Early 2000s Sculptures

Knight Spirit 555 from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. This sculpture is made of wood, metal, stone and m...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. Knight in Formation 532 was exhibited in 2006 at Lo...

'Mandul' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space & Standing Stones series. It features painterly brushstroke formations in glass called ...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. The series references popular and religious icons suc...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism. Stein's works are in mor...

Unity in Diversity 2008, stone wear, 90х35x42 cm Gray abstract sculpture from stone

'Sampalan' 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 vibran...

Arman, French American (1928-2005) Gambit (Chess pieces) Cast Bronze Sculpture with patina Incised signature near lower edge, 48/70 with impressed "Bronze Romain & Fils" foundry ma...

'Sanawa' is a contemporary abstract glass by artist David Ruth. Created in 2008, it was a piece in a series about the David's views on the American invasion of Iraq. "In 2005, a fe...

LESLEY DILL ONLY, 2004 bronze, paint, ink, wire, thread 58 x 19 x 14 in. 147.3 x 48.3 x 35.6 cm.

Evocator, 2006-2007 Concrete, glass 26 H × 15 7/10 W × 19 7/10 D in 66 H × 40 W × 50 D cm Unique The idea of fragment emerged in the concrete sculpture format offers a clear view of the post-modern condition. The employment of mixed materials, apparently difficult to associate, such as concrete and colored glass beads, recall the images from the ancient Roman fragments...

Pagan Christian, 2006-2007 Concrete, glass 26 H × 15 7/10 W × 19 7/10 D in. 66 H × 40 W × 50 D cm Unique The idea of fragment emerged in the concrete sculpture format offers a clear view of the post-modern condition. The employment of mixed materials, apparently difficult to associate, such as concrete and colored glass beads, recall the images from the ancient Roman fragments...

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

A rare sculpture by Willitts Designs International and Shen Lung entitled " Moe Cheeks" from the "all that jazz" series. The sculpture is cold painted ...

'Kulaykili' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails ar...

'Gabras' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails are i...

Mixed media artwork - bronze sculpture installed on velvet

Glass sculpture Merkuce from the series The Italians 2008, glass, 37, 5x11x10 cm

Original, mixed media wall sculpture. Damilola Odusote is known for his eclectic, prolific, intricate works. His artworks are a running narrative of his conscious and subconscious m...

Awhi Whakapapa, Embracing Geneaology, ceramic figurative sculpture, Contemporary

"Hannah" by Carol Gold Bronze 10.5" x 5" x 5" ed/30 Bust of a woman with hat ABOUT THE ARTIST: Carol Gold was born in Hartford, Connecticut and grew up on a dairy farm in western M...

'Azair' is a contemporary abstract glass by artist David Ruth. Created in 2008, it was a piece in a series about the David's views on the American invasion of Iraq. "In 2005, a few...

'Dar Zubi' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails are...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Alex Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

signed and numbered in verso silkscreened printed in enamel inks on shaped aluminum with bronze base 48 1/8 x 72 5/8 x 10 1/2 in from edition of 25

Ben McLeod (b. 1948, Aberdeen, Scotland) is a preeminent Canadian sculptor whose over five-decade practice is characterized by a profoundly self-propelled trajectory and the cultivat...

Abigail Varela (1948-) Atrapando un corazón 2008 Madera, resina y acrílico Catching a Heart Wood, Resin and Acrylic Hand signed verso with initials and...

Artist 1: Jeff Koons, American (1954 - ) Artist 2: Howard L. Bingham, American (1939 - ) Title: GOAT: A Tribute to Muhammad Ali - CHAMPS Edition Book: Hardcover Book in Clamshell Box, signed and numbered on Frontispiece by Artists and Muhammad Ali Koons Sculpture Title: Radial Champs Sculptures: Blow Up Dolphin, Tire Sculpture...

A Hand Once Held by Denny Haskew Figurative Male Nude Bronze Sculpture with Gold Leaf on granite base 16x7x7" limited edition #2 of 2 (mold was destroyed early) "The last day of my ...

Melanie Yazzie (1966-) Pollen Keeper II (maquette) Powder-coated metal, 2008 Hand signed, titled, dated and numbered 2/30, attributed, titled, dated and numbered again to paper label Mounted to a white composition plinth Provenance: The Freund Family Collection Melanie Yazzie is a Navajo sculptor, painter, printmaker, and professor. She teaches at the University of Colorado at Boulder. Yazzie was born in 1966 in Ganado, Arizona, United States. She is Navajo of the Áshįįhí, born for Tó Dichʼíinii. She grew up on the Navajo Nation. Although she grew up on the Navajo Nation, Melanie Yazzie is of the Salt Water Clan born for the Bitter Water Clan. She first studied art at the Westtown School in Pennsylvania. Yazzie earned a BA in Studio Art with a minor in Spanish from Arizona State University in 1990 and an MFA in printmaking from the University of Colorado at Boulder in 1993. Melanie Yazzie works a wide range of media that include printmaking, painting, sculpting, and ceramics, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native postcolonial dilemmas. Melanie's work focuses primarily on themes of indigenous people. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. Yazzie is known for her multilayered monotype prints that focus on storytelling and reflect her dreamtime friends and companions. The works are filled with colors and textures that reflect different world. The works are made with stencils and often she is printing with soy based inks called Akua inks that are safe for the artist and the environment. The works most often are printed on Arches 88 due to the absorbing quality of that 100% rag paper. It is a fine art paper made in France and very soft to the touch. It is a paper designed originally for screen printing but is the perfect surface for many of the works Yazzie creates. The works often are monotypes as opposed to monoprints. So the works are a one of a kind work of art and not made in multiples. She is a Professor and Head of Printmaking at the University of Colorado at Boulder. She teaches printmaking courses and travels extensively to indigenous communities within the United States and abroad. She can always be found through the University of Colorado Art and Art History Department. In addition to teaching at the Institute of American Indian Arts, the College of Santa Fe (now Santa Fe University of Art and Design), Boise State University, and the University of Arizona, Yazzie has taught at the Pont Aven School of Contemporary Art in France. Yazzie has led over 100 international print exchanges over a 20-year time period. Many of these exchanges include artists from Siberia, Japan, New Zealand, Australia, Canada, Mexico, and Germany. In 2012, the Denver Art Museum welcomed Yazzie as artist-in-residence, making her the first in the Native Arts department. A selection of major exhibitions from the 1990s to present include "Between Two Worlds" (2008) at Arizona State University, "Traveling" at the Heard West Museum (2006), "About Face: Self-Portraits by Native American, First Nations, and Inuit Artists" at the Wheelwright Museum (2005), "Making Connections" (2002) in Bulova, Russia, "Navajo in Gisborne" (1999) in Gisborne, New Zealand and "Watchful Eyes" (1994) at the Heard Museum. In September 2013 she co-curated the exhibition "Heart Lines: Expressions of Native North American Art" in Colorado University Art Museum, partially based on her private collection and including her work "Pollen Girl". Artists featured: Norman Akers, Maile Andrade, Kenojuak Ashevak, Pitseolak Ashoona, Corwin Clairmont, Jimmie Durham, Joe...

Together by Kirk Tatom, bronze bird sculpture, deco, bronze, patina, edition

First Bite,female figure holding apple,garden of eden,bronze sculpture Williams First Bite, female figure holding apple, garden of eden, bronze sculpture Expressing Situations and Beings in Human Form Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. For the sophisticated clientele of Glenn Green Galleries Williams specializes in figurative and facial sculptures hewn from fallen woods he finds while running near his home in the mountains of north central New Mexico. Williams has in the past worked with exotic woods, but now avoids them in a desire to protect the people, plants, and animals that depend on a vibrant, healthy, and unexploited local ecosystems. Finding dead and downed wood also introduces an element of serendipitous chance into the sculptor’s process of selection and inspiration. Nature provides an exquisite mass of workable solids, surfaces, patterns, and curves in cottonwood and the many varieties of juniper this sculptor favors. Troy Williams simply rescues these from the elements and then elevates them to timeless treasures by relating them to themes that express our deepest nature. Awake to the most beautiful twists, turns, and striations already present in these found mediums, Williams is naturally and passionately drawn to every stage of freeing the underlying sculpture. Following the wood’s ingrained tendencies is always a creative guide for Williams. Growing up in an Indiana farming community, his dad a family practice doctor and his mother an artist, Troy has always felt an affinity for the earth and especially its mountains. He initially came west to study agriculture at Fort Lewis College in Durango, Colorado, attracted there by a setting where his athletic nature could find full expression. His interest in an agriculture career gave way to his love of the mountains. In order to continue living in them and enjoy the hiking, climbing, and running he also loved, Troy worked for several years in a solar business, progressing from manufacturing to installations to design. On a fortuitous errand for a cousin back home, Troy happened into silversmithing and began producing simple, hammered ear cuffs. At this point the artistic nature that he had earlier suppressed in favor of athletics began to emerge strongly, and he expanded into more complex designs as he learned and mastered goldsmithing and lapidary. Another quantum leap occurred when he made his first copper face for a pendant. He couldn’t wait to see the face on a larger scale and was eager for the challenge of learning another art. He began sculpting metal, then stone, then came upon wood as his medium of choice. Wood had immediate allure: scented, expanding, contracting, and seeming to breathe. Williams was seduced by its warmth, the play of light on the complexion of its grain, and the inherent life force so evident in wood. He also learned to coax creative advantage from some of wood’s pitfalls, like soft spots, tricky grains composed of woody xylem and softer phloem; and to avoid the conditions that make it splinter. A quality of segmentation or fragmentation characterizes Williams’s sculptures and provides great visual satisfaction along with intriguing thematic provocation. One is struck by the beautiful outlines that might never be apparent had Williams not removed segments or created interior voids expressly to reveal them. When sculpting a face, Williams focuses on aspects that are mask-like, floating, and alive with contours that might not be visible were the artist to sculpt the full head. The segmentation in his exquisitely refined female figurative works incorporates solids, hollows, and curvilinear elements for reasons that are at once artistic, philosophical, and experiential. Besides attending basic college art classes, to understand more fully the human figure, Troy spent a summer in Europe...

“Guilt of Innocence” (Postage Due Mr. Lee) Most of us don’t realize the true cost of the lifestyle we enjoy. There is a price paid by humanity that lives in our shadow. Unfair trade practices have stripped multitudes from their means of subsistence, thus forcing them to bow down to the system that has taken from them a meaningful life. The sculpture “Guilt of Innocence” depicts the American consumer’s role in this tragedy. Who is Mr. Lee? Lee Kyung was a South Korean farmer whose family farm is now a parking lot due to the WTO and unfair trade practices. Farmers in South Korea, who once made a good middle class living on their land, are now impoverished by the dumping...

Waita - Song, Contemporary Maori Sculpture, Aotearoa, facial moko, tattoo, male

Life-size sculpture of three boys walking atop a log.

Tupuna, ceramic series, ancestor's cloak, contemporary sculpture, Maori

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

Unknown Artist In-Style of Juris Bergins Cup with Handle Porcelain, Glaze, Image Transfer, Chinapaint Year: 2000s Size: 7.5x6.5x3in Signed COA provided Ref.: 24802-1743 *minute chip...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with certificate of authenticity. Artwork is in ex...

Unknown Artist Wall Sculpture with Golden Top (and opening) Porcelain, Glaze, Gold Luster Year: Unknown Size: 9.5x2.5x2in Ref.: 24802-1740 *could also be used a single stem wall-moun...

Bedazzle 2006 Porcelain, luster, plexiglas, rhinestones, feathers 8" x 8" x 18" Signed COA provided Rain Harris uses her artistry with material to create a conversation between good taste, beauty, and tawdriness. By developing a piece with unrefined materials and bringing it to the point of refinement, she is creating art that asks where good and bad taste meet. This contemporary ceramic piece features a delicate array of porcelain flowers, berries, and leaves mounted on an organically shaped wooden plinth. The light green resin reflects the image of the porcelain bouquet.

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

Contemporary Porcelain Bowl with Glaze, Glass Detail, Anatomical, Insect, Nature Bonnie Seeman grew up in Miami, Florida with a propensity towards anatomy illustration and the dazzl...

“Resonance” references Greek classical sculpture and modernist traditions. The female from is depicted as a fragment, introspective and animated. The surface of the sculpture is rich...

'Grandmother' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamombe's work: a woman with a round face and wearing a billowing, layered dress. Here, a woman leans on her cane, suggesting her old age. The imagery reminds of Madamombe's larger themes of womanhood, sisterhood, and matrilineage. As is so desired of her work, this sculpture is a play in texture: their faces and hands are polished and smooth, which is juxtaposed with the rough-hewn surfaces of the clothing and hair. black serpentine 28 x 15 x 10 inches Signed along the base on the reverse Acquired directly from the artist (C-51) Excellent condition with no chips or signs of wear Colleen Madamombe (1964–2009) was born in Harare, Zimbabwe. Considered to be among the finest new talents from Zimbabwe, she won the award of Best Female Artist of Zimbabwe three years in a row, and became an established figure of the Second Generation of Zimbabwean stone...

Lost wax bronze 3/8. founder DELVAL. Animal sculptor Sophie MARTIN creates from inert clay a whole living animal kingdom. She freely observes the animal and captures and interprets...

A Surrealist bronze sculpture by Italian artist Lorenzo Quinn depicting a male figure with hands reaching out of his chest. Designed and cast to benefit ...

Black Shell, Federica Luzzi, cotton, wool, 60” x 49” x 9”, 2009 Federica Luzzi (b. 1970, Italy) is known for her woven sculptures, which she creates using her own personal knotting ...

Composición de escultura en bronce y serigrafía sobre papel con intervención manual realizadas por el artista FERNANDO BELLVER en el año 2004. Medidas de cada pieza: 50x44x30 cm (esc...

Mark Wallinger It's the Thought that Counts, 2001 Mixed media Christmas cracker, colored paper/ cardboard and ribbon with snap Plate signed by Mark W...

JAN MARES Jan Mares (Czech, 1953-2005) Signed 3-D Glass American Flag, 2002 Cut, polished, and etched glass 3 × 5 × 2 inches incised signature and date Jan Mares was a celebrated C...

This figurative mixed media textile wall sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). The interlacing technique that Minkowi...

20th Century Goddess is carved zebrawood on a black painted base 4"h x 6"diameter with a total height of 28 inches. She is a part of a series of this torso form with the tallest bein...

Birds 2009, painted porcelain plate, diam. 20.5 cm The central focus of the plate is the depiction of two birds surrounded by blooming flowers. The artist has skillfully painted the birds, capturing their graceful forms and vibrant colors. The flowers add a touch of beauty and provide a visually appealing backdrop for the avian subjects. The combination of birds, blooming flowers, and the mysterious...

Elegant large Rosenthal Crystal Glass Calla Pedestal Bowl. Crafted in Slovenia, this bowl is a work of art that combines high-quality materia...

Sara Fine-Wilson's “Spore" is a gestural 17.5 x 9 x 7 inch ceramic sculpture in white and gray. It is hand built and wheel constructed in white stoneware. Individual hand formed details are layered over the entire surface creating a graceful and fluid form. The surface is coated in a cool white matte glaze that becomes darker gray and glossy along the points that have been caught during the soda firing process.Some of the points in this piece have been blunted and crusted over during the firing process. The glaze emphasizes the contrast between surfaces and edges. Fine Wilson’s ceramic work contains elements of both raw and refined surfaces including cracks, ruptures and pooling of glaze. Sara Fine-Wilson is a contemporary sculptor based in the Boston area...

A great opportunity to own a painting by Vasa Mihich. These works are future forward as they are based on computer-generated programs with a focus on aesthetics. Meaning Vasa wante...

Title: Candy Coated Bittersweet Materials : Porcelain, Glaze and Decals Signed COA provided Rain Harris uses her artistry with material to create a conversation between good taste, beauty, and tawdriness. By developing a piece with unrefined materials and bringing it to the point of refinement, she is creating art that asks where good and bad taste meet. This contemporary ceramic piece features a delicate array of porcelain flowers, berries, and leaves mounted on an organically shaped wooden plinth. The light green resin reflects the image of the porcelain bouquet.

Eros is an original contemporary sculpture realized by Miguel Berrocal in 2000 ca. Bronze sculpture with 24 carat gold patina. Edition of 14999.

Artist: after Robert Mapplethorpe, American (1946 - 1989) Title: Calla Lily Date: circa 2000 Medium: Porcelain Plate, printed signature verso Edition Size: 500 Diameter: 8.25 inches ...