Florida - Sculptures

From the newest original works by Zammy Migdal, these wall objects hang as sculpture on the wall, each one unique, forming its own fluid story. This dark gray work is from a series ...

As if it where a three dimensional drawing, this whimsical Mid-Century deconstructed iron bird sculpture will grab plenty of attention.

Midcentury sculpture depicting two hand blown cockatoos perched on a doré bronze tree on a glass base signed Zanetti.

Chic midcentury life-size potted plant or philodendron sculpture, handcrafted in metal with a stylized form and an acquired oxidized finish.

Fanciful pair of Mid-Century ostrich bird sculptures constructed with ostrich eggs and silvered metal. Wearing a quizzical expression that seems to be ask...

Pair of stylized sculptures crafted in iron and ambitiously portraying mother nature's sea fan construction. Presented on classical two tiered bases and signed by the noted artist Ro...

Standout pottery pear sculpture or object of art featuring a distinctive raku style glaze. Signed by noted pottery artist Steven Forbes-deSoule on the b...

Margaret Reventlow, American born London, 1915 - 2014, "Ten Fathoms Deep", (swimming fish) bronze with green and red slag glass, unsigned, with artist n...

Swank pair of wall sculptures crafted in copper and brass in the form of stylized cattails or Typha. Hand polished and lacquered for easy care.

Jeon Kang Ok currently lives and works in South Korea. Her work resides in permanent collections of Seoul Museum of Art, Seoul, Korea
 / Pohang Museum of ...

Terra cotta horse sculpture or object of art decorated in holiday attire under glaze. Signed made in Italy on the bottom.

Mid century rhinoceros sculpture crafted in terra cotta with a white crackle glaze.

Characterizing herself as a Constructivist-turned-Minimalist, who “can’t do anything else” but make art, Jane Manus produces abstract sculptures that punctuate the spaces into which ...

Dramatic pair of midcentury cast metal sea fans with their iconic form finished in gold leaf and presented on black glass bases.

Whimsical two sided hogfish sculpture crafted in composition and wire with stylized form and sea inspired tropical colors by Todd Warner.

Additional Information: Petite portrait has painted eyes, circlet and necklace in blue and gold. Provenance: Private Collection New York, from a collector of many petite works by the...

Up for sale is a rare and highly sought-after set of planters by the acclaimed Dutch artist, Parra. Titled "A High Heeled Two Legged Planter" and prod...

Standout Anglo Indian cast brass elephant head sculpture presented on a turned brass stand. Hand polished and lacquered for easy care.

Matt Smith After Soldani Benzi (looking right), 2022 Black Parian, found spelter figure 16 x 30 x 13 cm 6 1/4 x 11 3/4 x 5 1/4 in. Parian is a fine, unglazed porcelain resembling ma...

Matt Smith Notes from a Love Song (Cannon), 2022 Black Parian 24 x 17 x 11 cm 9 1/2 x 6 3/4 x 4 1/4 in. Parian is a fine, unglazed porcelain resembling marble. It is an unstable mat...

Matt Smith After Soldani Benzi (looking left), 2022 Black Parian, found spelter figure 16 x 30 x 13 cm 6 1/4 x 11 3/4 x 5 1/4 in. Parian is a fine, unglazed porcelain resembling ma...

Additional Information: Unfinished base may not be original to the piece. Provenance: Private Collection New York, from a collector of many petite works by the artist. Marking(s); n...

Rimma Gerlovina and Valeriy Gerlovin Compass, 1988 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 12.5 h × 12.5w × 4 d in (30 × 30 × 6 cm) Rimma Gerlovina and Valeriy Gerlovin were founding members of the underground conceptual movement Samizdat in the Soviet Union, described in their book Russian Samizdat Art. Based on a play of paradoxes, their work is rich with philosophic and mythological implications, reflected in their writing as well. Their book Concepts was published in Russia in 2012. The work by Rimma Gerlovina and Valeriy Gerlovin is emphatically contemporary. The artist couple were part of the Moscow Conceptualists, their performance Costumes, from 1977, deepened their ongoing work with linguistic semiotic systems and their own bodies. Considering the context in which Gerlovina and Gerlovin made their work—that of political restrictions on public life, of unfreedom, and censorship—their collaborative togetherness must also be read as a space of possibility for political community and resistance. Rimma Gerlovina’s hair is featured prominently in the art of the Gerlovins as a constructing element of the body. Used for the linear drawings her braids transmit transpersonal waves reminiscent of an aura of live filaments. Long loose hairs function as threads of life; streaming in abundance, they allude to Aphrodisiac vitality and Samsonian strength. On the other hand, they are the haircloth worn during mourning and penitence. In New York they continued to make sculptural objects, and their photographic projects grew into an extended series called Photoglyphs. In their photographs, they use their own faces to explore the nature of thought and what lies beyond it. Since coming to the United States in 1980, they had many exhibitions in galleries and museums including the Art Institute of Chicago. The New Orleans Museum of Art launched a retrospective of their photography, which traveled to fifteen cities. Group exhibitions include the Venice Biennale, the Guggenheim Museum, New York, Smithsonian National Museum of American Art, Washington D.C., Bonn Kunsthalle, Germany, Tokyo Metropolitan Museum of Photography, State Tretyakov Gallery, Moscow, and others. Samizdat or “self-published” began in the Soviet Union, and Samizdat art consists mainly of books and magazines published and distributed by the artists who made them. Samizdat art has sources in the innovative books and magazines turned out by the early 20th century Russian avant-garde—artists and writers like Olga Rozanova, Vladimir Mayakovsky, El Lissitzky, and Alexander Rodchenko. Artists as varied as Alexander Archipenko, Leon Bakst, Marc Chagall, Naum Gabo, Alexandra Exter...

Rimma Gerlovina and Valeriy Gerlovin Clock, 1987-94 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 13 h × 13 w × 4 d in (30 × 30 × 6 cm) Rimma Gerlovina and Valeriy Gerlovin were founding members of the underground conceptual movement Samizdat in the Soviet Union, described in their book Russian Samizdat Art. Based on a play of paradoxes, their work is rich with philosophic and mythological implications, reflected in their writing as well. Their book Concepts was published in Russia in 2012. The work by Rimma Gerlovina and Valeriy Gerlovin is emphatically contemporary. The artist couple were part of the Moscow Conceptualists, their performance Costumes, from 1977, deepened their ongoing work with linguistic semiotic systems and their own bodies. Considering the context in which Gerlovina and Gerlovin made their work—that of political restrictions on public life, of unfreedom, and censorship—their collaborative togetherness must also be read as a space of possibility for political community and resistance. Rimma Gerlovina’s hair is featured prominently in the art of the Gerlovins as a constructing element of the body. Used for the linear drawings her braids transmit transpersonal waves reminiscent of an aura of live filaments. Long loose hairs function as threads of life; streaming in abundance, they allude to Aphrodisiac vitality and Samsonian strength. On the other hand, they are the haircloth worn during mourning and penitence. In New York they continued to make sculptural objects, and their photographic projects grew into an extended series called Photoglyphs. In their photographs, they use their own faces to explore the nature of thought and what lies beyond it. Since coming to the United States in 1980, they had many exhibitions in galleries and museums including the Art Institute of Chicago. The New Orleans Museum of Art launched a retrospective of their photography, which traveled to fifteen cities. Group exhibitions include the Venice Biennale, the Guggenheim Museum, New York, Smithsonian National Museum of American Art, Washington D.C., Bonn Kunsthalle, Germany, Tokyo Metropolitan Museum of Photography, State Tretyakov Gallery, Moscow, and others. Samizdat or “self-published” began in the Soviet Union, and Samizdat art consists mainly of books and magazines published and distributed by the artists who made them. Samizdat art has sources in the innovative books and magazines turned out by the early 20th century Russian avant-garde—artists and writers like Olga Rozanova, Vladimir Mayakovsky, El Lissitzky, and Alexander Rodchenko. Artists as varied as Alexander Archipenko, Leon Bakst, Marc Chagall, Naum Gabo, Alexandra Exter...

Additional Information: Tom Suomalainen is a ceramic artist known for his creative and imaginative sculptures. Marking(s); notes: signed Country of origin; materials: USA; stoneware

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

Additional Information: Lightbox (“Untitled IV”) comes in the gallery’s storage box. Artist-signed gallery label to reverse of each: Brooke Alexander Gallery, New York, New York. Pr...

Sculpture of a businessman in the "corner office" Edition of 7

Additional Information: Karl Stirner's works are inspired by other well known contemporaries... Harry Bertoia, Abbott Pattison, and James Bearden. “Karl...

Standout life sized pair of vintage tole or painted metal wall mounted palm tree sculptures with plenty of decorative appeal.

Striking mid-century sculpture of a Rhinoceros cast in aluminum with its iconic profile and lidded storage compartment.

Antique Italian true pair of lions crafted in terra cotta, decorated, glazed and forever in repose.

Whimsical Italian porcelain bust of a Crow or bird decked out in the Classic Venetian boatman's striped shirt and straw hat. Signed on the bottom Italy Royal Majolyca.

Trapped is an original cement plaque made by the street artist KAI. It is a unique prototype made aside the original edition of 20. Comes with its origi...

Sculpture of a parrot with a strawberry and a toucan with a banana created in wood and decorated with tropical colors. Signed by the noted artist Leroy Ortega on the bottom.

Impressive cast brass Macaw parrot sculpture crafted in the Mid-Century with Art Deco influence. Having graceful flowing form and presented on a walnut stand. Hand polished and lacqu...

Amusing and macabre life size midcentury Mario Torres woven wicker sculpture of a woman in Edwardian attire. Having copper flowers and metal feathers on her hat and skeletal hands, one holding an umbrella. This unusual sculpture is composed of a metal frame in wrapped wicker...

In the Greek mythology, Pegasus was a handsome white winged horse. He was in charge by Zeus to bring thunderstorms and lightenings upon the Olympus Mount, known to be the Home of the Gods. In more recent times, Pigasus turned into a 145 pounds domestic pig, nominated for President in the 1960's by the Youth International Party the Yippies. This movement became popular for their stands against war and political establishment. Patrick Schumacher was inspired by this symbolic animal as a memorial of the Peace and Love era. Born in 1953, Patrick Schumacher is a German contemporary sculptor based in Nice, France. Classically trained in the foundation of Art in Strasbourg, France, he specialises in restoring art antiquities. As a result of his training, Schumacher acquired an extensive range of technical knowledge which he applies to a broad spectrum of materials. Finding inspiration in cultural origins combined with his interests in both classical and Asiatic art...

The sculpture is patinated bronze with naturally occurring amethyst crystals. The cementitious pedestal base is unique and hand made in the artists studio under the watchful eyes of the artist and is hand finished. The artist is James Edward Lomax who is English in his early 30’s who is internationally recognized for his prodigious talent and individuality He studied art in Cornwall in the Southwest of England, where he specialized in sculpture. His prodigious talent was soon recognized, and he developed his own unique and exquisite approach to sculpting. He is currently based in Bali, Indonesia where he continues to experiment with different natural materials creating mystical sculptures for his many international collectors. He has exhibited at the Royal Horticultural Show in London for many years and is permanently represented at The Englishman Fine Art...

Roxy Paine is a Contemporary sculptor and painter, best known for his large-scale, tree-like structures. Paine attended the College of Santa Fe in New Mexic...

Jeff Koons (born 1955) Balloon Dog (Yellow), 2015 Metallic porcelain plate multiple, with the artist's brand stamped signature, titled and numbered 802/2300 verso, manufactured by Be...

Vinyl and Aluminum Sculptor William King is widely renowned for his signature flattened and stilt-legged figures, gesturing dramatically. Humorous and rife with social commentary, h...

Artist: Brian Calvin Title: Shared Space Size: 14 Inches Dia (35.6 cm Dia.) Medium: Ceramic Edition: of 100 Year: 2021 Notes: Numbered on Bottom. Artwork is in excellent c...

Jonathan Prince shapes stone and steel into elegant, expressive, abstract sculptures, drawing inspiration from the Modernist emphasis on materiality, form, and precision, and influen...

MATT SMITH (BRITISH) Study in Green with Pearls, 2021 Black Parian, Found Ceramic, Freshwater Pearls 29 x 14 x 14 cm 11 1/2 x 5 1/2 x 5 1/2 in. (MS206) £ 4,000.00 UK-born Matt Smit...

Artist: Ryan Travis Christian Title: Face Time Size: (26 x 14 x 9 cm) Medium: Porcelain clock sculpture Black lacquered Edition: of 100 Year: 2019 Notes: Custom made screen pr...

keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, creased crinkled and wrinkled, angular, abstract sculpture, angular, process-oriented, mixed-media, sparse, biomorphic, abstract sculpture, contemporary design, sculpture, line form color, curvilinear forms, balance, smooth surfaces, contemporary minimalism, pop art, metallic surfaces, textile art, yellow, shiny, luxurious, curvy, pop art, kitsch, lavender art...

Kx2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

The smallest version of Jim Rennert's iconic Think Big sculpture. Here a 2-inch high Think Big looks up dreaming of greater things. American, b. 1958 Jim Rennert was born in 1958, ...

"I am woman, hear me roar In numbers too big to ignore And I know too much to go back an' pretend 'Cause I've heard it all before And I've been down there on the floor No one's ever gonna keep me down again Oh yes, I am wise But it's wisdom born of pain Yes, I've paid the price But look how much I gained If I have to, I can do anything I am strong I am invincible I am woman You can bend but never break me 'Cause it only serves to make me More determined to achieve my final goal And I come back even stronger Not a novice any longer 'Cause you've deepened the conviction in my soul" Helen Reddy...

Follow Me is a resin sculpture made by Patrice Breteau, a French contemporary artist. This piece is available in eight different colors, all resistant to UV ...

Arabesques Horse is a resin sculpture made by Patrick Schumacher, a French contemporary artist. This white Horse sculpture with blue "arabesques...

Michelangelo Bastiani (1979, Italy) uses technology in his representations of water to illustrate its dynamic nature and facilitate a direct connection and tangible interaction with ...

Edition 1/8 Medium: Natural bronze sculpture on a marble base. Jim Ritchie (1929-2017) born in Montreal, Canada, is known for his pastel drawings and bronze sculptures. He is stylis...

Ruth Bloch was born in Israel in 1951 to artist parents. Her father was a musician, while her mother worked in ceramics, Ruth's family were members of a Kibbutz called Alonim, a plac...

MATT SMITH (BRITISH) Jeff (Spout with pearls), 2021 Black Parian, Freshwater pearls 29 x 12 x 10 cm 11 1/2 x 4 3/4 x 4 in. (MS212) UK-born Matt Smith is well known for his site-spec...

Bronze Sculpture

Bronze sculptor, Shray, is one of the few working artists today who employs the rare Subtractionist technique. Like Michaelangelo, who released the human form in stone, Shray unveils...