Stone Sculptures

The works of Karine Benvenuti do not merely catch the eye – they grab it, as do those “found stones” that are turned up by attentive walkers; those Suiseki which the Far East turned ...

Bronze sculpture

After having studied visual arts and worked as a graphic designer, in the 2000s Karine Benvenuti took another path to devote herself to ceramics: "I wanted to return to something mor...

After having studied visual arts and worked as a graphic designer, in the 2000s Karine Benvenuti took another path to devote herself to ceramics: "I wanted to return to something mor...

"Rising" by Michael Thacker British, 21st Century Bardiglio Marble with Platinum Leaf Sculpture size (HxWxD): 19.75 x 15 x 6 inches Monogrammed and dated 9 5 21

After having studied visual arts and worked as a graphic designer, in the 2000s Karine Benvenuti took another path to devote herself to ceramics: "I wanted to return to something mor...

The works of Karine Benvenuti do not merely catch the eye – they grab it, as do those “found stones” that are turned up by attentive walkers; those Suiseki which the Far East turned ...

Ben Young Split Sea, 2021 Laminated Float Glass, Cast Concrete and Stainless Steel Frame

Ben Young Rise, 2022 Laminated float glass, cast concrete, stainless steel, LED lighting and MDF plinth

Two marble pieces converge on one point in this perfectly balanced sculpture of warm marble and steel. It is a beautiful abstract work that hold both inte...

Noemi Palacios expresses herself through form and matter, a medium through which she has found a deep understanding of her inner self. Her evocative pieces are inspired by the univer...

Abstract Sculpture. About the Artist: Ed Haugevik has established a career as professional sculptor placing his work at numerous private and public sites throughout the country. ...

Nebza by Camilo Andres Rodriguez Marquez Iranian Pink Marble Dimensions: - Small sculpture (Square): H. 16 cm x 15 cm x 4 cm - Large sculpture: H. 10.5 cm x 33 cm x 4 cm Camilo A...

Nebza II by Camilo Andres Rodriguez Marquez Iranian Pink Marble Dimensions: H. 10.5 cm x 33 cm x 4 cm Camilo Andres Rodriguez Marquez is a Colombian born designer with a degree in...

Gabriel Sobin was born in 1971 in Salon de Provence, France, to an English mother and an American father. Sobin studied at l’École d’Arts Appliqués ...

Available by commission. Please contact gallery for details. "Cumulus Stone No. 2" by Norman Mooney Carrara Marble, Stainless Steel In 1994 Mooney moved from Ireland to New York Ci...

Stamped with the artist’s monogram, dated 94 and numbered 6/6 (on the reverse) Bronze, on York stone base Executed in 1994, this work is number 6 from an edition of 6. Provenance: ...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

Las obras del maestro Atchugarry vienen de la naturaleza, es una piedra de marmol forjada por siglos, unica he irrepetible, luego son esculpidas a mano usando las tecnicas originales...

"Inner View Open_ Nexus III" by Caroline Ramersdorfer Three layered, marble slabs on a steel pedestal (each slab is 1.5" thick") Ramersdorfer carves slabs of marble to reveal comple...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Lika Mutal is a Dutch-Peruvian sculptor, who worked on diverse stones and material from Peru, inspired on Pre-Columbian art.

A sculpture made with glass layers and painted with nail polish and acrylic, set on a cement pedestal. The glass leaves are separated by slits on the pedestal, giving the sculpture ...

"Ascension (red reamer)" by John Van Alstine Granite, red pigmented and sealed steel The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone and m...

Biomorphic and earthy yet industrial style wall or tabletop sculpture. Abstract wire form with corrugated concrete form. The piece is smooth and rough, with gold pigmented concrete...

Biomorphic and earthy yet industrial style wall or tabletop sculpture. Abstract wire form with corrugated hydrocal plaster form. The piece is smooth and...

"INNER VIEW VII" by Caroline Ramersdorfer Seven layered, marble slabs on a steel pedestal (each slab measures 12" x 12" x .75") Ramersdorfer carves slabs of marble to reveal complex...

Pedro Barreto Esfera, Undated Marble ø 25.6 in. ø 65 cm (Depth 5.9 in. 15 cm) Base: 7.9 x 7.9 x 9.8 in. 20 x 20 x 25 cm Pedro Barreto (b. Santa Catalina, Venezuela, 1935; d. Lechería, Venezuela, 2008) His first experiences as a sculptor were with wood, influenced by his place of birth in the Orinoco River delta. Between 1954 and 1958, he studies at the Plastic and Applied Arts School of Caracas. In 1957, his first one-man exhibition took place in Tucupita, earning him a scholarship to study in Europe. He attends the School of Fine Arts of Rome until 1960, after which he travels to Paris and works in Agustín Cárdenas’ studio. In 1973, he is awarded Tokyo’s Shinsakasho Prize and Venezuela’s Salón Arturo Michelena.

"Black Tower" by Joel Perlman Unique cast bronze, marble base Joel Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimalism was the predominant style of his genration, Perlman chose to push his forms into ever-more complicated, gravity defying, configurations. Perlman investigates with originality. He expands, rather than appropriates, enriching our experience with industrial materials. Contemporary, Abstract Outdoor Metal...

"INNER VIEW_Nexus_cellular" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carves slabs o...

"INNER VIEW_Open_Nexus II" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carves slabs of...

"INNER VIEW_Wings towards Reflection" by Caroline Ramersdorfer Marble and stainless steel Shippable in 8-10 weeks. Please contact gallery for further information. Ramersdorfer carv...

"Three Strikes" by John Ruppert Rock, cast stainless steel from fragments of trees struck by lightning Over the past 35 years, John Ruppert has been working in cast metals; manufact...

Artist: Sergio Camargo, Brazilian (1930 - 1990) Medium: White Marble Sculpture, signature inscribed on base front Size: 7.875 x 12.25 x 10.25 inches ; 2...

This sculpture will be exhibited at Scope Art Fair Miami Beach 2017

"Cumulus Stone No. 3" by Norman Mooney Bardiglio Imperiale marble, stainless steel In 1994 Mooney moved from Ireland to New York City and has been exhibiting locally and internation...

"Cumulus Stone No. 1" by Norman Mooney Carrara Marble, Stainless Steel In 1994 Mooney moved from Ireland to New York City and has been exhibiting locally and internationally for mor...