Goop Vancouver

"Grey Samurai" canvas, oil 50x50

Revelation, 80x100cm

A glass of champagne on a summer evening 70x50 cm

Extraordinary garden torch with one burner insert on anoxidated oak spot. Customization possible and designed in 2010. Also available to order in stainless steel. The included burne...

[SET OF 2] 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 t...

Drop. Small abstract sculpture from porcelain, h 16 cm

Scène de tauromachie, Picasso, 1950's, edition, earthenware, terracotta, scene Scène de tauromachie Ed.274/500 pcs 1957 Red earthenware clay, eng...

This torch is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are lavastones in the provided burner wich has to be filled w...

Medium: 60% Cotton, 40% Polyester Towel, Made in Portugal Size: 140 x 70 cm

24 karat gold leaf sculpture "Golden Eagle" limited edition on a quadratic oak pedestal for your home or garden. Customization possible and designe...

This unusual garden decoration on oxidized oak stele is a real eye-catcher for your home or garden. Customizable and designed in 2010. Also available in stainless steel to order. We ...

Sea View Tapestry, Picasso, Carpet, Design, Wool, 1960's, Interior, Cream, Green Sea View tapisserie 1965 Wool 182 x 240 cm Dated : 6.4.65. ; Signed on the back After a cardboard by...

Visage noir Moucheté, Picasso, Plate, Portrait, Naif, Multiples, Earthenware Visage noir moucheté Ed. 39/200 pcs 1948 white earthenware clay, decoration in engobes under glaze 31 x ...

Cavalier et cheval, Picasso, 1950's, Pitcher, Ceramic, Design, Earthenware, Clay Cavalier et cheval Ed 231/300 pcs 1952 White earthenware clay, dec...

Composition 7777, 2018., 95x100 cm Abstract composition. Nugzar Avtandilovich Kahiani was born in Poti, Georgia in 1952. He studied at the Art College named after Nikoladze. Then he went to serve in the Soviet Army from1970 to 1972. After completing his military service he entered the Stieglitz St. Petersburg State Academy of Art and Industry at the faculty of artistic metal, from which he graduated in 1986. During his studies, he has been actively engaged in painting. His favorite artists are Gauguin, El Greco, Botticelli, Turner and Picasso. Works of artistic stone He worked also with stone, cornelian and onyx. But his soul gravitated to bright and blustery color, and so he has became engaged in painting. At first his paintings were quiet, with muted tonal gamma. The color image was built on the play of hues and halftones. Such a careful elaboration of color educates the taste, sharpness and delicacy of vision. Gradually, the painter became more experienced, and his paintings acquired assurance and power of maturity, blooming in colorful brilliancy. Nugzar's color preferences The color of Nugzar’s paintings is deep and multi-layered. It is woven of infinite number of hues and filled with light. At first sight it may be difficult to recognize the shapes in the play of flickering color dabs. The figures appear gradually, they draw the first breath just before our eyes, crystallizing from the color heap. The painter is attracted by major tonality and motives that years ago could be called “the gallant feasts” - repasts, assiduities, music parties, and airings. After somewhat daemonic, infernal imagery of early paintings, it has appeared the theme of “Le joie de vivre,” the joy of life. Source of inspiration Born in the ancient Kolkhida, he keeps the blissful pagan feel of entirety and completeness of being. It is embodied almost literally in his favorite personage auroral gorgeous-bodied beauty of a girl. He grants these forms even to Olympian inhabitants - Aphrodite, Athene, Arthemide, let alone the Bacchants. I remember unwittingly that Niko Pirosmani similarly painted on his impoverished buckrams the luxurious prince repasts and languid, elephantine beauties. Working style But his style is not bounded by grotesque parody, as well as the irony is not the only aspect of his world outlook. In his landscapes we can catch the ecstatic admiration with Nature. In contradistinction to his favorite impressionists, he never paints from nature and never bears in mind the particular place. It is just a blooming Earth, studied very closely, so that the trees are cut by the edges of the painting, and at the same time it is a bird’s eye view revealing infinite, boundless spaces. Nougzar says that the landscape for him is first of all a color ensemble. He can just leaf through the illustrated journal, nourishing his eye with color in various combinations, and so get the impulse to create a ‘physical’ landscape image. Probably, his landscapes are no less fantastical than his figure compositions, but such is his talent, his mission - to make the world more beautiful and gentle than it is in reality. Exhibitions Nugzar Kakhiani...

Outdoor light for the garden or entrance area. This luminaire captivates by its unique shadow projection. The ball is supplied in rusty optics. The built-in lamp part has an E27 soc...

This torch is the eye-catcher in your garden. Customization possible and designed in 2010. Also available to order in stainless steel. The included burner already contains individua...

Vase aux Chèvres, Picasso, 1950's, Vase, Goat, Decoration, Ceramic, Multiples Vase aux chèvres Ed. 40 pcs 06.06.1952 White earthenware clay, deep engraving filled with oxidized para...

Vase with silver glaze 2017. Stone mass, 19x23,5x15,5 cm

Musical plate 2011, porcelain, 4x33,5x24,5 cm inside in the plate small pearls, which make a pleasant sound reminiscent of the sound of the sea, when you move the plate

Drop. Small abstract sculpture from porcelain, h 12,5 cm

PABLO PICASSO (1881-1973) Pichet espagnol (A.R. 245) stamped, marked and numbered 'Edition Picasso / Madoura Plein Feu / Edition Picasso / 62/200 / Mad...

Rose dish d 12 cm; h 4 cm Small red plate with roses by Latvian artist Elina Titane

Drop. Small abstract sculpture from porcelain, h 12,5 cm

Bruni, Bruno, "Delle Primavera", "In Spring": Color offset lithograph, signed by hand. Tender allegory in pastel nuances. Fantastic Realism, Surrealism: Bruni processes subjective im...

Vase blue flower. 2017. Stone mass, h 17,5 cm, diam. 21.5 cm

Annette Selle - "The Mind is Free". Shadows, the hidden, the washed over, forebodings. Expanse, movement, immersion. Thin white oil paint moves over a dark pigmented oil paint groun...

Gifts, 119x149 cm

Oval bowl with tree motif 2013, stone ware, 3,5x26x18,5 cm

Vase 2017. Stone mass, 14x15.5x12 cm

Vase blue flower. 2017. Stone mass, h 13 cm, diam. 15.5 cm

LOT:20220726N01 Signed by the artist COA will accompany this work Provenance: ALPHA 137 GALLERY

Steve Pellegrini's pint is the perfect blend of beauty and function. Bottoms up! It's a wonderful piece of design with beautiful orange, red, chartreuse, and black swirls.

Jiban Biswas - Nostalgia - 36 x 48 inches (unframed size) Acrylic on Canvas, 2019 Style : According to him, “ The Mud colour are changing its shade, The ...

What would happen if, Oil on canvas 70x50 cm, 2020

Waking the Unicorn 60x40cm

Still life with a burger, oil/canvas 50x70cm

We are plants, 70x70cm

Fuego, 60x50 cm

Sanatan Saha - Untitled Acrylic on Canvas, 36 x 42 inches, 2012 EDUCATIONAL QUALIFICATION : 2005: Master of Fine Arts (Painting) from Kala Bhavana, Visva...

Christopher Windsor Dichro Nesting Bowl Set, 2012 Borosilicate glass and copper Dimensions vary

Ed. 28/300 pcs 1988 Resin coated with blue pigment 36 x 21.5 x 19.5 cm Provenance : Yves Klein Archives, Paris Literature : Yves Klein : Catalogue des editions et des sculptures,...

Escape venue, 120x80cm

Fly agaric collects ripe people, 80x60cm

Sad & Horny, 50x40 cm

Joshua Bernbaum Black Goblet with Orange Stem, from the Black Goblet Trio Blown glass 8h x 4w x 4d in

PABLO PICASSO (1881-1973) Trois sardines (A.R. 34) stamped, marked and numbered 'Madoura Plein Feu / Edition Picasso / I 113 / 28/200' (underneath) whit...

Edward Bohlin silver mounted parade saddle. Black. Great Bohlin Stamp. Cowboy Saddle, Western Saddle. 1940s one of his most desirable periods. Bohlin of Hollywood California. He made all of the saddles and other related western gear for the movies. The Corona was custom made using the original Corona as the sample to copy. Biography Edward Bohlin (1895-1980) Edward H Bohlin Company (Established 1920) Saddlery-Saddle Maker 1895-1980 BP: Sweden LKL: Hollywood, CA. Born in Sweden in 1895, Edward Bohlin ran away from home at age 15, working his way to America on a huge four-mast schooner with dreams of Buffalo Bill Cody's Wild West in his head. Ed worked cattle drives around Montana before opening his first saddle shop in Cody, Wyoming where he did rope tricks in front of his shop to draw business. He met Tom Mix while performing at the Pantages Theatre in Hollywood and Mix convinced Ed to stay and produce silver and leather items in the Los Angeles area. From his humble beginnings to his fame in Hollywood for high-end pieces, Ed crafted more than 12,000 Bohlin saddles...

Harding Black San Antonio (1912 - 2004) Huge Heavy Crackle Vase 1985 Height 14'' Across Widest 8" Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...