Art by Medium: Metal

The luxury pop-art 'I Love You' millennial pink and gold foil block butterfly was created in 2015, as one of fourteen in the limited edition release of iconic silkscreen prints in ho...

Slumber by Rodger Jacobsen fabricated steel sculpture sleeping man in bed humor Rodger Jacobsen’s sculpture is at once inspiring, amusing, and quite frankl...

This dynamic wall sculpture is created from sheets of steel, welded together in an abstract geometric pattern. Muted shades of blue, grey, purple and green dominate and are balanced by softer hues. While the work adheres to a rigid, rational geometry, this sculptures suggest lyrical movement, apparent weightlessness and improvisation as the title suggests. Chris Hill The Path welded steel, acrylic paint 28h x 15.75w x 2d in 71.12h x 40.01w x 5.08d cm CHI018 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur...

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

This sculptural work depicts a dramatic scene of a struggle between a mighty eagle and a snake. The eagle, a symbol of strength, courage and victory, has spread its wings wide, demon...

‘Walking Tiger’ (38cm tall x 73cm x 15cm) by the award-winning British sculptor Fred Gordon. This Bronze sculpture captures the essence of the tiger in motion The work is part of ...

A technical and creative masterpiece of the late Renaissance era, this extraordinary bronze figure depicts the famed Greek legend of The Abduction of Deianira. Bringing together the ...

The artists selected their medium, Metalamirror™, for this work, a self portrait, exposing their inner fears and desires. Look deeply and viewers find more than what meets one's eye....

Contemporary figurative bronze sculpture by Polish artist Michal Bajsarowicz. This piece has green patina that is more visible on the back than on t...

A one of a kind 3" x 18" x 4" Abstract Steel Metal Sculpture executed by artist James Hubbell. A certificate of authenticity will be provided upon its purchase. James Hubbell is an...

This sculpture is a multiple 1 piece of 500 realized in 1980 by the well known Italian artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by t...

Simply stunning. They shine like jewels…This is Shayne Dark’s Reflections of Nature Series. Dark’s superb sculptural work is informed by nature. This series of wall sculptures—tondos...

In this portrait painting from Natasha Lelenco’s Currencies series, themes of queer identity, miscommunication, and emotional opacity are ex...

PaperLandscape mixed media and collage on juta canvas 50x50 2017 the painting is part of the Paper Landscape series I like to call them fragile landscapes the title PaperLandscape,...

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses gold leaf with thick textured oils and glass to add a very contemporary, urban feel. The “Dripping Dots” cascade down the canvas with colorful style and grace. The chunky dots are filled with life and set the viewer on a path to the dreamy locations they are named after. This piece is inspired by "Porto Fino...

Virgin of Tijvin, after a Russian icon of the 17th century. Egg tempera, gold leaf on gesso over a wooden board. Measurements in centimeters: 44 x 33 x 3 cm / In inches: 17.32 x 12.99 x 1.18 " Author: Oliver Samsinger...

Dale Dunning’s contemporary sculptures often use the generic image of the human head as a metaphor for our collective experience. With this table top piece in bronze, the Canadian ar...

It's long believed that "the machine" is capitalism and the oppressive structures at the highest levels of society. Renegade artist Basquiat became drawn into this machine and became...

"Persimmons" is a realist still life painted with a neutral toned palette. Painted with Oil on Copper. The painting shows two branches with fruit and subtle red-orange and green leav...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

This is a one of a kind original painting by southern California artist, Kathleen Kane Murrell. Its dimensions are 40" x 30" x 2" (HxWxD). It is Acrylic on panel, vintage silk paper,...

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 ...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "Entablature IV" Portfolio: Entablature Series *Signed and dated by Lichtenstein in pencil lower right Year: 1976 Medium: Original Screenprint and Collaged mat pink Metallic Foil with Embossing on Rives BFK paper Limited edition: 14/30, (there were also 9 artist's proofs) Printer: Tyler Graphics Ltd., Bedford Village, NY Publisher: Tyler Graphics Ltd., Bedford Village, NY Reference: "The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997" - Corlett No. 141, page 144; PCN 7 (July-August 1976); "Tyler Graphics Catalogue Raisonné 1974-1985" - Tyler No. 337:RL5, page 210 Framing: Framed in a contemporary white moulding with plexiglass and matted with a custom hand-wrapped 8 ply linen mat Framed size: 39.5" x 55" Sheet size: 29.19" x 44.82" Image size: 20.19" x 38" Condition: Some light cosmetic wear to frame; presently no hanging wire. The artwork is in mint condition Very rare Notes: Provenance: private company collection - Miami, FL, acquired directly from the publisher Tyler Graphics Ltd., Bedford Village, NY in the 1970's. Numbered by Lichtenstein in pencil lower left. Comes from Lichtenstein's 1976 "Entablature Series" portfolio of 11 prints, (Corlett No. 138-148). Printed in six colors, in seven runs, from five screens, and one embossing plate. Collaboration: Kenneth Tyler (project supervision, plate/screen preparation, proofing, collage, and embossing); Kim Halliday (screen preparation and processing, proofing, and edition printing); Betty Fiske (proofing and edition printing). Swan Engraving processed the magnesium plate. Tyler Graphics Ltd. chop mark/blind stamp lower right. Workshop number inscribed in pencil lower left on verso: "RL75-197". Comes with its original Tyler Graphics "Entablature Series" booklet. Between 1971 and 1976 Lichtenstein produced two series of "Entablature" paintings, using photographs of architectural ornament he had taken in New York as the starting point for his compositions (see Cowart [1981]). The first "Entablature" paintings (1971-72) were black and white. The second group used color and were produced at roughly the same time the "Entablature" series of prints were in production at Tyler Graphics Ltd., 1974-76. The first discussions between Lichtenstein and Ken Tyler concerning the "Entablature" prints took place in May, 1974. As recorded in the Tyler catalogue raisonne, technical research for the project began in September 1974 and production was completed in April 1976. Lichtenstein produced one or more collages for each print in the series to serve as models for the plates and screens. Both the "Entablature" paintings and prints are intimately concerned with texture - the metallic paint and sand of the paintings, the foils and embossing/debossing techniques employed in the prints. The imagery itself - machined architectural ornament - takes technology as its subject. As Barbara Rose suggests, "That industrialism disrupted our notion of style as much as reproduction altered our conception of representation appears to be the subjects of Lichtenstein's "Entablatures". For each print in this series, the Tyler Graphics Ltd. catalogue raisonne gives exact method and press types, as well as the initials of the printers for each run. To complete certain phases of the project, Tyler employed the following companies: Drake Engineering, Danbury, CT (for machining of the metal die); Swan Engraving, Bridgeport, CT (for plate processing); Tallix Foundry, Beacon, NY (for bronze casting); and Tompkins Tooling, Gardena, CA (for machining of the metal die). The ten embossing plates for the series are now in the collection of the National Gallery, Canberra, Australia. Biography: American artist Roy Lichtenstein was born in New York City on October 27, 1923, and grew up on Manhattan's Upper West Side. In the 1960s, Lichtenstein became a leading figure of the new Pop Art movement. Inspired by advertisements and comic strips, Lichtenstein's bright, graphic works parodied American popular culture and the art world itself. He died in New York City on September 29, 1997. Lichtenstein was committed to his art until the end of his life, often spending at least 10 hours a day in his studio. His work was acquired by major museum collections around the world, and he received numerous honorary degrees and awards, including the National Medal of Arts in 1995. In 2013 the painting "Woman with Flowered Hat" set another record at $56.1 million as it was purchased by British jeweler Laurence Graff from American investor Ronald O. Perelman. This was topped in November of 2015 by the sale of "Nurse" for 95.4 million dollars at Christie's auction. Subsequently, that was topped with the private sale of his 1962 painting...

"Paul I Can Hear Myself" Photography 21" x 18" in Ed. of 25 by Howard Grafton Signed and numbered on the back by the publisher The Beatles on the Ed ...

Mirror polished stainless steel and powder coated stainless steel. A vertical composition of four octahedrons between a snaking arrangement of half-round tubes perfectly joined end...

Grand tour circa 1860s bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers...

The natural world inspires the beautiful organic forms of artist Jana Osterman. This deep blue patinated winterstone sculpture suggests the shape and movement of tree roots. It is polished with a protective wax giving it a light sheen. “Tree roots hold traces and impressions of where they held on but still suggest the smooth, and continuous movement, the flow of water." Jana Osterman Born in Slovenia, Osterman moved to Holland where she studied at the Royal Academy of Art in The Hague. She continued with printmaking studies in England. For the last 20 years, Osterman has worked as a full-time artist and fabricator in Canada, first in Toronto and now in Prince Edward County...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

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 ...

Barcarola is bronze sculpture wall and table sculpture, it is connected to a steel base. The edition size is 8. Joan’s latest sculpture series of female figures brings an out-of-t...

"Ada" Bronze Sculpture 11" x 6" x 7" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979. He st...

Adolphe Jean Lavergne (1863-1928), Pecheur, c. 1900. Brown patinated bronze with rectangular cast plinth on a green marble base (3 cm high), total height with hinge 37 cm, width 9 cm, depth 8 cm, weight 2.9 kg, signed “Lavergne” on the plinth. - Base with old drilling and a few oxidized areas, patina occasionally rubbed, somewhat stained in the folds. - Full of anticipation - This bronze is the larger, highly detailed version of the fisherman that made Parisian artist Adolphe Jean Lavergne famous. In preparation for fishing, the boy prepares his rod before heading out to sea. The attachment of the iron ring and the rope behind him suggest a quay wall and a boat moored there. However, the depiction is entirely focused on the actual action of the young fisherman: With equal skill and concentration, he bends a hook to connect it to the fishing line. The contrast with his casual clothing, the loose-fitting trousers, the open shirt with its "wild" folds, and, last but not least, the sun hat boldly perched on his neck, reinforces the impression of the attentive care with which he goes about his work. His gaze makes him appear absorbed, as if he has forgotten the world around him and yet he is visibly filled with anticipation of fishing. GERMAN VERSION Adolphe Jean Lavergne (1863-1928), Pecheur, um 1890. Braun patinierte Bronze mit rechteckiger gegossener Plinthe auf grünem Marmorsockel (3 cm Höhe), Gesamthöhe mit Angel 37 cm, Breite 9 cm, Tiefe 8 cm, Gewicht 2,9 kg, auf der Plinthe mit „Lavergne“ signiert. - Sockel mit alter Bohrung und wenigen oxidierten Stellen, Patina mitunter berieben, in den Falten vereinzelt etwas fleckig. - Voller Vorfreude - Die Bronzefigur ist die größere äußerst detaillierte Ausführung des Fischers, mit dem der Pariser Künstler Adolphe Jean Lavergne bekannt geworden ist. In Vorbereitung auf das Fischen präpariert der Junge die Angel...

Artist Marlene Hilton Moore continues to explore the theme of listening with the creation of more beautiful ‘singing bowls.’ Like ancient vessels they are intended to be objects of h...

A bronze hand, modelled after the artist’s own, balances on its index finger atop a sphere in this imaginative pop art sculpture by Dave Sheridan. Called...

"Chasm" - Minimalist Abstract in Acrylic Minimalist abstract done in watercolor, acrylic and metallic paint (gold and light gray/blue). Titled, signed and dated on verso: "Chasm, d...

Dawn by Jane DeDecker Abstract Figurative Cast Bronze Sculpture ©2008 Family of four waking to the rising sun 116x84x27" (base not included) limited edition of 11. Shipping price in...

Folk Outsider Naive Art Metal NYC Cityscape Sculpture Wall Hanging Contemporary "NYC Cityscape" 39 1/2 x 29 1/2 x 2 inches Unsigned Offered is an extraordinary hand crafted wall s...

Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre’s works have been exhibited in France, the United States, Switzerland, Germany, Israel, Mexico and Jamaica, in such places as the Abbaye de Daoulas, the Grand Palais, the Brooklyn Museum, the Modern Art Museum of Mexico and the Musée du Montparnasse. His work is part of the permanent collections at the Waterloo Museum, the Davenport Museum, the Milwaukee Art Museum, Le Centre d’Art, the Musée d’art Haïtien du Collège Saint-Pierre and the Musée de Panthéon National Haïtien. References Phyllis Kind...

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...

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 1957. Before becoming an artist in 2012 Hewes worked in the building trades for 40 years and often uses the skills learned from his tradesman work within his artwork. Hewes paints in the Action/Drip style, even building his own spinning table...

TWELVE CHAIRS GALLERY ZURA (Georgian-American, b. 1969) DEMNA BABIES, 2024 Mixed media H. 35 x W. 12 x D. 10 in. (89 x 30 x 25 cm) Clear acrylic plexiglass included Zura’s Demna Bab...

Pedro Friedeberg’s screen prints are not just artworks—they're vibrant windows into a surreal, imaginative world that blends architectural prec...

IBRAM LASSAW (Russian-American, 1913-2003), Sculptural pendant Gold plated bronze Signed verso Measurements: 2-7/8''h, 2-1/4''w. Ibram Lassaw was born in Alexandria, Egypt, of Russian Jewish émigré parents. After briefly living in Marseille, France, Naples, Italy Tunis, Malta, and Constantinople, Turkey his family settled in Brooklyn, New York, in 1921.His family settled in Brooklyn, New York. He became a US citizen in 1928. Ibram Lassaw, one of America's first abstract sculptors, was best known for his open-space welded sculptures of bronze, silver, copper and steel. Drawing from Surrealism, Constructivism, and Cubism, Lassaw pioneered an innovative welding technique that allowed him to create dynamic, intricate, and expressive works in three dimensions. As a result, he was a key force in shaping New York School sculpture.He first studied sculpture in 1926 at the Clay Club and later at the Beaux-Arts Institute of Design in New York. He made abstract paintings and drawings influenced by Kandinsky, Sophie Taeuber Arp, and other artists. He also attended the City College of New York. Lassaw’s encounter with avant-garde art in the International Exhibition of Modern Art (1926), organized by the Société Anonyme at the Brooklyn Museum, made a powerful impression on him. In the early 1930s he explored new materials and notions of open-space sculpture. The ideas of László Moholy-Nagy and Buckminster Fuller were important to him, and he knew the work of Julio González, Pablo Picasso, and the Russian Constructivists. After experimenting with plaster, rubber and wire, Lassaw began working with steel, which became a frequent medium for the artist, along with other metals. His work reflects the influence of Surrealist artists such as Alberto Giacometti and Joan Miro as well as American Modernist Alexander Calder.A pioneer of abstract sculpture in the United States, in 1936 Lassaw was a founding member of the organization American Abstract Artists. Between 1933 and 1942 he worked for various federal arts projects: the Public Works of Art Project, Civil Works Authority, and WPA, the Works Progress Administration Federal Art Project. In 1938 he produced his first welded work. He served with the U.S. Army, where he learned direct welding techniques. During the 1940s he experimented with cage constructions and with acrylic plastics, adding color to his sculptures by applying dye directly to their surfaces. In 1949 Lassaw was a founder of the Club, an informal discussion group of avant-garde artists that had developed from gatherings at his studio, on Eighth Street. During the mid-1930s, Lassaw worked briefly for the Public Works of Art Project cleaning sculptural monuments around New York City. He subsequently joined the WPA as a teacher and sculptor until he was drafted into the army in 1942. Lassaw's contribution to the advancement of sculptural abstraction went beyond mere formal innovation; his promotion of modernist styles during the 1930s did much to insure the growth of abstract art in the United States. He was one of the founding members of the American Abstract Artists group, and served as president of the American Abstract Artists organization from 1946 to 1949. In 1951, Samuel Kootz invited Lassaw to join his gallery in New York. He also had a summer gallery in Provincetown, MA. Lassaw had been summering in Provincetown since 1944, and in 1951 rented an apartment next door to the Kootz Gallery. Among the artists in the Kootz Gallery were Jean Arp, William Baziotes, Georges Braque, Jean Dubuffet, Herbert Ferber, Arshile Gorky, Adolph Gottlieb, David Hare, Hans Hofmann, Fernand Leger, Georges Mathieu, Joan Miró, Robert Motherwell, Pablo Picasso, Pierre Soulages, and Maurice de Vlaminck. Lassaw is a sculptor who was a part of the New York School of Abstract expressionism during the 1940s and 1950s. Jackson Pollock, Lee Krasner, James Brooks, Willem de Kooning, and several other artists like Lassaw spent summers on the Southern Shore of Long Island. Lassaw spent summers on Long Island from 1955 until he moved there permanently in 1963. SELECT EXHIBITIONS 1961 International Exhibition of Modern Jewelry 1890–1961, organized by the Worshipful Company of Goldsmiths in association with the Victoria and Albert Museum, London 1967 Exhibition of Jewelry by Painters and Sculptors, organized for circulation by MoMA 1973 Jewelry...

Alberto Saucedo (Born 1960) Texas Artist (Sculptor/Painter) 21.5 inches tall Medium: Bronze 2016 "The Enigma of The Egg" Alberto was born in 1960. He was raised in Mexico City. Alberto Saucedo began his career as self-taught artist who demonstrated at a young age a remarkable talent and passion for art that eventually at seventeen years of age led him to formal studies at Universidad Nacional Autónoma de México and later on enrolled at San Diego City College. There he focused on Commercial Art and Interior Design. It was there, where he evolved his unique personal style. It was also at this time that he discovered the work of Master sculptor Francisco Zuñiga and studied sculpture with him. Sculpture subsequently became a major part of Saucedo’s work, and achieved his first real recognition in his field. Saucedo’s training has included a generous study of art history, where he incorporates his sensuous, spiritual and classical techniques, transforming it into a style that becomes evident in his work. A few Notable Clients: Bodybuilder/Actor/Governor Arnold Schwarzenegger. Actress Rita Moreno. Businessman (Founder of SeaWorld) George Millay. Mr Gary Lillian Former Vice President Marketing of PepsiCo, Inc. and now President of Javo Beverages in California. Italian Ambassador to Mexico. Exhibits 1985 – Arts and Crafts Fair, México City. 1985 – Solo show Casa Pedro Domeq, México City 1988 – 1989 – Una noche de Arte, México City 1995 – Solo show Galeria Dagen Bela, San Antonio, TX 1996 – Introspecciones (KVDA Channel 60) San Antonio, TX 1996 – Two Artist from Mexico City, Galería Sol y Luna, San Antonio, TX 1996 – Expo-Formalidades, Universidad Nacional Autónoma de México (UNAM), México City. 1998 Jamboree, San Antonio Art League Museum, San Antonio, TX 1999 – Group Show, Galería 10/10, México City. Publications: 1985 – Prepara muestra Alberto Saucedo, Excelsior, México 1989 – Revista Impacto. Alberto Saucedo escultor de raigambre prehispánica. 1994 – Southwest Art Magazine, April 1996 – Architectural Digest, Rita Moreno, April pg 204 also view letters August issue, 1996. 1996 – Mural’s wedding. San Antonio Express News 1999 – Oblate Virgin winning admirers. San Antonio Express News. 2004 – The Hill Country Edge. Art on the Edge, Alberto Saucedo. October and December magazines. 2007 – Explore Magazine. Alberto Saucedo a master in many mediums. October. 2008 – The Sun News Paper. Wild Flower Wonderlands Butterfly granite sculpture. April. 2002 – “Contemporary Chicana and Chicano Art Vol.2, Bilingual Press. Arizona State University. 2005 – Triumph of Our Communities. Four Decades of Mexican American Art. Bilingual Press. Arizona State University. Commissions: 1989 – Life size sculpture of “Sitting woman” for a private collection. Bronze . 1996 – Commission to paint outside mural “Humanity in its Cosmos”. Wildwood Management Group Building. San Antonio, TX 1999 – Commission of the “Virgin of Guadalupe” for the Oblate School of Theology. San Antonio. TX 2002 – Commission for a life size sculpture in black granite. Private collection. Kerrville, TX. 2005 – 21 Plaques of the U.S. Mexican American War (1847). Port Isabel, TX. 2006 – Commission for a granite Baptismal Fountain, St Joseph Catholic Church, Spring Branch, TX 2007 – 2012, Six Plaques for the U.S. Air Force Academy, USAFA, Co. 2007 – 8’ Granite Butterfly Sculpture for Our Lady of the Rosary Cemetery, Georgetown, TX. 2008 – Murals for “El Chaparral” Restaurant, San Antonio, TX. 2007 – 2012 Over 80 portrait plaques, including Littlefield plaque at The Littlefield Stadium, UT, Austin, TX. Admiral Benjamin Hacker and George Millay (Founder of Sea World). Main plaques for the: Central Security Service of the United States National Security Agency (NSA). Air force ISR Agency Joint Information Operation. Warfare Command. United States Cyber Command. 2014 – “The Olive Tree”. First Presbyterian Church. San Antonio, TX. Sitting Woman Please view my 1stdibs store front for other Great Vintage Texas...

Artist : Yoonjee Kwak Title : Bottomless Pit 1 Materials : Porcelain, gold luster, Hand-building Date : 2020 Dimensions : H9.5” W7.5” D7.5” Inch Signed, COA provided Yoonjee Kwak makes sculptural vessels to represent human beings as iconic symbols from the Korean culture. In Korea, when people talk about someone’s personality, they often use “vessel...

ANSELM REYLE (B. 1970) Harmony bronze effect lacquer and veneered macassa wood plinth bronze: 66 x 69 x 29 in. (167.6 x 175.3 x 73.7 cm.) plinth: 211⁄2 x 63 x 303⁄4 in. (54.6 x 160 x...

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. The painting can be hung vertically or horizontally. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 1957. Before becoming an artist in 2012 Hewes worked in the building trades for 40 years and often uses the skills learned from his tradesman work within his artwork. Hewes paints in the Action/Drip style, even building his own spinning table...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

19th Century Miniature Bronze Sculpture of a Young Girl Holding a Doll Charming bronze atop a marble base The overall dimensions are 2" wide x 2" deep x 5.75" high Signed at the b...

POSE spray paint can 2021: Limited Edition POSE spray paint can published circa 2021. A unique street art / graffiti collectible that makes for a fantastic home display piece. Med...

"Minerva driving her chariot" by Emmanuel Fremiet (1824-1910) Very beautiful group in bronze with old gilded patina Cast by BARBEDIENNE France circa 1880 height : 54 cm length : 54...

A wall-mounted contemporary fiber sculpture, Specimen 20 reads as an artistic rendition of a beautiful sea specimen. Luminous light blue hand-dyed cotton thread is wrapped around te...

Emile Laporte French, (1858-1907) Tyrtée or Tyrtaeus Bronze, signed Height: 19 inches (48.5cm) Width: 7.5 inches (19cm) Depth: 6 inches (15cm) Emile Laporte was born in Paris on Nov...

With its rustic aesthetic, this privacy screen will not only protect your privacy, but also add a special charm to your outdoor area. The rusty surface gives each element an individu...

Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist in that he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the war path. This bronze edition is a life-time casting. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process. Allan Houser's work is many international collections including the Georges Pomidou Centre, The Smithsonian National Portrait Gallery, The Dahlem Museum among others. Allan’s first bronze sculptures were started in the late 1960’s and were cast at Nambe Foundry. At the time the foundry was producing both Nambeware and was doing some sculptural foundry work. There was a fire at Nambe and they lost many of the molds for sculpture as well as their records. We acquired these works directly from Allan Houser. Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green   The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States. This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...

"Float" by Kevin Barrett Sculptural wall piece in bronze metal Barrett is noted for creating contemporary metal sculpture and sculpture wall pieces for indoor and outdoor display. ...

Samuelle Green’s work has always been multidisciplinary. Throughout all her mediums; painting, drawing, sculpture, and installation, there is a common thread of subject matter – that...

Bronze sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the classic organic forms and human figures. Raúl Valdiveso was born September 9, 1931 in Santiago, Chile. In 1952 he began his studies at the School of Fine Arts at the University of Chile. There he took to sculpture and studied under professors like Marta Colvin...

Volodymyr Mykytenko - Guardian of Time (2015) Guardian of Time-The ram symbolizes fire, solar energy, passionate passion, courage, impulsiveness, stubbor...

What makes it special is the quality of the bronze and its color. The last sale at Christie's for a similar, but unpainted work sold for $60,000. It's an impressive piece due to its ...