20th Century Abstract Sculptures

This very interesting abstract bronze sculpture, it is one of a kind artwork, created in 1979 by the Italian artist Graziano Pompili, The title "Paesaggio con ombra", is translated ...

Tom Cramer (b.1960). Standing Figure, 1998. Carved wood and polymer paint. Measures 17.5 inches high. Excellent condition. Signed and dated under base. Tom Cramer is an American artist working in Portland, Oregon noted for his intricately carved and painted wood reliefs and ubiquity throughout the city of Portland. Often called the unofficial Artist Laureate of Portland,[2] Cramer is one of the most visible and successful artists in the city. The influences on his work are both organic and technological. He is widely collected and is in many prominent west coast museum and private collections. He is in the permanent collections of the Portland Art Museum[3] in Portland Oregon, the Halle Ford Museum in Salem Oregon, the Jordan Schnitzer Museum in Eugene, Oregon, the Boise Art Museum in Idaho. Cramer made a name for himself in the 1980s and 1990s becoming a bridge between historical Oregon artists like Clifford Gleason and Milton Wilson...

Modern mixed media sculpture by Texas artist Roy Fridge. The work features a mummified portrait bust encased in a red, white, and blue flag placed in a wooden box or crate. Artist Biography: A native of Beeville, Fridge was an only child who made his own toys. After serving in the U.S. Navy, he graduated from Baylor University in Waco with a degree in filmmaking. In the 1960s, he and his best friends, sculptors Jim Love and Dave McManaway, became known as the "unholy trio" of Texas contemporary art. In 1963, Fridge left a career in television advertising and "ran away to the beach." He settled in the sleepy town of Port Aransas...

TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

Gallifa Study X By Barry Flanagan 1992 Bronze 27.9 x 13.7 x 9.8 cm Edition of 8 Provenance: Private UK collection

This sculpture is a multiple 1 piece of 50 realized in 1980 by the Italian artist Annamaria Gelmi. All the pieces are numbered and signed by the artist and completed by the Certificate of the artist and the Editor who made the artworks. The iron oxidized rust sculpture...

Stunning abstract with Native American symbols using earth tones and 3D aspect for increased depth and texture by listed artist Duane Armstrong (American, b. 1938). 1966. Signed and ...

Dimitri Hadzi Uxmal, 1991 Cast bronze on custom made granite base 17 × 30 1/2 × 14 inches The title UXMAL, refers to the ancient Mayan city of Uxmal, which is known for its "Pyramid of the Magician" Provenance: Acquired by the original owner from the prestigious Gremillion Gallery in Houston, Texas (accompanied by a copy of the original receipt) Measurements: Base: 26.5 by 11 by 1.75 inches Work longest 30.5 inches Widest 14 inches Highest. 17 inches More about Dimitri Hadzi" Derived from the figure and mythic narratives, Hadzi’s sculpture references antiquity and classical artifacts – abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures. “I was interested in mythology, and I was interested in movement,” Hadzi remarked on his years in Rome, “I was attempting through formal methods to exaggerate sexual tension or apprehension. Suddenly I was myself in an atmosphere of freedom.” [1] Powerfully rendered in bronze his sculptures convey raw emotion, brute strength and mass, tempered with a delicate rush of whimsy, vivacity and sensuality. Born in New York City on March 21, 1921, Hadzi graduated from Cooper Union in 1950 and received a Fulbright Fellowship in the same year. After studying sculpture in Greece, he moved to Rome under the GI Bill where he lived for twenty-five years. Hadzi returned to the U.S. where he taught at Harvard University for fourteen years. He continued to create sculpture until his death in 2006. Hadzi is included in the permanent collections of the Museum of Modern Art; the Whitney Museum of American Art; the Museum of Fine Arts, Boston; the Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Receiving over twenty sculpture commissions, Hadzi’s work appears in public squares, concert halls, federal and private plazas, and universities throughout the world. --------------- [1] Elsen, Albert. “On Artistic Freedom: An Interview,” Dimitri Hadzi, (New York: Hudson Hills Press, 1996), 30. Additional Biography: Dimitri Hadzi (1921 – 2006) is among the most distinguished modernist sculptors, creator of works in bronze and stone that are powerfully abstract and expressionist in character. His contribution to the international language of sculpture continues to influence and inspire through permanent installations and collections, and exhibitions worldwide. Born to Greek-American immigrant parents in New York City, he had a talent for drawing at an early age and won a prize for his young ability. But, it wasn't until after serving in the Air-force in the South Pacific during WWII that he turned his sights fully to painting and sculpture, going on to study both at Cooper Union. Eventually, he would become a mainstay of the Cambridge, MA art community. He was a Guggenheim Fellow (1957), the winner of the Venice Biennale Award (1962), and the Rome Prize (1974). His most notable sculptures are: Copley Place Waterfall (Boston, MA), Owen Glass Co. (Toledo, OH), as well as Thermopolis, adjacent to Boston’s City Hall Plaza, and the former Omphalos in Harvard Square (Cambridge, MA). Hadzi is included in the permanent collections of the Museum of Modern Art; National Gallery of Art; Whitney Museum of American Art; Museum of Fine Art, Boston; Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Additionally, Hadzi was also a prolific painter, and printmaker. He also taught at Harvard University for over a decade. Famously, David Hockney attended one of Hadzi’s classes at the Carpenter Center at Harvard, where Hadzi served as director. The two of them spent time together painting and discussing techniques. Hockney gifted Hadzi one of his paintings. He worked alongside his good friend, Nobel Prize winning Irish poet...

This abstarct sculpture is a lost wax bronze, patinated in green color, one piece of the 3 existing. Signed by the artist. The young artist was presented in Paris by the Gallery Sind...

This Modernist ceramic sculptures depicts an abstracted and cubist human form sitting cross legged with his back bent forward and arms outstretched. The sculpture, realized by Jaru o...

Red, purple, and blue modernist biomorphic mobile sculpture by Jon Jon Krawczyk. Signed by the artist at the bottom of the piece. Artist Biography: A graduate of Connecticut College, Krawczyk has studied fine art throughout Europe and apprenticed with various acclaimed sculptors. He realizes his biomorphic sculptures by cutting sheet stainless steel or bronze and welding, pounding and shaping with focused heat. Each sculpture is therefore unique, as the works are never cast from a mold. Krawczyk draws inspiration from artists such as Picasso, Henry Moore and David Smith. He is not only influenced by the obvious masterful techniques of these artists, but also by their philosophies of the sculptural process. Jon Krawczyk works in stainless steel, either brushed or highly polished, and in bronze, to which he applies intense patinas of earth tones and bright blues and greens. These works appear to have the geological marks of boulders, as sentinels that look comfortable in natural environments, can be abstract tendrils or wispy smoke-like forms that defy gravity, or long, thin, yet powerful lines that seem to jump into the sky. His most recent highly polished stainless steel sculptures...

A large abstract Expressionist sculpture floor vase by the celebrated German-American Expressionist artist Peter Robert Keil (b. 1942), signed & dated 1985. The floor vase is of larg...

'Lekhoo Beshalom' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. David fused various colored glass to create a layered, suspended, and...

Gutai Object, Paris Period by Takesada Matsutani Important organic abstraction in polyvinyl acetate adhesive on vinyl by Takesada Matsutani (Japanese, b. 1937). Titled "Objct" on verso. Signed and dated (1983) on verso with "Japan, Paris, S.F" delinated. Unframed. Image size: 47"H x 37"W. x 3"D Condition: Good: some bending and creasing to thinner edge areas top center and all corners, vinyl on lower right corner and under signature. One image shows a patch of vinyl tape, this is the artists access port for adding air under the acrylic glue to pump up the area. We will mount on Sturdy foam core and make the conservation minor fixes to the vinyl layers prior to shipping. From the early sixties to the early seventies, Matsutani was a key member of the ‘second generation’ of the Gutai Art...

"Penguin" - Steatite Stone Hand Carved Sculpture, St. Lawrence Island Eskimo Art Dynamic steatite stone sculpture of a standing penguin. The sculpture prop...

This sculpture is a multiple 1 piece of 50 realized in 1980 by the well known international artist Riccardo Dalisi. All the pieces are numbered and signed by the artist and complete...

PABLO PICASSO Visage no.202 (A.R. 495), 1963 Ed. 111/500 pcs White earthenware clay, decoration in engobes and enamel under glaze D. 25 cm I D. 9 7/8 in D. 33 cm I D. 13 in (with fr...

This sale is for one of them of the Cast Iron Roundels. However, we have 3 Cast Iron Roundels from the Old West Side Highway in Manhattan if you want to buy all three... reach out to us. . Each retains its original industrial paint. If the paint is removed, the clear shape of the iron cast will be removed. Each roundel has a different image and story. They were designed in 1928 by Rene Paul Chambellan...

Tom Cramer (b.1960). Standing Figure, 1998. Carved wood and polymer paint. Measures 10.25 inches high. Excellent condition. Signed and dated under base. Tom Cramer is an American artist working in Portland, Oregon noted for his intricately carved and painted wood reliefs and ubiquity throughout the city of Portland. Often called the unofficial Artist Laureate of Portland,[2] Cramer is one of the most visible and successful artists in the city. The influences on his work are both organic and technological. He is widely collected and is in many prominent west coast museum and private collections. He is in the permanent collections of the Portland Art Museum[3] in Portland Oregon, the Halle Ford Museum in Salem Oregon, the Jordan Schnitzer Museum in Eugene, Oregon, the Boise Art Museum in Idaho. Cramer made a name for himself in the 1980s and 1990s becoming a bridge between historical Oregon artists like Clifford Gleason and Milton Wilson...

Jack Schuyler (1912-2002) Polished Metal Sculpture "Abstract Figural Composition" Hand signed and Dated 1982. Measures 27" x 26-1/2" x 10.5" inches. There is not much known about t...

This is a joyful bronze sculpture; this art work has signed by the well known Italian artist Concetto Pozzati. Title Lucky Charm. This is a multiple of a numbered edition of 1.000 p...

Aluminum

Multicolor Brown Vase David Ruth, American Date: circa 1981 Blown Glass, Signed Size: 8.5 x 3.25 x 3.25 in. (21.59 x 8.26 x 8.26 cm)

Mon Levinson (1926-2014). The Edge V, 1965. Plexiglass, acetate and paper. 24 x 24 x 3 inches. Minor scuffing on surface of plexiglass. Original gallery label affixed en verso. Biog...

This artwork is a multiples limited not numbered specimens created by the Italian artist Ugo La Pietra, a well known Internationally artist. Ugo La Pietra was born in Bussi Sul Tir...

'Ras Algethi' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. This part of the series was inspired by astronomy and the distant galaxies and stars. David fused various colored glass creates a layered, suspended, and vibrant three-dimensional space within an spiral form. About the Internal Space Series: David’s experiments with sheet glass and fusing led him to try to make the glass thicker to see more interior space. It was during this time a professor pointed out that he was working with a metaphor, for which the internal space of the glass was the equivalent to the internal life of the mind. This became his operating mantra but also forced him to come to terms with the casting of thick sections. “Creating those internal spaces came with some problems. Other than telescope mirrors, I did not know that anyone annealed glass in a kiln for more than a day or two. When pieces cracked after five...

This intense abstract bronze sculpture was created by the Italian artist Eli Riva in the Late 20th Century. The artwork is a multiple numbered and signed of 5...

Novello Finotti was born in 1939, in Verona, Italy where he lives and works. He is exhibiting since 1958 taking part to several art events, among which: Triennial Europeen de la Scu...

This is an artwork created by the well known Italian artist Carmelo Cappello. It is a multiple, an Abstract Sculpture one of the identical 99 specimen edited in 1978. This piece is ...

set of 13 handmade Glossy ceramic popsicle sculptures for wall installation. iA combination of 6 large and 7 small popsicles combining big and small popsicles. . Available at Variant colorful glaze. Made per order. Let us know your needs and we will combine a beautiful color combination for your space. Popsicles dimensions: Small:27*10*4 cm /10.6*3.9*1.6 inches Big: 37*13*4cm / 14.5*5*1.6 inches About our ceramic art: Harmony and grandeur characterize the work of Reli Smith and Osnat Yaffe Zimmerman in their artistic cooperation under the brand Art...

This sculpture is a multiple 1 piece of 50 realized in 1980 by the well known artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by the Certif...

This sculpture is a multiple 1 piece of 50 realized in 1980 by the well known artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by the Certif...

Large Abstract Black Painted Metal Sculpture on Stand, in an openwork form of abstract sails, resting on a tubular steel base atop a square foot. 69.5" H x 25" W x 10.75" D. Provenan...

This large chrome sculpture is whimsical in design yet strong in construction. The reflective surface allows the observer to become apart of th...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

This intense and engaging abstract bronze sculpture, it is a multiple in limited edition not numbered, lacquered in black. The title is "Paesaggio con ombra" translated " in " Landsc...

Textured contemporary orange and green wall sculpture. The work is textured using masonite and sawdust. The work is titled, dated and signed by the artist on the back of the work. Michael Richardson...

This Bronze portrait by Constantin Antonovici is laid directly into the surface of a cut slab of white marble. Intense and hollow eyes stare out from a smiling visage, creating an un...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

Ben Vautier Mystery Box (Boîte mystère), 1965 Painted wood with letterpress label 3 13/16 × 2 3/4 × 2 7/16 inches Ben Vautier was a French artist known for his text-based paintings...

This sculpture is a multiple 1 piece of 1000 realized in 1980 by the well known Italian artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by ...

Grisha Bruskin (Russian, b. 1945) Vision, 1992 steel Hand signed and inscribed Grisha Bruskin in Cyrillic numbered 117/300 Genre: Contemporary Subject: Religious Medium: Steel Gri...

By Duff Browne Dimensions: 12" H x 17" W Limestone

Seymour Lipton Maquette for Laureate, ca. 1968-1969 Nickel silver on monel metal Unique 18 × 8 1/2 × 7 inches Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,," Provenance Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale About Seymour Lipton: Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965. In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii] In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall. A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context. Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...

Artist: Carolee Thea Title: Oh, Georgia (Homage to O'Keeffe) Year: 1986 Medium: Unique Wall Sculpture: Oak, Varnished Plywood and Bone Construction, signed and dated verso Size: ...

Artist: Arman, French/American (1929 - 2005) Title: Paintbrushes II Year: 1991 Medium: Paintbrushes and Oil Paint in Epoxy Resin Sculpture, Signature and number inscribed Edition: 20...

This intense and engaging artwork was created by the Italian artist Nato Frascà. The title is "Il Volume" translated in " The Book". This is a multiple of 50 specimens and this piec...

Colin Webster Watson (1926-2007, New Zealand), sleeping horse, sculpture, bronze, supported on wooden base, signed, AP Sculpture Of A Suspended Horse Colin Webster-Watson (1926, Pa...

Ellen Key-Oberg (1905-1989), "Untitled: Modernist Abstract Figure/Creature", Abstract/ Modern Lithograph on Paper signed in Pencil, 21 x 17, Mid 20th Century Colors: Black and White...

Walter Valentini was born in 1928 in South Italy. A painter and engraver, he lives and works in Milan. He is Holder of the chair for engraving at the Nuova Accademia di Belle Arti in...

This sculpture is a multiple 1 piece of 50 realized in 1980 by the Italian artist Annamaria Gelmi. All the pieces are numbered and signed by the artist and completed by the Certifica...

This sculpture is a multiple 1 piece of 50 realized in 1980 by the well known artist Bruno Chersicla. All the pieces are numbered and signed by the artist and completed by the Certif...

This artwork is a multiples limited not numbered specimens created by the Italian artist Ugo La Pietra, a well known Internationally artist. Ugo La Pietra was born in Bussi Sul Tiri...

This engaging artwork was created in 1978 by the Italian artist Fanna Roncoroni. It is a multiple of 1000 pieces numbered and signed by the author. The title is "Lui Lei" translate i...

PABLO PICASSO Visage no.0 (A.R. 458), 1963 Ed. 235/500 pcs White earthenware clay, decoration in engobes and enamel under glaze D. 25.5 cm I D. 10 in D. 34 cm I D. 13 3/8 in (with f...

Marcelo Morandin 1933-1996 Untitled (Embracing Couple, Lovers) Bronze 1988; ed. P/E; Hand signed, dated and editioned to lower edge DImensions: 48.5 x 32 x 21 cm / 18.8 x 12.5 x 8.2 inches (approximately) PAREJA, Bronce, patinado Marcelo Morandin (1933 - 1996) was active/lived in Argentina, Mexico. Argentinian, Mexican Postwar & Contemporary sculptor Morandin is best known for his monumental sculpture. This is a wonderful, art deco inspired nude couple, the woman appears pregnant). Marcello Morandín (Marcelo Román Morandín Paroni) was born in 1933 in Argentina. He was an important plastic artist and Argentine architect, distinguished in Mexico for being an excellent sculptor and furniture designer. At the end of his studies at the Faculty of Architecture of Buenos Aires, Argentina, he traveled to Mexico and settled in Xalapa, Veracruz. In this city he was part of several artistic projects and noted for being one of the founders of the Department of Aesthetic Research and Applied Design at the University of Veracruz, as well as the Department of Aesthetic Research at UNAM. Between the years 80 and 90, he carried out several monumental works, among them "La pigeon de la paz" a project for the UN; "The foundation of Tenochtitlan" located in front of the Official Residence of Los Pinos; and "The Kinetic Tower" Of the government of Veracruz that combines the light and the sound with diverse moving parts to the compass of the music of Arnold Schoenberg. (Lily Kassner. Dictionary of Mexican sculptors of the twentieth century. Volume II. Mexico. Conaculta, 1997). Similar in style to Israeli artists Aharon Bezalel and Isaac Kahn. He has shown with Jose Villalobos, Nicolas Moreno, Pedro...

This Walter Valentini art work is made in cast lost wax bronze: "sun city" represent the dream of the man, a postive future for all. Signed by the artist.

"ASARABACA" is an abstract Post-War industrial weight aluminum sculpture created by John Chamberlain in 1973. The sculpture is 20 x 23 x 22 inches and weighs less than 50 lbs. Cham...

"New Growth" by Hudson Valley artist, Peter Hoffman, made in 2020 74 x 9 x 9 inches A Vertical Wooden sculpture created with multiple sections of painted wood segments, cut at angl...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...