Enamel Paintings

PaperLandscape# mixed media and collage on canvas cm 116x89 2016 “My research is closely linked to the relationship between people and nature, memory and time. The landscape is the p...

Artist: (after) Peter Paul Rubens (Flemish, 1577-1640) Manufacturer: Königliche Porzellan-Manufaktur (KPM), (Founded 1763, Berlin, Germany) Title: "The Rape of the Daughters of Leuci...

Unique; water-based enamel paint on paper bags

Ilan Leas uses graffiti-like strokes and bold angles to converge creating an intriguing balance of organized chaos in his drawings. With a unique artistic approach, Leas draws inspir...

Blue and orange abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

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...

This bold reinterpretation of Leonardo da Vinci’s Mona Lisa comes from Diego Tirigall, an artist whose rise in the contemporary art world is garnering significant attention. Drawing ...

George F. Welch (1926 - 2003) designed this lovely Mid-Century modernist enamel on copper artwork. The large square enameled plaque is wall-mounted and framed. The artwork boasts an ...

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

"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...

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...

Let Go and Float (Purple and Blue Abstract Painting with Metallic Shimmer, 2022 by Bruce Murphy 22 x 28 inches, unframed, enamel paint on archival paper Signed, verso This gestural ...

Landscape mixed media on canvas 50x50 cm 2018 Ready to Hang Marilina Marchica, born in 1984, was born in Agrigento, where she lives and works. She graduated in Painting at the Aca...

Damien Hirst (British, born 1965) All the children's songs (The Currency), 2016 Medium: Enamel paint on handmade paper Dimensions: 20 x 30 cm (7.8 x 11.8 in) Series: Unique painting ...

Original raised wood with inset enamel paint artwork by Sid Birnbaum. The painting is done in a abstract cubist style. Condition is very good. Signed and dated verso, 1987. Overal...

A colourful, unique and vivid poured enamel painting on canvas. Framing on request.

Colorful abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Currently on view in "David Hardaker: R...

Contemporary pop art inspired pixelated portrait of iconic singer David Bowie Ziggy Stardust. Similar to pointillism, the individual hand-painted blocks of color come together to for...

The Horse is an original artwork realized by Italian artist Esperia Gava. Enamel on paper Applied on cardboard. Hand-signed on the lower right. Very good conditions. The artwork...

In this electrifying composition, RETNA pushes the boundaries of urban calligraphy with a radiant yellow canvas ignited by strokes of hot pink. Fresh from the studio, this newly comp...

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. Irèn...

"The Rider Comes Bearing Noise" stages a collision between mythic image and epistemological decay. It turns the familiar figure of the rider into an emissary of our time, evoking an ...

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 1957. Before becoming an artist in 2012 Hewes worked in the building trades for 40 years and often uses the skills learned from his tradesman work within his artwork. Hewes paints in the Action/Drip style, even building his own spinning table...

Deconstructing the icon: A raw, subversive take on pop culture. In 'Behind Hello Kitty', Diego Tirigall strips away the sweetness to reveal an exhausted figure amidst graffiti and ch...

Ross Tamlin's unique photorealistic compositions merge traditional painting methods with modern industrial techniques to create captivating works of art. Using layers of oil and enamel paint, Tamlin creates an illusion of corrugation that adds depth and texture to his pieces. His use of industrial imagery and found objects is a nod to contemporary art, while his bold color palette and incorporation of text is a nod to the Pop Art movement. Tamlin is a full-time artist living in Kyogle, New South Wales, Australia. He began a Fine Arts Certificate course at Meadowbank TAFE, and then in Brisbane, he completed a graphic arts course before returning to Sydney. His signature corrugated iron paintings combine traditional art genres including still-life and landscape along with graphic art. Influenced by the De Stijl movement, these paintings represent a synthesis of art and function. Tamlin created a one-of-a-kind, vibrant, and colorful painting that measures 42 inches high by 40 inches wide. The sides of the canvas are painted in a continuation of the front, and the artwork is signed and dated by the artist on the front. It does not require framing, and a certificate of authenticity issued by the gallery is included. Free local delivery is available in the Los Angeles area, and affordable shipping is also available throughout the U.S. and worldwide Tamlin's innovative compositions are a stunning exploration of industrial materials, as he reimagines their purpose and function to create a new relationship between object and viewer. Through the use of bright colors and primary hues, overlaid with text and glazing, Tamlin creates a landscape that is uniquely his own. His work challenges the traditional notion of landscape painting, as he incorporates familiar places' names and text into his pieces, offering a contemporary take on this classic genre. “My idea was to transmute traditional Australian corrugated iron into works of modern art. The corrugation in the painting is a visual illusion created by layers of paint. Most people can connect with these panels because corrugated iron is a familiar sight both in suburbia and the bush. However, the sense of seeing the traditional is contradicted by the contemporary signage.” Tamlin's works are represented by Artspace Warehouse Los Angeles and are held in private collections worldwide, including Australia, New Zealand, the United Kingdom, Hong Kong, Singapore, the USA, Switzerland, and France. Corporate collections include ING Bank, Babcock & Brown, Barclays Bank, Saville Hotel Group, Savills Property Group, Minter Ellison, Hai Win Shipping, Allkotes Pty Ltd, Blue Scope Steel Pty Ltd, Sieper & Co., A. P. Moller Maersk Group, Grant Thomas Management, Maridan Pty Ltd, Esprit Changeware Pty Ltd, Maritime Transport Ltd, London. REPRESENTATION Artspace Warehouse, Los Angeles, CA EDUCATION 1979 – 1981 NZ Certificate of Town Planning (3 Years) 1982 Emigrated to Australia, 1989 Australian citizenship 1985 Fine Arts Certificate (Meadowbank) (not completed) 1987 Graphic Arts Certificate, Brisbane 1988 – 1997 Paint/Colour Laboratory Technician SOLO EXHIBITIONS 2014 Soho Galleries, Sydney, Australia 2013 Soho Galleries, Sydney, Australia 2012 Paintbox Fineart, Canberra, ACT, “Melange” 2011 Jackman Gallery, St. Kilda, Melbourne, Australia 2010 Harrison Gallery, Paddington, Australia 2008 Rushcutters Bay Gallery, Sydney, Australia 2007 Paintbox Gallery, Braddon, Canberra, Australia 2007 Rushcutters Bay Gallery, Sydney, Australia 2006 Rushcutters Bay Gallery, Sydney, Australia 2005 Rushcutters Bay Gallery, Sydney, Australia 2005 Paintbox Gallery, Braddon, Canberra, Australia 2004 Rushcutters Bay Gallery, Sydney, Australia 2003 Rushcutters Bay Gallery, Sydney, Australia 2002 Rushcutters Bay Gallery, Sydney, Australia 2001 1+2 Artists Studio Gallery, Rozelle 2000 New Aesthetix Gallery, Camperdown, Sydney, Australia GROUP EXHIBITIONS 2024 Affordable Art Fair, New York, NY 2023 Artspace Warehouse, Los Angeles, CA 2021 “Urban Thoughts”, Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York 2019 Affordable Art Fair Hong Kong 2019 Artspace Warehouse, Los Angeles, CA 2019 Affordable Art Fair New York 2019 Palm Springs Fine Art Fair, Palm Springs, CA 2018 AAF Hong Kong 2018 New York AAF, NY, USA 2018 Morris Art Prize; Gold Coast, Queensland 2018 Art Palm Springs Fine Art Fair, California 2017 SOHO Galleries, Sydney, group exhibitions 2017 Gallery Beneath, Moolloolaba, Queensland, group show 2017 Whistler Contemporary Gallery, Whistler, BC, Canada 2017 Artspace Warehouse Gallery, Los Angeles, USA 2017 AAF New York, NY, USA 2017 AAF Battersea, London, UK 2017 Palm Springs Art Fair, Palm Springs, California USA, represented by Artspace Warehouse 2016 Stockholm AAF 2016, Sweden, represented by Retrospect Planet 2016 Artspace Warehouse Gallery, Los Angeles, USA 2016 Kunstwarenhaus Gallery, Zurich, Switzerland 2016 SOHO Galleries, Sydney, NSW, Australia 2016 Art Hamptons, represented by Artspace Warehouse LA 2016 AAF Hong Kong 2016 New York AAF, USA, represented by Artspace Warehouse LA 2016 Asia Contemporary, Hong Kong 2016 Palm Springs Fine Art Fair, USA, represented by 2016 Artspace Warehouse 2016 Whistler Contemporary Gallery, Whistler, Canada 2016 Caldera Art Exhibition, Murwillumbah, Northern NSW 2015 AAF Singapore 2015 Artspace Warehouse, Los Angeles, USA 2015 Palm Springs Fine Art Fair, USA, represented by 2015 Artspace Warehouse 2015 London AAF, Battersea, March, represented by 2015 Retrospect Planet 2015 Asian Contemporary, Hong Kong, March, represented by Retrospect Planet 2015 New York AAF, USA, represented by Artspace Warehouse LA 2015 Hong Kong AAF, May, represented by Retrospect Planet 2015 Kunstwarenhaus Gallery, Zurich, Switzerland 2015 Lethbridge Gallery, Paddington, Brisbane 2015 Stockholm AAF 2015, Sweden represented by Retrospect Planet 2015 Group Show SOHO Galleries, “Realism” Sydney, NSW 2015 Singapore AAF 2015 Hamburg AAF, Germany 2015 Mosman Art Prize, Sydney, 2014 Brussels AAF, Belgium, represented by Retrospect Planet 2014 Milan AAF, Italy, represented by Retrospect Planet 2014 London AAF, UK, represented by Retrospect Planet 2014 Hong Kong AAF; represented by Retrospect Planet 2014 Asian Contemporary (Hong Kong) 2014 Singapore AAF (May) 2014 Stockholm AAF, Sweden (October) 2014 Amsterdam AAF, Netherlands 2014 Hamburg AAF, Germany 2014 Singapore AAF, Singapore 2014 Northern Rivers Kyogle Pop Up exhibition (November) 2014 Soho Galleries, Xmas group exhibition 2013 Brussels AAF, Belgium, represented by Retrospect Planet 2013 Milan AAF, Italy, represented by Retrospect Planet 2013 Hong Kong AAF, Hong Kong, represented by Retrospect Planet 2013 Asian Contemporary Art Show,JW Marriott Hotel, Hong Kong 2013 Melbourne Art Fair, represented by Manyung Gallery, 2013 A Book about Death (international travelling art show) Tweed Art Gallery, Murwillumbah, NSW 2013 Hong Kong Contemporary Art Show, Marriott Hotel, Hong Kong 2013 Stockholm AAF, Stockholm, Sweden 2013 Amsterdam AAF, Amsterdam, Holland 2013 Hamburg AAF , Hamburg, Germany 2013 Singapore AAF, Singapore 2013 Seattle AAF, Seattle, USA, represented by Manyung Gallery 2013 Whistler Village Art Gallery, Whistler, BC, Canada 2012 Redsea Gallery,Group Exhibition, Brisbane 2012 Toowoomba Grammar School Art Show, Toowoomba, QLD 2012 Brussels AAF, Belgium, represented by Retrospect Gallery 2012 New York AAF, New York, USA 2012 Envie D’Art, Paris, France & London UK 2012 Art Melbourne AAF, Melbourne 2012 Hamptons Art Fair, July, New York, USA 2012 Wilson Art Prize, Lismore, Northern NSW 2012 Shanghai Art Fair, China, October 2012 Toronto International Art Fair, Canada 2012 Singapore Affordable Art Fair, represented by Retrospect Gallery 2012 Hamburg Affordable Art Fair, Germany 2012 Border Art...

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...

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

A light, unique and vivid oil painting on stretched canvas, depicting surreal floating streamer elements. Ready to hang. Framing on request.

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 19...

Homemade Hermes Birkin Bag ( Kelly Green ) 2015, 15”x14.5”x1.5” inches unframed, 18.75 "x 18.75 x 2.5 framed Cast Resin, Edition of 15 Also available in Kelly Green, White, Gold and Silver. The frame is a white shadow box frame with plexiglass. The Homemade Hermes Birkin Bag is a sculpture that celebrates the beauty, and status, that the docents of fashion have bestowed upon coveted objects and accessories as such. In a Duchampian gesture of representation, the artist has created an object that has been “elevated to uselessness”, yet reveals much about our society’s infatuation with consumption and materialism. Cast in resin the sculpture becomes an apropos trope of our time, a perfect conversation starter. Shelter Serra’s paintings, sculptures, and drawings explore mass consumption and cultural identity. He juxtaposes subject matters that are both common and recognizable: a Campbell's Soup Can, a copper plated baseball hat, and a Hermes Birkin bag...

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 1957. Before becoming an artist in 2012 Hewes worked in the building trades for 40 years and often uses the skills learned from his tradesman work within his artwork. Hewes paints in the Action/Drip style, even building his own spinning table...

After Caravaggio "Die Falschspieler" [The Cardsharps] KPM Porcelain Plaque, impressed "K.P.M. / F" marks to reverse, giltwood frame. Image: 11.75" H x 16" W; frame: 20.5" H x 24.5" W...

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)

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...

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)

RETNA American, 1979 - SACRED SOLICITATIONS I signed, titled and dated "Retna / Sacred Solicitations. I. / 2015-" (on the reverse) acrylic and enamel on canvas 68-1/2 x 58-3/4 inche...

Jennifer Bartlett Dear Dad, 2004 Enamel over silkscreen grid on baked enamel and steel plates 19 3/4 x 19 3/4 inches Signed verso

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)

An oversized colourful, unique and vivid oil and enamel painting on canvas. Framing on request.

By Eddie Martinez Untitled, 2015 Crayon, coloured pencil, sharpie and enamel 15 x 21 cm

This painted ceramic tile by Italo Scanga, epitomizes the characteristics of his oeuvre. Polychrome and vibrant art from the Memphis Milano era. This is signed with his initials. This is reminiscent of the mid century work of Jean Lurcat and Jean Picart le Doux. Italo Scanga (June 6, 1932 - July 7, 2001), an Italian-born American artist, was known for his sculptures, prints and, paintings, mostly created from found objects. In his youth in Calabria, Italy he worked as a cabinetmaker's apprentice and studies sculpture with a man who carved statues of saints. Italo Scanga was an innovative neo Dada, neo-Expressionist, and neo-Cubist multimedia artist who made assemblage, collage, sculptures of ordinary objects and created prints, glass, and ceramic works. Modern Italian abstract geometric folk art. Scanga's materials included natural objects like branches and seashells, as well as kitsch figurines, castoff musical instruments and decorative trinkets salvaged from flea markets and thrift shops. He combined these ingredients into free-standing assemblages, which he then painted. Although visually ebullient, the results sometimes referred to gruesome episodes from Greek mythology or the lives and deaths of martyred saints. He considered his artistic influences to be sweepingly pan-cultural, from African sculpture to Giorgio de Chirico. He often collaborated with the sculptor Dale Chihuly, who was a close friend. Constructed of wood and glass, found objects or fabric, his ensembles reflect a trio of activities—working, eating, and praying. These activities dominate the lives of those who live close to the land, but they are also activities that are idealized by many who contemplate, romantically, a simpler, bucolic life. Italo graduated from Michigan State University where he befriended fellow artists Richard Merkin and David Pease. He studied under Lindsey Decker who introduces him to welding and sculpture after his initial interest in photography. Also studies with Charles Pollock, the brother of Abstract Expressionist Jackson Pollock. His first teaching job was at University of Wisconsin (through 1964). where he met Harvey Littleton, a fellow instructor. He later moves to Providence, Rhode Island,I to teach at Rhode Island School of Design (RISD). Is colleagues with artists Richard Merkin and Hardu Keck. Starts a correspondence with HC Westermann. Spends summers teaching at Brown University; colleague of Hugh Townley. Moves to State College, PA, and teaches at Pennsylvania State University for one year. Meets artists Juris Ubans, Harry Anderson, Richard Frankel, and Richard Calabro, who remain friends throughout his career. 1967: David Pease helps him get a tenure track position at Tyler School of Art in Philadelphia, PA, . Artists he works closely with include Ernest Silva, Lee Jaffe, Donald Gill, and William Schwedler. Meets graduate student Dale Chihuly while lecturing at RISD and develops a lifelong friendship. 1969: One person exhibition, Baylor Art Gallery, Baylor University, Waco, TX. Works very closely with students Larry Becker and Heidi Nivling (who later run a gallery in Philadelphia, PA), and Harry Anderson. Welcomes many artists into his home including Donald Judd, Dan Flavin, Bruce Nauman (a former student), Vito Acconci, Ree Morton and Rafael Ferrer. 1973: "Saints Glass" at 112 Greene Street Gallery, NYC. Installation at the Institute of Contemporary Art at University of Pennsylvania, Philadelphia, PA. Meets Gordon Matta Clark and contributes to an artist cookbook. Goes to Pilchuck Glass School, Stanwood, WA, founded by Dale Chihuly, as a visiting artist. He continues to work there annually through 2001. Works over the years with Pilchuck artists Richard Royal, Seaver Leslie, Jamie Carpenter, Joey Kirkpatrick, Flora Mace, Robbie Miller, Billy Morris, Buster Simpson...

A large scale, unique and vivid surreal oil painting on stretched canvas, depicting four nude female figures. Ready to hang. Framing on request

Retna's art is critiqued as a unique, transcultural visual language blending calligraphy, graffiti, and hieroglyphs, offering a meditative, rhythmic experience that challenges viewer...

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...

David Kramer (b. 1963) Staying Power (2014) Oil and enamel on canvas 64 x 54 in (162.6 x 137.2 cm) Hand signed on verso ==== Inspired by vintage magazines and the portrayal of sed...

David Kramer (b. 1963) Maybelline (2014) Oil and enamel on canvas 64 x 54 in (162.6 x 137.2 cm) Hand signed on verso ==== Inspired by vintage magazines and the portrayal of seduct...

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...

A large scale, unique and vivid oil painting on stretched canvas, with different beige and orange shades. Ready to hang. Framing on request

Jean Lowe (American, b. 1960) Book-form sculpture, 2004 "Please Don't Eat Daisy", Enamel painted papier-mache Hand signed and dated verso Dimensions 10.5"h x 12.75"w x 4"d This ...

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 ...

Peter Christian Petersen (Danish, b. 1973), "Instant Shower Power", Mixed Media on Canvas, 1999, acrylic and enamel, signed, dated, titled and with American-European Art Association,...

"Diet" is a thought-provoking piece that delves into the complexities of life and the human condition. The use of surreal imagery and symbolism in the painting invites the viewer to ...

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...

Ceravolo was introduced to Lichtenstein at a museum show in 1995, at that show, Lichtenstein and Ceravolo discussed the fact that Andy Warhol had painted portraits of Roy in the 1970...

This framed gestural work is by Donald Martiny. This signature piece is composed of enamel and polymer paint, cardboard, aluminum and wood on wood panel. He creates immediately froze...

Louisa Chase’s work is represented in the permanent collections of a number of major museums, the Whitney Museum of Art in New York; the Museum of Modern Art, New York (MOMA), the Metropolitan Museum of Art, New York; The National Gallery of Art, Washington, D.C.; the Brooklyn Museum; The Walker Art Center, Minneapolis, Minnesota; the Albright-Knox Art Gallery, Buffalo, New York; the Baltimore Museum of Art; the Butler Institute of American Art, Youngstown, Ohio; and the Nelson-Atkins Museum of Art, Kansas City, Missouri. The estate of Louisa Chase is now represented by the prestigious gallery Hirschl & Adler Modern in New York City. We are pleased to offer this original Acrylic enamel, Watercolor, ink and pencil painting by Louisa Chase created in her classic abstract energetic style. It is from the former collection of the General Electric Corporation. Paper size is 25.5 x 40" The framed size is approx. 33x48". Louisa Chase exhibited at the 1984 Venice Biennale. Her solo exhibitions include: Brooke Alexander Gallery...

"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 ...

Inviting the accidental while painting, the artist's materials continue to reveal limitless possibilities for improvisation, like jazz music. Influenced by scientific theories-both real and imagined, kitsch, music, decorative art and indigenous textiles, Fagan's abstract paintings and interactive performance build connections between color and surface to sound. This exploration has led to creating a series of interactive games with viewers, the most recent being The Alphabet Game. To play, viewers select, from colored squares, the color(s) that best represent each note in the familiar ABC Song melody. Through these playful interventions their thoughts about color and music are explored in-depth. Documenting their responses in the form of photographs and notes in journals, Fagan has compiled the results of fifteen artists who played the Alphabet Game during a lecture on color where the artist was the guest presenter in order to create this particular painting. Fagan distilled the data gathered and painted this visualization of a color/sound alphabet based on the colors selected by this artist's group. These alphabet paintings introduce a wonderful completion to this pseudo-scientific investigation and celebrate painting...

This abstract bright colorful painting is by Brooklyn artist, John Platt who studied at the Boston Museum of Fine Arts and has exhibited exten...

2016 Enamel paint on handmade paper 20 x 30 cm Hand signed, dated and titled by Damien Hirst Mint condition in the artist prescribed HENI frame Damien Hirst (born 1965) rose to prom...