Florida - Sculptures

Jean-Baptiste Baujault (1828-1899). Portrait of a Bearded Man, ca. 1880's Cast bronze on bronze base. Measures 12.75 x 5.25 x 4.5 inches. Created by the Ferdinand Barbedienne foun...

From the Series Reliefs Aquaresin and Pigment 79 H x 16.5 W in. This striking artwork features three elongated, vertical panels, each uniquely textured with a rugged, charred surf...

Diosa. Original bronze multiple. Esculpture Modernist Julien Caussé (also given as Cadet-Julien Caussé, Cadet Julien Caussé and Julien Cadet Caussé) (1869–1914) was a prolific French...

Bark and Reliefs, 2018 By Carla Gimbatti From the Series Reliefs Aquaresin and Pigment Overall Size: 79 H x 33 W in. Individual Size: (Bark) 79 H x 16.5 W in. (Reliefs) 79 H x 8....

Mark Morrison (1895-1964) Dove, ca. 1960 Carved and polished stone 10" wide, 6.25" deep, height is 12" Tail exhibits a small area of loss. Our conservator can repair this at no ex...

Fumio Otani (Japanese, 1929-1995). Untitled and Untitled, ca, 1965. Cast and polished steel. Smaller composition measures 14.75 x 7.75 x 1.5 inches. Larger composition measures 16...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

Enchanting 19th century English Sailors valentine handcrafted in exotic seashell lovingly arranged around an image of a schooner under a convex lens.

Mimi Gross (American 1940-) Jewish Orthodox Scholar 1983 Aluminum and Paint Assemblage Hand signed, numbered 130/135 Dimensions: 24 X 12 X 9 inches From a great art collection of ...

Salvador Dali (Spanish, 1904-1989) Alma del Quijote Bronze with marble base Edition: AB 52/100 Signed by Dalí This Surrealist sculpture depicts a dynamic and fragmented Don Quixote...

Waylande Gregory (1905-1971). Nude Reclining, ca. 1950's. Painted composite cast from original sculpted in 1930's. Casting sanctioned and approved by the artist during his lifetime in partnership with MPI, Museum Pieces Incorporated. Very few examples were produced and even fewer survive. Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's Nautch Dancer, and his Burlesque Dancer. He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his Burlesque Dancer at about the same time as Nautch Dancer. As with the Nautch Dancer, he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for Burlesque Dancer, a clue to her identity is revealed in the sculpture's earlier title, Shimmy Dance. The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the Star Spangled Banner and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the Burlesque Dancer sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his Kansas Madonna. But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of Kansas Madonna. The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of Kansas Madonna totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture...

In this bronze sculpture the artist (unknown) has welded together a group of totems or monuments into a unified piece. T Neo-Dada Abstract Sculpture: Assemblages In contrast, abstra...

Figure of a Chanting Warrior Ceramic with bitumen highlights 300-600 CE (Classic Period) Mexico, Veracruz, possibly Nopiloa Veracruz Culture Pre-Columbian, Mexico, Vera Cruz culture...

John Okulick, large colorful wood wall sculpture construction "Perfect Harmony" Hand signed and dated, 1999 Dimensions: H: 52 inches: W: 54 inches: D: 10 inches John A. Okulick...

A LARGE ANTIQUE CHALIF (KOSHER SLAUGHTERING KNIFE) Lower East Side New York City c. 1920 Horn handle and long steel blade This is being sold as a Judaica museum artifact. I do not k...

Ceramic parrots atop wood perches, each is handmade Our objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, s...

Abstract sculpture by American artist, Jack Youngerman (b.1926). Nexus, 1990. 24.5 inches. Aluminum, numbered 2/3. Signed and numbered on base. 1926 Born, St. Louis, Missouri; moved with family to Louisville, Kentucky in 1929 1943-44; 1946-47 Attended University of Missouri 1944-46 U.S. Navy, University of North Carolina 1947-49 Ecole des Beaux-Arts, Paris 1949-55 Lived and worked in Paris 1956 Returned to the United States; lived in New York City 1956-1995 1995-current Resides in Bridgehampton, New York ONE MAN EXHIBITIONS: 1951 Galerie Arnaud, Paris 1958 Betty Parsons Gallery, New York (1960, 1961, 1964, 1967, 1968) 1959 Museum of Modern Art, New York, "Sixteen Americans" 1962 Galerie Lawrence, Paris (also 1965) 1963 Galeria dell' Ariete, Milan Everett Ellen Gallery, Los Angeles, California The Phillips Collection, Washington, D. C. 1971 Pace Gallery, New York (also 1972, 1975) 1972 Portland Center for the Arts, Oregon Seattle Art Museum, Washington 1973 The Arts Club of Chicago, Illinois Galerie Denise Rene, Paris 1975 Hopkins Center, Dartmouth College, Hanover, New Hampshire 1976 Parrish Art Museum, Southampton, New York 1981 Washburn Gallery...

Stunning abstract stone sculpture, ca. 1990. Carved and polished black/grey granite. Measuring 21.75 inches diameter. 3.75 inches width. Weighs approx. 125 lbs. Will require a st...

Enchanting 19th century English sailors valentine handcrafted in exotic seashells, in horse shoe form, lovingly arranged around an image of a steamship under a convex lens.

This male nude bronze is an exquisite example of dual sexuality. It's amalgamation of male and female forms are crafted in metal but become flesh. Sensuality emanates from every part...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

Marcelo Morandin 1933-1996 Untitled (Embracing Couple, Lovers) Bronze 1988; ed. P/E; Hand signed, dated and editioned to lower edge DImensions: 48.5 x 32 x 21 cm / 18.8 x 12.5 x 8.2 inches (approximately) PAREJA, Bronce, patinado Marcelo Morandin (1933 - 1996) was active/lived in Argentina, Mexico. Argentinian, Mexican Postwar & Contemporary sculptor Morandin is best known for his monumental sculpture. This is a wonderful, art deco inspired nude couple, the woman appears pregnant). Marcello Morandín (Marcelo Román Morandín Paroni) was born in 1933 in Argentina. He was an important plastic artist and Argentine architect, distinguished in Mexico for being an excellent sculptor and furniture designer. At the end of his studies at the Faculty of Architecture of Buenos Aires, Argentina, he traveled to Mexico and settled in Xalapa, Veracruz. In this city he was part of several artistic projects and noted for being one of the founders of the Department of Aesthetic Research and Applied Design at the University of Veracruz, as well as the Department of Aesthetic Research at UNAM. Between the years 80 and 90, he carried out several monumental works, among them "La pigeon de la paz" a project for the UN; "The foundation of Tenochtitlan" located in front of the Official Residence of Los Pinos; and "The Kinetic Tower" Of the government of Veracruz that combines the light and the sound with diverse moving parts to the compass of the music of Arnold Schoenberg. (Lily Kassner. Dictionary of Mexican sculptors of the twentieth century. Volume II. Mexico. Conaculta, 1997). Similar in style to Israeli artists Aharon Bezalel and Isaac Kahn. He has shown with Jose Villalobos, Nicolas Moreno, Pedro...

Bronze sculpture with three different patinas. Conceived in 1977 and first cast in 1984. Incised Salvador Dali signature on top of the base. Stamp numbered 264/350 on the back ed...

The Age of Bronze After Auguste Rodin (1840–1917) Renaissance Bronze Company, New York Nelson A. Rockefeller Collection Number 36 of 150 1979 41 inches tall A museum-quality bronze a...

Asger Jorn (1914-1973) Ege Axminster, Denmark. Danish Tapestry Rug Art-Line Etiquette de l'éditeur Ege Axminster (Danemark) titrée au revers. Les Emigrants 132 x 98 inches, Pure ...

Welded, brazed sculpture on wooden base This is not signed or dated This work is unsigned. We were told it was the work of Seymour Lipton but as there is further documentation we are selling it as attributed and cannot guarantee it as such. Seymour Lipton (1903 – 1986) was an American abstract expressionist sculptor. He was a member of the New York School who gained widespread recognition in the 1950s. He initially trained as a dentist, like fellow sculptor Herbert Ferber, 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. His early choices of medium changed from wood to lead and then to bronze, and he is best known for his work in metal. Like his contemporary, Abstract Expressionist Jackson Pollock, and Arshile Gorky Lipton was 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. He made several technical innovations, including brazing nickel silver rods onto sheets of Monel to create rust resistant forms. Seymour Lipton is best known for his textured torch welded metal sculptures...

Handmade Benin sculptural tribal bronze figural judgement throne chair. The base of the chair with two tiers of standing figures. The back of the chair with two more tiers of standin...

Beautiful Khmer head of Buddha. Angkor period, style of the post-Bayon. 14th century. Carved sandstone. Height 12 5/8 inches, width 5 5/8 inches, profile 5 ...

Paint and gold paint on wood Circa early to mid 20th century. This is not signed A treasure from a proud congregation. It is a hand-carved wooden sculpture showing the Tablets of the Law flanked by two Lions of Judah. Their paws held the tablets. Their roaring mouths faced outward, protecting the commandments from threats. In a foliage design with gold and silver paint. Circa 1920-1940's. This Neoclassical, Judaic, Art Deco, Egyptian revival, Shul, Aron Kodesh hand carving, wood with gilding, Hebrew lettering ten commandments sign sculpture, was produced probably in New York. There was a show at the Folk Art Museum titled “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” That featured these antique magnificent pieces. From gilded lions to high-stepping horses, the sacred to the secular, and the Old World to the New, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” traces the journey of Jewish woodcarvers and other artisans from Eastern and Central Europe to America and the unsung role they played in establishing a distinct Jewish culture in communities throughout the United States. The exuberant artworks stand as a testament to a history of survival and transformation and provide a surprising revelation of the link that was forged between the synagogue and the carousel as immigrant Jewish artists transferred symbolic visual elements into this vernacular American idiom. The first major study of this important aspect of the Jewish contribution to American folk art, the exhibition features approximately one hundred artworks and objects, including rare documentary photographs of Eastern European synagogue arks and carved gravestones, sacred carvings, papercuts, and carousel animals. Some of these same Jewish European carvers worked on Coney Island amusement park rides and carousel horses and other carnival and circus carvings.

Oleg Sohanievich (Soviet Ukrainian, American 1935-2017) Steel plates and rods Stress Steel Sculpture, 1997, Hand signed and dated Oleg Sohanievich '97, Dimensions: 18 1/2" h., 21" ...

ARTIST: Salvador Dali TITLE: Lincoln in Dalivision Platinum Bas Relief MEDIUM: Bas Relief SIGNED: Embossed Signature. The Bas Relief bears the artist signature toward the bottom...

This is a souvenir model of the large Picasso sculpture in Chicago it is a vintage piece. it is marked 1967 and 1970 and was made for the Chicago Public Building Commission. it is a...

Marc Quinn 18k Large Gold Orchid Ring Measurements: Ring size 7, ring top is 38mm x 37mm Hallmarked: MQ PE 750 Weight: 26 grams Quinn has used orchids repeatedly and thematical...

Nude Male Torso Bronze Sculpture on Marble Base Nicola Rivelli large bronze sculpture of a male torso mounted on a rectangular gray stone/marble base, artist signed on back lower ri...

Duayne Hatchett ((1925-2015). Banner, 1958. Welded metal, sculpture measures 11 h. x 9 w. x 3.75 d. inches. Measuring a total of 17.5 inch high on base. Base measures 5.5 x 5.5 by 6 ...

This is new old stock vintage Jewelry from the legendary Acme Studio collection, which created many revolutionary jewelry items. It was handmade in the 1980s using the intricate cloisonné process, an ancient technique for decorating metal; hence any imperfections within the colors are to be expected and inherent which makes it unique and one-of-a-kind. This piece is worn around the neck, like a bolo tie. The Memphis Designers...

This vessel was built using the traditional and ancient methods of coil building. Through this meditative process, ancestral connections are drawn. The composition wraps around the f...

Whimsical mid century Italian lemon tree handcrafted in metal with hand decorated leaves and fruit in a wall mount tole planter.

A rare discontinued Ceramic Vase from Supreme's 2018 Release Schedule. The Supreme Alphabet Vase White is a stylish and functional home decor item that is perfect for any Supreme fa...

Hunt Slonem, outdoor sculpture, stainless steel and enamel resin Size and colors custom

Antique organic box turtle shell or carapace with its distinctive variegated color patterns and texture.

Bark and Reliefs, 2018 By Carla Gimbatti From the Series Reliefs Aquaresin and Pigment Overall size: 79 H x 16.6 W in. Individual size:79 H x 8.3 W in. each _____ After graduating ...

We have not located any markings on the piece and it does not appear to be signed. it bears similarities with works by Wilfredo Lam and other Cuban and Latin American masters and it ...

Warthog Divining Figure. Kuba, DRC. Late 19th century. Carved wood with palm oil patina, 12.5 incehes (l), 3.25 inches (h), 2 5/8 inches (d). Loss evident at tip of right ear and on snout. Provenance: Ex. collection Martin and Faith-Dorian Wright; J.J. Klegman; Angelo Caggiula-Carulucci, chief magistrate in Belgian Congo for King Leopold...

From the series Cuerpos Magnéticos (Magetic Bodies) Cuerpos Magnéticos was born searching for the relationship between nature and our bodies, attraction and rejection. We see rocks,...

Willy Weber, (Swiss, 1933-1998) Verchromte Platte Stainless steel sculptural construction, dated 1977, signed to the steel. Dimensions: 12" ht. x 13" wd. Sculpted chrome sheet Hand ...

Chiurazzi Bronze of the Dancing Faun, Naples, After the Antique Pompeii Original, 32 Inches Description A superb and highly expressive bronze reduction of the celebrated Dancing Faun...

The Thinker After the iconic model by Auguste Rodin Nelson Rockefeller Collection Renaissance Bronze Company, New York Dated 1979 Edition 15 of 150 Bronze 28 inches high Approx. 120 ...

Magda Watts (Israeli, b. 1928) Handmade Folk Art Sculpture Old Folks with a newspaper Hand signed to underside, Dimensions: 12"h x 14.5" l x 7.5"d. Mag...

Lovers Figurative Bronze Sculpture Signed Illegibly edition 2/10 Large bronze sculpture signd illegible possible in Hebrew.

Pasquale Napolitano (1901-2001) Seted Figure of a Man, ca. 1935. Carved hardwood, measuring 22" h., 9.75" d., 14" w. Signed bottom right side. Natural wood shrinkage cracking on...

Xavier Corberó Olivella (1935 – 2017) Estructuras Continual Bronze sculpture. Comprised of four elements, independant, 1 spheric. 5 X 8 X 7 inches approximately. The pieces are kinetic and moveable so dimensions are a bit variable. This is accompanied by a hand signed and dated photo certificate of the piece. A silver gelatin photograph. The photo is badly torn. Xavier Corberó i Olivella (1935 – 2017) was a prominent Catalan artist, best known for monumental public sculpture and his palatial house complex in Esplugues de Llobregat near Barcelona. He has been described as "widely considered the most important Catalan artist since Antonio Gaudí," as "one of Spain’s most celebrated sculptors" and as having "perhaps influenced Barcelona more than any artist since Gaudí." Corberó's grandfather Pere Corberó i Casals (1875-1959) was an entrepreneur and artist whose works included the bronze memorial on the birthplace of Enrique Granados, also in Lleida. He was a cofounder of Barcelona's association for the promotion of decorative arts, a precursor to the Design Museum, now known as the Foment de les Arts i el Disseny. The Corberó foundry produced sculptures by prominent Catalan sculptors of the time such as Pablo Gargallo, Josep Viladomat and Frederic Marès. It was also an industrial and commercial business that sold bronze doors, chandeliers, fountains, and other decorative items, with a showroom in downtown Barcelona at Rambla de Catalunya 105, in a building designed by Arnau Calvet i Peyronill, and a workshop nearby at Carrer Aribau 103. Pere's son and Corberó's father, Xavier Corberó i Trepat (1901-1981), also worked in the family bronze...

Standing Feline, ca. 1930. Carved Wood, measuring 18" high; 6.25" wide; 4" deep. Unsigned. Wood base painted flat black.

Masatoyo "Kuki" Kishi (1924-2017) Untitled. 1995. Cast Stone, 19.75 x 19.75 x 3 inches. Depth of base measures 3 inches and gracefully tapers to 0.25 inch at top. Carved signatu...

racey Emin, in full Tracey Karima Emin, (born July 3, 1963, Croyden, Greater London, England), British artist noted for using a wide range of media—including drawing, video, and installation art, as well as sculpture and painting—and her own life as the subject of her art. Her works were confessional, provocative, and transgressive, often portraying sexual acts and reproductive organs. Critics were seldom lukewarm in their response to her. Like Damien Hirst and Sarah Lucas, she was considered one of the YBAs (Young British Artists; also known as the BritArtists) who came to prominence in the 1990s. Emin and her twin brother, Paul, were born to an unwed mother. Their father, who was married to someone other than their mother, was a Turkish Cypriot. Emin grew up in the seaside resort town of Margate. She dropped out of school at age 13 and moved to London at 15. Two years later she attended Medway College of Design (now part of the University for the Creative Arts), Rochester, where she studied fashion. She was accepted without a secondary-school certificate at nearby Maidstone College of Art (also now part of UCA) and earned a fine-arts degree in 1986. Thereafter she obtained a master’s degree in painting (1989) from the Royal College of Art in London. In 1993, in the former London borough of Bethnal Green, Emin and fellow artist Lucas opened a store where they sold their own handmade items. One of Emin’s earliest exhibitions took place in 1993–94 at the influential White Cube gallery on Duke Street (1993–2002). That show, ironically titled “My Major Retrospective,” gave a hint of things to come. It displayed personally significant artifacts from Emin’s life, such as a hospital bracelet and personal correspondence, in addition to a quilt on which she had stitched the names of family members and notes to them. In 1994 Emin undertook a U.S. tour of performance art for which, sitting in her grandmother’s chair...

William Pellicone (American 1915-2004) Mixed media, pyrography, oil on wood carving painting. Dated 1958 Title - Enthymeme #14. Oil painting on carved and burnt distressed wood panel. Inscribed verso Enthymeme Wm. Pellicone #14, 9-4-58. Label on reverse with a typed definition for Enthymeme. Dimensions: 27 inches high, 42.5 inches wide. Metal wrap frame. Provenance: from a Shelter Island NY home that was designed by architect Henry J. Gazon - A.I.A. built in 1959. William Pellicone (1915-2004) was an American painter known for his abstract compositions and use of vibrant colors. He was born in New York City and studied at the Art Students League and the Brooklyn Museum Art School. Pellicone's early work was influenced by the Social Realist movement of the 1930s and 1940s, with his paintings often featuring realistic depictions of urban scenes and working-class people. However, in the 1950s he shifted towards abstraction, exploring the interplay of color and form. Pellicone's mature style was characterized by his use of vibrant, saturated colors, often applied in thick layers of paint. His paintings often featured geometric shapes and organic forms, with a strong sense of movement and energy. In addition to his painting, Pellicone was also a respected teacher and arts administrator. He taught at the New York Institute of Technology and the State University of New York, and served as the director of the Islip Art Museum on Long Island. Pellicone's artwork was exhibited widely during his lifetime, and he was the recipient of numerous awards and honors, including a National Endowment for the Arts grant in 1977. Today, his paintings can be found in the collections of museums and galleries around the world, including the Smithsonian American Art Museum in Washington, D.C. and the Metropolitan Museum of Art in New York. William Pellicone (Born 1915) is active/lives in New York. William Pellicone is known for Abstract expressionist, landscape and non-objective art. An American artist, sculptor, architect. He exhibited at Pennsylvania Academy Fine Arts, Philadelphia. A son of Italian immigrants from Calabria, William Pellicone Was a self-taught American Modernist who received scholarships to Temple University, the Pennsylvania Academy of Art and Philadelphia's famed Barnes Foundation. He was a friend of Edward Hopper and others of that Milieu. He was a merchant marine during World War II and a four-year farmer in Pennsylvania for New York City, where he became known for his works done with paint and fire. The work drew attention from both "Life" and "Look" magazine. With time William's style changed to more Surrealist, fantastic realism subjects. This piece has a brutalist, Arte Povera, art brut feel to it. He work is associated with Modernism and Surrealism. He was included in the show with catalogue Gene Swenson : Retrospective for a Critic. Artists included: James Rosenquist, Arman (Armand Fernandez), Stuart Davis, Robert Indiana, Roy Lichtenstein, Alain Jacquet, Ellsworth Kelly, Agnes Martin, Andre Masson, Henri Matisse, Peter Max, Robert Motherwell, Claes Oldenburg, George Ortman, Kenneth Patchen, William Pellicone, Larry Poons, Joseph Raffaele, Robert Rauschenberg, Ad Reinhardt, James Rosenquist, Frank Stella, Cy Twombly, Andy Warhol, Tom Wesselmann, Jim Dine, Jasper Johns and Paul Thek...

Tip of the iceberg, handmade ceramic and wood Our objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, sculptu...

Dorothy Gillespie (1920 – 2012) Ribboned Image X 2001 Metal Ribbon Sculpture, Enamel on Aluminum with colorful striped green ribbons. Dimensions...

Artist: Sijan, Marc Title: Security Guard Date: 2024 Medium: Polyresin with oil paint and mixed media Signature: Signed lower leg Edition: Unique ...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied...