Florida - Figurative Sculptures

"The Test," 1970 Aluminum sculpture in 5 parts. Artist's cipher and AP stamped into male figure, front, 20 5/16" x 12 1/2" x 6 5/7" (approx.) 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. William Dickey King was born in Jacksonville, Florida. As a boy, William made model airplanes and helped his father and older brother build furniture and boats. 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. 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. 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 Hirshorn 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 Giacomettis conceived by John Cheever.”

Has been in artist's private collection. Maquette hunting dog with training dummy.

Genre: Modern Subject: Abstract Medium: Other Surface: Paper Country: United States Dimensions w/Mat: 20" x 21" Bas relief on hand-made paper; Visual statement of society’s role in...

Llovera, bronze Manuel Martínez Hugué (Barcelona, ​​1872-Caldas de Montbui, 1945) was a Spanish painter and sculptor, representative of the Catalan Noucentisme of the early 20th century. His work can be summarized as a synthesis of classicism and primitivism within modernity. He is widely cited under the colloquial name of Manolo. Born in Barcelona, ​​his bohemian and marginal life and his visits to the Els Quatre Gats café in Barcelona earned him the friendship of Santiago Rusiñol, Joaquín Mir, Isidro Nonell and Pablo Picasso, among other artists. In 1900 he moved to Paris, where he lived for ten years. There he met Jean Moréas and Guillaume Apollinaire, in addition to working on the design of jewelry and small pieces of sculpture, among which La Llobera (1911, Barcelona, ​​Museum of Modern Art, and Young Seated (1913, Paris, Center Georges Pompidou)). Driven by a dealer, Hugué moved to Céret in 1910, where he brought together a diverse group of artists, including Juan Gris, Joaquín Sunyer...

Kate, (Wall Sculpture) by Hunter & Gatti From the series All is Flux Acrylic tridimensional wall sculpture Sculpted pigment print on Forex acrylic 64 in. H x 42 in. W x 9 in. D Uniqu...

Delicate depiction with special patina of female. Part of artist's private collection.

Has been in artist's private collection. Young girl with bow in her hair holding her favorite toy.

Has been part of artist's private collection. Sculpture named after book written by Margaret Stanger entitled, "That Quail, Robert."

Original stainless steel sculpture. Incised "Leon Ferrari 1978" on a metal plaque affixed to the lower area of the sculpture. Certificate of Authenticity is included. Please do n...

Mihail Mikhailovich Chemiakin (or Shemyakin, Russian: Михаил Михайлович Шемякин, born 4 May 1943) is a Russian painter, stage designer, sculptor and publisher, and a controversial re...

A sweet woman who loved people (especially babies), animals and honeysuckle.

Magnificent sculpture on wood by Spanish artist CODINA CORONA. Sculpture of one piece of wood without pieces superposed Josep Maria Codina Corona (Igualada, 1935 - Barcelona, 2006) w...

GIGI HADID (Wall Sculpture) by Hunter & Gatti From the series All is Flux Acrylic tridimensional wall sculpture Sculpted pigment print on Forex acrylic 66 in. H x 42 in. W x 12 in. D...

horse. 19th century bronze sculpture measurements with the base are 37.5 x 17.5 x 31 cm

Seascape with mountain and boats in harbour. it is signed in hebrew and English. it is not dated. MORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon & Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work. His works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi. Education 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem Selected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem Artists: Dedi Ben Shaul...

Jonathan Delmas began his wonderful work since his tenderest youth in contact with his father and grandfather, great founders of arts in Paris. His first movement, the Bear, born in...

Art Glass Candy With Red Dots Large hand blown green and red dot art glass candy sculpture by Studio Ahus Sweden signed and dated 1996, limited edition.

it does not appear to be signed. it is numbered 1-4. it is a cast glass in a manner similar to works by Daum and Lalique. I am unsure who the maker is. it is quite thick. It does not...

Jonathan Delmas began his wonderful work since his tenderest youth in contact with his father and grandfather, great founders of arts in Paris. His first movement, the Bear, born in...

Bruno Mars (Wall Sculpture) by Hunter & Gatti From the series All is Flux Acrylic tridimensional wall sculpture Sculpted pigment print on Forex acrylic 40 in. H x 30 in. W x 7 in. D ...

My artwork has consisted of and has evolved into many forms throughout the years while always being influenced by the culture of South Florida. To portray my inspirations into my artform, my art pieces always consist of acrylic paints, vibrant colors, textured clay surfaces, uniquely shaped canvases, and decorative stone embellishments and accents. I have painted within many genres of subject matter, use a multitude of mediums, and am inspired by an array of subject matter. My experiences, inspirations, and artistic details are what enhance and add dimension to my artwork in the forms of murals, painted canvases, artistic furniture and home décor, and 3D art forms. I have developed my artwork into collections over the years that I always aspire to further enhance and creatively grow from. What makes my artwork unique creations is the attention paid to hand-crafted and clay designed accents I use to add layers of texture to my pieces. Medium of mirrors, stones, tiles, decorative cutouts, metallic foils, and other design elements make each piece unique and one of a kind. As well, use of resin helps to solidify and finish off the surfaces of most of my pieces. I love to use art...

Inspired by Picasso’s cubist era, metal sculptor Alexander Krivosheiw altered his signature fabrication style to create a fragmented, geometric portrayal of a dog called SCOOPS. The ...

Approximately 10,000 U.S pennies.

Rafael's studio practice engages with oil painting and drawing, plaster combined with pigments, bronze casting and utilizing industrial materials. Rafael's figure work uses simple b...

Mariko’s Fukuoka is an unique contemporary sandstone sculpture painted with red, purple, yellow, black and white enamel. The geishas collection of the artist expresses the various fa...

Approximately 15,000 U.S Nickels.

24k Gold plated U.S. pennies. Approximately 13,000 gold pennies on acrylic base.

Approximately 10,000 U.S. Pennies.

Approximately 2,000 U.S Dimes on a metal base. Mixed media.

Mixed Media from artist studio.

Approximately 350,000 pieces of Canadian pennies.

Approximately 10,000 U.S. pennies.

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...

Pair of rare Murano handblown glass Toucans sculptures. 20"and 19" height 15" and 14"wide depth 5" base 4"x4" Artist signed (engraved), artist's seal.​ Wa...

Sculpture by the Spanish artist AMANCIO GONZALEZ Artist well known for his large format works on the street. Iron and bronze. AMANCIO Gonzalez ( Leon 1965 ) Amancio González is a s...

Edition of 9 + APs

Florencio Gelabert Y Perez (Cuban, 1904-1995) Hand carved, signed; 1979 Materials: Cuban wood (mahogany?) Dimensions 23 X 4 X 4 inches Label affixed to underside: National Registry of Cultural Assets of the Republic of Cuba Ministry of Culture. Provenance: Art Master Collection, Miami, Florida. Florencio Gelabert, with a style reminiscent of Art Deco and Art Nouveau in a Latin American Expressionist stylization. Carved wood sculpture. Depicts a modernist stylized form of a man in a streamline moderne style. José Florencio Gelabert Pérez (Caibarien, 1904 - Havana, 1995) Cuban musician, sculptor, draftsman and teacher. He graduated from the San Alejandro National Academy of Fine Arts in 1934. He received numerous awards, mentions and recognitions in Fine Arts Halls and Circles. His works are in the permanent collection of the National Museum of Fine Arts. Florencio Gelabert is a renowned sculptor, who made more than twenty solo exhibitions beginning in 1929, several in the National Museum of Fine Arts, and participated in more than thirty collectives in Cuba, Spain and Brazil, the latter in the Sao Paulo Biennial. he traveled from Caibarién to Santa Clara in 1928 to audition to enter the famous San Alejandro Fine Arts School in Havana. He obtained one of the five vacancies. Already in the Cuban capital, he combined fine arts and music. When he graduated, he became a professor in San Alejandro and the academy’s principal in 1960. With a calling common to wood sculptors –which began with his primary school carving carpentry classes and the active life of his home town’s shipyards, his chisels and gouges feverishly turned mahogany, “ácana” and ebony into female heads with black African features dating back to 1930. In 1938 he used his savings to explore Europe: France (Paris, Marseilles), Italy (Naples, Rome, Florence, and Venice), Belgium (Malina). His encounter with the works by Aristide Maillol, Auguste Rodin, Ossip Zadkine, Constantin Brancusi and even with Wifredo Lam, who was also born in another Cuban coastal area, Sagua la Grande, and his encounter with the nude marble David sculpture...

Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre’s works have been exhibited in France, the United States, Switzerland, Germany, Israel, Mexico and Jamaica, in such places as the Abbaye de Daoulas, the Grand Palais, the Brooklyn Museum, the Modern Art Museum of Mexico and the Musée du Montparnasse. His work is part of the permanent collections at the Waterloo Museum, the Davenport Museum, the Milwaukee Art Museum, Le Centre d’Art, the Musée d’art Haïtien du Collège Saint-Pierre and the Musée de Panthéon National Haïtien. References Phyllis Kind...

Two Figures (Mother and son) 9" x 17" terracotta sculpture, signed lower left mounted to wood panel, 15 1/2" x 23 1/2" George Aarons (born Gregory Podubisky, in St. Petersburg, Russ...

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 thematically in his sculptures and these unique pieces are inspired by the artist's ongoing 'Flower sculptures' series. Like their inspiration, these works are described by Quinn as the most magical transformation of reality into art - rendered intimately for personal wear. Artist Marc Quinn known for his voluptuous hyper-real, super-bright flower and that famous golden statue of Kate Moss doing yoga has made a very limited edition of these yellow gold rings. He has made white bronze sculptures as well as white gold jewelry for Selfridges in London. Quinn has used orchids repeatedly as a motif in his work. Major artists such as Pablo Picasso, Alexander Calder, Salvador Dalí, Lucio Fontana and Roy Lichtenstein and Claude and Xavier Lalanne have sall made artists Art Jewelry. These unique pieces are inspired by the artist's ongoing 'Flower sculptures' series. These have been included in the Dine Venet collection as well as in the Louisa Guinness gallery collection. (She has commissioned works by Anish Kapoor, Claude Lalanne, Marc Quinn and Ron Arad). Quinn first came to public attention in the early 1990s through his affiliation with the Young British Artists (YBAs). Among his earliest and best-known works is Self (1991), a cast of his head made from ten pints of Quinn’s frozen blood, an amount equal to the volume in his body. In a 2013 interview, the artist said that the YBA movement had been about “bringing real life into art.” In both Self and Spiral of the Galaxy, Quinn’s urge is holistic and metaphysical, a desire to translate the substance of life into image. Young British Artists, or YBAs—also referred to as Brit artists and Britart—is a loose group of visual artists who first began to exhibit together in London in 1988. Many of the YBA artists graduated from the BA Fine Art course at Goldsmiths, in the late 1980s, whereas some from the group had trained at Royal College of Art. Leading artists of the group include Damien Hirst and Tracey Emin. The core of the YBA group graduated from the Goldsmiths BA Fine Art degree course in the classes of 1987–90. Liam Gillick, Fiona Rae, Steve Park and Sarah Lucas, were graduates in the class of 1987. Ian Davenport, Michael Landy, Gary Hume, Anya Gallaccio, Lala Meredith-Vula, Henry Bond, Angela Bulloch, were graduates in the class of 1988; Damien Hirst, Angus Fairhurst, Mat Collishaw, Simon Patterson, and Abigail Lane, were graduates from the class of 1989; whilst Gillian Wearing, and Sam Taylor-Wood, were graduates from the class of 1990, and Jason Martin was graduated with the class of 1993. During the years 1987–1990, the teaching staff on the Goldsmiths BA Fine Art included Jon Thompson, Richard Wentworth, Michael Craig-Martin, Ian Jeffrey, Helen Chadwick, Mark Wallinger, Judith Cowan and Glen Baxter...

Daniel Arsham Future Relic 05: Telephone, 2016 Sold in mint condition - in original box with custom foam support and gloves. Plaster and crushed glass sculpture 4.7 x 8.5 x 9 in Edit...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box. Certificate of authenticity issued by our gallery is...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with Britto studio certificate of authenticity. Ar...

Mixed media sculpture. Printed artist signature and hand numbered on the underside of the sculpture. Signed and numbered certificate of authenticity by the artist. Includes origin...

Red Chilli Pepper Artist signed, patinated bronze with black marble (base 8"x8") Randi Grantham was born and raised in Las Vegas, Nevada and now lives in South Florida. He is a sel...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with Britto studio certificate of authenticity. Artw...

Mixed media sculpture. Hand numbered on the underside of the sculpture. Hand signed and numbered certificate of authenticity by Ryan Travis Christian. Includes original wooden box...

Pear with a leaf. Artist signed, patinated bronze black marble base 8"x8" Randi Grantham was born and raised in Las Vegas, Nevada and now lives in South Florida. He is a self taught...

Poly resin sculpture. Britto signature stamped on lower right. From the edition of 4000 (2nd edition). Comes in original box with Britto studio certificate of authenticity. Ar...

This is a wonderful original hand carved unique marble sculpture by one of America's most treasured artists, Chaim Gross. For more than sixty years Chaim Gross's art has expressed op...

Tom Cramer (b.1960). Standing Figure, 1998. Carved wood and polymer paint. Measures 12 inches high. Excellent condition. Signed and dated under base. Tom Cramer is an American artist working in Portland, Oregon noted for his intricately carved and painted wood reliefs and ubiquity throughout the city of Portland. Often called the unofficial Artist Laureate of Portland,[2] Cramer is one of the most visible and successful artists in the city. The influences on his work are both organic and technological. He is widely collected and is in many prominent west coast museum and private collections. He is in the permanent collections of the Portland Art Museum[3] in Portland Oregon, the Halle Ford Museum in Salem Oregon, the Jordan Schnitzer Museum in Eugene, Oregon, the Boise Art Museum in Idaho. Cramer made a name for himself in the 1980s and 1990s becoming a bridge between historical Oregon artists like Clifford Gleason and Milton Wilson...

Edition of 12 + APs

"ALPHA" Mixed media sculpture 24" x 60" x 1" inch by Shawn Kolodny Resin, Wood, Acrylic paint Creating art to reflect the times we live in, Kolodny creates art for our short attent...

Bronze sculpture.. Incised artist signature; stamp numbered with foundry and date. Edition: Of 375. Certificate of Authenticity is included. Artwork is in excellent condition. All...

Seymour Chwast (born August 18, 1931) is an American graphic designer, illustrator, and type designer. Chwast was born in Bronx, New York, and graduated with a Bachelor of Fine Arts from Cooper Union in 1951. With Milton Glaser, Edward Sorel...

Apres Pablo Picasso (bears a pseudo signature recto) Hand signed David Stein, dated 1979 verso. Figural painted porcelain or ceramic serving dish, oval form. Dimensions: 18" X 14 David Stein (born Henri Haddad, 1935, Alexandria, Egypt – died 1999, Bordeaux, France) was an artist (notorious art forger) who, until 1966, had been frequently sentenced for theft by the French courts before becoming an art forger and art dealer with 15 aliases. Stein often copied paintings in the style of the masters. For example, he studied Marc Chagall, Matisse, Braque, Paul Klee, Joan Miró, Pablo Picasso, Jean Cocteau and Rouault, in order to copy their color scheme and inspirations. In 1967 Marc Chagall notified authorities of forgeries of his work hanging in a New York gallery, and Stein was arrested. Art dealers refused to cooperate with the prosecution because it would have incriminated them and made their expertise in the art field questionable. Some art collectors refused to give up their paintings as evidence. Stein was convicted of six counts of art forgery and grand larceny. During his prison term, Joseph Stone, the judge who arrested him, brought him to his office to paint. He remained a good friend of the Stein family long after Stein completed his jail sentence. In 1989 he discovered that Stein never stopped making forgeries. After Stein had served his prison term in the United States, he was deported to France where he served another term. Prison authorities allowed him to make further paintings, although now using his own name. In 1969 a London gallery sold some of these paintings. After Stein was released, he returned to painting, this time selling his paintings under his own name to put a mask on his real activities. The book Three Picasso's Before Breakfast (Mémoirs of an Art Forger's Wife) by Anne Marie Stein as told to Georges Carpozi Jr (Hawthorn Book Inc) was written by David's life partner Anne-Marie about their experiences in the art world. In the mid 1980s director Gil Cates gave his agent Arthur Axelman at William Morris a copy of the book which had been written without Stein's involvement. Axelman set out to find Stein and after several years he located him in Manhattan. Stein became an Axelman client and friend. While deals at HBO and ABC did not lead to production of a film, Axelman introduced Stein to Keith Carradine and Alan Rudolph, director of the movie "The Moderns" with ultimately starred John Lone, Géraldine Chaplin, Keith Carradine and Linda Fiorentino. The film was set in the Paris of the '20s although filmed in Montreal. Stein appeared in the film as an art critic and provided all of the art. A minor concern was a scene where a painting in the style of Matisse and Modigliani was to be burned on camera and a Modigliani destroyed by knife. No one cared to destroy any of Stein's copies, "Just good for the camera" say Stein. but a William Morris assistant for agent Axelman suggested making large format copies of the works to be destroyed. Stein refused and during the scene actor John Lone destroyed the Paintings. Stein was living in France after his troubles with the US immigration who had told him to leave US territory in 1988. He met the French photo...

Blue Elephant Artist signed and dated 23.3.2000 Walter Furlan was born (1931-2018) in Chioggia, a small town near Venice. He started to work in a furna...

Colin Webster Watson (1926-2007). A patinated cast bronze sculpture of a stylized bird with a steel ring. Signed, numbered and dated (1985). With a Tallix foundry mark. Measu...