Lina Condes Art

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...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the...

Three vertical links make up this piece that transmits firmness and solidity. The chain, always a symbol of unity, security and permanence, can also have a playful sense reflected in...

“Woman” is a Stainless Steel Sculpture by the artist Marian Owczarski. It measures approximately 15 x 8.5 x 6 inches. The date of creation is unknown,...

This piece plays with our perception, as well as challenges our definition of the chaotic and the perfect. When viewed from the front, the perceived silhouette is that of a perfect c...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

“It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven years to perfect, and it continues to evolve today.” - Kevin...

“It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven years to perfect, and it continues to evolve today.” - Kevin...

A unique wall mounted steel sculpture made of stainless steel cut-outs, floated on a glossy black board.

This sculpture is made of stainless steel strips and ribbons that are suspended as part of a changing environment. The form is visible from all sides and with the help of nature: sun...

Territorial Bird is constructed from stylized and highly reflective ribbons of stainless steel that change colour and luminosity with the surrounding environment. Abstracted, but recognizably bird like, the weightless effect of Biczysko's sculpture achieves the appearance of motion. Ania Biczysko obtained a Master’s Degree in Sculpture from the Fine Art Academy in Gdansk, Poland (1986). Biczysko’s versatility is reflected through a variety of creative expressions and mediums. Over the years, she has received many public exhibitions and commissions, both within Canada...