Peter Max 'Angel' Mixed Media on Acrylic

This is a vibrant and textured mixed media artwork on a heavy acrylic panel, created in the signature Neo-Expressionist style of world-renowned artist Peter Max. The central figure is a classically rendered cherub with golden wings and curly blonde hair, wearing a powder-blue shift dress and holding white lilies. This nostalgic imagery is overlaid with Max's trademark high-energy, gestural brushstrokes and three-dimensional paint flourishes in a palette of neon pink, electric blue, and deep black. The background features a smooth gradient transitioning from hot pink at the top to a muted lavender at the bottom. The piece is signed 'Max' in the lower right corner in his distinctive script. The construction is a hybrid of printing and hand-painting (likely an acrylic over-painting on an embossed lithograph or similar substrate), which is then set within or on a thick acrylic block. The piece demonstrates high-quality craftsmanship through the heavy application of impasto paint and the clarity of the acrylic. It appears to be from the late 20th or early 21st century and remains in excellent condition with no visible scratches, yellowing, or paint loss.

Based on my visual examination of this mixed media on acrylic piece, I have assessed it as a representative example of Peter Max's 'Angel' series. The work displays the artist's characteristic fusion of traditional iconography with high-energy Neo-Expressionist gestural brushwork. The physical condition appears excellent; the impasto flourishes retain their peak height without cracking, and the acrylic substrate lacks the yellowing or 'crazing' often seen in poorly stored pieces. The color saturation remains vibrant, suggesting minimal UV exposure. In the current market, Peter Max's mixed media works—specifically his 'unique' variations on printed bases—command steady demand among collectors. Comparables for his 'Angel' and 'Cherub' motifs on acrylic have recently realized between $4,000 and $7,000 at specialized fine art auctions. The value is buoyed by the heavy hand-painted elements which differentiate it from standard flat-surface prints. However, a definitive valuation and guarantee of authenticity are limited by this digital inspection. To move beyond this 'provisional' assessment, I would require a physical examination to verify the signature's integration into the paint layers, inspection of the verso for gallery stamps or reference numbers, and a review of the Certificate of Authenticity (COA) from Peter Max Studios or a reputable gallery. Scientific testing like UV fluorescence would be necessary to confirm the age of the pigments and rule out later additions or repairs.