Metal Paintings

An extraordinary dated 1878 Mexican ex-voto retablo commemorating a miraculous recovery from life-threatening fevers, hand-painted in oil on tin by an anonymous folk artist. Rich in ...

PaperLandscape is a series of artworks inspired by landscape and nature, nature and the passage change over time, we change nature and nature changes man the connection between man ...

Golden Rain 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 a...

This piece titled "Enchanted Forest" is an original artwork by Dina Brodsky, as part of her acclaimed two-person exhibition "Little Italy", an exhibition celebrating travel in contem...

Having a Cigarette Among Pink and Blue is an intimate large-scale plein-air painting by British awarded artist Shizico Yi, created in her garden where a historic avenue of 130-year-o...

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...

Seymour Chwast (American, b. 1931) Three Pilots Ready for Take Off Mixed Media Painted Sculpture Hand-painted metal, (galvanized steel or aluminum) large wall hanging Hand signed to ...

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

This beautiful painting is by Japanese artist, Takefumi Hori. He was born in Tokyo, Japan. He paints beautiful gold leaf paintings. This piece is acrylic, gold leaf and metal leaf ...

SAFE IN THE MIDDLE is a mixed media wall sculpture by Vera Vizzi that juxtaposes urban sketching with organic relief. Executed in foam clay, acrylic paint and enamel on a 34 × 40 × 3...

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...

"Skies Are Not Blue Anymore" Abstract Painting 48 x 96" inch by Yoram Katz Medium: Acrylic and Enamel on Canvas Comes in frame Size framed: 49 x 97 in ABOUT THE ARTIST: Born in Is...

Foxgloves Gold in Blue and Pink is a part of Shizico Yi's Summer Bloom project where Shizico celebrates the arrival of Summer, an important season for her painting plein air. The vi...

Oil On Canvas, Hunting Dog by Alexander Clarys Belgian School Terrier Hunting Dog , Exceptional paintings seen the large format, sold with the frame. Alexandre Clarys, born in Bruss...

This captivating oil portrait from the late 18th to early 19th century depicts a mysterious charming young woman, painted by an unknown but clearly professional master, presumably Fr...

Mixed polymers on hand tooled tin panel. Ready for hanging. Tribes exemplifies Nakamura’s distinctive ability to merge myth, symbolism, and meticulous craftsmanship into a single, m...

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....

Old oil painting on canvas Portrait of An orange and white American Brittany hunting dog This oil on canvas is from the 19th century, painted by Léon Viardot (dijon, 1805 – Paris, 18...

Artist Statement I grew up in a small town west of St. Louis, MO.  To be more specific, I grew up in the woods outside of that small town.  Not having many human children around, my...

18th Century Italian oil on copper portrait in the style of Raphael. Excellent condition.

Gouache, ink, pen, and gold on paper. Signed by artist. Note: Due to the size, weight, and value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...

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

This Set of 3, gold leaf and oil, named Garden Story are a part of Le Bleu Series by award winning British artist Shizico Yi. She created the series plein air in the early summer ev...

5065 The Trafalgar naval battle sign on metal restaurant food sign

Brian O'Neill's "Deep Dive 2" is a remarkable original artwork created in 2024. This piece measures 12 x 12 x 1.50 inches (30.48 x 30.48 x 3.81 cm) and features a sophisticated combi...

Bronze & Steel Table

The Coronation of the Virgin. Oil on copper. All of our works are covered by our own guarantee of authenticity which covers the work for its ...

Tokugawaen is a unique painting by contemporary artist Lumi Mizutani. The painting is made with India ink, Chinese painting, Japanese pigments and gold leaves on Japanese cardboards,...

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

New York Landscape - The High Line III is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments, Indian ink, silver leaf and black leaf on Japane...

Charlotte Elizabeth has been working with paint professionally for over fifteen years. Elizabeth’s training in theatre design preceded a busy career as a Theatrical Scenic Artist in London’s West End...

Kanazawa Landscape – Kenrokuen is a unique painting by contemporary artist Lumi Mizutani. The painting is made with Japanese pigments, Indian ink, copper leaves on Japanese paper mou...

Foxgloves Blue in Yellow is part of Shizico Yi’s celebrated Summer Bloom series, a body of work in which the artist honours the arrival of summer—her most treasured season for plein ...

This is a moody, tonalist water landscape painted on acid-washed tin (lightweight metal surface) to achieve a smooth surface to complement the peaceful evening scene. The work itsel...

Contemporary peaceful nighttime oil painting with gold leaf on linen of the roof and chimney of a white house against a serene twilight sky dark...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...

Windows With Flowers Still Life Painting Artist signed lower left, 16" x 18" with frame 26"h x 28"w Calman Shemi was born in Argentina in 1939. He studied sculpture and ceramics at t...

Alexander Eulert's original mixed media paintings on wood panels are abstract propositions of worlds where divergent forces coalesce into harmonious geometric interactions. He draws ...

Lesley Anne Spowart (American, born 1957) "Happy Wife, Happy Life" 2025 Acrylic paint and mixed media, stretcher bars Signed bottom right corner and verso. "Happy Wife, Happy Life" ...

Gestural abstract expressionist painting on archival paper with gold and silver metallic powders and accents of blue, burgundy, and green enamel paint "Platonic Solids...

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...

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...

Interested in communicating ideas of history, place and nature in her painting practice, Jennifer Wolf utilizes natural dyes and minerals to feature a historically significant palett...

Abstract minimalist artist Jason DeMeo creates artworks that work to serve as a meditation for the viewer, drawing them toward the timeless concepts of truth, beauty, and goodness. His original paintings accentuate the ultimate appreciation of medium and form, inspired by everlasting principles of simplicity, balance, symmetry, order, and harmony. DeMeo created this one-of-a-kind 42-inch square painting using acrylic paint and gold leaf on a recycled fiber blanket which creates unique textures throughout the artwork. It is signed on the front and the back. It is stretched, wired, and ready to hang. Framing is not required. Free local Los Angeles delivery. Affordable U.S. and global shipping available. A certificate of authenticity issued by the art gallery is included. Originally from Pittsburgh, Pennsylvania, DeMeo is now based in Central Florida. Through his work, he seeks to express universal themes by bringing his eclectic personal experiences, philosophies, and emotions to the forefront. He has a deep belief in the power of art to bring transformation to both spaces and people. DeMeo’s artworks, packed with positive affirmations, have been collected across the United States. DeMeo focuses on exploring a concept that he has coined Synthesism™. It stems from the definition of the word synthesis: “the combining of often diverse elements into a coherent whole.” This theme of blending, combining, and remixing in many disciplines, especially music, architecture, and even culture leading to the growth of community is captured in his work. Modernism constructs, Post-modernism deconstructs, and Synthesism combines. Each of DeMeo’s artworks includes elements of precision and organic creation. The sharp lines offer a balancing contrast to details of drips, splashes, or scrapings that bring life to his work. DeMeo carefully layers each color while keeping attention to the relationships between them and the weight of each brushstroke. Every artwork offers intrinsic details and textures at a closer glance. Current movement influences include Abstract Expressionism, Bauhaus, Conceptualism, Gestalt, Human Centered Design, Wabi-Sabi, Black Mountain College. Current artistic influences include Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, Franz Kline, Cy Twombly, Pierre Soulages, Tomie Ohtake, Clyfford Still, Morris Louis, Terrence Conran...

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...

Frida Willis (Swedish, born 1971) "4 Figures" 2025 Oil Paint, Mixed Media, Canvas, Stretcher Bars The artist signed the back of the painting. “4 Figures” by Frida Willis is a moody,...

Jim Rattenbury’s work is of our time, yet it is filled with signs from other eras, both distant pasts and distant futures. He creates marks on his works that are accessible to childr...

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

Urban Landscape V – Migratory Birds is a unique painting by contemporary artist Lumi Mizutani. The painting is made with Japanese pigments and gold leaves on Japanese paper mounted o...

Sezione Aurea-C1 is a unique sculpture by contemporary artist Mattia Bosco. This sculpture is made of Palissandro marble and gold leaf, dimensions are 270 × 100 × 52 cm (106.3 × 39.3...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

Signed and dated by artist on verso

Brian O'Neill's (US based) "Emergence" is an original, handmade oil painting that depicts a floral robe slipping from a female figure's shoulders and expos...

This Modern abstract painting Stanley Bate features an earthy and warm palette and textured paint application. The painting is signed by artist lower right and is framed in the origi...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Conceived in an emphatically panoramic format, this arresting cityscape unfolds like a breath held between dusk and dissolution. A luminous horizon of warm sand and blush gold stretc...

The painting was painted Plein Air, in Artist's own garden of the memorial roses she planted. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in her garden in 2016, before her late dog died. Old English Roses...

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...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...