Engraving Abstract Sculptures

WELCOME HOME by Rocky Dobey is a hand-inscribed copper sheet with cut diamonds, black asphaltum and fired porcelain paint. It measures 36 x 32" and is fra...

Robert Indiana LOVE (Official Artist Copyright and Foundation Stamp), 2011 Brushed Aluminum sculpture (Red) Stamped by artist's estate, Stamped "Authorized Replica/Robert Indiana/LOV...

Ruth Asawa Bronze Flower, 1979 Cast Bronze relief plaque with original presentation box 5 1/4 × 6 1/4 × 1/4 inches Numbered from the Edition of 2500 Signed and dated 'Asawa 1979' (lower edge) incised in the bronze; numbered; stamped "Designed Exclusively for Crown Zellerbach Corporation"; foundry copyright Cast at the Berkley Arts Foundry for Crown Zellerbach Ruth Asawa's estate is represented by David Zwirner. Unframed This beautiful, limited edition signed cast bronze flower plaque makes a distinctive and original gift! It bears the artist's incised signature and is uniquely numbered from the limited edition of 2500. In 1979, the Crown Zellerbach Corporation of San Francisco, which had worked closely with her on neighborhood arts programs, commissioned Asawa to make a series of bronze bas-relief plaques, including this beautiful piece, which were cast by the Berkeley Arts Foundry. Cast at Berkley Arts Foundry for Crown Zellerbach Another example of this work was exhibited in the show "On Black Mountain: The Bauhaus Legacy in America", April 5, 2019-April 27, 2019 at the Sager Braudis Gallery in Columbia, Missouri. It is reproduced on page 13 of the exhibition catalogue. Ruth Asawa Biography American artist, educator, and arts activist Ruth Asawa (1926-2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Born in rural California, Asawa was first exposed to professional artists while her family and other Japanese Americans were detained at Santa Anita, California, in 1942. Following her release from an internment camp in Rohwer, Arkansas, eighteen months later, she enrolled in 1943 in Milwaukee State Teachers College. Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America. Asawa’s work has been exhibited widely since the early 1950s, including early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where Asawa completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (2001; traveled to Oakland Museum of California, 2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and Norton Simon Museum of Art, Pasadena, California (2014). In 2018 to 2019, the Pulitzer Arts Foundation in St. Louis presented Ruth Asawa: Life’s Work, the first major museum exhibition of the artist’s work in more than a decade. An accompanying catalogue published by Pulitzer Arts Foundation and Yale University Press includes essays by Aruna D’Souza, Helen Molesworth, and Tamara H. Schenkenberg. The two-person exhibition, Lineage: Paul Klee and Ruth Asawa was on view at the San Francisco Museum of Modern Art in 2021. In 2022, Ruth Asawa: Citizen of the Universe was on view at Modern Art Oxford, England, and later traveled to the Stavanger Kunstmuseum, Norway. Opening September 16, 2023 at the Whitney Museum of American Art, New York is Ruth Asawa: Through Line, a solo presentation which will later travel to the Menil Drawing Institute in Houston. The artist’s works have also been included in significant group exhibitions, including Leap Before You Look: Black Mountain College 1933–1957, Institute of Contemporary Art, Boston (2015; traveled to Hammer Museum, Los Angeles, and Wexner Center for the Arts, Columbus, Ohio, 2016-2017); America Is Hard to See, Whitney Museum of American Art, New York (2015); Revolution in the Making: Abstract Sculpture by Women, 1947–2016, Hauser & Wirth, Los Angeles (2017); Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York (2017); The Pencil Is a Key: Drawings by Incarcerated Artists, The Drawing Center, New York (2019); and In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury, Art Institute of Chicago (2019). A selection of the artist's work was presented at the 59th Venice Biennale, The Milk of Dreams (2022). In addition to her wire sculptures, Asawa is well known for her public commissions, particularly in San Francisco and the wider Bay Area. These include the much beloved Andrea fountain in Ghirardelli Square (1966-1968) and the San Francisco Fountain outside the Grand Hyatt Union Square (1970-1973), the latter of which includes hundreds of baker’s clay images molded by local schoolchildren, friends, and other artists cast...

Robert Indiana LOVE (Pink), Artist Authorized, with Incised Indianapolis Museum of Art & Morgan Foundation Stamp and Artist Copyright, 2011 Brushed Aluminum (Pink) and Stamped with M...

Robert Indiana LOVE (Sculpture Stamped with Indianapolis Museum and Artist Stamp), 2009 Brushed Aluminum (Gold) Stamped with Artist's Copyright & Indianapolis Museum of Art/2011 Morgan Art Foundation/ARS, NY Stamped/incised w/text: "Authorized Replica/Robert Indiana/LOVE/Indianapolis Museum of Art/2011 Morgan Art Foundation/ARS, NY 3 × 3 × 1 1/2 inches Unframed Since first appearing on the Museum of Modern Art’s 1965 Christmas card, Robert Indiana’s “LOVE” quickly permeated the popular imagination, appearing everywhere from life-size sculptures to government-issued stamps. The design’s appeal was timeless, yet also emblematic of the idealistic and free-loving 1960s. As art legend has it, Indiana was first bemused and later conflicted about the instant runaway success of his design, worried that it may have ruined his reputation among the art world elite as a one-hit wonder. Despite the artist’s private insecurities, “LOVE” remains one of the most treasured works in 20th-century American sculpture—breaking $4.1 million at auction in 2011. Another edition from this authorized, artist approved series recently sold at Christie's in Paris for over $12,000. LOVE (Limited Edition Artist Authorized, with Incised Indianapolis Museum of Art & Morgan Foundation Stamp and Artist Copyright). This is a limited edition artist authorized miniature of the Indianapolis Museum of Art's giant outdoor...

Peter Reginato Abstract Bronze Sculpture, ca. 1987 Bronze Signed on the underside 4 × 6 1/2 × 5 1/2 inches This bronze sculpture is by the American abstract sculptor Peter Reginato. ...

William Tucker The Promise, ca. 1980 Bronze Signed and numbered 5/6 - incised on the metal 2 5/8 × 8 5/8 × 1 inch This abstract sculpture is by the renowne...

Vinyl Edition of 5,000 28 x 20 x 4 cm (11 x 7.8 x 1.5 in) Signed on the base Mint. Comes in original Invader box Our mission is to connect art collectors to opportunity. Whether it ...

HOME SWEET HOME by Rocky Dobey is a hand-inscribed copper sheet with cut diamonds, black asphaltum and fired porcelain paint. It measures 36 x 24", and framed in bronze it measures 37 x 25”. Part of the "Home" series of recent works, Home Sweet Home features a darkly shimmering chandelier...

MEDUSA by Rocky Dobey is a hand-inscribed copper sheet with cut diamonds, blue machinist ink and fired porcelain paint. It measures 36 x 48", and framed in aluminum it measures 37 x 49”. It features some of the artist’s notable motifs – a monstrous brick wall with crenelated and flaming towers, inlaid with sparkles of diamond and glass, sword-like flames. New for the artist are the twisting, turning bodies of which there are at least eight. The deep blue background of machinist ink coating the copper provides a momentous, mythological night sky. For over 40 years, outsider artist Rocky Dobey has been producing intaglio prints, etched metal plaques, engraved copper sheets and site-specific public sculptures. Working anonymously for the first two decades, his work has drawn attention to social and political issues like prison and justice reform, neighborhood gentrification, globalization, indigenous sovereignty, drug rehabilitation and homelessness. With striking imagery of demonic towers toppled in flames, horrific machines and cryptic symbols of oppression, Rocky's work soon became a recognized and sought-after stamp of organized resistance. Several of his prints are held in collections, particularly the “Carnival Against Capitalism” poster he produced for the 2001 Quebec City protests against the Free Trade Area of the Americas. Rocky’s poster...

DOES IT LOOK EXPENSIVE by Rocky Dobey is a hand-inscribed copper sheet with cut glass, asphaltum and fired porcelain paint. It measures 24 x 36" and is fr...

GOD MACHINE by Rocky Dobey is a hand-inscribed, engraved copper sheet with black ink. It measures 26x18” and carries many of the familiar marks of the art...

CHECKMATE by Rocky Dobey is a hand-inscribed copper sheet with black ink, acrylic paint, and asphaltum. It is framed in aluminum and measures 108 x 48”. It features some of the artist’s notable motifs – the number 13-1/2 (refers to 12 jurors, 1 judge, half a chance), a monstrous tower of brick with crenelated towers, inlaid with eyes, hooked daggers and barred windows, clouds with lightening bolts, tongues of flame drifting down... Though the swirl of black cloud near the top of the tower also rewards our attention – the engraving here suggesting floral as well as cosmic patterns, biological patterns. Checkmate also contains more subtle mark-making and ritualized ornamentation, such as the wheat sheafs across the expanse of copper, names of people are inscribed in the borders of the tower, vertical hash marks counting off months or years in bundles of five. For over 40 years, outsider artist Rocky Dobey has been producing intaglio prints, etched metal plaques, engraved copper sheets and site-specific public sculptures. Working anonymously for the first two decades, his work has drawn attention to social and political issues like prison and justice reform, neighborhood gentrification, globalization, indigenous sovereignty, drug rehabilitation and homelessness. With striking imagery of demonic towers toppled in flames, horrific machines and cryptic symbols of oppression, Rocky's work soon became a recognized and sought-after stamp of organized resistance. Several of his prints are held in collections, particularly the “Carnival Against Capitalism” poster he produced for the 2001 Quebec City protests against the Free Trade Area of the Americas. Rocky’s poster...

TRAILER PRISON by Rocky Dobey is a hand-inscribed copper sheet with black ink. It measures 60x36” and slightly less than .25" thick. It features some of the artist’s repeating motifs – the number 13-1/2 appears here as 12 + 1 + 1/2 in the trailer windows. The number refers to 12 jurors, 1 judge, half a chance. Rocky says all his structures are prisons, and this trailer with tentacles is no exception. Trailer Prison is a signature example of the artist's work – the inscribed details are both compelling and powerful, while swirls and spikes evoke both prison architecture and monstrous intent. For over 40 years, outsider artist Rocky Dobey has been producing intaglio prints, etched metal plaques, engraved copper sheets and site-specific public sculptures. Working anonymously for the first two decades, his work has drawn attention to social and political issues like prison and justice reform, neighborhood gentrification, globalization, indigenous sovereignty, drug rehabilitation and homelessness. With striking imagery of demonic towers toppled in flames, horrific machines and cryptic symbols of oppression, Rocky's work soon became a recognized and sought-after stamp of organized resistance. Several of his prints are held in collections, particularly the “Carnival Against Capitalism” poster he produced for the 2001 Quebec City protests against the Free Trade Area of the Americas. Rocky’s poster...

Ceramic jar covered with engraved stucco. 78x35x35 cm Signature on the side

Ceramic jar covered with engraved stucco. 78x35x35 cm Signature on the side

Ceramic jar covered with engraved stucco. 78x35x35 cm Signature on the side

"Girl / Boy (diptych)" is an original artwork by Hyland Mather made of lost objects, acrylic, aerosol, abandoned papers, laser engraving, string, nails, wood box frame measuring appr...

"Havabanana / Sleep (diptych)" is an original artwork by Hyland Mather made of lost objects, acrylic, aerosol, abandoned papers, laser engraving, string, nails, wood box frame measur...