Sleeve (#146) 2006 Signed, titled, and dated, verso Oil and enamel on canvas 48 x 56 inches This work is offered by CLAMP in New York City.

This is a painting of a group of men standing around on a beach waiting for instructions. Waiting for Instructions, Plinth (#400) 2008 Signed, l.r. Oil, enamel, and ink on canvas ...

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...

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

"Incomplete Solar System" Painting 55" x 79" inch by Gosha Ostretsov Acrylic & enamel on canvas Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and wo...

Russell Young Bardot Thunder, Bruised Pink Signed by artist Acrylic, enamel and diamond dust on screen print on linen, framed 28 x 37 inches Currently on d...

Quim Bové is a Catalan artist known for his symbolic, abstract paintings executed through his dynamic brush strokes reflected across his collections. Much of Quim’s early influence ...

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...

This dimensional wall sculpture is made of laser cut aluminum and enamel paint. The back panel is painted to look like a page torn out of an artist's sketch book...

This dimensional wall sculpture is created with layered laser cut aluminum pieces painted with enamel then mounted on a hand-shaped aluminum back panel painted and sprayed with a mat...

"popheART" — layered laser cut aluminum and enamel on aluminum panel — 35 x 40 x 5.5 inches. Signed and numbered limited edition of 35. Commission only with apx. 4-5 week lead time....

Russell Young Elizabeth Taylor, Siren Black & White 37 x 29 inches Acrylic and enamel and diamond dust / screen print on linen This piece is unique Signed by artist Framed Currently...

cosmic energy crystallization

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin’s stalwart images have an epic quality that grip the viewer with the idea that he or she is looking at a contemporary description of something timeless. For painter Gary Komarin, abstraction has never been a formal dead end. Rather, it has allowed him to challenge the limitations of the style - to make painting ‘include more’ precisely because a recognizable image excludes too much. Komarin has been called a “painter’s painter”. His status in this regard is based on the authenticity of his work, its deep connection to the tradition of Modern painting as well as its sustained individuality as an utterly personal voice. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University where he was awarded a Graduate Teaching Fellowship. Komarin has been particularly successful at filtering these influences through his own potent iconography. “From these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse’s driest most empty pictures. Robert Motherwell’s spare abstractions of the 1970’s, or the early New Mexico and Berkeley paintings...

This is a signed and numbered limited edition of 18. Commission Only, lead time is apx. 5 weeks. This dimensional wall sculpture is created with layered laser cut aluminum pieces pai...

"Rose - Yellow on Blue" — layered laser cut aluminum and enamel on aluminum panel — 32 x 32 x 7 inches each. Signed and numbered limited edition of 35. Set of Six Roses also available. Or you can create a grouping of 2, 3, 4, etc., which also makes a stunning installation. 3-4 week lead time for the artist to create. An incredibly dimensional wall sculpture made with multiple layers of enameled laser cut aluminum, a material that contrasts the delicate subject of many "Kalish Editions" works – roses. See the FP Contemporary website for more colors. Michael Kalish is an internationally acclaimed mixed-media artist based in Los Angeles. His passion for metal started with vintage car parts...

Signed and numbered limited edition of 9. Commission Only, lead time apx. 8-9 weeks. Layered laser cut aluminum pieces painted with enamel assembled and placed over an enclosed 4K ...

Kalish Editions — "Ballerina" — layered laser cut aluminum and enamel — 34 x 36 x 4 inches. Edition of 35. THIS IS A COMMISSION-ONLY PIECE THAT IS MADE UPON REQUEST. PLEASE ALLOW 3-...

"American Flag - Multi Color" — enamel on layered laser cut aluminum — 33 x 48 x 4.5 inches. Edition of 35. THIS IS A COMMISSION-ONLY PIECE THAT IS MADE UPON REQUEST. PLEASE ALLOW ...

Valley House Gallery & Sculpture Garden presented the first solo exhibition in the United States of sculpture and works on paper by Italian artist Alex Corno in 2015. In his studio n...

"Rose - Red on Multicolor" — layered laser cut aluminum and enamel on aluminum panel — 32 x 32 x 8 inches. Edition of 35. An incredibly dimensional wall sculpture made with multipl...

"Rose - Pink on Green" — layered laser cut aluminum and enamel on aluminum panel — 32 x 32 x 7 inches. Edition of 35. THIS IS A COMMISSION-ONLY PIECE THAT IS MADE UPON REQUEST. PLE...

"Rose - Blue on Red" — layered laser cut aluminum and enamel on aluminum panel — 32 x 32 x 7 inches. Edition of 35. THIS IS A COMMISSION-ONLY PIECE THAT IS MADE UPON REQUEST. PLEASE ALLOW 3-4 WEEKS LEAD TIME. An incredibly dimensional wall sculpture made with multiple layers of enameled laser cut aluminum, a material that contrasts the delicate subject of many "Kalish Editions" works – roses. See the FP Contemporary website for more colors. Michael Kalish is an internationally acclaimed mixed-media artist based in Los Angeles. His passion for metal started with vintage car parts and license plates and evolved to more refined laser cut aluminum and mirrored stainless steel sculptures, with references to American culture. In his most daring and bold expression of the force of nature known as love, the renowned sculptor unveiled his own artistic sonnet in sculpture form – "THE ART OF FINDING LOVE", a 20 foot x 6 foot x 6 foot interactive sculpture...

"Astrid", layered laser cut aluminum and enamel on aluminum panels — 35 x 42 x 8 inches. Edition of 18 which are sold out. There are two artist proofs available and then the edition...

"Kiss", Aluminum Wall Sculpture, layered laser cut aluminum panels painted with enamel — 41 x 39 x 12 inches — 2015. Edition of 35. THIS IS A COMMISSION-ONLY PIECE THAT IS MADE UPO...

"Six Roses", layered laser cut aluminum and enamel on aluminum panels, — each rose measures 32 x 32 x 7 inches. Edition of 35. Dimensions of 69"h x 106"w i...

Vectors Array (2014) oil enamel on polypropylene canvas 54 x 48 inches

Vectorscape I, 2015 oil, oil enamel and acrylic enamel on wood panels 10 x 20 feet (in 12 parts) Rafael Vargas-Suarez (born 1972), more commonly known as Vargas-Suarez Universal, is a contemporary artist living and working in Brooklyn, New York. Born in Mexico City, Vargas-Suarez was raised in the Houston suburb of Clear Lake City, adjacent to the Johnson Space Center. From 1991 to 1996 he studied astronomy and art history at the University of Texas at Austin[citation needed] and moved to New York City in 1997. He is primarily known for large-scale wall drawings, paintings, drawings, and photographs that draw inspiration from architecture, astronomy, biology, and medicine. His work has been or is currently featured in numerous exhibits, such as the Hudson River Museum in Yonkers, New York, the Jersey City Museum in Jersey City, New Jersey, the Thomas Erben Gallery in New York City, the Galeria Ramis...

Vector Hardware Panel II, 2015 oil enamel on honeycomb aircraft aluminum panel 60 x 60 inches Rafael Vargas-Suarez (born 1972), more commonly known as Vargas-Suarez Universal, is a contemporary artist living and working in Brooklyn, New York. Born in Mexico City, Vargas-Suarez was raised in the Houston suburb of Clear Lake City, adjacent to the Johnson Space Center. From 1991 to 1996 he studied astronomy and art history at the University of Texas at Austin[citation needed] and moved to New York City in 1997. He is primarily known for large-scale wall drawings, paintings, drawings, and photographs that draw inspiration from architecture, astronomy, biology, and medicine. His work has been or is currently featured in numerous exhibits, such as the Hudson River Museum in Yonkers, New York, the Jersey City Museum in Jersey City, New Jersey, the Thomas Erben Gallery in New York City, the Galeria Ramis...

Vector Assembly Sequence II (2015) oil enamel on canvas 77 x 79 inches (195 x 200 cm)

Vargas-Suarez Universal Russian EVA 27 9:29 AM - 2:52 PM, 2015 Enamel paint on canvas 91 x 91 cm