Surrealist Figurative Sculptures

MARK RYDEN - YUKI THE YOUNG YAK (WHITE) Date of creation: 2022 Medium: Plush and rubber Edition: 500 Size: 43.20 x 30.50 x 25.4 cm Condition: Brand ...

MARK RYDEN - YUKI THE YOUNG YAK (WHITE) Date of creation: 2022 Medium: Plush and rubber Edition: 500 Size: 43.20 x 30.50 x 25.4 cm Condition: Brand ...

MARK RYDEN - YUKI THE YOUNG YAK (WHITE) Date of creation: 2022 Medium: Plush and rubber Edition: 500 Size: 43.20 x 30.50 x 25.4 cm Condition: Brand ...

MARK RYDEN - YUKI THE YOUNG YAK (WHITE) Date of creation: 2022 Medium: Plush and rubber Edition: 500 Size: 43.20 x 30.50 x 25.4 cm Condition: Brand new, sent inside its custom box This is a limited edition designed by Mark Ryden and produced by Artoyz in Paris, France. It comes inside a drawstring bag and cradled by a richly decorated box designed by the artist. The figure and box are numbered of a limited edition of 500. Yuki the Young Yak is one of the main characters that Ryden has depicted for his solo show Animal Secrets at Perrotin Gallery in Paris. Following the theme of his previous show Aenima Animals, at Perrotin Shanghai, the artist explores these animal beings as spiritual guides. These figures, non-human, non-animal, build a bridge between worlds, dancing between wildness, harmony, fear, spirituality, rationality and beauty. ABOUT THE ARTIST Mark Ryden was born in Medford, Oregon, in 1963 but raised in California. There, in Pasadena, he studied art being given his BFA (Bachelor of Fine Arts) from the Art Center College of Design in 1987. His first works were given in illustration, gaining a notable recognition during the 90s, when Ryden designed the album covers of some international bands such as Aerosmith (Love in an Elevator), Red Hot Chilli Peppers (One Hot Minute) or the utterly famous Dangerous by Michael Jackson. Thanks to these works, Ryden's art would get to Robert Williams, who would put the artist on the cover of the Juxtapoz magazine in 1994. Juxtapoz is devoted to "lowbrow art...

Picador (A.R. 211) partially glazed ceramic bowl , Edited in 1953 Limited edition of 500 exemplars marked and numbered ‘Edition Picasso 298/500 Madoura’ (underneath) Diameter: 6½ in....

Kelsey Bowen's "You Were Only Playing" is an original, handmade ceramic sculpture that depicts a feminine figure with a rabbit head holding a baby fawn. ...

Carmelo Niño Gran Arlequín, 2015 Patinated iron 260 x 105 x 86 cm 102.3 x 41.3 x 33.8 in. The work is accompanied by a certificate of authenticity signed by the artist. Carmelo Niño, a Venezuelan artist originally from Maracaibo, Zulia State, an oil-producing region of Venezuela, is today one of the most outstanding painters in the plastic arts landscape in the country. Many years have passed since his birth in 1951 to the present, when he inaugurates this August 2022, a major exhibition at the Ascaso Gallery in Miami, with paintings from different dates resulting from the permanent and daily work of reflection, physical and intellectual, that he has always pursued in his creative life. Without neglecting a single moment of day-to-day life to be in front of the medium-sized canvas on the easel or of larger canvas hanging on a wall, he works in his large studio in the area of El Junco, outside the capital city of Caracas, surrounded by lush green vegetation, with a wonderful climate of pleasant temperature and poetic mist that invites to the reverie and glorification of his life as a painter. From a very early age Niño and his family discovered his vocation for drawing, a discipline in which he showed a special disposition and talent. From this moment on he dedicates his life to art, to the practice of painting, starting from a fantastic and strange world of fantasy, close to surrealism, unfailingly influenced by the circus of fantasy owned by his mother and a musician father. These circumstances will shape the artist's life. His traces and influences from the beginning will be present in his creative work, especially through the memories of the infinite curiosity to look, touch and be enraptured by the strange furniture and objects from his mother's circus that he knew were deposited in a room of the house. This universe of fantasy will leave an indelible mark on his subconscious and will serve as the thematic and artistic support for all his work. In an interview conducted by the critic Roberto Montero Castro in 1977, Carmelo Niño states, "the symbols of my painting come from the everyday life". His life has been one of continuous work and effort. At the age of fifteen he enrolled in the School of Arts of Maracaibo, graduated three years later, 1966, and immediately, with a scholarship, he travelled to Spain, took a few courses at the San Fernando Academy in Madrid, strengthened his preparation in art workshops and in frequent visits to the big museums of this European capital. With a sensitive gaze he penetrates the mysteries of masterpieces of the great artists who have made the universal history of art. His life as a painter has been intense, of intense study, preparation and work. With much composure and modesty he talks about his life and his artistic production, recognized not only in Venezuela, but also internationally. His participation in exhibitions began in 1969 and as early as 1970 he held his first individual exhibition at the Fine Arts Center of Maracaibo. From these dates onwards successes started to come, with the participation in collective and individual exhibitions, in Venezuela and abroad, as well as the awards from 1971, when he won the Scholarship Award at the First National Salon of Young Artists in Maracay, Aragua State; in 1972 he was awarded the Second Prize at the Regional Salon of Maracaibo. 1975 is the year of awards, he received the First Prize at the IV Salon of Young Artists in Caracas; the Aurelio Rodriguez Award at the IV Avellan Salon in Caracas and the First Prize at the Salon of Young Zulian Artists in Maracaibo; he also participated in the group exhibition of History of Painting in Venezuela, at Casa de Las Americas, Havana, Cuba; and in 1976 he was invited by Jose Gomez Sicre to take part in the exhibition of Venezuelan painting...

MARK RYDEN - YUKI THE YOUNG YAK (WHITE) Date of creation: 2022 Medium: Plush and rubber Edition: 500 Size: 43.20 x 30.50 x 25.4 cm Condition: Brand ...

Artist says: "Horse skull looks like a spaceship."

Artist says: "A mix of incongruous, funny and scary, a child's toy and death."

Angelika Furer - Denz (Swiss, * 25.2.1880 Tamins, † 1960 Basel) The Gathering of the Will-o'-the-wisps (Venuet des Feu follets) • Symbolist / Böcklin ‘esque wool needle work, ca. 32 x 35 cm • Glazed frame, ca. 51 x 54 cm • Signed with embroidered monogram bottom left • An inventory or exhibition number (45a) and stenciled abbreviation G.S.M.B.K. (see description for information) A fantastical symbolist scenery of a cemetery gathering of Will-o'-the-wisps visiting graves... or is it just the one tomb? When observed in graveyards, Will-o'-the-wisps also known as ghost candles. The striking imagery is greatly reminiscent of work by Arnold Böcklin (or Hermann Hendrich). The excellently crafted needle work is in good condition, retaining its rich and vibrant colours and creating a three-dimensional feel. Regarding dating this textile wall sculpture: In 1928 the 'GSMB' (= Gesellschaft Schweizerischer Malerinnen und Bildhauerinnen – Association of Swiss female Painters...

This is a one of a kind surrealist sculptural work by San Diego artist, Cheryl Tall. Its diameter is 12inches. It is made from ceramic and is wired for wall hanging. It comes complet...