Alpha 137 Gallery Sculptures

After Marcel Duchamp Bicycle Wheel replica from the Philadelphia Museum (estate authorized), 2002 Wheel and painted wood. In original box 11 × 6 1/2 × 3 4/5 inches In original box pr...

Piero Manzoni Merda d'Artista - Merde d'Artiste - Artist's Shit, 2013 Sealed tin can in special offset lithograph paper and shrink wrapped sealed with a fingerprint The artist's sign...

Niki de Saint Phalle Brooch (Oiseau), ca. 2005 Zamak, gold tone finished, nickel free (Incised Signature) Incised signature on the back of the jewelry (Niki De Saint Phalle) and the clasp (Niki). 2 3/10 × 1 3/5 inches Authorized by the Estate of Niki de Saint Phalle! This colorful, whimsical piece - "Oiseau" (Bird) can be worn both as a brooch and as a necklace. Bears the Niki de Saint Phalle's incised signature. Collectible work. Makes a terrific gift. Biography of Niki de Saint Phalle Childhood Niki de Saint Phalle was born in France in 1930 to an aristocratic Catholic family. She had an American mother, a French banker father, four siblings, and grew up bilingual in French and English. Her father lost his wealth during the Great Depression and the family moved to the US in 1933, where Saint Phalle attended Brearley School, a girls' school in New York City. Saint Phalle reported later in her life, in an autobiography titled Mon Secret (1994), that her father had sexually abused her from age 11. From an early age, Saint Phalle pushed boundaries in her artistic and personal life. Though she found Brearley School to be a formative experience, later claiming that it was there she became a feminist, she was expelled for painting the fig leaves covering the genitals of statues on the school's campus red. She then attended Oldfields School in Maryland, graduating in 1947. As a young woman, Saint Phalle also worked as a model, appearing on the front covers of Life Magazine and Vogue. When she was 18, Saint Phalle eloped with Henry Matthews, an author and childhood friend. While Matthews studied music at Harvard University, Saint Phalle began to explore painting, and gave birth to her daughter Laura in 1951, when she was 20 years old. Early Training and work In 1952, the Matthews and Saint Phalle moved to Paris, where he continued to study music and Saint Phalle studied theater. The couple traveled extensively in Europe, gaining exposure to art by the Old Masters. The following year, Saint Phalle was diagnosed with a "nervous breakdown" and hospitalized in a psychiatric facility. She was encouraged to paint as a form of therapy, and consequently gave up her theater studies in favor of becoming an artist. The couple moved to Mallorca off the coast of Spain, where their son Philip was born in 1955. During this time, Saint Phalle developed her imaginative, self-taught style of painting, experimenting with a variety of forms and materials. She also discovered the architecture of Antonio Gaudi, which had a strong influence on her work. Gaudi's Park Guell in Barcelona was instrumental in Saint Phalle's early conceptualization of the elaborate sculpture garden she would fulfill much later in her career. Mature Period At the end of the 1950s, Saint Phalle and her husband moved back to Paris. In 1960, however, the couple separated and Saint Phalle moved to a new apartment, established a studio, and met artist Jean Tinguely, with whom she would collaborate artistically. Within a year, they had moved in together and begun a romantic relationship. Saint Phalle became part of the Nouveau Réalisme movement along with Tinguely, Yves Klein, Arman and others. She was the only woman in the group. Her first solo exhibition in 1961 punctuated a dynamic period of Saint Phalle's early career, and she met a number of influential artists living in Paris at the time, such as Robert Rauschenberg and Jasper Johns, whose use of found objects was to have a strong influence on Saint Phalle's work. She was also friendly with Marcel Duchamp, who first introduced her and Tinguely to Salvador Dalí. The three artists traveled to Spain together to an event celebrating Dali's work, in which a life-sized bull sculpture was detonated with fireworks. In 1963, Tinguely and Saint Phalle moved to an old house just outside Paris, where she began to work on architectural projects as well as her renowned shooting...

William Crovello Hakuin, 1984 Mirrored, reflective brass sculpture on plinth De-accessioned from the GE Corporate Art Collection Signed and dated Crovello '84 Measurements: 13 x 13-3...

JANE HAMMOND with ARDEN MASON (Jane Hammond is a renowned contemporary artist and Arden Mason is a celebrated 'plein air" painter) Artist's Palette (from the Estate of Ashton Hawkin...

Yayoi Kusama Original Limited Edition hand signed and numbered Pumpkin (Red), 1998 Painted cast resin on ceramic tile in the original wood box, display plate and paper box Signed and...

Ruth Asawa Bronze Flower, 1979 Cast Bronze relief plaque with original presentation box 5 1/4 × 6 1/4 × 1/4 inches Numbered from the Edition of 2500 Signed and dated 'Asawa 1979' (lower edge) incised in the bronze; numbered; stamped "Designed Exclusively for Crown Zellerbach Corporation"; foundry copyright Cast at the Berkley Arts Foundry for Crown Zellerbach Ruth Asawa's estate is represented by David Zwirner. This beautiful, limited edition signed cast bronze flower plaque...

Tom Otterness Macy's Humpty Dumpty Ceramic Plate, 2006 Glazed ceramic plate Signed and dated on the rim 'Tom Otterness 1/19/2006' 13 1/2 in diameter Unframed Provenance: The Estate o...

Nancy Graves New York State Governor's Arts Award, 1988 Bronze, polychrome patina and baked enamel on base with Award plaque 10 1/4 × 7 × 10 1/4 inches Hand signed and dated with inc...

Peter Reginato Abstract Bronze Sculpture, ca. 1987 Bronze Signed on the underside 4 × 6 1/2 × 5 1/2 inches This bronze sculpture is by the American abstract sculptor Peter Reginato. ...

Judy Chicago Logo Pin and Pendant, 1993 Enameled pin with pendant loop in original presentation box 2 1/2 × 2 1/2 × 1/5 inches Judy Chicago's incised name and date on the verso Comes...

William Tucker The Promise, ca. 1980 Bronze Signed and numbered 5/6 - incised on the metal 2 5/8 × 8 5/8 × 1 inch This abstract sculpture is by the renowned modern British born sculp...

Arnaldo Pomodoro Signed metal pendant (Brooch), ca. 1989 Sculpted metal brooch. Incised signature by Arnaldo Pomodoro. 4 4/5 × 4 inches Elegant sculpted metal brooch and/or pendant....

Robert Indiana LOVE (Pink), Artist Authorized, with Incised Indianapolis Museum of Art & Morgan Foundation Stamp and Artist Copyright, 2011 Brushed Aluminum (Pink) and Stamped with M...

KAWS VERY FIRST COMPANION - HISTORIC Uniquely Hand signed by the artist. (the regular edition was unsigned) KAWS Limited Edition 1st Companion (Hand Signed by KAWS), 1999 Painted Ca...

Peter Voulkos Ceramic Sculptural Dish, ca. 1985 Sculpted ceramic Hand-signed by artist, Incised signature on the base. 1.5 x 11.5 inches This charger plate by Voulkos features a Gree...

Robert Indiana LOVE (Official Artist Copyright and Foundation Stamp), 2011 Brushed Aluminum sculpture (Red) Stamped by artist's estate, Stam...

Ernest Tino Trova Limited Edition of 2000 Silkscreen on heavy art paper Unframed This exclusive poster, created by renowned American artist Ernest Trova as an edition for Pace Columbus, is a testament to his profound influence in contemporary art and his longstanding association with Pace Gallery...

Red Grooms "Our First Brush With Red Grooms/ It Was Exciting!", 1968 Paint brush with paint inside acrylic casing 11 × 3 1/2 × 2 inches Unframed This paint brush - with original pain...

JAN MARES Jan Mares (Czech, 1953-2005) Signed 3-D Glass American Flag, 2002 Cut, polished, and etched glass 3 × 5 × 2 inches incised signature and date Jan Mares was a celebrated C...

Phillip King Yellow Disc, 2007 Hand painted steel on a marble base Signed and numbered 21/35 on base. Provenance: Bernard Jacobson Gallery, London Private Collection, UK 5 3/5 × 12 ...

Grisha Bruskin Adam Kadmon (Vision), Signed and signed dedicated to art historian and collector Jacob Baal Teshuva), 1992 Steel Sculpture (Signed, Dated & Dedicated) 6 × 6 × 3 inche...

Red Grooms New York City Newsstand, "Extra, Extra Read All About It", 2003 Mixed Media 3-D Construction in Custom Fitted Lucite Box 20 × 26 1/2 × 10 1/2 inches Frame included Edition...

Barbara Kruger War Platter, 2018 Glazed Earthenware Artists name fired on the underside which is considered her authorized signature as she officially does not sign her works Hand nu...

Forrest Myers Untitled geometric abstraction, 1976 Painted aluminum Signed in the metal with the artist's incised initials (FM) and stamp numbered 52/75; bears Treitel-Gratz foundry ...

Ben Eine SCARY (Hand painted Skateboard Skate Deck), 2017 Hand painted with blue skate deck on 100% Canadian maplewood Boldly signed and dated on the front in black marker; numbered ...

Romero Britto Friar's Club Award for Tony Bennett, 2016 Mixed Media Enamel and Iron Sculpture on marble base This sculpture is signed by the artist with permanent marker on the base ...

(After) Pablo Picasso The Lady (Maquette), ca. 1967 Mixed Media Sculpture edition Cor-ten Steel This maquette is based upon the original Chicago Picasso-a monumental sculpture by Pablo Picasso in Chicago, Illinois. The sculpture, dedicated on August 15, 1967, in Daley Plaza in the Chicago Loop...

Lyman Kipp 1960s Constructivist/Minimalist Sculpture, 1968 Painted Wood Signed twice: signed and dated 1968 in black marker on the underside also bears artist's official name and dat...

Note: The measurements above are for each of the three skateboards in this listing Nobuyoshi Araki Geisha Skateboard Triptych (Hand Signed), 2014 Set of (3) Skateboards of Silkscreen...

3-D sculpted multiple (to be hung on the wall) by British Pop Art pioneer Richard Smith: Richard Smith D from Logo Suite (Magenta), 1971 Silkscreen on 3-D Molded Plastic Over Wood P...

Seymour Lipton Maquette for Laureate, ca. 1968-1969 Nickel silver on monel metal Unique 18 × 8 1/2 × 7 inches Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,," Provenance Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale About Seymour Lipton: Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965. In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii] In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall. A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context. Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...

Dimitri Hadzi Uxmal, 1991 Cast bronze on custom made granite base 17 × 30 1/2 × 14 inches The title UXMAL, refers to the ancient Mayan city of Uxmal, which is known for its "Pyramid of the Magician" Provenance: Acquired by the original owner from the prestigious Gremillion Gallery in Houston, Texas (accompanied by a copy of the original receipt) Measurements: Base: 26.5 by 11 by 1.75 inches Work longest 30.5 inches Widest 14 inches Highest. 17 inches More about Dimitri Hadzi" Derived from the figure and mythic narratives, Hadzi’s sculpture references antiquity and classical artifacts – abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures. “I was interested in mythology, and I was interested in movement,” Hadzi remarked on his years in Rome, “I was attempting through formal methods to exaggerate sexual tension or apprehension. Suddenly I was myself in an atmosphere of freedom.” [1] Powerfully rendered in bronze his sculptures convey raw emotion, brute strength and mass, tempered with a delicate rush of whimsy, vivacity and sensuality. Born in New York City on March 21, 1921, Hadzi graduated from Cooper Union in 1950 and received a Fulbright Fellowship in the same year. After studying sculpture in Greece, he moved to Rome under the GI Bill where he lived for twenty-five years. Hadzi returned to the U.S. where he taught at Harvard University for fourteen years. He continued to create sculpture until his death in 2006. Hadzi is included in the permanent collections of the Museum of Modern Art; the Whitney Museum of American Art; the Museum of Fine Arts, Boston; the Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Receiving over twenty sculpture commissions, Hadzi’s work appears in public squares, concert halls, federal and private plazas, and universities throughout the world. --------------- [1] Elsen, Albert. “On Artistic Freedom: An Interview,” Dimitri Hadzi, (New York: Hudson Hills Press, 1996), 30. Additional Biography: Dimitri Hadzi (1921 – 2006) is among the most distinguished modernist sculptors, creator of works in bronze and stone that are powerfully abstract and expressionist in character. His contribution to the international language of sculpture continues to influence and inspire through permanent installations and collections, and exhibitions worldwide. Born to Greek-American immigrant parents in New York City, he had a talent for drawing at an early age and won a prize for his young ability. But, it wasn't until after serving in the Air-force in the South Pacific during WWII that he turned his sights fully to painting and sculpture, going on to study both at Cooper Union. Eventually, he would become a mainstay of the Cambridge, MA art community. He was a Guggenheim Fellow (1957), the winner of the Venice Biennale Award (1962), and the Rome Prize (1974). His most notable sculptures are: Copley Place Waterfall (Boston, MA), Owen Glass Co. (Toledo, OH), as well as Thermopolis, adjacent to Boston’s City Hall Plaza, and the former Omphalos in Harvard Square (Cambridge, MA). Hadzi is included in the permanent collections of the Museum of Modern Art; National Gallery of Art; Whitney Museum of American Art; Museum of Fine Art, Boston; Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Additionally, Hadzi was also a prolific painter, and printmaker. He also taught at Harvard University for over a decade. Famously, David Hockney attended one of Hadzi’s classes at the Carpenter Center at Harvard, where Hadzi served as director. The two of them spent time together painting and discussing techniques. Hockney gifted Hadzi one of his paintings. He worked alongside his good friend, Nobel Prize winning Irish poet...

Alexander Calder rare Maeght sculpted holiday card, 1968 Hand made sculpted paper collage on paper with embossing Embossed artist's monogram 10 × 7 × 6 1/2 inches This rare, fold-ou...

Jenny Holzer USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT, 2003 Hand Blown Glass Bowl 4 × 10 × 10 inches Edition 68/200 Signed and numbered 68/200 on the underside with Holzer's in...

Louise Bourgeois Limited Edition Ceramic Plate depicting Malloreddus alla Sarda, Dallas Texas, 1998 Ceramic Plate 10 in diameter Edition 457/1000 (read description; the edition was not completed) Unframed (Stand shown is not included) Makes a memorable gift! This striking, rare limited edition, signed and numbered bowl/plate was handmade in southern Italy by master artisans near Vietri sul Mare. It was designed by renowned American artist Louise Bourgeois. From the late 1990s through the millenium, Buon Ricordo...

Stephen Talasnik Untitled sculpture, from the collection of Dick Polich, Tallix Foundry, ca. 1997 Cast light metal signed by the artist on the work (see close up photograph) 6 3/5 × 12 × 4 inches Provenance Estate of Dick Polich, founder of the legendary Tallix Foundry and Polich Art works Beacon, NY Manufacturer Stephen Talasnik at Tallix Foundry, Beacon, New York This work is signed by the artist (see close up photograh) Abstract metal sculpture The work is lightweight so it is believed to be in aluminum or an aluminum alloy, Provenance: acquired from the Estate of Dick Polich - founder of the legendary Tallix foundry and Polich Art Works. Polich and Tallix fabricated significant sculptural works over many years, collaborating with such as, Willem de Kooning, Jeff Koons, Roy Lichtenstein, Frank Stella, Helen Frankenthaler, ERTE, Julian Schnabel, Richard Artschwager, Isamu Noguchi, Isaac Witkin...

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

Alexander Liberman STOI V, 1986 Wood with paper and paint 97 1/2 × 28 × 37 inches This work is hand signed twice by Alexander Liberman: Signed on the side as well as the underside an...

ARNALDO POMODORO Medaglia 25 Anni Tecno (Two Sided Bronze Medallion), 1979 Bronze (incised signature) 2 1/2 × 2 × 7/10 inches Edition 196/1600 Unframed This beautiful two sided limit...

ARNALDO POMODORO Double Sided Gold Plated Medallion, 1985 Bronze with Gold Patina 2 7/10 × 2 7/10 × 3/10 inches Limited Edition of 500 Signed by artist with incised signature; Stampe...

Mark Wallinger It's the Thought that Counts, 2001 Mixed media Christmas cracker, colored paper/ cardboard and ribbon with snap Plate signed by Mark W...

Anthony Caro Bronze Belt Buckle, 1993 Bronze sculpted belt buckle. Stamped on the verso 3 × 4 1/2 inches Exhibition History: Victoria and Albert Museum, L...

Nathaniel Kaz Bronze Sculpture to Isaac Bashevis Singer for Arts in Judaism Award, 1966 Bronze, Square wooden base, Metal tag Signed and dated "66" to back of bronze portion of the w...

Buky Schwartz House in Motion, 1986 Welded steel 10 1/2 × 6 1/4 × 6 1/2 inches This is a unique work The sculpture is an upside down house with two human figures. It is ingeniously ...

Gerald Laing Cat, 1983 Cast bronze (hollow core cast) Bears artists full incised signature, artist's copyright logo, as well as stamped signature on the front, Edition 1/9 13 1/2 × 8 3/4 × 6 1/2 inches A magnificent cast bronze sculpture, rarely seen on the market by Gerald Laing, one of the leading British artists of his generation. Catalogued as CR-406 in the 2017 Catalogue Raisonne published by Lund Humphries and the Estate of Gerald Laing. One of only nine editions. This work was acquired from the Estate of distinguished Pop Art collector Arthur C. Carr of Columbia University , who befriended many of the artists whose works he collected. Editions of this work were exhibited in the following venues: GERALD LAING: SCULPTURE 1968 - 1999 The Fine Art Society 148 New Bond Street London UK 22 March - 15 April 1999 GERALD LAING Albert Totah Gallery 152 Wooster Street New York City New York USA, 24 January - 21 February 1987 GERALD LAING PAINTINGS AND SCULPTURE 1963-1983 Herbert Art Gallery Jordan Well Coventry UK 10 September - 9 October 1983...

Mary Baumeister Studio Leftover Fetich, 1953, 1967 Unique Mixed Media 3-D Assemblage Ink Signed, dated, titled, annotated "Edition Original" and numbered 52/75. Shadow box frame Incl...

Ray Geary Bruce #9, 2016 Steel Incised signature, title and date on the underside 10 x 7 inches Bruce # 9 is one of ten unique sculptures that popular young sculptor Ray Geary made exclusively for the Whitney Museum. Below is how the Museum described the series: These fanciful totemic objects, lovingly named Bruce, are made of steel purchased from a scrap metal yard in the Meatpacking District...

The Bruce High Quality Foundation Copper Plate Bruce Shadow Box Sculpture, 2017 Customized wooden shadow box featuring a copper printmaking plate with hand-painted Bruce face. Accomp...

Robert Indiana LOVE (Sculpture Stamped with Indianapolis Museum and Artist Stamp), 2009 Brushed Aluminum (Gold) Stamped with Artist's Copyright & Indianapolis Museum of Art/2011 Morgan Art Foundation/ARS, NY Stamped/incised w/text: "Authorized Replica/Robert Indiana/LOVE/Indianapolis Museum of Art/2011 Morgan Art Foundation/ARS, NY 3 × 3 × 1 1/2 inches Unframed Since first appearing on the Museum of Modern Art’s 1965 Christmas card, Robert Indiana’s “LOVE” quickly permeated the popular imagination, appearing everywhere from life-size sculptures to government-issued stamps. The design’s appeal was timeless, yet also emblematic of the idealistic and free-loving 1960s. As art legend has it, Indiana was first bemused and later conflicted about the instant runaway success of his design, worried that it may have ruined his reputation among the art world elite as a one-hit wonder. Despite the artist’s private insecurities, “LOVE” remains one of the most treasured works in 20th-century American sculpture—breaking $4.1 million at auction in 2011. Another edition from this authorized, artist approved series recently sold at Christie's in Paris for over $12,000. LOVE (Limited Edition Artist Authorized, with Incised Indianapolis Museum of Art & Morgan Foundation Stamp and Artist Copyright). This is a limited edition artist authorized miniature of the Indianapolis Museum of Art's giant outdoor...

Yayoi Kusama Love Forever, 2016 Ceramic (Porcelain) Dish and Cover Stamped Yayoi Kusama on bottom 4 1/2 × 4 1/2 × 1 1/2 inches Unframed Limited edition (exact number created is unkno...

Arnaldo Pomodoro Plaque (Placca), 1980 Bronze 3 4/5 × 3 4/5 inches Edition of 500 Incised signature on the front top left, and foundry mark on the bottom; Rotary Club of Palermo plaq...

NIGEL HALL Rydbo Maquette, 1989-2000 Painted Steel Unique The authenticity of this work has been confirmed by the artist Provenance: Christie's New York: J...