20th Century Japanese Style Cast Iron Heron

This charming bronze letter holder and paperweight is a striking example of European craftsmanship and design. Shaped in the form of a fish with meticulously sculpted scales, this piece brings character and elegance to any desk or tabletop. Its intricate detailing and lifelike form showcase the skilled metalwork, with a touch of whimsy and sophistication.. The deep bronze colour is complemented by the striking red eyes that adds a pop of color, bringing the fish to life and drawing attention to its artistic details. Functional yet decorative, this piece is perfect for organizing letters or securing documents, while also serving as an artful conversation piece. Ideal for collectors of unusual decor or those who appreciate finely crafted metalwork, this bronze fish letter holder...

An Art Noveau or Jugend patinated bronze pen and inkwell with an owl sitting in the center. The owl have inset glass eyes. Made ca.1900. Possibly Swedish. Symbolism of the owl: The...

A forged iron stand with a brass bowl. North European and made in the late 17th century There are not that many untouched 17th c objects out on the market but this is one of them. ...

TRULS MELIN, born in 1958. Drowning sailors. Painted metal sculpture Provenance: Galleri Lars Bohman, Stockholm.   

A petite statue of a bronze stork over a diamond shaped base made of travertine, surrounded in black marble. The perfect accessory to use anywhere in your interior. Be sure to view t...

The graceful ‘Heron II’ by internationally renowned sculptor Marion Smith. Lifesized and made of bronze resin with signature and initials of Marion Smith to the base. Marion’s works ...

Charming English Garden style cast bronze crane figure mounted on an aged wooden pedestal. This lovely garden ornament was made circa 1800. In great shape, with its original patina w...

Bronze heron by American sculptor Wayne Williams. Signed and dated 1993. Edition 2/2. Mounted on a walnut base. From Finger Lakes Magazine 2001: Art is everywhere in the Finger Lakes. Inspired by the region’s diverse scenery and lifestyles, artists pursue their creativity outdoors, in studios and in workshops. In the many well-established museums and galleries or at the newer fledgling arts organizations, a wide array of artistic styles and talents are represented. Often the artists, like Wayne Williams, share their artistic skill and passion through teaching at local colleges. Williams, who is retired after a 35-year career at Finger Lakes Community College, found his calling there. “I didn’t want to teach in public schools,” explains Williams of his career choice. “I wanted to be at the college level. CCFL (the Community College of the Finger Lakes, as it was then known) was literally creating a college, right from scratch.” The year was 1968 and Williams was charged with coordinating the new college’s art program. Rand Darrow, a CCFL student in that first year, remembers attending Williams’ art classes in a commercial building on Main Street just south of the railroad tracks in Canandaigua. Darrow appreciated his instructor’s relaxed manner. “He was a great teacher,” recalls Darrow, “cracking jokes all the time.” Darrow graduated with a major in Liberal Arts and continued on to SUNY Oswego where he earned a BA in fine arts. He taught art to elementary and middle school students for 30 years. These days Williams and Darrow typically cross paths at the Wayne County Arts Council in Newark where Williams and his wife, Marleen, are heavily involved. Williams offers classes in figure drawing and sculpture and hangs the gallery’s shows, including his former student’s “Slavic Tales of Novgorod” this past August. “I’d like to take a sculpture class from him,” says Darrow. In 2003 when Williams retired, the college honored him and another retiring art professor, Tom Insalaco, by renaming its art gallery the Williams-Insalaco Art Gallery. It was known formerly as Gallery 34 to recognize its origins at 34 North Main Street in Canandaigua. Williams held professor’s rank from 1976 and served as director of the art gallery beginning with its opening in 1983. Williams, who was born and raised in Newark, New York, says he began doing art at about age 8. By the time he was in junior high school his career direction seemed clear. He received local and national awards for his art and a scholarship to Syracuse University, from which he graduated in 1958 with a Bachelor of Fine Arts in sculpture. He continued with graduate work at Syracuse, receiving an MFA in sculpture in 1962. He worked full time as a sculptor until he began teaching. At one point Williams admits he wanted to be a painter, but didn’t want to adopt the abstract expressionist style in vogue in the 1950s, preferring to pursue the realist tradition. He advises any would-be artist to “do what you do because you love it.” After graduation he traveled abroad, spending time in Belgium, the land of his ancestors. “My family’s name was originally Willems,” explains the 73-year old who still relishes the time spent in the Flemish countryside. Williams speaks excitedly about art, referencing the lives of great artists. He acknowledges that American artists do not have the same stature as those in Europe, where Old Masters like Brueghel and Rembrandt are national heroes. These days the energetic Williams, known primarily as a sculptor, is active at the Phelps Arts Center where he is on the board of directors. In mid-September when a group of visitors on a motor coach tour explored artworks displayed in the beautiful church-turned- gallery, they were treated to a large number of Williams’ bronze and metal sculptures, along with his charcoal drawings. “I’ve always loved his work because he deals with things, people, and animals you understand,” says the center’s Director Emeritus Marion Donnelly, who has known him for many years. Outside the Phelps Community Historical Society, Williams’ life-size figure of a farmer raises his pitchfork above a colorful flower garden on the front lawn. Inspired by the peasants working the fields in Europe, the metal figure is shown with wooden shoes. This is Williams’ largest copper piece, loaned to the Phelps museum in connection with Artistry in Sculpture, a community exhibition in 2009. Williams added a new base using a metal wagon...