Menashe Kadishman

A medium scale abstract still life painting on canvas. Retaining original painted wood frame. Circa. 1950-1960. Appears to depict a bowl of fruit on a table top. Organic and color p...

Spanish painting from the mid 20th century. Acrylic artwork on canvas depicting still life, vase with flowers, of good pictorial quality. Frame from the second half of the 20th centu...

Swiss Artist - 90s Painting - Modern Italian Artwork Painting Gianni Metalli the small painting framed into the larger frame measure 15 cm x 15 cm Gianni Metalli, * 28.2.1930 Lugano, † 24.11.2006 Lugano. He attended compulsory school in Lugano and then the School of Arts and Crafts in Bellinzona. He is self-taught in his artistic training. After a figurative beginning, in the early 1970s he began a pictorial research of geometric orientation, which drew important stimuli from the meeting with the architect and artist Alberto Sartoris. He mainly creates small and medium-sized acrylics, accompanied by watercolors and drawings on paper. Since 1962 he has held solo exhibitions in local and foreign galleries; he has participated in group exhibitions in Switzerland and later also in Germany and Italy. Between 1963 and 1985 he designed some theater sets. In the 1970s and 1980s he illustrated several literary and artistic publications. In 1996 he created an important public work in Locarno and in 2000 he carried out another significant intervention in the headquarters of the Banca dello Stato in Lugano. Since 1961 he has received several awards in Ticino and Italy. Since 1967 he has been a member of the SPSAS. In 2001 he exhibited at Villa dei Cedri in Bellinzona, where his donation to the museum was presented. In 2010 the Museo cantonale d’arte in Lugano exhibited the core of the painter’s works belonging to the cantonal collections, which includes the donation of Olga Metalli, the artist’s widow. Metalli draws the initial inspiration for his geometric poetics from architecture and natural landscapes. In the 1970s he began his own investigation by marking the pictorial surface with quadrilaterals of various sizes, chromatically divided or partially curved. In their coplanar juxtaposition they evoke jagged mosaics or collages of fragments cut out and sewn together into a new totality. The formal structure is determined by a vertical dynamic, counterbalanced by a subtle horizontal segmentation. The color scheme dominated by gray-blue tones is interspersed with thoughtful yellow-red accents. Among the references of this first period is above all the Como abstraction of Mario Radice and Manlio Rho. In the 1980s a new type of articulation takes over: the introduction of an oblique axial orientation, which disrupts the reticular ordering of the surface and frees the rhythm of the fields from the orthogonality adhering to the plane of the support. An inclined rectilinear element acts as an ordering axis for the distribution of the quadrilaterals. This creates "chromo-formal" nuclei that float lightly on the white background, evoking the Suprematist grammar of Kasimir Malevic. The artist himself intends these configurations as projections of imaginary "harmonic" architectures or axonometric perspectives, based on ordering lines. There is no shortage of more decorative results, set aside towards the end of the decade. The tonalism of the beginnings has lightened, acquiring greater luminosity and expressive force. In the 1990s a further turning point occurs: Metalli progressively abandons the compositions with an oblique dominant in favor of a renewed orthogonal structuring of the pictorial plane. A reduced number of monochrome surfaces and lines (primary colors, gray and black) are evenly distributed on a white or gray background. A progressive reduction of the operative elements further purifies the vocabulary; the architectural referent gives way to jazz evocations. Reminiscences of the work of Jean Gorin...

Large oil painting on canvas still life in original wood frame, signed Lentz.

Midcentury torch cut metal abstract Brutalist sculpture. Beautifully executed Mid-Century Modern Brutalist torch cut mixed metal abstract sculpture. ...

Massive bronze artist proof (AP) rhinoceros sculpture by Loet Vanderveen circa 1980s. The piece is in very good vintage condition with a wonderful patina and measures a substantial 17"W x 6"D x 10"H; it also weighs over 26 pounds. The sculpture is signed "Loet" on the underside and numbered AP 3 / 10. Wonderful detail and overall look on this gorgeous piece! #3111 Loet Vanderveen was born in 1921 in Rotterdam, Holland and later died in 2015 in the Netherlands. Holland is where he developed his love and study of animals as he lived near a zoo. He made his way to New York where he studied under Fong Chow at the Metropolitan Museum of Art and learned the art of glazes and patinas. He moved to Big Sur, California and continued his work in bronze animal figures...

Bonze artwork by Mexican artist Sergio Bustamante, known for his surrealist style. Artists proof, one of a kind with original COA. Please look at pictures for overall condition, whic...

This striking Mid-Century Modernist brutalist sculpture, created circa 1965 by artist John Balossi, is an evocative example of mid-century artistry that b...

Impressive torch cut iron sculpture of abstract geometric form executed in the Brutalist style. The sculpture is in original rust surface, and...

This striking Mid-Century Modernist brutalist sculpture, created circa 1965 by artist John Balossi, is an evocative example of mid-century artistry that b...

A wonderful Brutalist torch cut steel sculpture by the noted Des Moines Iowa Artist James Bearden. This piece was acquired directly from the artist. It is monogrammed on the side JB....

Sensual form. Signed and dated vintage work by Joseph Burlini. Signed "Joseph A. Burlini, 1980, AP." Dimensions include the base. It may be desirable to remount the bronze onto a...