Robert Adams More Art

3 x skateboard decks Each deck measure approx. 31x8in (80x20cm) Made of 7-ply Grade A Canadian Maple wood 1 Easyfix wall mount included per deck Created in 2020, Light Haze Day refl...

"Roman Bronze Figure Of A Romping Dog" Roman Empire, circa 1st Century B.C.- 1st Century A.D. Bronze width 7 cm width 2 3/4 in Provenance: Leo Mildenberg (1913-2001) Private Collection, Zurich, prior to 1986 American Private Collection, acquired in 1991 Literature: A.P. Kozloff, et al., More Animals in Ancient Art...

Adolphe Jean Lavergne (1863-1928), Pecheur, c. 1900. Brown patinated bronze with rectangular cast plinth on a green marble base (3 cm high), total height with hinge 37 cm, width 9 cm, depth 8 cm, weight 2.9 kg, signed “Lavergne” on the plinth. - Base with old drilling and a few oxidized areas, patina occasionally rubbed, somewhat stained in the folds. - Full of anticipation - This bronze is the larger, highly detailed version of the fisherman that made Parisian artist Adolphe Jean Lavergne famous. In preparation for fishing, the boy prepares his rod before heading out to sea. The attachment of the iron ring and the rope behind him suggest a quay wall and a boat moored there. However, the depiction is entirely focused on the actual action of the young fisherman: With equal skill and concentration, he bends a hook to connect it to the fishing line. The contrast with his casual clothing, the loose-fitting trousers, the open shirt with its "wild" folds, and, last but not least, the sun hat boldly perched on his neck, reinforces the impression of the attentive care with which he goes about his work. His gaze makes him appear absorbed, as if he has forgotten the world around him and yet he is visibly filled with anticipation of fishing. GERMAN VERSION Adolphe Jean Lavergne (1863-1928), Pecheur, um 1890. Braun patinierte Bronze mit rechteckiger gegossener Plinthe auf grünem Marmorsockel (3 cm Höhe), Gesamthöhe mit Angel 37 cm, Breite 9 cm, Tiefe 8 cm, Gewicht 2,9 kg, auf der Plinthe mit „Lavergne“ signiert. - Sockel mit alter Bohrung und wenigen oxidierten Stellen, Patina mitunter berieben, in den Falten vereinzelt etwas fleckig. - Voller Vorfreude - Die Bronzefigur ist die größere äußerst detaillierte Ausführung des Fischers, mit dem der Pariser Künstler Adolphe Jean Lavergne bekannt geworden ist. In Vorbereitung auf das Fischen präpariert der Junge die Angel...

Sculpture YASU Limited edition of 12 Mediums: burnt wood and brass Discover the stunning artistry of Zlata Kornilova with this exquisite sculpture crafted from burnt wood using the...

Ammon on oak stele natural 15x15x110cm. Customization possible and designed in 2010. Also available to order in stainless steel. The included burner already contains individual lava...

Here you will find an extraordinary and high quality lamp, which conjures a beautiful shadow pattern on the wall or ceiling. Customization possible and designed in 2010. This ball l...

This stunning figurative bas relief sculpture captures a female ballet dancer gracefully poised in the arabesque position, created by the acclaimed Colorado/Missouri artist Eric Bransby (1916-2020). Crafted from bronze and polymer Forton casting, the piece beautifully exemplifies Bransby’s mastery of motion and form. Provenance: Collection of the artist, Eric Bransby About Eric Bransby: Eric James Bransby was a highly respected muralist, painter, illustrator, and educator. His education at the Colorado Springs Fine Art Center included studies with renowned artists like Thomas Hart Benton, Jean Charlot, Boardman Robinson, and Josef Albers. He also studied at the prestigious Yale School of Fine Art. Bransby’s career is defined by his exceptional work as a muralist, with notable commissions including the Rockhurst Library Triptych Mural at the University of Missouri, murals at Brigham Young University, the U.S. Air Force Academy...

RETNA X BTS Silkscreen Skateboard Edition of 100 2018 Limited edition Silkscreen on maple wood skateboard deck. 31 × 8 × 1 in 78.7 × 20.3 × 2.5 cm Edition of 100 Comes with Certifica...

Sculpture Lulo 1 Limited edition of 12 Dimensions : H. 80 cm x D. 27 cm Mediums: Ash, oil, brass Japanese technique Yakisugi LULO - Collection Climbing. Both word and action are ...

Agathon LÉONARD (1841–1923) Lamp "Danseuse à L'Écharpe" "Dancer with the scarf" lamp A very rare sculpture forming a table lamp, made in gilded bronze The scarf hides the light bulb Signed on the side of the dress "A. Léonard Sclp" Cast by Susse Frères (with founder stamp) France circa 1905 height 60 cm A similar model is reproduced in "Les bronzes du XIXe siècle", P. Kjellberg, Les éditions de l'amateur, 2005, page 460. Biography: Léonard Agathon Van Weydeveldt, said Agathon Léonard (1841-1923) was a sculptor of Belgian origin naturalized French. After studying art at the Lille Academy of Fine Arts and then at the École des Beaux-Arts in Paris, Agathon Léonard settled in Paris for a long time, where after having exhibited at the Salon of 1868, he joined the Society of French artists in 1887, then to the National Society of Fine Arts in 1897. Very involved in the artistic movement of the Art Nouveau style, he exhibited many pieces (medallions, bronze statuettes and ceramics) finely worked. Following an order from the Manufacture Nationale de Sèvres, dating from 1898, Agathon Léonard exhibited at the Universal Exhibition of 1900 in Paris his famous table centerpiece "Game of the scarf" in porcelain biscuit, composed of fifteen statuettes representing dancers with pleated dresses reminiscent of Loïe Fuller's choreographies or Neo-Greek dancers...

Sculpture Close to Heart 2 Limited edition of 12 Mediums: old pine, steel, acrylic hand painted, oil CLOSE TO HEART - Collection Working on the series I used a “wood with history”...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...