Fairfield County - Sculptures

Artist: Yayoi Kusama (1929) Title: Pumpkin, Red/White Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued Notes...

Milgrim’s sculpture practice is restless by nature, evolving every few years and incorporating new materials and concepts. She utilizes a diverse range of industrial, found, and dist...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Yellow/Black Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued No...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Yellow/Black Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued No...

Artist: Yayoi Kusama (1929) Title: Pumpkins, Yellow/Black, Red/White (Two Sculptures) Year: 2016 Medium: Painted cast resin sculptures Sculpture Size: 4 × 3.5 x 3.5 inches, each Insc...

Artist: Yayoi Kusama (1929) Title: Pumpkins, Yellow/Black, Red/White (Two Sculptures) Year: 2016 Medium: Painted cast resin sculptures Sculpture Size: 4 × 3.5 x 3.5 inches, each Insc...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Yellow/Black Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued No...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Red/White Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued Notes...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Red/White Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued Notes...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Yellow/Black Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued No...

Artist: Salvador Dali (1904-1989) Title: Piano surréaliste Year: 1984 Medium: Bronze Edition: 350, plus proofs Size: 26.3 x 15.7 x 12 inches Condition: Excellent Inscription: Incised...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: An Evening in 1922 Year: 1982 Medium: Bronze Edition: 61/250 Numbered, 12 AP, 9 HC Size: 17 inches Condition: Excellent Inscription...

Title: Lunar Eclipse Year: 2022 Medium: Mixed media sculptural lamp Condition: Excellent Edition: 20, plus proofs Notes: AllRightsReserved, Hong Kong in collaboration with the artist...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Red/White Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued Notes...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Elegance Year: 1982 Medium: Bronze Edition: 100/250 Numbered, 12 AP, 9 HC Size: 15 inches Condition: Excellent Inscription: Incised...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: La Femme A La Panthere Year: 1981 Medium: Bronze Edition: 43/250 Numbered, 12 AP, 9 HC Size: 15 inches Condition: Excellent Inscrip...

Black sandstone is the foundation of Sophie Bocher's work. Using a knife, she creates space between each curve, in constant search of harmony. She is also in constant investigation o...

Artist: Yayoi Kusama (1929) Title: Pumpkins, Yellow/Black, Red/White (Two Sculptures) Year: 2016 Medium: Painted cast resin sculptures Sculpture Size: 4 × 3.5 x 3.5 inches, each Insc...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Isadore stands as one of the greatest animaliers of all time and this is a playful and endearing example of his work! Especially going forward, these bronzes make a distinctive and...

Layers of Sweetness - Oil on canvas, 48 x 36 x 2 inches, 2022 - Surface Language collection From the Surface Language collection. Broad palette-knife strokes in apricot, peach, rose...

This Mercury by Montagne has lovely patina and surface and is a pleasingly different depiction of Winged speed as he is seated! It is an arresting pose and elegant and covers all fa...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Resurrect Studio, “Tabasco,” Vintage Glass Sculpture, 26 x 19 x 12 in. “Tabasco” is a bold and commanding vintage glass sculpture by Resurrect Studio, the collaborative practice of ...

Refleksy (Reflexes), flax (linen) and wool, 50" x 48" x 2", 1973. This warm, vivid Mid-Century tapestry, Refleksy (1973) is by Polish textile artist, ...

a very fine Model Sculpture of a standing horse , finely rendered in patinated plaster, signed ‘MMM’ and dated 30 , w. rich burnished patina. Its quality and elegance are reminiscent...

Général BONAPARTE by Pierre Jean David d'Angers (1788-1856) Description : medallion in gilt lead alloy cast , signed lower right and dated 1831 presented on a museum-mount display ...

IN LOVE Santiago Medina ITALIAN STAINLESS STEEL 13.5 X 9 X 3 IN WITH BASE. BASE HEIGHT 27 IN. Edition of 5 All sculptures are made with the highest quality Italian stainless steel a...

Pagter’s minimalism is emblematic of the shared sensibilities of Scandinavian and Japanese artists, popularly termed 'Japandi'. Into Blue is one in a three part series. “In the refi...

Artist: Yayoi Kusama (1929) Title: Pumpkins, Yellow/Black, Red/White (Two Sculptures) Year: 2016 Medium: Painted cast resin sculptures Sculpture Size: 4 × 3.5 x 3.5 inches, each Insc...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

15 feet X 8 feet X 5 feet Machined aluminum John Raymond Henry (1943-2022) is an internationally renowned sculptor. Since 1971, Henry produced many...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

BM Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 27" x 10" x 11" "I am an artist, a sculptor not ...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck arrived, but in that moment it was a revolving abstraction of potential, delineation, growth, and destruction. Once filled it was gone: the plywood was stripped away, the earth was backfilled. To suspend that moment he began building models of formworks. Leaving them unfilled, they are perpetually unfinished. From models based directly on architecture, Horstman expanded to forms found in the landscape. Making a formwork that depicts constraint upon the landscape is not exactly a reversal of the formwork’s function, but it asks different questions than a formwork designed for a building would. Why would you make a cement creek? What is the relationship between a flowing creek and poured cement? Is this a barrier or just delineation? For River Woman ODETTA, in addition to several small sculptures in the Flat File, Horstman will install Formwork for the East River, which describes that river’s shape as it flows from Rikers Island to the tip of Manhattan. The 3 x 18 x 7 foot sculpture...

Edition of 9 Suitable for outdoors. Renowned for his suited everyman character, Jim Rennert’s sculptures have graced the New York City streetscape for over a decade as public art in...

New Sculpture Collection Vanguard: Italian Stainless Steel with Special Splashed Electrostatic Paint. This sculpture will be shipped directly from the artist's studio.

This pair of textured abstract paintings by Teodora Guererra features a light, greyscale palette with subtle warm accents throughout the composition. The artist layers thick strokes ...

This is a great sculpture with real gravitas and elegance. A great conception in terms of the forms and planes. Can be a star piece in a room - stone and surface are very attractive! Active primarily in the mid to late 20th century, Leo De Beer...

Vibrant Conversation, horsehair, cotton, linen, 49” x 70” x 6", 2018. This vibrant contemporary abstract textile wall sculpture was done by textile artist, Marianne Kemp (b. 1976, W...

This framed gestural work is by Donald Martiny. This signature piece is composed of enamel and polymer paint, cardboard, aluminum and wood on wood panel. He creates immediately froze...

Resurrect Studio, “Vega,” Recycled Victorian-Era Glass Sculpture, 12 x 12 x 14 in. Named for the brightest star in the Lyra constellation, “Vega” is a luminous recycled glass sculpt...

This textured abstract diptych by Teodora Guererra features a light blue-green palette with warm yellow accents throughout. The artist layers thick strokes of paint using a palette k...

Series: Neon 40.5" x 53.5" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of...

This romantic and lovely Alabaster marble is classic Jose De Creeft who was a world recognized stone sculptor carver. He has a remarkable career and story. And this work is what he is best known to do. Female form that has face and form emerging from rougher hewn areas of the stone. This was a technique that Rodin used as well and was popular around the turn of the century. Size is attractive as it can go on a well balanced table or a pedestal of easy size! Provenance: The Hannelore and Rudolph Schulhof Collection, New York* *Ecstasy was originally a part of the Schulhof Collection, founded by the couple Hannelore and Rudolph Schulhof and begun a few years into their marriage in the 1950s. The established collection is known for exceptional Postwar works including pieces by Johns, Rothko, and Twombly, to name a few. As Hannelore Schulhof stated in 2011, “Art is almost like a religion. It is what I believe in… it is what gives my life dimension beyond the material world.” Signed: J. De Creeft in the rear The stylized, placid face of Ecstasy, as well as the contrast between smooth and rough-hewn stone, are typical of de Creeft’s hand and instantly recognizable. Its natural alabaster inclusions and the generally fragmentized feel of the piece are both essential to its aesthetic and classic de Creeft. The Guadalajara-born sculptor studied alongside Rodin at the Académie Julian starting in 1905 and would eventually become Alexander Calder’s tutor in direct carving. Ecstasy was undoubtedly inspired by a wide variety of influences that had a profound effect on his work, including his early employment at the young age of six earning pennies by carrying stones to aid the construction of Gaudí’s Sagrada Familia, and an inspiring encounter with Inuit sculptors in Madrid’s El Retiro Park during the nascency of his career. Towards the mid-20th century, de Creeft was working within a group of Spanish expatriate artists in New York, including Vicente and Dalí. 1956, the year he carved Ecstasy—using the method of direct carving of which he was a firm proponent—marked the year he gained representation at the Contemporary Galleries in New York City. He would exhibit biannually there until 1966. In the 1950s de Creeft received numerous public commissions, including an eight-foot granite Poetess for the city of Philadelphia in 1951 and his famous 16-foot Alice in Wonderland climbing sculpture...

American, b. 1958 Jim Rennert was born in 1958, and grew up in Las Vegas, Nevada, and Salt Lake City, Utah. After ten trying years of working in business, Rennert was inspired to ex...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Steve Bickley creates beautiful metal sculpture and wall reliefs, as well as color prints. In addition, he makes large outdoor sculpture in stainless steel and aluminum. He has bee...

Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires that the prettiness of an initial surface is made ugly, or there’s a conscious choice to avoid balance in the composition. Hers is a largely intuitive process, the materials entice her. Inspiration from the world that we don't call “art” is where she finds her muse: a wall, a landscape, a window shade transfused with light, a stretch of sand and shadow. Most influential are predecessors like Burri, Vicente, Tapies, Motherwell, Rauschenberg, medieval cloisonné, Vermeer, Breughel, and many, many more. A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC government; and several years as a lawyer at a large NYC law firm. “I was brought up going to galleries and museums, a sometimes reluctant attendant to my parents’ passion for looking and for collecting. My own expressive energy must have simmered internally for years, occasionally emerging in photography, in quilt-making, in other tentative explorations, and certainly in providing opportunity and materials for my children to create. Not until those children were nearly grown did I come unequivocally to the need to make art myself.” In late 2006 Diane began making collages that started her on her current path; in late 2007 she left her consulting job to focus on her artwork full-time. She has studied with Bruce Dorfman at the Art Students League in New York, and has had solo exhibits at the Alexey von Schlippe...

En Face, Agneta Hobin, mica and steel, 70" x 48", 2007. This 7-piece mica and steel hanging installation and sculpture is by Finnish artist, Agneta Hobin...

"El abrazo" Carolina Yrarrázaval, jute, linen, 40" x 14" x 7", 2017. This woven Contemporary textile sculpture was done by Chilean fiber artist, ...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

Alice Federico was born in Selma, Alabama in 1945. She received a BA degree in history from Hollins University (1967), an MFA in ceramics from East Carolina University (1977), as well as a BFA from Kansas City Art Institute (1983). Trained first as an historian, historical pots have always had an influence on her work. That influence includes Chinese Sung ware...

Artist: PHASE 2 (1955-2019) Title: Graffiti Train Year: circa 1980 Medium: Aerosol paint and collage on plastic model train Size: 4.5 x 20.5 inches Condition: Excellent Inscription: ...

Series: Neon 15" x 60" x 6" - Edition of 9 Disarmingly blunt and intensely intimate, David Drebin's neon light installations illuminate hidden aspirations and secret thoughts of the...

Eclate de Braise, wool, 33" x 24", 1966. This mid-century abstract woven tapestry was done by Canadian textile artist, Mariette Rousseau-Vermet...