Phoenix - Sculptures

acrylic on linen 12 x 12 x 3 inches Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geom...

laminated acrylic plastic Zammitt’s work alludes to the dynamics and interplay of dual elements: matter and energy, spirit and body, emotion and intellect. It is simultaneously abou...

layered acrylic panel sculpture Eric Zammitt’s work alludes to the dynamics and interplay of dual elements: matter and energy, spirit and body, emotion a...

stainless steel, vinyl emulsion

acrylic on plywood With the series titled We Share the Same Sky and New Objects Same Sky, my choice of natural wood as a material is influenced by the rich heritage of my father and...

Born Monterrey, Mexico 1991. Graduated from the Bachelor of Arts at the University of Monterrey. (2014) Andrés uses ceramics as a medium to create amorphous beings that seem to belo...

Well done bronze by Polish/Israeli artist Richard Shiloh (1946-2012). Title: Dancer on the Bar. Created circa: 1970's - 1980's. Measures: 13 1/2"h x 7"w. Edition size 5 of 8. The work is in excellent condition with no damage. The signature, edition size and foundry mark are seen on the base. Richard Shiloh is an internationally recognized Israeli figural...

painted wood Peter Millett is a seasoned traveler, who draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; explorin...

cold rolled steel, powder coat, and urethane

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

Cast aluminium nude sculpture by architect and artist Paolo Soleri (1910-2013). Soleri is well known for his experimental community, Arcosanti, just north of Phoenix where his cast w...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

turned jarrah wood

turned wood, wooden vessel, oak

acrylic on plywood With the series titled We Share the Same Sky and New Objects Same Sky, my choice of natural wood as a material is influenced by the rich heritage of my father and...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

forged mild steel and acrylic urethane Jeremy Thomas is a maker. His work explores objecthood; how a sculpture interacts with its surroundings, how the viewer interacts with a sculp...

Terracotta sculpture by Bernhard Sopher (Syrian/American 1877-1949). Clay figure of mother and child. Signed on the lower back: B. Sopher. Measures: 7 1/2" H x 7" W x 5" L. In excell...

Bronze angel sculpture by architect and artist Paolo Soleri (1910-2013). Soleri is well-known for his experimental Community, Arcosanti, just n...

Ena Rottenberg (1893-1952) art glass sculpture titled "Modell.” Made in Czechoslovakia. Marked “Rottenberg” 13" H. This piece was awarded the Grand Prix at the World’s Fair Paris, 19...

Wood sculpture by Nat Werner of a woman with arms outstretched. Measures 10" H x 4" W x 4" L. In excellent condition with no damage. The signature "Werner" is seen on the lower front...

120 objects Denise Yaghmourian is sculptor, painter and installation artist. Her forms are rooted in past art movements and styles, yet they resonate with artistic concerns of toda...

b. Melbourne, Australia Louise Blyton is a reductive artist exploring the romance of raw linen and dry pigment. The artist’s geometrically shaped canvases explore color, light, and form through the visual language of Reductivism, an aesthetic style characterized by streamlined compositions, restricted color, and a reduction of form and means. Identifying with Reductivism’s simplicity, Blyton’s shaped canvases and three-dimensional wall sculptures elevate craftsmanship and process, achieving a compositional clarity that unifies color and form. To construct her works, Blyton covers custom built balsa wood stretchers with raw linen, adorning them with layers of pure pigment or acrylic paint. Each pigment reacts differently to raw linen and requires a specific number of coats to reach the artist’s desired level of saturation. As the artist explains, “I’m always looking for a kind of quietness and harmony when making my works even if the color being used is loud.” The artist creates her own spatial dimension by manipulating the shape of the canvas, which escapes from the flat surface of the wall, confusing its role as a painting. “Rather than responding to the architecture they ask particular attributes of the building to act as support,” as some works appear to climb the surface of the walls, while others straddle columns and corners. Louise Blyton lives and works in Melbourne, Australia. She graduated with a Bachelor of Fine Art at RMIT University, Melbourne, Australia in 1988. Her works are held in significant corporate and private collections in Australia, China, France, United Kingdom, Portugal, and the United States. Since 2000, Blyton has run an artist supply store called, St. Luke Artist Colourman, which specializes in professional paint and raw materials, with her husband David Coles.

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of inflation." It is the pragmatic that draws Thomas. Asked about his influences he asserts that his primary influences do not come from the realm of art but rather from everyday living. “I don’t eat, sleep, and breathe art,” he comments. His discovery of metal-working arose in a similar, practical way. Thomas had been sculpting with stone and asked someone to show him how to forge his own chisel. This was the start of his exploration of forging techniques and after a time he gave up working with stone to work with metal. One of the key aspects of blacksmithing that intrigued Thomas was fact that it isn’t instantly gratifying, and it poses questions that aren’t easily solved. He interned with Tom Joyce...

painted wood Peter Millett is a seasoned traveler, who draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; explorin...

This wonderful bronze by Antonio de Fillipo (1900-1993) depicts the regal Great Dane. It bears a warm, satiny patina and is in excellent condition. The dog stands 10" high x 13" long...

Terracotta sculpture by French artist Georges Oudot (1928-2004). Bears his signature “Oudot” and the date ‘58. Beautiful work depicting a seated female with covered head. Measures:...

Frank Vittor (1888-1966) important bronze of mother and child. Signed by the artist “F. Vittor” and dated 1915. Also bears the foundry mark. Measures 12 1/2"h x 12 ½”w x 9"long. Bronze rests on a 1 ½ inch marble plinth. Artist born in Italy, studied with Rodin. The foundry is the National Art bronze works. The bronze was converted to a lamp at one point, and still bears a threaded tube projecting from the lower base approximately ½ inch. Frank Vittor (January, 6, 1888 - January 24, 1968) was an Italian immigrant to the United States who became famous as a sculptor. Vittor was born in Mozzato, Como, a suburb of Milan, Italy. He studied art in Milan at the Academy of Beres and then traveled to Paris, France to study under Auguste Rodin. When Vittor was 18, in 1906, U.S. architect Stanford White brought Vittor to New York to work on his staff. White, who had designed Madison Square Garden II, was murdered at a performance at The Garden two weeks after Vittor arrived. The youth, having little money and knowing very limited English, decided to stay in America and soon opened an art studio. He met his future wife, Ade Mae Humphreys, a resident of Pittsburgh, and made the move to her home town. Aviator Charles Lindbergh's first solo trans-Atlantic 3,600-mile (5,800 km) flight between Long Island, New York and Paris, France was immortalized in bronze by Vittor with a 50-foot-tall (15 m) sculpture showing a winged youth spanning the Statue of Liberty and the Eiffel Tower. Congress approved the expenditure in 1928, and the work was completed in 1929. Perhaps no work by Vittor created as much controversy and media coverage as did his nude statue of Henrietta Leaver, Miss America 1935. Though Leaver posed for Vittor, she did so in a bathing suit, accompanied by her grandmother. Upon first viewing the life-size 5-foot 5-inch plaster statue Leaver was shocked that it was a nude and demanded her representation be draped or veiled. Vittor did not agree and called in art experts to judge the work and all agreed it should stay as it had been created. Leaver did not back down and demanded people her own age review The American Venus, as it had originally been called. Unfortunately for Leaver her 60 peers, many of whom were art students, agreed it should remain unveiled. Though the strong disagreement between the two eventually did subside, Leaver, Vittor and the statue resurfaced five decades later in recaps of controversial Miss America mishaps. Baseball player Honus Wagner, one of the first five players inducted into the Hall of Fame, was memorialized by Vittor in a 17-foot-tall (5.2 m) bronze statue, originally on display near the Pittsburgh Pirates Forbes Field. It was moved to Three Rivers Stadium and, when that stadium was imploded in 1971, the statue was relocated to PNC Park.[6] In 1958, one of Vittor's greatest works, a 50-foot-tall (15 m) granite base and bronze statue of Christopher Columbus, was unveiled in Pittsburgh's Schenley Park. Shortly after the statue was placed, the bronze plaque at the base was stolen by vandals. The Sons of Columbus USA desire to replace the plaque with the original wording; however, there exists no record of what Vittor had written regarding Columbus. Charles Lindbergh was the recipient of a second work of art created by Vittor. The artist and sculptor designed a commemorative stamp picturing the pilot and his plane, the Spirit of St. Louis. Walter F. Brown, the U.S. Postmaster General, authorized a 175th anniversary commemorative "Battle of Braddock" 2-cent stamp to be designed by Vittor. The artwork he created featured a likeness of Colonel George Washington with the inscription "Battle of Braddock's Field, 1755-1930. In 1936 the U.S. Congress authorized minting a half-dollar coin to commemorate the 75th anniversary of the American Civil War. Vittor was the person selected to design the coin. The obverse depicts the profile of two soldiers, one from the North and one from the South and the reverse holds a symbol of the battle placed between the combatant's shields. The coins were distributed through the Pennsylvania State Commission for Gettysburg. Throughout Pittsburgh and the surrounding communities there exist more than 50 statues and fountains, as well as numerous other works, including a dozen historical panels on County bridges...

Donal hord bronze sculpture, 1926. “Kneeling Indians” 10" H x 9" W x 9" D. A bronze stand with a kneeling Indian at each corner bearing a bronze bowl. Two Pieces. In excellent condi...

Donal Hord bronze sculpture, 1927. “Dying Warriors” Sits on a 2" wooden plinth. In excellent condition. Inscribed “D.H.” underneath the bronze on the plinth. Measures 11"H x 10"W x ...

Large handblown double fish form on a single base with gold fleck throughout. Pink, purple, blue and grey tones are seen. Created in the manner of Barbini and Seguso. Measures: 11 ...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

unglazed ceramic

gilded wood with gold leaf and fabric For over a decade Mateo has focused his work on the analysis of the rites and symbols of power, the high classes, aristocracy, and royalty. H...

yarn on wood dimensions are for each of the three main cube components (width and length vary) Denise Yaghmourian’s material based sensibility results in works that reference Femi...

galvanized steel Growing up Peter Millett was surrounded by activity. His father was an architect and his mother a musician who produced community theatre. There were always sets ...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

b. Melbourne, Australia Louise Blyton is a reductive artist exploring the romance of raw linen and dry pigment. The artist’s geometrically shaped canvases explore color, light, and form through the visual language of Reductivism, an aesthetic style characterized by streamlined compositions, restricted color, and a reduction of form and means. Identifying with Reductivism’s simplicity, Blyton’s shaped canvases and three-dimensional wall sculptures elevate craftsmanship and process, achieving a compositional clarity that unifies color and form. To construct her works, Blyton covers custom built balsa wood stretchers with raw linen, adorning them with layers of pure pigment or acrylic paint. Each pigment reacts differently to raw linen and requires a specific number of coats to reach the artist’s desired level of saturation. As the artist explains, “I’m always looking for a kind of quietness and harmony when making my works even if the color being used is loud.” The artist creates her own spatial dimension by manipulating the shape of the canvas, which escapes from the flat surface of the wall, confusing its role as a painting. “Rather than responding to the architecture they ask particular attributes of the building to act as support,” as some works appear to climb the surface of the walls, while others straddle columns and corners. Louise Blyton lives and works in Melbourne, Australia. She graduated with a Bachelor of Fine Art at RMIT University, Melbourne, Australia in 1988. Her works are held in significant corporate and private collections in Australia, China, France, United Kingdom, Portugal, and the United States. Since 2000, Blyton has run an artist supply store called, St. Luke Artist Colourman, which specializes in professional paint and raw materials, with her husband David Coles.

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

Thomas's current inflatable steel sculpting technique is something he stumbled upon during a demo for one of his sculpture classes. Steel, Thomas says, has a clay-like malleability a...

acrylic on linen 12 x 13 x 7.75 inches Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple g...

Admirers of Jeremy Thomas’ sculpture should be grateful to a thief. Thomas came to the College of Santa Fe to study Studio Arts as a painter and printmaker, both of which he had been doing since high school, even apprenticing with a master printmaker in his native Oklahoma. However, one semester while moving out of his dormitory, with boxes and bags piled around, the wooden box which held all of his brushes and painting supplies...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of inflation." It is the pragmatic that draws Thomas. Asked about his influences he asserts that his primary influences do not come from the realm of art but rather from everyday living. “I don’t eat, sleep, and breathe art,” he comments. His discovery of metal-working arose in a similar, practical way. Thomas had been sculpting with stone and asked someone to show him how to forge his own chisel. This was the start of his exploration of forging techniques and after a time he gave up working with stone to work with metal. One of the key aspects of blacksmithing that intrigued Thomas was fact that it isn’t instantly gratifying, and it poses questions that aren’t easily solved. He interned with Tom Joyce...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

laminated acrylic plastic

forged mild steel and acrylic urethane Jeremy Thomas is a maker. His work explores objecthood; how a sculpture interacts with its surroundings, how the viewer interacts with a sculp...

painted wood Growing up Peter Millett was surrounded by activity. His father was an architect and his mother a musician who produced community theatre. There were always sets being ...

442 spools of thread, stainless-steel ball chain and hanging apparatus, clear acrylic sphere, metal edition 4 of 5 New York based artist Devorah Sperber’s work focuses on the inte...

painted steel In the fields of sculpture and drawing, George Thiewes creates sharp, angular work with a focus on the interaction of light and dark. That interest began in the 1990s ...

painted cedar Peter Millett is a seasoned traveler, who draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; explori...

painted cedar A seasoned traveler, Peter Millett draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; exploring th...

turned jarrah wood

wood, turned wood, jarra wood, vessel

forged mild steel and acrylic urethane Jeremy Thomas is a maker. His work explores objecthood; how a sculpture interacts with its surroundings, how the viewer interacts with a sculp...

painted wood Peter Millett is a seasoned traveler, who draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; explorin...