Alex Corno Art

SALE ONE WEEK ONLY Schmidt mainly worked in cast iron and bronze. This work reflects the influences of ancient cultures, natural forms, and the machinery of the modern age. Synthesi...

This abstract boat wall sculpture by Danish artist, Jane Balsgaard, is constructed with iron, bamboo, willow, fishing line and handmade plantpaper...

Title: Lantern Column IV Year: 1998 - 2014 Medium: Mold blown glass, cast polymer, steel, cast iron Size: 60 3/4 inches Price: $10,000. Niho Kozuru (髙鶴丹穂) is a Japanese-born mixed media artist based in Boston, MA. Kozuru casts and reconfigures molds of her own designs, classical and industrial turned architectural forms in unexpected materials. Using rubber, glass and clay she creates columns with undulating silhouettes. The “Lantern Columns” are a group of 7 towers, ranging from 4 feet to 7 feet tall. They have been shown in various configurations in multiple US States as well as the Fukuoka City Museum in Kyushu, Japan. Kozuru made 60 components by blowing glass into molds of her own designs while at Artists in Residency at Penland School of Crafts in North Carolina. After traveling the world, the Lantern Columns have been arranged into their final configuration, with a steel armature within and each topped with a vivid cast iron final...

Title: Lantern Column VI Year: 1998 - 2014 Medium: Mold blown glass, cast polymer, steel, cast iron Size: 69 1/2 inches Price: $11,000. Niho Kozuru (髙鶴丹穂) is a Japanese-born mixed media artist based in Boston, MA. Kozuru casts and reconfigures molds of her own designs, classical and industrial turned architectural forms in unexpected materials. Using rubber, glass and clay she creates columns with undulating silhouettes. The “Lantern Columns” are a group of 7 towers, ranging from 4 feet to 7 feet tall. They have been shown in various configurations in multiple US States as well as the Fukuoka City Museum in Kyushu, Japan. Kozuru made 60 components by blowing glass into molds of her own designs while at Artists in Residency at Penland School of Crafts in North Carolina. After traveling the world, the Lantern Columns have been arranged into their final configuration, with a steel armature within and each topped with a vivid cast iron final...

Elizabeth Murray Crossing, 1999 Unique hand-colored paper assemblage with collage on Rives BFK on white Rising 4-ply museum support board Signed and dated in pencil 19 1/2 × 30 × 4 inches Framed: held in acrylic shadow box frame Unique hand-colored paper assemblage with collage on Rives BFK on white Rising 4-ply museum board support, signed and dated in pencil. This mixed media paper construction with hand coloring is housed in an acrylic box shadow frame, part of the "Crossing Series" of 33 works, each entirely unique, published by Gemini G.E.L., Catalogue Reference: Gemini 1776 Provenance: the Family Collection of Harry W. and Mary M. Anderson Artist Biography: Elizabeth Murray (b. 1940, Chicago, IL—d. 2007, Granville, NY) was an artist at the forefront of American painting for five decades and is considered one of the most important postmodern abstract artists of her time. Her drive and determination produced a singularly innovative body of work characterized by a Cubist-informed Minimalism and streetwise Surrealism. Throughout her career, she reveled in the physicality of paint and approached her work through the constructive vocabulary of sculpture, warping, twisting, splintering, and knotting her canvases. In her innovative and deeply imaginative body of work, Murray not only reclaimed the medium of paint as her own but shared personal evocations of birth and death, laughter and confusion, fullness and loss. From an early age, Murray wanted to be an artist—a cartoonist actually. With the support of her high-school art teacher, Elizabeth Stein, Murray enrolled at the School of the Art Institute of Chicago with the aim of becoming a commercial artist. However, she would spend more time learning from the works on view in the museum than in the classroom, gravitating toward the paintings of El Greco, Francisco de Zurbarán, Georges Seurat, Henri Matisse, and Pablo Picasso. Above all, it was the work of Paul Cézanne and Willem de Kooning that fueled her commitment to becoming a painter. After graduating in 1962, she went on to continue her studies at Mills College in Oakland, California. In 1967, she moved to New York City, where she would live and work until her death in 2007. Murray’s works from the 1960s reflect an irreverent embrace of the materiality of paint. Here, the artist experimented with elements of sculpture while maintaining allusions to the figure informed by her long-standing affinity for cartooning. Murray’s childhood love of Walt Disney and comics would underpin many aspects of her art throughout her career. During the 1970s, Murray dismantled—then rebuilt—many of the compositional strategies and theories associated with Minimalism. Using curved lines and complex shapes loosely informed by mathematical ideas, she introduced geometries that transform scale, shape, and form to her thickly painted and layered compositions. In the following decade, Murray introduced three-dimensionality to her canvases, bringing about a complete break from traditional, flat, rectilinear compositions. Muddied, moody, and gestural, the paintings of the 1980s blazed a course of international recognition and notoriety. In these works, interiors, tables, coffee cups, shoes, and other signature themes emerge from skeins of spray paint and graffiti-like markings. During the 1990s, Murray’s works became flatter while retaining a high degree of compositional elaboration and chromatic exuberance. In the final years of her career, the artist offered new visions of her characteristic motifs in vibrantly painted, multipaneled paintings. Throughout her stellar career, Murray was a much sought-after instructor, visiting artist, and lecturer. Appointments include instructor at Rosary Hill College (1965–67), visiting artist at Wayne State University and the School of the Art Institute of Chicago (1973), instructor at Bard College (1974–77), visiting instructor at California Institute of the Arts (1975–76), lecturer at Princeton University (1977), instructor at Yale University (1977–80), instructor at School of Visual Arts in New York (1978–80), lecturer at Skowhegan School of Painting and Sculpture (1979, 1985, and 1992), lecturer at Maryland Institute College of Art (1981), lecturer at New York Studio School of Drawing, Painting and Sculpture (1987), guest curator of Artist’s Choice: Elizabeth Murray at The Museum of Modern Art, New York (1995), visiting professor of studio arts at Bard College (1999–2003), and instructor at Brooklyn College (2003–07). Murray received numerous honors in recognition of her work, including the Walter M. Campana Award from The Art Institute of Chicago (1982), an award from American Academy of Arts and Letters (1984), Medal for Painting from Skowhegan School of Painting and Sculpture (1986), an honorary doctorate from School of the Art Institute of Chicago (1992), induction as an elected member of the American Academy of Arts and Letters, New York (1992), Larry Aldrich Award (1993), an honorary degree from Rhode Island School of Design (1993), MacArthur Fellowship (1999), an honorary doctorate from The New School (2001), National Artist Award from Anderson Ranch Art Center (2002), Distinguished Artist Award for Lifetime Achievement from College Art Association (2007), and an award from CITYarts (2007). Significant public commissions include two New York City Transit mural projects: Blooming (1996) at Lexington Avenue/59th Street and Stream (2001) at 23rd Street/Ely Avenue. Monographic institutional presentations include Elizabeth Murray: Drawings 1980–1986 at Carnegie Mellon University Art Gallery (1986), Elizabeth Murray: Paintings and Drawings at Dallas Museum of Art (1987, traveled to List Visual Arts Center at MIT; Museum of Fine Arts, Boston; Museum of Contemporary Art, Los Angeles; Des Moines Art Center; Walker Art Center; and Whitney Museum of American Art), Elizabeth Murray: New Work at San Francisco Museum of Modern Art (1988), Elizabeth Murray Prints: 1979–1990 at Barbara Krakow Gallery (1990, traveled to Bates College Museum of Art, David Winton Bell Gallery at Brown University, Davison Art Center at Wesleyan University, and Florida Gulf Coast Art Center), Elizabeth Murray: Recent Work at Wexner Center for the Arts at The Ohio State University (1991), Elizabeth Murray at Nerman Museum of Contemporary Art at Johnson County Community College (1993), and Elizabeth Murray: Works on Paper, Virginia Commonwealth University (1998). In 2005, Murray earned the distinction of becoming only the fifth woman to receive a career retrospective at The Museum of Modern Art, New York, following Louise Bourgeois, Lee Krasner, Helen Frankenthaler, and Jackie Winsor...

Inquietudine is a beautiful artwork realized by  Maurizio Gracceva   in the 2012. Colored mixed media on plywood Title, date, techinique and sign on the back. Author of numerous p...

A Natural Iron Sculpture Shaped by Nature The sculptured Meteorite is presented on a polished, black and white flamed marble block and held in place by a strong magnet. The specimen can be removed or positioned according to the liking of the owner. DETAILS: • Weight: 128 grams • Dimensions: Ca. 70 x 55 x 25 mm • Find Date: 27th of December 2018 • Find spot: 47° 8.193’ N / 7°8.320’ E • Treatment: The Specimen’s surface has been desalinated and coated with micro layer of paraffin (reversable) • Official name: TW 1253 About the Swiss Twannberg Meteorite: • Fall occurred about 150'000 years ago or earlIer • To date (end of 2021) 2020 individual fragments have been found • Total weight 150 kilograms • Rare Hexahedrite / Octahedrite IIG iron • Worldwide there are only six meteorites classified as Hexaedrite IIG iron, out of which the Twannberg is the only European fall. • Very low nickel content of 4.5 % • High content of phosphorus within crystalline Schreibersite (Iron phosphide) • The Twannberg meteorite is by far the biggest of the eleven Swiss meteorites known to date • The strewn field is one of the largest in Europe and probably the best documented fall in the world Worldwide shipping is complimentary - There are no additional charges for handling & delivery. I am a member of the Citizen-Science-Project organized by Professor Doctor Beda Hofmann, head of Earth Sciences department, of the Natural History Museum of Berne, Switzerland, researching the strewn field of the Twannberg meteorite on the Plateau de Diesse in Switzerland. Every found meteorite is analyzed for its metallurgical composition, measured and inspected for inclusions in the oxidation crust, flow lines and other surface properties. The meteorite is given its unique number beginning with TW for ‘Twannberg’ and then returned in accordance with the agreement between the Cantone of Berne and the finder – Meaning all finds are shared, depending on weight and rarity. We search in all seasons a large area in the Bernese Jura up to about 1500 meters above sea with sophisticated metal detectors – sometimes in lovely pasture, other times we negotiate very steep, forested slopes taking considerable risks. Unfortunately, we get a huge number of false signals and dig up a considerable number of discarded and lost metal objects, such as horse and cow shoes, nails, bits of fencing, artillery fragments and bullets, rubbish, etc. To find one meteorite a searcher has to dig hundreds of false signals often in arduous conditions. Hence, we have only found 2000 individual specimens since 1984. Many finders hold on to their allocated meteorites, so few of those rare good quality specimens actually reach the open market. I am happy to pass on my larger meteorites, whilst I hold on to the small, gem quality Twannberg meteorites, which I plan to use for my new, upcoming jewelry collection. Not all specimens found are of the same quality. Being iron they are often heavily oxidized, become instable and start to crumble. However, a small percentage of meteorites fell into an area, where the acidic soil layer is very thin and sunk down on the more stable, alkaline lime gravel layer which makes up the Jura hills – virtually a more or less neutral zone. So, I would estimate about 10% of all meteorites are found, still retaining parts of their dark, outer crust after all those years. If it happens, that the spot is located high enough, i.e. out of reach of the glaciers which covered the area at least twice since the fall and mulled everything over in their path, the meteorite would wait unharmed patiently for over 150’000 years for someone to find it. If then, the meteorite is above average weight and it displays an attractive sculptured shape, we are talking about the absolute rarest possible type of Twannberg Meteorite, of which there were only a few hand full found. I am selling here a well sized, superbly sculptured, Twannberg meteorite specimen...

SALE ONE WEEK ONLY Schmidt mainly worked in cast iron and bronze. This work reflects the influences of ancient cultures, natural forms, and the machinery of the modern age. Synthesi...

James Rosati Untitled Geometric Abstraction, 1982 Two-sided Acrylic and Colored Pencil on Paper drawing Hand signed and dated on lower right front 14 1/2 × 13 1/2 inches This is a un...

Science * Laws of Nature (One of the Arts) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction ...

Signed lower right, 'Mario Cespedes' (Bolivian-American, born 1940) and created circa 1985. Matted dimensions: 24 H x 18 W x .25 D inches. Born in Bolivia, Mario Cespedes immigrated...

Menashe Kadishman (Israeli, 1932-2015) Birth Iron 17-1/2 inches (44.5 cm) high on a 6-1/4 inches (15.9 cm) high wood base Hand signed and Inscribed on base Sculpture with base measur...