Portrait Paintings

Original acrylic painting on canvas. Hand signed on front by Peter Max. Canvas size 24 x 30 inches. Frame size approx 28 x 34 inches. In 2012, Ken Hendel, the owner of Gallery A...

Mixed media (household paint swatches) 32 x 16” x 2 inches 2023 Framed in white with Optium museum quality non-reflective Plexiglass The artist uses (Home depot household paint...

Stars & Stripes Painting entitled 'A Bit Rich' by British Urban Graffiti Artist, Chris Pegg, using red, white, black & blue. Chris Pegg is a self-taught Street Artist producing artwo...

'Fractured Mind' - Abstract Painting on Board by British Urban Graffiti Artist, Chris Pegg, using red, black & golden yellow. Chris Pegg is a self-taught Street Artist producing artw...

"Lullaby for the Buoy" by Alina Hubarenko is a mesmerizing original seascape painting that captures the essence of tranquility and serenity. Executed with precision and expertise usi...

"Together We Stand" by Alina Hubarenko is a heartfelt original seascape painting that beautifully captures the essence of unity and companionship. Crafted with meticulous detail in o...

"The Fleet" by Alina Hubarenko is a captivating original seascape painting that unveils a nostalgic and whimsical scene of paper boats gracefully navigating turquoise waters. Crafted...

"Ocean Sunset," a masterpiece by contemporary artist Alina Hubarenko, skillfully captures the serene beauty of the sun descending over the vast expanse of the ocean. This enchanting ...

"Mediterranean Glow" by Alina Hubarenko is a captivating original seascape painting that bathes viewers in the radiant allure of the turquoise Mediterranean Sea. Executed with precis...

Animated cartoon comic--like portrait oil painting on paper by Matt Straub. Signed on back by artist. Offered framed. Paper size: 7 x 6 inches Frame size: 11 x 9 inches. Matt Strau...

Portrait of ambition Oil on Canvas 39 3/8 x 27 1/2 in 100 x 70 cm "The quirky manner in which Johnston pulls and twists narratives, highlighted by the realistic nature of his work, sheds light on the camouflaged absurdities hiding in plain sight. Johnston invites the viewer to dig through the layers of mundane normality with the shovel of imagination to unearth new perspectives." - Saatchi Art (2023) Award winning artist Stephen Johnston...

"Sparkling Rosé", Modern Pop Art Painting in Pink, 2022 Sparkling Rosé is Modern Pop Art Painting by Addison Jones. Introducing the iconic Andy Warhol style print with neon colors ...

Portrait of consequence Oil on Canvas 35 3/8 x 23 5/8 in 90 x 60 cm "The quirky manner in which Johnston pulls and twists narratives, highlighted by the realistic nature of his work, sheds light on the camouflaged absurdities hiding in plain sight. Johnston invites the viewer to dig through the layers of mundane normality with the shovel of imagination to unearth new perspectives." - Saatchi Art (2023) Award winning artist Stephen Johnston...

Hand painted acrylic on canvas - lives and works out of Brooklyn NY and is represented by Krause Gallery in Manhattan NY. signed on edge of canvas Painter and illustrator Wizard Skull’s humorous and often raunchy riffs on cartoon characters and mascots poke fun at pop culture and commercialism. Wizard Skull transforms recognizable characters from Homer Simpson and Mickey Mouse to Gumby and SpongeBob SquarePants into hybrid mashups, and squiggly portraits. Best known for his street art, Wizard Skull creates wheatpaste posters and murals that have become fixtures throughout New York City and beyond. One of his most famous wheatpastes —Sexy Ronald (2011–present), which depicts a strapping Ronald McDonald...

"Angela" Oil painting 47" x 33" inch by Alina Shimova 2021 Alina Shimova is Russian born Miami based artist. Her creative journey began at an early age. Alina entered an art sch...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

One of the originators of the Western pop art movement, Billy Schenck incorporates techniques from photorealism with a pop art sensibility to both exalt and poke fun at images of the...

Vintage American modernist portrait of iconic artist Peter Max. Signed. Framed. Original oil on canvas.

Ceravolo's just completed Mono Print with iridescent acrylic hand work is titled "RED POW" with YELLOW burst. based on his "Batman and the Movie Star" original painting on canvas. This canvas measures approx. 28x40" framed. Ceravolo has created several unique monoprints based on his "Batman and the Movie Star" painting all with different "POW" and burst colors. This one is RED POW with a Yellow burst. All of these monoprints have an iridescent painted Bat Signal in the sky hand painted by Ceravolo. One of The Hampton's most popular urban Pop artists Ceravolo's work has been exhibited alongside Warhol and Peter Max for years, his paintings are collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. This Monoprint features Batman driving his Batmobile with a sultry Movie Star sitting next to him while at the same time there is a "Bat Call" signal in the night sky signaling him that there is a need for his help in Gotham City. Along with those two distractions the gopher "G" is standing next to Batman on the side of the Bat Mobile. While this is all going on Batman is thinking...."I must concentrate on driving" Maybe this is a typical night for Batman in Gotham City. We have included in this listing an image of Ceravolo with some of his famous collectors. His paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates.

In bold, acrylic line paintings, US artist Hilary Bond depicts the heads and torsos of women, often repeating the image in overlapping compositions. Her contemporary groups of pop culture portraits and figures are creatively rendered in a palette of transparently layered colors on canvas. This soft palette 36 inch high by 18 inch wide pop-figurative artwork is wired and ready to hang. The sides of this modern artwork are painted. It does not require framing. The painting is signed by the artist on the front and back. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. Abstract Expressionism, Pop Art, American culture, and childhood influence Hilary Bond’s choices in color, brush work, material, and composition. "I was searching for inspiring female figures and a female ideal, archetype, and muse. I started painting models, in particular, Kate Moss. The composition and line quality influence my color choice and ultimately the overall emotion of the work. I want my paintings to be mysterious, beautiful, assertive, and to have their own inner dialog. The artists who inspire me change with each piece, but I was substantially influenced by Manet’s Olympia, de Kooning, Schiele, and Warhol." Hilary Bond was born and raised in Baltimore, Maryland. After attending the Baltimore School for the Arts she went to The Cooper Union and received a BFA in 2007. Hilary’s artworks are represented by Artspace Warehouse...

Original painting on canvas. Hand signed and dated on front; signed, titled and dated on verso by Britto. There is also a signed and dated dedication on verso by Britto. Canvas siz...

High-quality acrylic sculptural contemporary hyperrealistic composition with a woman in sunglasses, holding a microphone. Pop-inspired, vibrant and mirroring artwork, in silver, azur...

ANJA VAN HERLE "Choker + Chain" Acrylic & Swarovski Crystal on Panel 12 x 12 inches. Born in Belgium in 1969, Anja Van Herle combines a European sense of high fashion in her artwork...

KAMIL LISEK (born in 1980) Studied under the guidance of prof. Maciej Świeszewski at the faculty of painting at the Academy of Fine Arts in Gdansk. He graduated with distinction obtaining scholarships from both the Ministry of Culture and the Mayor of the city of Gdańsk. In 2006 he won the Grand Prix (ex...

Half Skull & Female Face Portrait Pop Art by British Urban Graffiti Artist, Chris Pegg. Lilac Background. Presented in a high quality ornate white frame. Art measures 20 x 16 inche...

High-quality pop art style textured painting. Look at the wonderful texture that the lips of a beautiful black girl have. This is a unique piece and only one. It is a gorgeous and ch...

Crafted as an accumulation of representations of floral elements surrounding a square vinyl record, this vibrant and colorful unique piece by Natasha Lelenco is simultaneously an ant...

"After-dinner" is a figurative artwork by Moldovan-spanish artist Natasha Lelenco, created in acrylic on canvas. The work, featuring the artist's characteristic contemporary figurati...

Portrait of John Lennon and Yoko Ono, powerful couple whose relationship is one of the most famously iconic. In my creation, I explored the essence of iconography wrapped in bursts ...

This highly technical and evocative work by Pablo Santibanez Servat is another in a series of sensual works featuring a female subject. His use of light creates a "glossy" almost wet...

Andres Conde at play with his favorite subject, women. Here the artist creates a beautiful and coy femme fatale in pop realism. Sul Americana is Portugues...

Audrey Hepburn 6 is original oil on canvas created by Oksana Tanasiv in 2022. The size of canvas 30"X40". The artist captured iconic celebrity's seductive look who is holding her s...

Marilyn Monroe 7 is original oil on canvas created by Oksana Tanasiv in 2022. The size of canvas 30"X40". The artist captured iconic celebrity's seductive look who is smoking a cig...

We are please to announce that we are now exclusively representing the Pop Art cowboy and cowgirl paintings of the artist Matt Straub. We at the gallery have been excited about the P...

Crafted as an accumulation of representations of floral elements surrounding an inverted face of a plastic doll, this unique piece by Natasha Lelenco i...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2021, starting from the concept of the "face" on coins. It is a unique work executed on a treated c...

"In 'Love Wild,' Natasha Lelenco engages in a playful and stylistic exploration with clear references to the recurring portraits of the early Renaissance, such as those by Giorgione, from a contemporary perspective and with the technical precision that characterizes her work. In this piece, she presents a character with a certain sexual ambiguity, lost in thought, snuggled up with a small creature, a little monster, and sporting tattoos on the fingers that read 'Love' and 'Wild,' a nod to Charles Laughton's famous film 'The Night of the Hunter...

Serge Marshennilov's "Small Shadow," is an original, handmade hyper realistic oil painting that depicts a female figure in profile wearing an elaborate blue bonnet in beautiful lighting with shadows. About the Artist: Serge Marshennikov...

This 24 x 17 inch oil on canvas painting by British artist Michael Hlousek-Nagle, is titled ''The Hidden Language.' . The work depicts a portrait of a young female and a butterfly. It is a 1/2 length portrait, thus her lower half is not visible, only her lower chest and up, although it is not totally clear where her body is cut off by the composition, as she wears a black turtle neck...

Tolulope Adigbo's artwork, "Wandering Wheels (Ajala 2)," is a mesmerizing portrayal of a young woman seated in a car, her arm casually resting on the seat handle and wearing a pair o...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Kevin A. Moore's "The Soul That Sees Beauty," is an original, handmade hyper realistic oil painting that depicts a female figure in profile wearing a red dress and holding a skull. T...

Denied Andy Warhol Dollar Bill Painting / Charles Lutz silkscreen ink on linen with the Denied stamp of the Andy Warhol Art Authentication Boar...

"Ireti (Hope)" is a thought-provoking artwork created by the talented artist Olalekan Adeyemi. This captivating piece centers around a young woman and...

The acrylic colours and spray paint of orange, yellow, pink, grey, and black express the emotions of this painting. Through pop art, street art, graffiti, and expressive abstraction ...

Ricky Hunt’s string artworks are influenced by Egyptian hieroglyphs, graffiti, and his tumultuous past that led to a paradigm shift in creativity and life. On his sculptural and thre...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

This piece belongs to the first series of 6 large coins created by Natasha Lelenco in 2019, starting from the concept of the "face" and incorporating a floral background inspired by ...

Denied Warhol Jackie in Black and White by Charles Lutz Silkscreen and gold spray enamel on vintage 1960's linen with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 1...

Virginie Schroeder is an innovative artist based in Quebec, Canada. She puts in play lines, circles and other geometric forms to create works with subjects that are not immediately v...

Shipped well packed in a roll, without frame. "The Nap (Bacchus' Siesta)" is an Artwork by Natasha Lelenco, a Spanish artist of Moldovan origin, created using acrylic on canvas. It depicts a domestic scene that combines figuration with geometric elements, residing somewhere between the pixelated world of digital imagery and allusions to the traditional ornamentation found in Eastern European canvases and tapestries. An intimate scene that bridges the gap between the virtual and physical worlds, illustrating the difficulty of finding a solid footing. The artist herself says this about the piece: "This work, humorously referred to as 'Bacchus' Siesta', originated as a portrait of my partner during the days of the 2020 pandemic lockdown. It was the first completed piece in the series titled 'New Jungles.' These works delve into themes of disorientation and virtuality, portraying characters who seem lost and absorbed. The degradation of the environment, the commodification of Earth's resources, and the displacement of communities due to consumerism all lead to disorganized societies where individuals become powerless subjects, struggling to find solid ground and a sense of place. 'Bacchus' Siesta' portrays a salon scene immersed in a simulated natural setting. The intricate floral details of the traditional Moldovan carpet...

Denied Warhol Jackie in Black and Gold by Charles Lutz Silkscreen and gold spray enamel on vintage 1960's linen with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 16...

Contemporary figurative acrylic on canvas painting by Polish artist Joanna Woyda. Painting is in minimalistic, pop art style. The artwork depicts a boy playfully running on a beach. ...

"Itunu (Comfort)" is a heartwarming artwork by the talented artist Olalekan Adeyemi, which beautifully captures the essence of a young woman's comfort...

Contemporary figurative acrylic on canvas painting by Polish artist Joanna Woyda. Painting is in minimalistic, pop art style. The artwork depicts a girl playfully running on a beach....

This work along with its companion piece "Listen Here", exemplify Conde's unique pop realist style. They are to women speaking to each other. Though they can stand alone they appear ...

Conde again wows us with the sheer beauty and of his subjects and pop realist technique. This work, "Listen Up" is the companion piece to "I Heard". Though they are not a diptych pe...

This piece depicts famous British actress and model Audrey Hepburn. Celebrating the icons from the Golden Era with expressive and bold colors by capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Mars hand-painted houndstooth pattern in the background with clippings from magazines dating back to this era and incorporates messages from those times throughout the artwork. Creating the perfect backdrop for his statement piece, Hepburn stands out exceptionally, as the GIVENCHY logo is draped across adding an extra character of definition. Mars then layers the entire painting in epoxy resin, so the thickness of the piece pops dramatically. Finishing off the edges of the wood panel with newspaper articles and advertisements from an array of vintage magazines collected over the years. This is a one-of-a-kind piece executed on wood panel and comes ready to be displayed with hanging wire on verso, signed by the artist lower left and on verso. Art measures 36 x 24 inches Robert Mars was born in 1969 and is a graduate of Parsons School of Design in New York. At a young age, between 7 and 8 years old, he was drawn to muscle cars, custom vans, superheroes, and other icons that were relevant as a child. This idea of icons has been an obsession within his life and has continued into his adult life and throughout his artistic career, but the imagery has been refined over time. With the use of graphic compositions, glossy textures, and rich colors Mars provided the ultimate medium in which to explore his fascination stemming from the Golden Age of American popular culture and the icons of the 1950’s and 60’s. Drawing inspiration from the near-mythical fame that surrounded celebrities such as Marilyn Monroe, Elizabeth Taylor, James Dean, Audrey Hepburn, Elvis Presley, and many others, before the instant and all-encompassing presence of the internet, Mars’ daring approach creates paintings with a nostalgic yet innovative vintage feel. Employing concepts rooted in abstract expressionism, Mars has expanded on his body of work in the last years to abstract compositions, finding a balance between chaos and control by precisely cutting the painted vintage newspaper into predetermined patterns with multicolored paint layers of loose and dynamic brushstrokes in order to bridge to the events of the past and anchoring each of his artwork in a particular time of history. Robert Mars taps into the feelings that emanate from his paintings which vacillate between memory and desire. The taste of nostalgia pulls the viewers towards the iconic stars and the consumerist historical subject material of Mars’ works. Mars’ sources are the very core of these dreams. Photographs of stars like Bruce Springsteen, logos of products like Coca-Cola and TIFFANY & CO., and vintage ephemera are layered beautifully with news stories of seminal events; from the death of JFK to the 1969 moonwalk. By capturing these moments in history, his paintings serve as vehicles for bringing the American brand to the world. Based on traditional quilt patterns from American history, the mix of handcraft, and the meditation of...