Curtis Jeré Sculptures

Three stylized octahedrons -- which are crafted out of mahogany wood and can be manually rotated -- stand vertically on a wooden base between four mahogany cubes. The cubes are conne...

To Chicago-based artist Patrick Fitzgerald, his sculptures are a means of traveling through time. Working from found materials, Fitzgerald constructs miniature soap box cars...

Charna Rickey 1923 - 2000 Mexican-American Jewish Woman artist. Signed Bronze House of Books, Architecture Bronze sculpture, signed Charna Rickey and on the front "House of the book." It depicts an open Torah. Original patina. Approx. dimensions: 7 in. H x 9 in. W x 8.5 in. D. Weight: 13.1 lbs. Modernist Judaica Sculpture Born Charna Barsky (Charna Ysabel or Isabel Rickey Barsky) in Chihuahua, Mexico, the future artist lived in Hermosillo and immigrated to Los Angeles when she was 11. She was educated at UCLA and Cal State L.A., she married furniture retailer David Rickey and explored art while raising their three daughters. Moving through phases in terra cotta, bronze, marble and aluminum, she found success later in life. Rickey became one of the original art teachers at Everywoman's Village, a pioneering learning center for women established by three housewives in Van Nuys in 1963. She also taught sculpture at the University of Judaism from 1965 to 1981. As Rickey became more successful, her sculptures were exhibited in such venues as Artspace Gallery in Woodland Hills and the Courtyard of Century Plaza Towers as part of a 1989 Sculpture Walk produced by the Los Angeles Arts Council. Her sculptures have also found their way into the private collections of such celebrities as Sharon Stone. Another of Rickey's international creations originally stood at Santa Monica College. In 1985, her 12-foot-high musical sculpture shaped like the Hebrew letter "shin" was moved to the Rubin Academy of Music and Dance at Hebrew University in Jerusalem. The free standing architectural Judaic aluminum work has strings that vibrate in the wind to produce sounds. Rickey also created art pieces for the city of Brea. They commissioned some amazing art pieces by Laddie John Dill, Walter Dusenbery, Woods Davy, Rod Kagan, Pol Bury, Niki de Saint Phalle, Magdalena Abakanowicz, Larry Bell, John Okulick...

19th century bronze group of a standing and sitting hare by French animalier sculptor Alfred Dubucand (1823-1894). Finely detailed bronze with good dark brown patination. Signature '...

Original miniature water tower sculpture by Drew Leshko made from archival paper, basswood, acrylic, enamel, dry pigments, birch wood strips, and steel mea...

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. This artwork is a multiple of 70 specimens and it is numbered 69/70. It is signed...

Reaching, ca. 1980. Cast bronze. Signed in lower region on wrist. A rare example from the artist's later period influenced by figurative abstraction with expressionist tendencies. James Edward Lewis (August 4, 1923 – August 9, 1997) was an African-American artist, art collector, professor, and curator in the city of Baltimore. He is best known for his role as the leading force for the creation of the James E. Lewis Museum of Art, an institution of the HBCU Morgan State University. His work as the chairman of the Morgan Art Department from 1950 to 1986 allowed for the museum to amass a large collection of more than 3,000 works, predominantly of African and African diasporan art.[1] In addition, he is also well known for his role as an interdisciplinary artist, primarily focused on sculpture, though also having notable examples of lithography and illustration. His artistic style throughout the years has developed from an earlier focus on African-American history and historical figures, for which he is most notable as an artist, to a more contemporary style of African-inspired abstract expressionism. Early and personal life James E. Lewis was born in rural Phenix, Virginia on August 4, 1923 to James T. Lewis and Pearline (Pearlean) Harvey.[5] Lewis' parents were both sharecroppers. Shortly after his birth, his father moved to Baltimore for increased job opportunity; James E. was subsequently raised by his mother until the family was reunited in 1925. They lived for a short time with distant relatives until moving to a four-bedroom house on 1024 North Durham Street in East Baltimore, a predominantly African-American lower-class neighborhood close to Johns Hopkins Hospital. Lewis' primary school, PS 101, was the only public school in East Baltimore that served black children. Lewis grew up in a church-going family, his parents both active members of the Faith Baptist Church, devoting the entirety of their Sundays to church activities. His parents worked a variety of different jobs throughout his youth:[6] his father working as a stevedore for a shipping company, a mechanic, a custodian, a mailroom handler,[6] and an elevator operator.] His mother worked as both a clerk at a drugstore[7] and a laundress for a private family.[4] Lewis' primary exposure to the arts came from Dr. Leon Winslow, a faculty member at PS 101 who Lewis saw as "providing encouragement and art materials to those who wanted and needed it." In fifth grade, Lewis transferred to PS 102. Here, he was able to receive specialized Art Education in Ms. William's class under the guidance of Winslow. He was considered a standout pupil at PS 102 as a result of his introduction to the connection between the arts and the other studies. His time spent in Ms. Pauline Wharton's class allowed for him to experiment with singing, to which he was considered a talented singer. His involvement in this class challenged his earlier belief that singing was not a masculine artistic pursuit. He was able to study both European classics and negro spirituals, which was one of his earliest introductions to arts specific to American black culture. Under Ms. Wharton's direction, he was also involved in many different musical performances,[6] including some works of the Works Progress Administration's Federal Theatre Project.[8] Lewis attended Paul Laurence Dunbar High School, where his love of the arts was heightened through his industrial art class with Lee Davis...

Extraordinary garden torch with one burner insert on an untreated oak spot. If the spot is set up outside, she develops a gray patina. The included burner already contains individua...

Nude woman figure knelling on the pillow. Signed illegibly with initials, dated '64 edition 1/3. Bronze on marble base.

This outdoor fire pit "Drop" is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. (Optional prepared for natural gas to be install...

Forged by Providence, Rhode Island based Jewelry Artist, Heather Guidero, this pair of earrings feature a half-circle with 4 triangular dangles and are made with ethically-sourced gold. The graphic lines, textures, and patterns of her work are inspired by elements of modernist design, fashion, and urban architecture. Innately wearable, Heather’s collection boldly accentuates your personal style, her considerations of natural movement enabling the jewelry to come alive when worn. About Heather Guidero Having grown up under the open skies of rural Indiana, surrounded by animals and agriculture, Heather Guidero early on discovered a love for drawing everything in sight. A community arts center class led to her surprising fascination with jewelry and two decades later, she is as enamored with the metalsmithing process as ever. It shows in her masterfully handcrafted collection of contemporary fine jewelry. Formally trained at RISD, Heather worked as a goldsmith for renowned jewelry company Reinstein/Ross in New York before returning to Providence, Rhode Island to launch her namesake collection in 2005. Her interest in using line to render drawings three-dimensionally results in unique explorations of volume, movement, and pattern that transform into personal and interactive sculpture on the body. “Settling in at my bench and picking up my favorite antique files is as natural and reflexive as breathing. There's something comforting about the feel of my favorite tools in hand and being able to turn a sheet of metal or length of wire into a piece of jewelry that will be treasured and worn on a regular basis.” The graphic lines, textures, and patterns of her work are inspired by elements of modernist design, fashion, and urban architecture translated into ethically-sourced gold and silver. Select pieces are accented by brilliant diamonds or colorful gemstones. Innately wearable, Heather’s collection boldly accentuates your personal style, her considerations of natural movement enabling the jewelry to come alive when worn. Her work has been featured at prominent museums and galleries across the country including the Museum of Art and Design (NYC), DeNovo (Palo Alto, CA), and Jewelerswerk (Washington DC). She also regularly presents new work at wholesale shows such as the American Craft Council Wholesale Show and the Buyers Market of American Craft. Every piece in Heather’s collection is constructed and finished by hand in her Providence studio. In balance with her studio practice, Heather teaches jewelry classes around Providence, where she helps teens and young adults learn new metalsmithing skills. She counteracts long hours at the jewelry bench...

This dynamic wall sculpture is created from sheets of steel, welded together in an abstract geometric pattern. Muted shades of blue, grey, purp...