Metal Paintings

Fereydoun (Fred) Rahimi Assa (Iranian, b. 1936) "Lonely Soul in Desert" Oil and mixed media on canvas, Hand signed lower left Framed : 40-1/2"h x 30-1/2"w Sight: 40"h x 30"w Made with metallic foil or paint, the patchwork-like piece bears geometric designs and symbols. Born in Baku, Azerbaijan, Fereydoun Rahimi Assa (b. 1936) moved to Tehran at the age of three. He attended the College of Decorative Arts, Tehran in the same year group as well-known formidable masters, Hossein Zenderoudi and Massoud Arabshahi. After being awarded a travelling scholarship in 1964, Rahimi-Assa went to Israel for three months of study. Although Rahimi-Assa saw success through the several exhibitions he held in Israel, unable to secure a long-term visa and not keen to return to Iran, he found himself in the US – in no small part, thanks to the help of Eric Azari in obtaining a long-term residency visa. Fred Rahimi-Assa went first to New York and later settled in New Jersey. While in New York, he worked in some capacity at Columbia University’s Painting department where he also exhibited several times, including a solo show in 1968. In the same year, Rahimi-Assa participated in a group exhibition of Modern Persian painting, sponsored by the Centre for Iranian Studies at Columbia University – founded that year by Professor Ehsan Yarshater (Hagop Kevorkian Professor of Iranian Studies, Columbia University). After moving out of the City, to New Jersey in the 1970s, Rahimi Asa continued to exhibit with local institutes and organized art seminars in the homes of various artists. His work was included in the Middle East auction held by Sotheby's. It includes pioneering artists such as Egyptian Mahmoud Mokhtar, Moroccan modernism, Mohamed Melehi...

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 ...

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 ...

Watchful Eyes

This abstract geometric painting by Ned Martin is made with oil on aluminum and board, and features a cool blue-grey palette. It is signed by the artist on the back of the board and ...

Greek Classical Scene of "Death of Agamemnon" Oil on metal Beautifully detailed oil painting with classical scene with romantic-esque brushwork and details by unknown artist. Painti...

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 ...

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

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...

Just when you think an artist has reached the zenith of creativity and beauty a piece arrives that is simply breathtaking. It truly is Sax Berlin's destiny to create these stunning w...

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...

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...

Title: Portrait of Democritus Médium: oil on canvas laid on wooden panel Signature: signed under right Provenance: private collection France Dimensions canvas: 49 cm x 49 cm Dimensio...

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...

Nyasha Mashumba, having been the apprentice of Mark Hilltout, has now started to carve out a career for himself as artist and designer, utilizing the medium and craft he has mastered...

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...

Art and design in varied forms have always been a driving interest in my life. Living in Madison, Connecticut, I began my career as a muralist and trompe l’oeil painter doing signif...

Coronation of Venus, 2021 Oil on Panel with 24k Gold Water-Gilded Frame, 114 x 78 inches “Coronation of Venus,” an ornamentally enriching piece from the studio of Justas and Vilius...

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...

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...

Contemporary Art, Gold and Black Painting, Abstract Paintings-Abundance 904 A B O U T T H I S P I E C E : “Abundance 904” is a piece of letter art inspired by graffiti by Addison Jo...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

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...

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...

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...

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...

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...

An oil painting by Kristy Gordon (b. 1980, British Columbia, Canada) inspired by divine feminine energy. Divided into realms, the lower world, middle world, and upper world, each rea...

Dan Christensen Untitled, circa 1970-71 Acrylic and enamel on canvas 44 x 20 inches Provenance: The artist Sherron Francis (gift from the above) Dan Christensen was an American abs...

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 ...

Art and design in varied forms have always been a driving interest in my life. Living in Madison, Connecticut, I began my career as a muralist and trompe l’oeil painter doing signif...

Mary Elizabeth Price Dahlias and Lustre, circa 1925 Signed within a cartouche lower right, titled verso Oil and gold leaf on Masonite Oval 16 1/4 x 22 inches Provenance The artist F...

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...

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...

I have a deep affinity for the land, it’s a place for immersion, to experience and be absorbed. My work taps into the emotional gravity of a place, its memory, its pulse, its rawness...

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

Figurative oil on board painting in brass frame placed under plexiglass by Polish artist living in the USA, Monika Rossa. Frame is an integral part of the painting. Artwork depicts s...

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...

[Jardin d'Hiver] is Shizico Yi's on-going series, created in her winter studio while savouring for the summer left behind. This is an evening scene of the last full moon before the L...

The frozen lake holding its breath as winter comes to an end, exhaling for the first time in as long as it can remember. I am the frozen lake, taking first breaths after the longest...

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 ...

The Surrender of Breda, June 5, 1625, known as the Lances is an oil on canvas painted by the Spanish painter Diego Velázquez (1599, Seville - 1660, Madrid) during the years 1634-1635...

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

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...

"Viva La France!," 23 Karat Gold Leaf and Oil on Canvas, 32 x 48 Inches, is inspired by the French flag, elegant and whimsical, however it can also be viewed as a pure geometric abs...

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 ...

GALAXY ART is a mixed media wall sculpture by Vera Vizzi that fuses astronomy-inspired painting with tactile lunar relief. Created with foam clay, acrylic and enamel on a circular 30...

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...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about ...

Signed and dated by artist on verso

Avalanche moon relief in foam clay and acrylic, white palette with pill-like figurines, stages a snowlike flood that links natural avalanche imagery to mental and psychiatric metapho...

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...

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...

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...

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 created this one-of-a-kind, vibrant, and colorful painting measuring 42 inches high by 36 inches wide and 1.25 inches deep with oil and enamel paint on canvas. The sides of the canvas are painted in a continuation of the front eliminating the need for framing. In addition to being signed by the artist on the front, the artwork also comes with a certificate of authenticity issued by the art gallery. The certificate guarantees the authenticity and provenance of the artwork. Free delivery is available for those in the local Los Angeles area. Affordable worldwide shipping is available for U.S. and international art collectors. In this artwork, Tamlin reworks the traditional idea of landscape painting by incorporating text and familiar places' names, such as California destinations, painted in large letters over the colorful photorealistic painted corrugated metal. This photorealistic painting by Ross Tamlin is so expertly executed that it perfectly mimics the texture and appearance of corrugated metal, even when seen in person. However, upon much closer inspection from the side at a nearly 90-degree angle, the levelness of the canvas is revealed, allowing you to appreciate the skillful brushwork of oil and enamel paint that gives the amazing illusion of depth and texture. With meticulous attention to detail, Tamlin imparts extraordinary depth to the painting, creating a finish that emulates the shine of polished metal and further enhances the piece's realistic appearance. This original artwork stands as a testament to Tamlin's remarkable talent and precision, demonstrated through the inclusion of even the smallest details, such as the masterfully painted rusty rivet holes. 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. Artspace Warehouse has been representing and exhibiting Ross Tamlin's original artworks since 2015. The gallery has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a large selection of affordable original artworks from established and emerging international artists with diverse backgrounds at high standards. Artspace Warehouse is known to provide accurate descriptions, images, reliable services, communication, and delivery. The gallery's commitment to customer satisfaction means that clients can invest in art with confidence, knowing they have a reputable and established art gallery backing their acquisition. Artspace Warehouse prioritizes our clients' peace of mind by ensuring a seamless and worry-free art-buying experience. REPRESENTATION Artspace Warehouse, Los Angeles, USA 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...

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...

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