Farrago Design Inc
to
3
98
89
3
3
3
2
1
1
1
1
6
Mackenzie Black and White Oval Mirror
By Chanel
Located in New York City, NY
The Mackenzie Oval Mirror is made from wood and adorned with hundreds of sustainably sourced hand-carved bone and horn chips- a perfect example where meticulous craftsmanship meets...
Category
2010s Wall Mirrors
Materials
Bone, Horn, Wood
Oval Horn Mirror- The Orbit
By Kelly Wearstler
Located in New York City, NY
Introducing the Orbit, Oval Horn Mirror, a testament to the visionary craftsmanship at Farrago Design. With a perfect oval shape, it grants a versatility to compliment any space, fro...
Category
2010s Hollywood Regency Wall Mirrors
Materials
Bone, Horn, Wood
Drum Stool / Table Made with Horn Marquetry, Serenity
By Karl Springer
Located in New York City, NY
Hundreds of hexagonal buffalo horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table.
Serene elegance.
Al...
Category
2010s Art Deco End Tables
Materials
Horn
Large Round 42" Selenite Mirror with Brass inlays, Modern Sunburst- Luna
By Kelly Wearstler
Located in New York City, NY
Introducing Luna Selenite mirror, where art converges with celestial magnificence. Extracted from the rare evaporative salt basins, selenite (also know...
Category
2010s Hollywood Regency Wall Mirrors
Materials
Brass
Drum Stool Table Made with Horn Marquetry, Serenity
By Karl Springer
Located in New York City, NY
Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table.
Serene elegance.
Al...
Category
2010s Art Deco End Tables
Materials
Horn
Sculptural Bone Marquetry Table, Tabla Table
By Karl Springer
Located in New York City, NY
Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed...
Category
21st Century and Contemporary Tables
Materials
Bone
Carved Bone End Table Pedestal, Pushpa
By Farrago Design
Located in New York City, NY
Discover the Sand Collection's exquisite Pushpa Carved Bone End Table /Pedestal, a true celebration of nature's beauty and artistic craftsmanship. This unique table is crafted from w...
Category
2010s End Tables
Materials
Bone, Wood
Modern Table Semi precious stone- YELLOW STONE MARBLE Circles and Stones
By Kelly Wearstler
Located in New York City, NY
Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...
Category
21st Century and Contemporary Mid-Century Modern Coffee and Cocktail Tables
Materials
Onyx, Alabaster, Marble, Carrara Marble, Brass
Modern Oval Table Semi precious stone-BLUE ONYX/MARBLECircles and Stones
By Kelly Behun Studio
Located in New York City, NY
Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...
Category
21st Century and Contemporary Mid-Century Modern Coffee and Cocktail Tables
Materials
Onyx, Alabaster, Marble, Carrara Marble, Brass
Modern Oval Table Semi precious stone-GREEN ONYX/MARBLECircles and Stones
By Kelly Behun Studio
Located in New York City, NY
Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...
Category
21st Century and Contemporary Mid-Century Modern Coffee and Cocktail Tables
Materials
Onyx, Alabaster, Marble, Carrara Marble, Brass
Hand Carved with Bone Marquetry Chest with Brass Onlay
Located in New York City, NY
A resplendent heirloom piece, the splendor chest doubles as a cocktail table while protecting your treasures. Handcrafted of solid wood and wrapped in a field of carved camel bone fl...
Category
2010s Agra Blanket Chests
Materials
Brass
Hand Sculpted, Cast Aluminum Mirror- Mannara Mirror
By Alastair Michie
Located in New York City, NY
inspired by nature and realized by a technique developed especially for Farrago Design, this sculpture mirror is individually sand-cast in Aluminum. The molds are hand-carved in pack...
Category
2010s Wall Mirrors
Materials
Aluminum
My eyes on you -Mixed Media Painting by Steven Colucci
By Jackson Pollock
Located in New York City, NY
Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied.
Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin.
If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity.
Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.”
As our bodies, like the sea, are largely water, Colucci’s water visions...
Category
2010s Paintings
Materials
Acrylic
Naida Console Table 2
By Kelly Wearstler
Located in New York City, NY
The Naida Console Table 2 is a stunning example of handcrafted design. Made from bronze using the lost foam casting process, this technique involves creating a model using recycled p...
Category
2010s Console Tables
Materials
Marble, Belgian Black Marble, Bronze, Brass
Large Modern Abstract Art Painting Signed Original Mark Dickson
By (after) Mark Rothko
Located in New York City, NY
This is an Original Mark Dickson painting and can be described as nothing short of a revelation in the realm of contemporary art. As one navigates through his vibrant interplay of colors—pinks, purples, blues, and greens—it becomes evident that his works are a bridge between abstract expression and a deep-seated Coloradan sensibility.
From afar, the paintings resonate with the raw energy and abstract impulsiveness reminiscent of Adolph Gottlieb or Mark Rothko. However, upon closer introspection, Dickson's canvas unfolds a symphony, harmoniously blending his intuitive understanding of the Colorado landscapes with an almost Rothkoesque play of color and form.
His artistry is a culmination of his academic sojourns, from the bustling art scene of Brooklyn's Pratt Institute to the scholarly corridors of the University of Denver. Yet, what stands out is his capability to transcend these teachings and manifest a unique narrative—one that reflects both the external world and the myriad landscapes of the human psyche.
The choice of medium, notably pastel mixed with watercolors, oil washes, and graphite pencil, demonstrates a tactile indulgence in his craft. It's as if he's chiseling his memories, experiences, and observations of the Coloradan terrains and skies into each canvas.
For the discerning eye, his works might also evoke the expansive color fields of Milton Avery. Yet, Dickson’s approach, particularly his relationship with color, is refreshingly instinctual, almost challenging the viewer to feel rather than dissect.
In Mark Dickson's work, we're treated to an exhilarating dance of abstract brilliance juxtaposed with the tangible and intangible memories of Colorado's landscapes. In a sense, each painting becomes an invitation—to wander, to wonder, and to immerse in the art of profound introspection.
The majority medium is pastel and a mixed media of watercolors, oil washes, and graphite pencil. Color is of primary importance to his work. His work shows the influence of artists Milton Avery(who used large areas of color) and Mark Rothko and Adolph Gottlieb (known for their work in the variations of color). Mark is fascinated with color and explores every aspect of its relationships. He feels his use of color is more intuitive versus analytical.
Mark Dickson’s paintings, prints and monotypes are represented in private, corporate and public art collections nationally.
Pratt Institute, Graduate School of Fine Arts, Brooklyn, New York, 1970
University of Denver, Graduate School of Art, MFA, Denver, Brooklyn, New York, 1973
Denver Art Museum, Colorado Annual, 1967
National Academy of Design, National Audubon Exhibition, New York
Joslin Art Museum Exhibition of Colorado artists, Omaha, Nebraska
Included in Outstanding and Noteworthy Americans, Bicentennial Edition, New York
Chicago Botanical Garden, solo exhibition, North Brook Illinois
Colorado Symphony Orchestra Association, limited-edition lithograph commission
Broadway South West department store Commission; shopping bag and print.
Award of Merit from American Institute of graphic arts, and Award of Distinction: "Creativity 86" Art Direction Magazine, New York
Stables Art Center, Taos New Mexico, Artist of Taos
Who's Who in American Art, 1990, New York
Arts Student's League of Denver, Board of Directors
O'Sullivan Art Center, Regis University solo exhibition, Denver
Britto Central Gallery, solo exhibition, São Paulo Brazil, 2003
Amarillo Art Museum, permanent collection
Amoco Oil Company, Chicago
Federal Reserve Bank, Denver
University of Colorado, permanent collection, Boulder, Colorado
Garnett Corporation headquarters, Arlington Virginia
IBM Corporation Miami Florida
Las Vegas Federal Medical Center
Kirkland Art Museum, permanent collection, Denver
Northern Trust Bank, Naples, Florida
Planes Art...
Category
1990s Paintings
Materials
Acrylic, Paint, Paper
Black and White Bone and Horn Round Mirror, Kaliedoscope
By Kelly Wearstler
Located in New York City, NY
The Kaliedoscope Mirror is a part of the SAND Collection from Farrago Design.
Inspired by the numerous patterns in the Kaleidoscope, this mirror is handcrafted with bone and horn chi...
Category
2010s Wall Mirrors
Materials
Bone, Horn, Wood
Round Coffee Table with Bone Marquetry on Wood, Half Moon
By Wendell Castle
Located in New York City, NY
Enter the 'Half Moon Bone Inlaid Table' — nature's vast canvas reimagined in a half-sphere. A horizon touchpoint, central to your living space, embodying the graceful arc of the crescent moon.
Handcrafted to perfection, the half sphere table...
Category
2010s Indian Organic Modern Tables
Materials
Bone, Wood
Tall Conical Floor Lamp in Bone Marquetry, Nima
By Eileen Gray
Located in New York City, NY
There are certain pieces that command attention in a room and this floor lamp, with its hexagonal camel bone chips inlaid over wood, is one such piece. A blend of artful design and m...
Category
2010s Mid-Century Modern Floor Lamps
Materials
Bone
Hand Sculpted, Cast Aluminum Mirror- Mannara Mirror
By Alastair Michie
Located in New York City, NY
Discover a sculptted metal mirror that champions bespoke production.The narrative behind this mirror stems from innovative craftsmanship utilizing a unique technique to mold and sh...
Category
2010s Wall Mirrors
Materials
Aluminum
In stock Art Deco Style Round Table with Bone Marquetry on Wood, Half Moon
By Wendell Castle
Located in New York City, NY
Enter the 'Half Moon Bone Inlaid Table' — nature's vast canvas reimagined in a half-sphere. A horizon touchpoint, central to your living space, embodying the graceful arc of the crescent moon.
Handcrafted to perfection, the half sphere table...
Category
2010s Indian Organic Modern Tables
Materials
Bone, Wood
Wood Sculpted Table with a Pyrite Top Inspired by Zaha Hadid
By Zaha Hadid
Located in New York City, NY
"Functional Art" would be the ideal way to describe this end table, The base is made of solid wood and hand sculpted in an organic form where the every facet is tactile, The top is m...
Category
Early 2000s Organic Modern Tables
Materials
Pyrite
Instock Square Mirror Made with Carved Bone, Aspire Mirror
By Karl Springer
Located in New York City, NY
In a world where beauty often gets relegated to the superficial, the Aspire Mirror stands as a testament to profound artistry and craftsmanship. A luxurious hand carved bone mirror...
Category
2010s Unknown Hollywood Regency Wall Mirrors
Materials
Bone
Fleur Cube End Table / Bone Stool with Resin, Instock
By Bernini
Located in New York City, NY
The grandeur of Baroque collides with the vibrancy of the modern era in the bone Inlaid Fleur Table/ Stool. Introducing an artistic masterpiece that seamle...
Category
2010s Unknown Hollywood Regency Tables
Materials
Bone, Resin, Wood
Mixed Media Collage by John Urbain
Located in New York City, NY
John Urbain (1920 - 2009) was born in Brussels, Belgium and He moved with his parents to Detroit in 1922. Drafted into the U.S. Army in 1941, Urbain was an infantry corporal whose skill as an illustrator led him to create army training graphics and murals. Wounded during the war, he later depicted the pathos of war in his own artwork. Urbain studied art at Black Mountain College...
Category
Vintage 1960s Contemporary Art
Materials
Acrylic, Paper
Bone Inlaid Wall Art in Blue Resin with Celtic Dragon Pattern- Instock
By Enrique Garcel
Located in New York City, NY
Feast your eyes on our Bone Inlaid Pattern Wall Art in Blue Resin. This isn't just art; it's a mesmerizing blend of tradition and contemporary design.
Imagine multiple Celtic dragons...
Category
Antique Early 19th Century Unknown French Provincial Decorative Art
Materials
Bone
Drum Stool or Table Made with Horn Marquetry, Serenity
By Karl Springer
Located in New York City, NY
Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table.
Serene elegance.
Al...
Category
2010s Art Deco End Tables
Materials
Horn
Oval Mirror with Bone Inlay, Callison Mirror
By Karl Springer
Located in New York City, NY
Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...
Category
2010s Indian Mid-Century Modern Wall Mirrors
Materials
Bone
Tall Conical Floor Lamp in Bone Marquetry, Nima
By Karl Springer
Located in New York City, NY
The Nima round floor lamp makes a stunning statement with its soaring solid wood conical base and intricate bone marquetry pattern. The light illuminate...
Category
2010s Hollywood Regency Floor Lamps
Materials
Bone
Drum Stool / Table Made with Horn Marquetry, Serenity
By Karl Springer
Located in New York City, NY
Hundreds of hexagonal buffalo horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table.
Serene Elegance.
Al...
Category
2010s Art Deco End Tables
Materials
Horn
Square Mirror Made with Carved Bone, Aspire Mirror
By Karl Springer
Located in New York City, NY
In a world where beauty often gets relegated to the superficial, the Aspire Mirror stands as a testament to profound artistry and craftsmanship. A luxurious hand carved bone mirror...
Category
2010s Unknown Hollywood Regency Wall Mirrors
Materials
Bone
Tall Mirror Mirror with Brulalist Textured Frame, Solace
By Paul Evans
Located in New York City, NY
Discover a sculpted Silver mirror that champions one piece at a time.The narrative behind this tall mirror stems from innovative craftsmanship, utilizing a unique technique to mold a...
Category
2010s Brutalist Floor Mirrors and Full-Length Mirrors
Materials
Fiberglass
Mirage Horn Tessellated Mirror Frame with Brass Inlay
By Farrago Design
Located in New York City, NY
This mirror frame is made of horn, wood and brass. Brass inlays of random widths and lengths are inlayed on the black horn bringing in a sense drama and movement. These brass inlays ...
Category
2010s Mid-Century Modern Floor Mirrors and Full-Length Mirrors
Materials
Brass
Dune Modern Cube Shaped Table in Bone with Grey and Red Resin Inlay
By Farrago Design
Located in New York City, NY
The white Dune cube table is made of hundreds of triangular camel bone chips tessellated over wood. The playful patterns made with grey and red resin are unique on each surface are p...
Category
2010s Indian Scandinavian Modern Tables
Materials
Bone, Epoxy Resin, Wood
Alexandra Nechita "Your Guitar My Music" Hand Signed Ltd Ed Lithograph-Framed
By (after) Pablo Picasso
Located in New York City, NY
Alexandra Nechita "Your Guitar my music" 1997 Print - Lithograph on handpulled on Archival Paper in Paris 41.5'' x 34.5'' in Paris. Edition: Signed in pencil and marked 131/250 From ...
Category
Late 20th Century Contemporary Art
Materials
Paper
Bone Inlaid Wall Art in Blue Resin with Celtic Dragon Pattern
By Enrique Garcel
Located in New York City, NY
Embark on a captivating journey to a time teeming with rich tales, legendary creatures, and exceptional craftsmanship. Introducing our Bone Inlaid Celtic Dragon Wall Art...
Category
Antique Early 19th Century Unknown Hollywood Regency Decorative Art
Materials
Bone
Tall Conical Floor Lamp in Bone Marquetry, Nima
By Karl Springer
Located in New York City, NY
The Nima round floor lamp makes a stunning statement with its soaring solid wood conical base and intricate bone marquetry pattern. The light illuminate...
Category
2010s Hollywood Regency Floor Lamps
Materials
Bone
Sculptural Tessellated Bone Marquetry Table, Tabla Table
By Karl Springer
Located in New York City, NY
Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed...
Category
21st Century and Contemporary Tables
Materials
Bone
Arena Bone and Horn Inlay End Table /Stool
By Farrago Design
Located in New York City, NY
Master craftspeople meticulously tesselate thousands of sustainably sourced camel bone chips to create a subtly nuanced tone-on-tone pattern. The top is decorated with contrasting horn pattern, which can be replaced a custom monogram...
Category
2010s Unknown Modern Tables
Materials
Bone, Shagreen
Dune Modern Cube Shaped Table in Bone with Grey and Red Resin Inlay
By Farrago Design
Located in New York City, NY
Inspired by a 3D puzzle, the white Dune cube table is made of hundreds of triangular camel bone chips onlayed over wood. The playful patterns made with resin are unique on each surfa...
Category
2010s Indian Scandinavian Modern Tables
Materials
Bone, Epoxy Resin, Wood
Drum Stool or Table Made with Horn Marquetry, Serenity
By Karl Springer
Located in New York City, NY
Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table.
Serene elegance.
Al...
Category
2010s Art Deco End Tables
Materials
Horn
Mixed Media Painting by Steven Colucci
By Jackson Pollock
Located in New York City, NY
Steven Colucci’s iconoclastic approach to performance and the visual arts
have not only long blurred the boundaries between these disciplines, but have
challenged its most basic assumptions. The title of this show references a
most rudimentary dance move --the plié --and our assumptions of what to
expect in relation to this. Also the suggestion that we can simply press a
button and a preconceived outcome will be courteously delivered --a form of
prefabricated belief in itself. Steven Colucci’s artwork turns such basic
assumptions on their heads. Finding early inspiration in the New York school
of abstract expressionists such as Jackson Pollock with his action painting,
and then further by his professor --a then young Vito Acconci while studying
at the School of Visual Arts, Steven Colucci went from exploring the raw
existentialist experimentation of New York’s early painting and performance
scenes, to investigating the other end of the spectrum --the rigorously
measured and controlled disciplines of pantomime and ballet; studying in
Paris under the tutelage of world-famous Marcelle Marceau, and engaging
with the concepts of dramatic movement pioneer and intellectual Etienne
Decroux. Colucci has explained the difference between the extremes of
pantomime and dance as being that pantomime forces movement via an
internal capacity --movement directed inward to the core of one’s self --a
source requiring extreme mental and physical control. Dance by contrast is
an external expression; likewise requiring great precision, although instead
an extension of self or sentiment that projects outwardly. While such
historical ‘movement’ disciplines serve as foundation blocks for Steven’s
artistic explorations, it is the realm in between that he is best known for his
contributions --an experimental movement and performance art that
simultaneously honors, yet defiantly refutes tradition; rejecting a
compartmentalization regarding art and movement, yet incorporating its
elements into his own brand of experimental pastiche. Colucci’s performance
works manifest as eerily candy-coated and familiar, yet incorporate
unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia
in the viewer; an exploration of a cumulative artifice that binds human
nature against its darker tendencies; highlighting traditions of artifice itself -
the fabricated systemologies that necessitate compartmentalization in the
first place.
It is evident in Steven Colucci’s paintings that he has established a uniquely
distinctive pictorial vocabulary; a strong allusion to --or moreso an extension
of --his performance works. Colucci’s paintings depict a sort of kinetic
spectrum, or as he refers to them “a technical expression of physicality and
movement”. Whereas the French performance and visual artist Yves Klein
used the human body as a “paint brush” to demarcate his paintings and
thereby signify a residue of performance, Colucci’s utilization of nonsensical
numbers and number sequences taken from dance scores, as well as heat-
induced image abstraction depicting traces of movement likewise inform his
vocabulary. In the strand of the choreographed, yet incorporating moments of
chance, Colucci’s paintings represent an over arching structure; a rhythm of
being and state, yet detail erratic moments --moments that denote a certain
frailty --the edge of human stamina. Colucci’s paintings dually represent a
form of gestural abstraction --and also the reverse of this --a unique
anthropomorphization of varying states of movement – that sometimes
present as a temperature induced color field, at others are juxtapositions of
movement and depictions of physical gestural images themselves. Colucci’s
use of vernacular and found materials such as cardboard evoke his mastery of
set design, and also reference a sort of collective experience of urbanity and
the ephemeral. Such contradictions seem to permeate not only Steven
Colucci’s artwork, but also are reflected in his person – one who grew up in
New York’s Bronx during a zeitgeist moment in visual and performing arts in
the 1960s – one who shifts with ease from happenings and experiments in
New York City, to his meticulously choreographed megaproductions at
Lincoln Center or starring in the Paris ballet...
Category
2010s Paintings
Materials
Acrylic
Modern Hand Sculpted Cast Aluminum Silver Gray Metal Table
By Alexander Lamont
Located in New York City, NY
A calmness in the chaos! The Solace table prides itself with hand textured cast aluminum, the patterns of which are created with one mold for each piece making each piece one of a ki...
Category
2010s Modern Coffee and Cocktail Tables
Materials
Aluminum
Modern Cube Table in Tessellated Horn with Graphic Red & Grey Resin Inlay- Dune
By El Lissitzky
Located in New York City, NY
Inspired by a 3D puzzle, the dune table is handcrafted of solid wood covered in hundreds of triangular, handcut camel bone/horn chips. The playful poured re...
Category
2010s Unknown Modern End Tables
Materials
Horn, Resin, Wood
Faux Ivory Bone console Inspired by Tomasso Barbi
By Tommaso Barbi
Located in New York City, NY
Made of wood and topped with a tessellation of bone chips, this console is inspired by the work of the ceramist Tomasso Barbi. Resembling faux ivory the console support...
Category
2010s Console Tables
Materials
Brass
Hand Carved Bone Marquetry Chest with Brass Onlay
Located in New York City, NY
A resplendent heirloom piece, the splendor chest doubles as a cocktail table while protecting your treasures. Handcrafted of solid wood and wrapped in a field of carved camel bone fl...
Category
2010s Agra Blanket Chests
Materials
Brass
Pyramid Shaped Floor Lamp with Bone Marquetry, Nima Square Lamp
By Yonel Lebovici
Located in New York City, NY
Named for the soaring glass and steel pyramids that form the Japanese Nima Sand Museum, the handcrafted Nima square floor lamp makes a bold and timeless st...
Category
2010s Modern Floor Lamps
Materials
Bone
Large Round Bowls with Bone Marquetry
Located in New York City, NY
Delve deep into the realm where unparalleled artistry dances with modern design - introducing the Bone Shanti Bowls. A true embodiment of painstaking craftsmanship and contemporary e...
Category
2010s Decorative Bowls
Materials
Bone
Mixed Media Painting by Steven Colucci
By John Byard
Located in New York City, NY
Steven Colucci’s iconoclastic approach to performance and the visual arts
have not only long blurred the boundaries between these disciplines, but have
challenged its most basic assumptions. The title of this show references a
most rudimentary dance move --the plié --and our assumptions of what to
expect in relation to this. Also the suggestion that we can simply press a
button and a preconceived outcome will be courteously delivered --a form of
prefabricated belief in itself. Steven Colucci’s artwork turns such basic
assumptions on their heads. Finding early inspiration in the New York school
of abstract expressionists such as Jackson Pollock with his action painting,
and then further by his professor --a then young Vito Acconci while studying
at the School of Visual Arts, Steven Colucci went from exploring the raw
existentialist experimentation of New York’s early painting and performance
scenes, to investigating the other end of the spectrum --the rigorously
measured and controlled disciplines of pantomime and ballet; studying in
Paris under the tutelage of world-famous Marcelle Marceau, and engaging
with the concepts of dramatic movement pioneer and intellectual Etienne
Decroux. Colucci has explained the difference between the extremes of
pantomime and dance as being that pantomime forces movement via an
internal capacity --movement directed inward to the core of one’s self --a
source requiring extreme mental and physical control. Dance by contrast is
an external expression; likewise requiring great precision, although instead
an extension of self or sentiment that projects outwardly. While such
historical ‘movement’ disciplines serve as foundation blocks for Steven’s
artistic explorations, it is the realm in between that he is best known for his
contributions --an experimental movement and performance art that
simultaneously honors, yet defiantly refutes tradition; rejecting a
compartmentalization regarding art and movement, yet incorporating its
elements into his own brand of experimental pastiche. Colucci’s performance
works manifest as eerily candy-coated and familiar, yet incorporate
unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia
in the viewer; an exploration of a cumulative artifice that binds human
nature against its darker tendencies; highlighting traditions of artifice itself -
the fabricated systemologies that necessitate compartmentalization in the
first place.
It is evident in Steven Colucci’s paintings that he has established a uniquely
distinctive pictorial vocabulary; a strong allusion to --or moreso an extension
of --his performance works. Colucci’s paintings depict a sort of kinetic
spectrum, or as he refers to them “a technical expression of physicality and
movement”. Whereas the French performance and visual artist Yves Klein
used the human body as a “paint brush” to demarcate his paintings and
thereby signify a residue of performance, Colucci’s utilization of nonsensical
numbers and number sequences taken from dance scores, as well as heat-
induced image abstraction depicting traces of movement likewise inform his
vocabulary. In the strand of the choreographed, yet incorporating moments of
chance, Colucci’s paintings represent an over arching structure; a rhythm of
being and state, yet detail erratic moments --moments that denote a certain
frailty --the edge of human stamina. Colucci’s paintings dually represent a
form of gestural abstraction --and also the reverse of this --a unique
anthropomorphization of varying states of movement – that sometimes
present as a temperature induced color field, at others are juxtapositions of
movement and depictions of physical gestural images themselves. Colucci’s
use of vernacular and found materials such as cardboard evoke his mastery of
set design, and also reference a sort of collective experience of urbanity and
the ephemeral. Such contradictions seem to permeate not only Steven
Colucci’s artwork, but also are reflected in his person – one who grew up in
New York’s Bronx during a zeitgeist moment in visual and performing arts in
the 1960s – one who shifts with ease from happenings and experiments in
New York City, to his meticulously choreographed megaproductions at
Lincoln Center or starring in the Paris ballet...
Category
2010s Paintings
Materials
Acrylic
Fleur Cube End Table / Stool Made with GlossyBlack Resin with Baroque Bone Inlay
By Bernini
Located in New York City, NY
The grandeur of Baroque collides with the vibrancy of the modern era in the bone Inlaid Fleur Table/ Stool. Introducing a masterpiece that seamlessly blends time-honored craftsmanshi...
Category
2010s Unknown Hollywood Regency Tables
Materials
Bone, Resin, Wood
Mixed Media Painting by Steven Colucci- My eyes on you
By Andrzej Galek
Located in New York City, NY
Steven Colucci’s iconoclastic approach to performance and the visual arts
have not only long blurred the boundaries between these disciplines, but have
challenged its most basic assumptions. The title of this show references a
most rudimentary dance move --the plié --and our assumptions of what to
expect in relation to this. Also the suggestion that we can simply press a
button and a preconceived outcome will be courteously delivered --a form of
prefabricated belief in itself. Steven Colucci’s artwork turns such basic
assumptions on their heads. Finding early inspiration in the New York school
of abstract expressionists such as Jackson Pollock with his action painting,
and then further by his professor --a then young Vito Acconci while studying
at the School of Visual Arts, Steven Colucci went from exploring the raw
existentialist experimentation of New York’s early painting and performance
scenes, to investigating the other end of the spectrum --the rigorously
measured and controlled disciplines of pantomime and ballet; studying in
Paris under the tutelage of world-famous Marcelle Marceau, and engaging
with the concepts of dramatic movement pioneer and intellectual Etienne
Decroux. Colucci has explained the difference between the extremes of
pantomime and dance as being that pantomime forces movement via an
internal capacity --movement directed inward to the core of one’s self --a
source requiring extreme mental and physical control. Dance by contrast is
an external expression; likewise requiring great precision, although instead
an extension of self or sentiment that projects outwardly. While such
historical ‘movement’ disciplines serve as foundation blocks for Steven’s
artistic explorations, it is the realm in between that he is best known for his
contributions --an experimental movement and performance art that
simultaneously honors, yet defiantly refutes tradition; rejecting a
compartmentalization regarding art and movement, yet incorporating its
elements into his own brand of experimental pastiche. Colucci’s performance
works manifest as eerily candy-coated and familiar, yet incorporate
unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia
in the viewer; an exploration of a cumulative artifice that binds human
nature against its darker tendencies; highlighting traditions of artifice itself -
the fabricated systemologies that necessitate compartmentalization in the
first place.
It is evident in Steven Colucci’s paintings that he has established a uniquely
distinctive pictorial vocabulary; a strong allusion to --or moreso an extension
of --his performance works. Colucci’s paintings depict a sort of kinetic
spectrum, or as he refers to them “a technical expression of physicality and
movement”. Whereas the French performance and visual artist Yves Klein
used the human body as a “paint brush” to demarcate his paintings and
thereby signify a residue of performance, Colucci’s utilization of nonsensical
numbers and number sequences taken from dance scores, as well as heat-
induced image abstraction depicting traces of movement likewise inform his
vocabulary. In the strand of the choreographed, yet incorporating moments of
chance, Colucci’s paintings represent an over arching structure; a rhythm of
being and state, yet detail erratic moments --moments that denote a certain
frailty --the edge of human stamina. Colucci’s paintings dually represent a
form of gestural abstraction --and also the reverse of this --a unique
anthropomorphization of varying states of movement – that sometimes
present as a temperature induced color field, at others are juxtapositions of
movement and depictions of physical gestural images themselves. Colucci’s
use of vernacular and found materials such as cardboard evoke his mastery of
set design, and also reference a sort of collective experience of urbanity and
the ephemeral. Such contradictions seem to permeate not only Steven
Colucci’s artwork, but also are reflected in his person – one who grew up in
New York’s Bronx during a zeitgeist moment in visual and performing arts in
the 1960s – one who shifts with ease from happenings and experiments in
New York City, to his meticulously choreographed megaproductions at
Lincoln Center or starring in the Paris ballet...
Category
2010s Paintings
Materials
Acrylic
Mixed Media Painting by Steven Colucci- Two Men
By Jeff Koons
Located in New York City, NY
Steven Colucci’s iconoclastic approach to performance and the visual arts
have not only long blurred the boundaries between these disciplines, but have
challenged its most basic assumptions. The title of this show references a
most rudimentary dance move --the plié --and our assumptions of what to
expect in relation to this. Also the suggestion that we can simply press a
button and a preconceived outcome will be courteously delivered --a form of
prefabricated belief in itself. Steven Colucci’s artwork turns such basic
assumptions on their heads. Finding early inspiration in the New York school
of abstract expressionists such as Jackson Pollock with his action painting,
and then further by his professor --a then young Vito Acconci while studying
at the School of Visual Arts, Steven Colucci went from exploring the raw
existentialist experimentation of New York’s early painting and performance
scenes, to investigating the other end of the spectrum --the rigorously
measured and controlled disciplines of pantomime and ballet; studying in
Paris under the tutelage of world-famous Marcelle Marceau, and engaging
with the concepts of dramatic movement pioneer and intellectual Etienne
Decroux. Colucci has explained the difference between the extremes of
pantomime and dance as being that pantomime forces movement via an
internal capacity --movement directed inward to the core of one’s self --a
source requiring extreme mental and physical control. Dance by contrast is
an external expression; likewise requiring great precision, although instead
an extension of self or sentiment that projects outwardly. While such
historical ‘movement’ disciplines serve as foundation blocks for Steven’s
artistic explorations, it is the realm in between that he is best known for his
contributions --an experimental movement and performance art that
simultaneously honors, yet defiantly refutes tradition; rejecting a
compartmentalization regarding art and movement, yet incorporating its
elements into his own brand of experimental pastiche. Colucci’s performance
works manifest as eerily candy-coated and familiar, yet incorporate
unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia
in the viewer; an exploration of a cumulative artifice that binds human
nature against its darker tendencies; highlighting traditions of artifice itself -
the fabricated systemologies that necessitate compartmentalization in the
first place.
It is evident in Steven Colucci’s paintings that he has established a uniquely
distinctive pictorial vocabulary; a strong allusion to --or moreso an extension
of --his performance works. Colucci’s paintings depict a sort of kinetic
spectrum, or as he refers to them “a technical expression of physicality and
movement”. Whereas the French performance and visual artist Yves Klein
used the human body as a “paint brush” to demarcate his paintings and
thereby signify a residue of performance, Colucci’s utilization of nonsensical
numbers and number sequences taken from dance scores, as well as heat-
induced image abstraction depicting traces of movement likewise inform his
vocabulary. In the strand of the choreographed, yet incorporating moments of
chance, Colucci’s paintings represent an over arching structure; a rhythm of
being and state, yet detail erratic moments --moments that denote a certain
frailty --the edge of human stamina. Colucci’s paintings dually represent a
form of gestural abstraction --and also the reverse of this --a unique
anthropomorphization of varying states of movement – that sometimes
present as a temperature induced color field, at others are juxtapositions of
movement and depictions of physical gestural images themselves. Colucci’s
use of vernacular and found materials such as cardboard evoke his mastery of
set design, and also reference a sort of collective experience of urbanity and
the ephemeral. Such contradictions seem to permeate not only Steven
Colucci’s artwork, but also are reflected in his person – one who grew up in
New York’s Bronx during a zeitgeist moment in visual and performing arts in
the 1960s – one who shifts with ease from happenings and experiments in
New York City, to his meticulously choreographed megaproductions at
Lincoln Center or starring in the Paris ballet...
Category
2010s Paintings
Materials
Acrylic
Bone Inlaid Wall Art in Blue Resin with Celtic Dragon Pattern
By Enrique Garcel
Located in New York City, NY
Feast your eyes on our Bone Inlaid Pattern Wall Art in Blue Resin. This isn't just art; it's a mesmerizing blend of tradition and contemporary design.
Imagine multiple Celtic dragons...
Category
Antique Early 19th Century Unknown Art Nouveau Decorative Art
Materials
Bone
Carved Bone End Table Pedestal, Pushpa
By Farrago Design
Located in New York City, NY
Discover the Sand Collection's exquisite Pushpa Carved Bone End Table Pedestal, a true celebration of nature's beauty and artistic craftsmanship. This unique table is crafted from wo...
Category
2010s End Tables
Materials
Bone, Wood
Cube/ Square Shaped End Table Made in Bone or Horn
By Farrago Design
Located in New York City, NY
This end/ center table is made with handcrafted triangular bone chips inlayed over wood. The Cube shape can be aligned in sets to make different arrangement...
Category
2010s Bauhaus Tables
Materials
Bone
Karakum Two-Tiered Table in Bone with Shelf
By Farrago Design
Located in New York City, NY
Made with wood, this table is then on laid with bone marquetry to form beautiful patterns. The table boasts a shelf also topped with hand carved bone chips. The table is finished to ...
Category
2010s Anglo Raj End Tables
Materials
Bone, Wood
Mixed Medium and Chalk Painting, Little Man Series
By (after) Jackson Pollock
Located in New York City, NY
Part of the Little Man Series by Steven Colucci - Mixed media / Acrylic and chalk.
Steven Colucci was born to an Italian family in the South Bronx, near Yankee Stadium. His father owned and operated the dry cleaning service used by New York Giants. Colucci remembers sharing dinners with legendary athletes like Tucker Frederickson, Rosey Grier, Jim Brown and Frank Gifford. At 12 years old, he was diagnosed with severe dyslexia and forced to enroll at New York University Reading Institute, a small-private school in the East Village. During his years at NYU Reading Institute, he was encouraged to express himself through painting; he became particularly in representing movements through paint and carefully studied the works of John Marin, Jackson Pollock and Willem de Kooning.
After finishing the program at NYU Reading Institute, Colucci returned to William Taft high school in the Bronx, and remained focused on painting and won a scholarship to the School of Visual Arts. After graduating with the B.A. in painting, he moved to Paris to continue his studies in art and movement. It was in Paris that he began to study pantomime and ballet under the tutelage of world-famous movement artist Etienne Decroux. Decroux worked with him honing his talent, until he was discovered by Marcel Marceau in the late 70s. Marceau had few protégés, and Colucci quickly became one of them. For the next decade under Marceau’s instruction, he developed his own artistic voice and style.
In the 1980s, he moved back to New York where he developed a dance and mime program, which offered one-on-one workshops with the world-renowned dancers and musicians like Martin VanHamel, Kevin McKenzie, Dennis Koster, Gerald Busby and more. He brought his workshop to numerous colleges across the United States including Bard College, nationally recognized for its prestigious arts program and the Philadelphia Art Museum. Ronal Wilford, President of Columbia Artists Management, recognized Colucci’s work as high art.
Between 1980s and 1990s he was asked to collaborate with various dancers and artists including Alvin Ailey, Melba Moore, Royal Ballet of Flanders, Julio Iglesias...
Category
2010s Paintings
Materials
Acrylic
Sculptural Bone Marquetry Table, Tabla Table
By Karl Springer
Located in New York City, NY
Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed...
Category
21st Century and Contemporary Tables
Materials
Bone
Oval Mirror with Bone Inlay, Callison Mirror
By Karl Springer
Located in New York City, NY
Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...
Category
2010s Indian Mid-Century Modern Wall Mirrors
Materials
Bone
Horn Tessellated End Table Tabla
By Enrique Garcel
Located in New York City, NY
Resembling its namesake, the Tabla which is an Indian percussion drum, this end table flaunts a sculptural form. Thus Award winning table is made with a wood base and topped with ang...
Category
21st Century and Contemporary Hollywood Regency End Tables
Materials
Horn
Art Deco Inspired Table with Bone Marquetry on Wood, Half Moon
By Wendell Castle
Located in New York City, NY
Bringing the abstractions in nature into furniture, this end table plays with light and shadow.
The hexagonal camel bone chips that are individually mounted on a wood surface create...
Category
2010s Unknown Organic Modern Tables
Materials
Bone, Wood