Art by Medium: Metal

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,...

Forged from stainless steel, this contemporary outdoor sculpture is by Alexander Caldwell. The Alberta artist favors sculpting with metal and creating clean lines that are rendered in a vivid palette. The form of this playful piece–a tower of stacked logs is inspired by nature. The industrial material is coated in a brilliant shiny yellow automotive or oilfield paint. It stands an impressive 76 inches (193 cm.) high. “Alexander Caldwell’s sculptures are immaculate in execution and finish” Paul Kuhn...

Peter D. Cole (Australian, b. 1947) Symbols of Landscape, 1987 Mixed metal, enamel and marble signed P.D. Cole and dated 21 x 6 1/2 x 6 in (53 x 16.5 x 15cm) Provenance: Macquarie G...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2024 Style: Contemporary Art, Subject: Cascade, Size: 19" x 24" x 4'' inch, 48x61x1...

Marilla Palmer Ecstasy of the Sun, 2025 watercolor, gold leaf, embroidery, millinery foliage, pressed flowers, Durabright prints on Arches paper 29.5 x 41 in. (pal256) Marilla Palm...

AI WEIWEI - CEDAR (I) Date of creation: 2023 Medium: Cast aluminium Edition: 50 + 2 A/P Size: 20 x 15.8 x 14.4 cm Condition: In mint conditions, brand new and never displayed ABOUT...

Louis Ernest Barrias (French 1841-1905) Nature Revealing Herself La Nature se dévoilant devant la Science Gilt, and silver patinated bronze with blue glass scarab Signed on base “E...

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...

El Paseo by Bruno Luna, Mexican (1963) Bronze Sculpture with patina, signature and numbering inscribed Edition of XVI/XXX Size: 21 x 21 x 8 in. (53.34 x 53.34 x 20.32 cm)

Adele Webster’s contemporary landscape paintings explore atmosphere, light, and the emotional presence of open space. Working with layered acrylic washes on wood panel, Webster creat...

This piece titled "Lucky Restaurant" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measures 10"h x 0.75...

Frans van Straaten A Nice Place 33 x 8 x 9 cm Bronze Dutch artist Frans van Straaten (1963) should be called an artist of balance always searching for harmony between force and mov...

Fear and insecurity came uninvited to keep the artist company. Suddenly it became necessary to release the sensations that surrounded him day and night. At times the artist felt as i...

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

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

Dane Porter Topaz Trance, 2024 Medium: Metal Artwork Size: 30 x 20 in Framed Size: 30 x 20 in

Stonehenge is a bronze sculpture by French contemporary artist Martine Demal, dimensions are 43 × 43 × 12 cm (16.9 × 16.9 × 4.7 in). The sculpture is signed and numbered, it is part...

3 Large Standing Figures II is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 152 × 70 × 46 cm (59.8 × 27.6 × 18.1 in). The sculpture is signed and n...

Kevin Perrault’s sculptural work exists at the intersection of permanence and play, blending monumentality with quiet intimacy. Working primarily in copper and stone, his figurative ...

Patrick BRUN was born in Paris in 1941. After obtaining his Engineering degree, he began his professional life as a teacher in mathematics and physics. After this period, he started ...

A fine large cast figural bronze fountain of a nude boy with pan flute and three frogs known as “Frog Baby” by American sculptor Edward Berge (1876-1924)....

Bronze Numbered 10/10 36cm × 11.5cm × 18cm (incl. base) Ian Rank-Broadley is one of the foremost sculptors working today. His effigy of the late Queen Elizabeth II appears on all UK...

This is a signed, limited edition (of 10) framed botanical photograph of a white pine branch with buds a black background. This piece pairs beautifully with "Linden," listed separate...

Framed in a clear UV acrylic shadowbox, Catherine Latson's contemporary wall-mounted fiber sculpture Specimen 25 reads as an artistic rendition of a beautiful sea specimen. Rich, jew...

Edition of 20 A bronze sculpture of a Curlew by Richard Smith, with its beak angled downward conveys both elegance and serenity, embodying the essence of this distinctive wader. The ...

Rebecca Skinner’s “Beauty in Decay” was photographed at an abandoned mansion in rural Virginia. The sunlit interior photograph is of an open weathered door revealing a worn wooden st...

Guy Allen French Gold Image size: 25cm x 30cm Approximate size when framed: 45cm x 50cm Etching and Gold Leaf on Paper Please note the price is for the unframed original etching. Ple...

Synthesis V is a wall sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, acrylic, steel, LED, dimensions are 28 × 145.6 × 84.2 cm (11 × 57.3 × 33.1 in)...

Edward Winter (American, 1908-1976) Helen of Troy, 1938 Enamel Signed and dated lower right 43 x 18 inches 44.5 x 19.5 inches, framed Exhibited: Cleveland Museum of Art, May Show 19...

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...

ARTIST: Salvador Dali TITLE: Lincoln in Dalivision Platinum Bas Relief MEDIUM: Bas Relief SIGNED: Embossed Signature. The Bas Relief bears the artist signature toward the bottom...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Seemingly disparate cultures inspire Kallweit; the streng...

French 19th Century Lapis Lazuli set box with engine engraved gilt mounts, in Pomponne which is an alloy developed by two goldsmiths, Turgot and Daumy, who set up shop at the Hôtel d...

Nicholas Crombach has made a bold choice by depicting a vulture in this dramatic contemporary outdoor sculpture. The reputation of these ancient birds of...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

Turquoise mixed media wall relief with glossy sculptural drip form and pastel elements mounted on a black panel. This vertical mixed media wall sculpture belongs to the Domino Serie...

"Sisyphean Circle (diagonally down)" by John Van Alstine Slate, pigmented and sealed steel The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone...

In the shadow of being loved is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 32.5 × 25.5 × 39.5 cm (12.8 × 10 × 15.6 in). The sculpture is signed ...

"River 2" Abstract Composition in Acrylic and Gold Leaf on Wood Panel Bold abstract composition by California artist Janet Trenchard (American, b. 1947). This piece is composed of layers of rich dark green, and soft yellow. There are accents of bronze-gold leaf that shimmer under direct light. Streaks and scrapes add dynamic movement to the compostition. Titled and signed on verso: River 2 Janet Trenchard No frame, but the edges are painted for frame-less display. Janet Trenchard (American, b. 1947) is an artist and poet from San Jose, California. Trenchard taught art in public high school for 12 years before retiring to pursue her own creative interests. An artist and writer, her paintings and assemblages have been exhibited in San Jose, Palo Alto, and San Francisco. Her poems and stories have been published in Porter Gulch...

Original bronze sculpture by artist Curt Mattson. Edition 20/20.

This is a one-off hand painted Limited Edition, 70% of the painting is hand painted with original paint on Giclee print on aluminium panel, with a mat finishing, signed and numbered ...

A fine & large antique French Art Deco Bronze leaping stag sculpture/statue, by Georges H. Laurent (1880-1940), circa 1925. Georges H. Laurent was known for his animal subjects and t...

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

Bull is a bronze sculpture by contemporary artist Eric Valat, dimensions are 30 × 73 × 26 cm (11.8 × 28.7 × 10.2 in). The sculpture is signed and numbered, it is part of a limited e...

Tolla Inbar, Circle of Life, bronze sculpture, International artist, Israeli artist, Figurative sculpture, art

"Ex Nihilo Fragment 3" by Frederick Hart is a figurative bronze with the edition of 56/65. I saw Ex Nihilo (Out of Nothingness) as a single expression of creation, as the metamorph...

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

Please allow a three month turnaround time for piece to be made. About the Geologic Editions: The Geologic Editions are studies for Colorado Cascade Mural. David pieced together bit...

Takioaka is a sculpture by French contemporary artist Jacques Owczarek. This turtle in bronze takes shape through a series of lines, edges and curves. Jacques Owczarek discovered sc...

Lucifer Evangilans Bronze Contemporary Sculpture Nude Boy Male Figure Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as ...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of contemporary art, illustrating the creation of beauty, meaning, and emotional impact fr...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. 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...

Agathon LÉONARD (1841–1923) Lamp "Danseuse à L'Écharpe" "Dancer with the scarf" lamp A very rare sculpture forming a table lamp, made in gilded bronze The scarf hides the light bulb Signed on the side of the dress "A. Léonard Sclp" Cast by Susse Frères (with founder stamp) France circa 1905 height 60 cm A similar model is reproduced in "Les bronzes du XIXe siècle", P. Kjellberg, Les éditions de l'amateur, 2005, page 460. Biography: Léonard Agathon Van Weydeveldt, said Agathon Léonard (1841-1923) was a sculptor of Belgian origin naturalized French. After studying art at the Lille Academy of Fine Arts and then at the École des Beaux-Arts in Paris, Agathon Léonard settled in Paris for a long time, where after having exhibited at the Salon of 1868, he joined the Society of French artists in 1887, then to the National Society of Fine Arts in 1897. Very involved in the artistic movement of the Art Nouveau style, he exhibited many pieces (medallions, bronze statuettes and ceramics) finely worked. Following an order from the Manufacture Nationale de Sèvres, dating from 1898, Agathon Léonard exhibited at the Universal Exhibition of 1900 in Paris his famous table centerpiece "Game of the scarf" in porcelain biscuit, composed of fifteen statuettes representing dancers with pleated dresses reminiscent of Loïe Fuller's choreographies or Neo-Greek dancers...

Unity I is a bronze sculpture by contemporary artist Delphine Brabant, dimensions are 31 × 21 × 10 cm (12.2 × 8.3 × 3.9 in). The sculpture is signed and numbered, it is part of a li...

Andy Warhol Flowers, 1980 Enamel on porcelain Edition of 49 51 x 51 x 2 cm (20 x 20 x 0.7 in) In wooden box. Screenprint on porcelain in wooden frame signed in the glazing, numbered on label verso In mind condition. The piece is offered unframed. Throughout art history, the flower and its symbolism have been a subject matter for many renowned artists. Andy Warhol explored the qualities of the flower image through his Pop Art prism in the Flower series of 1964, thus creating cartoon-like symbols that would be instantly recognised. The 1964 Flower series became one of his most iconic and successful works.
 Based on a discovered photograph of hibiscus blossoms, Warhol drenched the flowers’ floppy shapes with a variation of vibrant colours, transforming them into psychedelic indoor décor. Playing with traditional art historical themes, Andy Warhol gave a particular twist to this historically accepted symbol of life. The electric colours of his flowers, drawn from a darker and rich undergrowth background might be the indicator of an extreme vision of life, a life lived on the edge. Andy Warhol (1928-1987) was an American artist, a leading figure of the Pop Art movement. ​Using a variety of media materials from photographs up to computer-generated art, Warhol's works explore the relationship between artistic expression, celebrity, culture and advertisement that flourished by the 1960s. Emerging from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, Warhol became a charismatic magnet for bohemian New York. In 1960, he began to produce his first canvases depicting Popeye and Dick Tracy. After Marilyn Monroe’s death in August 1962, he started working from snapshots of the star’s already legendary face, which had been widely distributed by the world’s press. His choice of subjects clearly relates to an obsession with demise – his Marilyns, his Ten Lizies (created when the actress Elizabeth Taylor was seriously ill), and also his Elvis. Part of the “Death and Disaster” series, Andy Warhol´s...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2024 Style: Contemporary Art, Subject: Playtime, Size: 19" x 24" x 4'' inch, (48x60...

The mirrored surfaces of the stainless steel Maldonado work of art, reflect the world around. Maldonado's artistic research has an ethological matrix: a sign as a kind of pre-Incan g...

This new work by Tal Nehoray is from her latest body of works called "1000 MG Happy Pills". All are hand made with Fiberglass and hand painted with automotive paint. It stands on a b...

Kristina Fjellman, a Minnesota-based visual artist and performer, seamlessly blends sculpture and performance art in her captivating work. She has garnered recognition with exhibitio...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...