Metal Paintings

Cat and Cockerel by Georges Manzana Pissarro (1871 - 1961) Oil and gold on panel 65 x 94 cm (25 ⁵/₈ x 37 inches) Signed and dated, Manzana Pissarro 1925 This work is accompanied by ...

Steven Harvey (Australian, born 1965) 1998 Mixed media painting on board Dimensions: 19-3/4 x 12 inches Hand signed, dated, and titled verso Provenance: Important Australian Art f...

Michaela Jean is an accomplished painter, devoted gardener, and mother from Southern California (USA). Her lifelong passion for art and nature began in childhood, inspired by her gra...

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...

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...

A male figure wearing a white t-shirt and baseball cap stands knee-deep in inviting pink water holding a fishing pole, the curving fishing line traced in 22-carat gold leaf. Green fo...

Lisa Fricker's "Ivory's Second Life" is an original, handmade oil painting that depicts a close up portrait of a woman in front of a earth , geometrical abstracted background. Throu...

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

Materials: Oil on canvas, gold, copper and silver leaf, oil pastel The image of a woman sitting in front of the mirror thinking

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, burgundy, green, and purple enamel paint "Invol...

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

This unique artwork is created through interweaving and twisting strips of painted fabriano paper in order to create a complex composition with depth and texture. The artwork is fram...

"Peacock" is a luminous contemporary bird painting by Anastasia Gklava, rendered in oil and genuine gold leaf on circular canvas. The composition celebrates the elegance and symbolic...

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...

“Bitch - A Love Letter to Rage”, is a fierce, original mixed-media painting that transforms a historically derogatory word into a declaration of strength, survival, and reclamation. ...

This Set of 2, work on paper, named Bouquet of Spring are a part of Jardin d'Hiver Series by award winning British artist Shizico Yi. She created the series in her winter studio whi...

Primary Colour Series- Red is Shizico Yi's on going project, inspired by Japanese woodblock Print and the a nod to calligraphy tradition. The series is a continuation of her "Sunlit ...

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,...

Mario Schifano (Khoms, Libya, 1934 – Rome, Italy, 1998) Title: Untitled (perhaps “The House”) Medium: Enamel and acrylic on canvas Year: 1990 Dimensions: 100 x 100 x 4 cm Signed “Sch...

Interior design paintings. The artwork were done with acrylic, gold leafing pen 18 kt in gold and black color on canvas size 48x36". This is the "Many thoughts, one head" series. Th...

Vibrant depiction of a view from a window by an unknown artist (American, 20th Century). This sweeping landscape, composed in a horizontal panoramic view, depicts a distant vineyard ...

"2/3" by Conrado López is a delicate yet expressive 2024 artwork, utilizing acrylic, gold leaf and oil on a canvas sized at 15.75 x 15.75 in (40 x 40cm). This piece is a prime exa...

End of summer III is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments and silver leaf on Japanese paper mounted on panels, dimensions are 65...

A Primitive Pictograph (Abstract Painting in Metallic Gold & Splashed of Color), 2021 by Bruce Murphy 38 x 38 inches, unframed, enamel paint on archival paper Signed, verso This ges...

Painted en plein air beneath the final full moon of summer—the Sturgeon Moon—this work captures a rare moment when the florals in Shizico Yi’s garden glowed under brilliant moonlight...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Tathagata - a Pali or Sanscrit word used primarily by Siddartha Gautama Buddha to refer to himself. However it also the term for one who has reached enlightenment through Buddhist principles & has as many as eight different meanings. Generally accepted is the translation one who has thus arrived. And this vivid painting from Berlin has arrived! Drawing on his knowledge of the faith & his research into the theme this is a beautiful & informed rendition of Buddha. The colours are vibrant but enable one to look deep and take the essence of tranquility from the image. This Buddha would sit happily on an altar or a home corner of peace and tranquility, giving an essence of calm & preparedness to those who stand before it. Oil paint using hand ground pigments, 24 ct gold and silver...

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 abstract painting by Ned Martin is made with oil paint and recycled aluminum on board. It features a grid composition with a light layers of blue, black, and silver paint, with ...

Fred Wessel's "Sienese Icon (Tropical Trinity)" is an egg tempera painting with gold leaf, cultured pearls and tiger eye gems on a panel. This piece measures 28 x 28 inches and is re...

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...

Watchful Eyes

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

Gestural abstract painting on paper with gold metallic powders and cobalt blue, pastel green, and rust colored enamel paint "New Looking Methods", made in 2022 by Hudson Valley paint...

Damien Hirst The Currency 8321, 2021 Enamel paint on paper 20 x 30 cm 7.8 x 11.8 inches Damien Hirst, a poster boy for the Young British Artists who rose to prominence in late 1980s...

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

Oil on oak panel Image size: 25 1/2 x 19 inches (37.5 x 27 inches) 18th Century Auricular gilt frame Provenance New York private collection This portrait of the King Edward VI depicts the boy-king standing in a black and gold embroidered doublet, wearing a jewelled cap. King Edward holds a staff with a globus cruciger set on the table beside him. No expense has been spared in the making of this piece, with gold leaf being applied in many areas to give the effect of the costume's gold embroidery, chain of office and other metal accessories. As the precious male heir to the Tudor dynasty...

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...

Shimmer Abstraction David T. Kessler, American (1950) Date: 2005 Acrylic on Brushed Aluminum mounted to board, signed, titled and dated on verso Size: 48 x 72 in. (121.92 x 182.88 cm)

Oil painting“hunting scene with dogs and horse” attr. to Alfred De Dreux 19th Oil on canvas, restored and cleaned in good condition. Very nice painting for hunting scene art...

The party’s over I is a unique painting by contemporary artist Lumi Mizutani. The painting is made with Japanese pigments and copper leaves on Japanese cardboard, it is sold with a b...

"Coffee in the Morning" – Textured Abstract Acrylic Painting Celebrating Daily Ritual "Coffee in the Morning" is a large-scale, square contemporary abstract painting by artist Miche...

Brian O'Neill's "Patina" is a captivating original artwork created in 2024. This piece measures 24 x 24 x 1.50 inches (60.96 x 60.96 x 3.81 cm) and features a sophisticated blend of ...

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...

Contemporary Abstract Architectural painting in black and yellow "Ospedale II" painted by Hudson Valley, NY based painter, Anthony Finta, in 2019 36 x 24 inches oil, enamel and pap...

This stunning Art Deco composition by Florida-based artist Alfonso T. Toran captures two swans gliding across a calm, golden-toned surface. Rendered in rich, stylized detail, the pie...

Words: Now I think that I should have known that he was magic all along. I did know it but I should have guessed that it would be too much to ask to grow old with and see our childr...

In these testing times it's become easy to turn inwards rather than looking outwards into the world. In a painting that is archetypical of Sax Berlin Angel of Peace is a reflection ...

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...

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 ...

Greg's witty and charming oil painting on aluminium comes framed in a floater frame which adds 1.75 inches all the way around. "Greg Decker is a visionary painter. His work epitomise...

Sveta Hessler (Russian, born 1973) "Gold Rush" 2024 Oil Paint, Glue, Gold Leaf, Mixed Media, Canvas, Stretcher bars The artist signed the back of the painting. "Gold Rush" by Sveta ...

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 ...

Surrounded by artistic inspiration from a very early age, Kate Salenfriend learned most of her technical skills from her great-grandfather, Stewart Robertson, the registered Californ...

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

ELLIE RILEY – "TACTILE VISIONS-RED" Acrylic on Canvas and Stainless Steel ⚜ Hand Signed, Dated & Titled Verso ⚜ Frameless Display A MINIMALIST, TEXTURED EXPLORATION IN RED AND S...

Interior design paintings. The diptych were done with oil, gold leaf pen 18 kt in green and gold color on watercolor paper 300g. The works are 11 by 14 inches in size, framed (gold o...

"Greg Decker is a visionary painter. His work epitomizes the passion that comes from a deep love of art, poetry, and music. His paintings show how art is both the consolation for, ...

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...

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