Art by Medium: Wood

This artwork is part of a series called "Geometric Sculpture" and is a unique 3D sculpture that features a variety of vibrant colors including yellow, orange, red, blue, dark blue, and black. The sculpture is abstract in nature and showcases geometric shapes that add actual depth and space to the piece, making it visually striking and aesthetically pleasing to the viewer. Zach Touchon has expressed a desire to step outside the traditional format and focus on movement and 3D effects. As a result, the sculpture creates shadows that further enhance the 3D effect, making the piece truly dynamic and engaging. Touchon has also mentioned his goal to create even larger pieces in the future, pushing the boundaries of the series and the medium itself. Overall, this artwork is a visually stunning and unique addition to the "Geometric Sculpture" series, showcasing the artist's dedication to creating pieces that challenge traditional art forms and create a sense of depth and movement. -- Zach Touchon is a contemporary LA-based abstract expressionist artist. Besides that, Touchon is also an actor, a singer, a screenwriter, and an owner of the Touchon Gallery. Zach Touchon is a second-generation and a successor to his famous father's, Cecil Touchon's, artistic path. By rethinking abstract expressionism ideas, using different media he creates large abstract artwork along with small collages, huge murals, and interior installations. The main focus of his art is depth and space and finding a semantic and aesthetic balance between them. As a muralist, Touchon joins the ranks of such great LA street artists as WRDSMTH, Retna, Shepard Fairy, and Dirt Cobain...

This work is sourced directly from the artist. Butterflies cut from Vintage Comic Book Pages, arranged in the shape of Wonder Woman, and pinned with stainless steel entomology pins to canvas. Framed in a clear, plexiglass box. Available Sizes (Framed Size) Standard 48" x 36" About Charles Patrick Charles Patrick is best known for his intricately cut paper...

"The Eyes of the Lord Moves Round in All Places Beholding the Good and the Evil" Is Kwame Akoto ( All-Mighty God) the Ghanian Howard Finister? His works...

Acrylic ink on wood, 2016. Signed, titled and dated verso. Framed. It comes directly from the studio of the artist. Height: 29.02 in ( 73,7 cm ), Width: 56.5 in ( 143,5 cm ), Depth: ...

"California Round Hills" Mid Century Plein Aire Landscape in Oil on Masonite Serene landscape by J. Andrew Bennett (British, 19th/20th Century ). The viewer stands at the end of a v...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

There are many wonderful textures created within this piece of wood block. There are areas of this piece that are finished wood, and areas that are more distressed where the wood has...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Deceptor is a minimalist, monochromatic and contemporary wall sculpture. It is constructed with birch panels, acrylic washes and completed with a satin lacquer finish. The paint is s...

This artwork vividly captures a bouquet of vibrant pink tulips, elegantly arranged in a classic white pitcher. The flowers stand out with their rich hues, exuding an air of natural b...

Anna Kruhelska, a talented visual artist and practicing architect from Lodz, Poland, merges her expertise in both fields to create captivating artworks. With a background in major ar...

Signed lower right: "Atherton", inscribed "John Atherton Original Tempera 7/28/50" on verso. Artwork measures 16" x 20" and framed 20" x 24" x 2 ½" About this artists: John Atherton (1900-1952) did not show an early aptitude for art; rather, his first love was nature and the activities he relished there, mainly fishing and hunting. Born in Brainerd, Minnesota in 1900, he learned to fish with his father from the age of four. Later the family moved to Spokane, Washington, and when he was old enough, Atherton worked at a variety of jobs to help support his family. One such job, in the sorting plant of a lead and silver mine, paid $4.25 a day—a good wage, though he never had time to spend his money, since he worked seven days a week. After serving in the Navy for a year during World War I, Atherton was determined to get an education. He worked as a sign painter and played the banjo in a dance band, finally accumulating enough money to enroll in the California School of Fine Arts in San Francisco. Once there, he worked like a fiend, attending classes both during the day and at night, getting the best training available. Though he had always intended to be a fine artist, Atherton’s first jobs were for commercial art firms. In 1929, using the prize money won for a painting he entered in an art competition, Atherton and his wife moved to New York City. Though the economic situation was difficult in those years, he managed to keep going by taking commissions for magazine illustrations, and over the years he would paint more than forty covers for The Saturday Evening Post. In 1938, an artist friend suggested that he use the same flat, decorative style as his commercial work for his gallery paintings. This was a breakthrough for Atherton; soon afterwards he held a one-man show at the Julien Levy Gallery in New York, and his paintings began to be collected by museums including the Museum of Modern Art in New York and the Metropolitan Museum of Art. Atherton’s reputation increased to a national scale when he designed the art deco stone lithograph poster for the 1939 World’s Fair that strikingly depicted Earth and its atmospheric layers in the lap of Liberty. Atherton was highly influenced by the magic realist...

The Apple Tree Jules Paressant (French, 1917-2001) Oil on found wood panel 17 1/4 x 11 1/4 inches The nature of the apple, as an idea unto itself, is ever young, ever fresh and free...

All is quiet… An expressive painting filled with the colours and emotions of an early morning winter walk through the crisp Norfolk countryside, following the weaving rivers of the N...

This series by the multidisciplinary artist TUSET (1997, A Coruña, Spain) titled "Boa convivência (buenaventura)" is a series of paintings that the artist had buried for a year in th...

A striking Mid-Century Modern portrait of a young woman wearing a red dress and green scarf by noted Chicago painter, Francis Chapin (Am. 1899-1965). Artwork size: 15” x 14”; Fram...

Lousville Composition by Ronald Julius Christensen, American (1923–1999) Acrylic on Masonite, signed and titled Size: 26.5 x 45.5 in. (67.31 x 115.57 cm) Frame Size: 27.5 x 45.5

MAJORCA. LANDSCAPE- original acrylic wodd painting. This Catalan painter, settled for years in Mallorca, offers a series of landscapes in which the natural is treated in the impress...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Stunning carved abstract calligraphy artwork on wood panel by Bahrain artist Ali Al Mahmeed, Signed verso. Size: 29.5 x 48 in / 75 x 122 cm (framed). Spanning over 30 years, Ali Al ...

American 1860's Hudson River School Gilt/Wood Frame. Old label verso. Rabbet Size: 8.75 x 7 in. Sight Size: 7.5 x 6.25 in. Overall Framed Size: 15.5 x 14 in. Provenance: The Historic Period Frame Collection from the Gallery of Eli Wilner...

Joyful Spring… An expressive painting filled with the colours and emotions of spring time flowers found in the Norfolk countryside. Rachael Dalzell’s paintings are colourful and exp...

Sculpture by the Spanish artist AMANCIO GONZALEZ wood Fantastic piece of art representing Spanish sculpture Amancio González is a sculptor from Leon and an internationally celebrate...

This piece titled "Little Delicious Caribbean and American Restaurant" is original artwork made from paper, inkjet print, enamel, basswood, tube, and pastel by Drew Leshko. This piec...

"Quelli che partono portano il mare negli occhi." (Italian → "Those who leave carry the sea in their eyes.") A striking piece from the Currencies series, this round artwork (26 cm d...

This original circular portrait painting is part of Natasha Lelenco’s Currencies series and features a hyperrealistic female profile against a vibrant yellow background. Titled Currency #130, the piece combines figurative painting with symbolic text, forming a dialogue between identity, migration, and memory. The painted...

Teakwood and white lava sand make this beautiful turning globe a real stunning sculpture. Made from a whole piece of wood the way the sculpture is shaped is defined by how the tree g...

BY Mahesh sharma Year: 2021 Material: Driftwood, Acrylic Paint, Epoxy Scuplture is a one of kind collectables and it portrays Nar-Nari Sculpture ( Man+Woman)

Calvin Marcus Monument 8, 2018 Wood, glass, hot glue, cardboard, plastic, paper pulp, sulfur, ash, gesso, Cel-Vinyl, flashe, watercolor and other media sculpture 22" high x 13 1/4" w...

Pair of sculptures depicting two winged angels in carved wood Tuscany, late 17th century Carved, gilded and polychrome wood Dimensions: Height 64 cm - ...

Pigments, sand glue & acrylic on wood

Pigments, sand glue & acrylic on wood

Antique set of twelve Chinese pith paintings depicting butterflies Chinese, 19th Century Panel: Height 19cm, width 28cm Frame: Height 35cm, width 43.5cm, depth 1.5cm This superb set...

“Shattered” mirror II is a unique mirror-polished stainless steel sculpture and burnt oak or natural oak base by contemporary artist Franck K, dimensions are ...

This sculptural head is made in Haiti from mahogany wood. The wood has a worn, dark brown patina. The carving is somewhat minimalistic, thus giving a modern twist to a tribal gesture...

Fun, vibrant mixed media piece featuring woman in vintage bathing suit. On wood. About the Artist: Allen's work has gained recognition world-wide for it's complex layering of mixed media works that create a narrative of modern American culture. His work today is a culmination of many years of painting, thinking and experiencing. He blends urban street art with his background of typography, mixed media collage, and abstract expressionism into each of his urban pop expressionist works. The son of fine artist / commercial artist Harrison Allen, Mark learned a lot very early from his talented father. His think training also includes a bachelor degree in commercial art from Texas State University in San Marcos, TX. He continued study at Parson's School of Design in New York City where he had an apartment across the street from Andy Warhol's factory (they met in 1982.) He continued study later at Art Center College of Design in Pasadena, CA. Allen is represented in galleries throughout the world. Museums he has shown in include The Rock & Roll Hall of Fame Museum - Cleveland, OH; Experience Music Project - Seattle, WA; Memphis Brooks Museum of Art; Dallas Museum of Art, and Acadian Museum - Lafayette, LA. He was a major figure in the graphic design community for over two decades. Much of his celebrated work is from the entertainment industry doing graphic design work for high profile clients including the 'Yu-Gi-Oh' logo, 'The Wizard of Oz' 60th Anniversary logo, redesigned Coca-Cola bottles, designed 'The Nightmare Before Christmas' logo for Disney and art directed for recording artist Sean 'P Diddy' Combs record label, Bad Boy Records. Promotion work for Pepsi, Diet Coke...

Excellent Mid-century nude by famous illustrator/ artist Walter Charles Klett. The work is masterfully painted with a sound understanding of the basic academic principles guiding t...

Extraordinary garden torch with one burner insert on an untreated oak spot. If the spot is set up outside, she develops a gray patina. There are already individual lava stones in th...

Selon Maud is a unique smoke-fired stoneware sculpture with metal matt black paint by French contemporary artist Cécile Raynal, dimensions are 99 × 75 × 65 cm (39 × 29.5 × 25.6 in). ...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

"DOUS" series. Sculptures of this series are created for your interior in different colors. It is always important to combine objects with each other. That is why I created a pair...

Customized piece, delicately made with pins. This beautiful work was handmade in Mexico City. It is the largest native cat species of the New World and the third largest in the worl...

"I’ve turned a decidedly nontraditional eye to the world of flowers––those forms which constitute one of the most traditional and ubiquitous subjects in the history of art. Combining...

French mid 20th century Montparnasse style picture frame Wood and plaster Internal measurement (to house painting or mirror): 13 x 16 inches Overal outer measurements: 18 x 21 inches Provenance: from a collection in Paris Condition: all old picture frames...

'Valley of the Fires' by Irwin Whitaker, enamel on copper, initialed lower-left corner. Enamel measures: 8" W x 6" H, frame measures: 12.75" W x 11" H. Irwin A. Whitaker was a versa...

Mitzy Renooy Hanging-A-Round Ø 45 cm Frame is included in price, size with frame 55 cm Dutch artist Mitzy Renooy, a former camera woman for national television, did follow art acade...

Screenprint on wood panel. Hand signed and numbered on front and verso by the artist. Edition 1 of 6. Custom framed as pictured. Artwork is in excellent condition. All reasonable...

Hand signed and dated by the artist lower right. Includes a beautiful contemporary wooden gilded frame. In excellent conditions. References: - Catalogo della mostra di Pio Semeghini...

Diptych Cold & Fire, 2019, 20x20 cm, acrylic & resin on wood A Flower, 2019, 20x20 cm, acrylic & resin & gold leaf on wood Hochstrasser Cinzia born in 1979 is a Swiss artist who li...

"Moment of Clarity" is a striking example of abstract expressionism, offering a rich interplay between spontaneity and structure. Painted in 2021 by Troy Smith, this acrylic on canva...

**New Year's 90 Days Sale Until April 30th** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* King of Pop II by Mauro Oliveira, signed. Celebr...

"Abstract Calligraphy 1.25" Painting 47" x 31.5" inch by Ibrahim Khatab Ibrahim Khatab was born in Cairo 1984, works as a co-teacher in Cairo University, he mixes between painting, ...

"Nile Delta II" Abstract Mixed Media Painting 96" x 48" inch by Ibrahim Khatab Ibrahim Khatab was born in Cairo 1984, works as a co-teacher in Cairo University, he mixes between pai...

This poured wax painting by Joanne Ungar, is composed with the geometric forms of recycled packaging, layered and infused with pigmented wax. The violet, red tones fade to a yellow ...

This playful, interactive pedestal sculpture is a delicate balance of lava stone, carved wood, and bronze on a polished concrete base. Please watch the short video here to see the artist, Jeff Wise, assemble the sculpture and set it in motion. Jeff Glode...

Martin Engler (b. 1953) was born in Grabs (SG), Switzerland. He now lives in Geneva. After studying art in Zurich he developed diverse techniques: mixed media, oil painting, collage, bronze casting and sculpture. He executes “corporate portraits» for private individuals and companies - communication through art is born. His works are snapshots of an emotional journey linking daily life to art. His transparent «Life Portraits» leave enough space for the spectator to construct his/her own interpretation. In 2008, during a stay in Havana, Cuba, Martin Engler discovered the ancient techniques of collagraphy and monotypography. His participation at the 10th Havana Biennial is the subject of the documentary “Cuba, la caja...

Mid Century Carmel Monastery Beach California Impressionist Oil Painting Beautiful impressionist style painting of iconic Mon...

Stunning small Masonite piece embedded in wood, which the artist painted and conceived as part of the composition. Dried corrugated paint is affixed to a dark figure that rises from ...