Art by Medium: Metal

This firewood bench is on the one hand very practical for storing firewood, on the other hand it is an extraordinary seat. Customization possible and designed in 2010. Also available...

Reclining Doe by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Barye's workshop (...

Anton Chotka, Austrian (1881 -1955) - Quran Teacher With Pupils, Year: circa 1900, Medium: Cold painted Bronze sculpture, stamped Austria, Size: 4.5 x 8 x 5 in. (11.43 x 20.32 x 1...

This large abstract contemporary sculpture by Joe Sorge is made with carbon steel with and red dye. The abstract sculpture is composed of curved strips of steel, which curve around o...

Marlene III is a tall, elegant bronze sculpture of a human figure. Nando Kallweit is a German sculptor working in bronze and oak. Kallweit carves the original piece from a piece of oak using a chainsaw. The oak marque is then used to create a cavity in clay and sand into which the bronze is poured. The resultant bronze is particularly organic and tactile. The wood grain is apparent, as are the cut marks where the chainsaw has bitten into the wood. As a young boy, Kallweit was inspired by the beauty and antiquity of a bust of Nefertiti...

Acrylic and Enamel on Canvas Acrylic and enamel on Canvas. Oversize XXL This impressive piece of art measures diptych 150x200x3 cm. = 300cmx200cmx3cm This imposing large-format dip...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporary Art, Subject: Enchanted, Size: 19" x 24" x 4'' inch, ...

Introducing the breathtaking bronze sculpture by Jeremy Geddes featuring a cosmonaut, a stunning tribute to the wonder and beauty of space exploration. Jeremy Geddes is an Australian...

Eilene, bronze portrait, female by John Waddell, Arizona sculptor Waddell was born in Des Moines, Iowa in 1921 and moved to Evansville, Indiana at the age of ten. There he began to ...

The Birth of Venus by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with nuanced dark brown patina signed "A. Carrier-Belleuse" cast by Denière France circa 1870 he...

Hugh Findletar is perhaps best known for his bustlike vases, which he calls "flowerheadz." They are created in glassblowing workshop on Murano, an Italian island near Venice. The "z,...

Paul Maxwell Rare Sand Cast Bronze & Wood Brutalist Totem Sculpture (1967, Commissioned) A striking and rare example of Paul Maxwell’s early sculptural work, this monumental totem wa...

De Draeger, 1961 Bronze Medallion with book Numbered 1032 from the edition of 1500 Bronze Medallion: 3-1/8 inches (8 cm) diameter, numbered "1032" on verso of medallion Portfolio Siz...

Abstract Art Original Glass and Metal Wall Sculpture Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporary Art, ...

Primary Colour Series-Jay and Butterflies is one of Shizico Yi's latest projects, inspired by Japanese woodblock Print and the a nod to calligraphy tradition. The series is a continu...

"Campfire Ghost Stories" (2024) by Sang Lam is an digital painting printed onto metal that depicts a woman playing guitar, cats, and ghosts all gathered around a campfire. About t...

Bronze Bust of Julius Caesar, 19th Century Patinated bronze mounted to stone base Unsigned 11.25 x 4.5 x 4.5 inches Gaius Julius Caesar was a Roman general and statesman. A member o...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Rigoletto Year: 1988 Medium: Bronze Edition: 345/375 Numbered, 37 AP Size: 8 x 7 inches Condition: Excellent Inscription: Incised w...

In the ethereal realm of "Solidarity," Dennis Onofua captures a moment of profound connection and unity between two female figures. The artwork, a testam...

"This is one of my earliest sculptures. I depicted a naked girl at the waterfall. She bathes under jets of water. The fabric of clothing hugs her body and lies down to her feet. The ...

sculpture CUBE was made in 2005. An abstract geometric form made of bronze. Interior sculpture, that may looks your place fancy and original. One of a kind art piece.

Presenting a magnificent early Art Nouveau bronze by Belgian artist Jef Lambeaux(1852-1908.) “Leda and the Swan”, is an original Art Nouveau Bronze,...

Bronze sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the classic organic forms and human figures. Raúl Valdiveso was born September 9, 1931 in Santiago, Chile. In 1952 he began his studies at the School of Fine Arts at the University of Chile. There he took to sculpture and studied under professors like Marta Colvin...

Abstract Art, Original Glass and Metal Wall Sculpture Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporary ...

This unique piece by Margulis is from his latest body of works and is a unique piece. After assembling the Plexiglas sheets onto the aluminium core, he uses acrylic paints to cover s...

This Floral Headdress with Snails on Blue Background is a limited edition high-quality Dibond direct UV Original Print titled "Flowers and Snails 25/25". This piece, like the entire ...

A stunning and dynamic contemporary sculpture crafted from patinated corten steel, perfect for both indoor and outdoor spaces. This exquisite piece is designed to elevate any environ...

A tobacco farmer from the Viñales valley in Cuba. In 1959 residents of Cuba were faced with a stark choice: stay on their island home and live as a “revolutionary” or leave. Some believed wholeheartedly in the new beginning, some were willing to be carried along and some abandoned everything they had and chose exile. The Buena Vista social club...

RETNA American, 1979 - SACRED SOLICITATIONS I signed, titled and dated "Retna / Sacred Solicitations. I. / 2015-" (on the reverse) acrylic and enamel on canvas 68-1/2 x 58-3/4 inche...

Toro Bull Patinated Bronze sculpture on marble base, artist signed, 16.5h x 8w x 6d, base 6"h x7.5"w x6"d Heriberto Juárez (March 16, 1932 – August 26, 2008) was a self-taught Mex...

Robert Cook’s Splash sculpture draws inspiration from the iconic photograph of a drop of milk creating a circle and splash in a pool of milk. This fleeting moment of suspended motion sparked Cook’s exploration of how to capture such dynamic energy in a static form. Robert Cook was a great American sculptor and his works are in many museums and his iconic Dinoseras piece commands a spot on the street of New York at 51st Street. Important to note with this work that it is unique and there are no other casts. Cook sculpted in wax and when he cast this destroyed the wax and there was no mould. Very few sculptors work in this manner and it speaks to a very pure and altruistic form of sculpture. If perhaps he had been more commercially minded he would have done large editions but instead he valued singularity as in nature. In Splash, Cook freezes a moment of kinetic energy, capturing the elegant tension between impact and expansion. The sculpture embodies both grace and chaos, with a fluidity that suggests movement at the very instant it’s frozen in time. Cook’s mastery of his medium allows this dynamic moment to be immortalized in bronze, creating a powerful and emotional resonance that transcends the physical form, making Splash both a formal and philosophical exploration of time, space, and motion. Signed: R Cook...

This bronze sculpture by Bessie Potter Vonnoh, from 1911, is a charming rendering of a young woman dressing. Vonnoh became one of the so-called "White Rabbits", women artists who a...

Paul III is a tall, elegant bronze sculpture of a human figure. Nando Kallweit is a German sculptor working in bronze and oak. Kallweit carves the original piece from a piece of ...

Original Penny Sculpture. This incredible sculpture has been created using 10p pieces, intricately welded together. The sculpture sits on a slate base ...

Lion and snake n°3 by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark greenish brown patina signed "Barye" on the base old edition cast – probably from the Bary...

This limited edition print on Dibond aluminum is part of a series of 25 signed and hand-numbered reproductions by Moldovan artist Natasha Lelenco. Printed directly with UV technology...

ULISES JIMENEZ "MUSICA" METAL, SIGNED COSTA RICA, 2022 30 INCHES Ulises Jiménez Obregón was born in La Mansion de Nicoya, Costa Rica, in November 1953. He studied Plastic Arts at the Autonomous University of Central America. 1992 He attended the drawing and painting workshop of the painter Eduardo Barracosa, and followed courses of painting at the ESEMPI School of Art, with the painter Francisco Alvarado Avella. In addition to making sculptures in wood and stone "nicoya marble", he is also a painter. As a sculptor he has around 300 sculptures cataloged and sold all over the world, with works in Europe, Latin America, North America, Canada and Asia. EXHIBITIONS: From 1984 to 2010, he has participated in more than 50 group exhibitions, among others: National Exhibition of Plastic Arts of the Costa Rican Art Museum. Zentic Art Exhibition at the Old Customs National Museum of Costa Rican Art and Embassy of Japan, September 2010. Painting Contest of the North American Costarican Cultural Center. Drawing Contest of the Costa Rican Social Security Fund. He has participated in the following sculpture exhibitions and symposiums: I Meeting of Pacific Sculptors, held in Canton de Orotina in 2006. International Sculpture Meeting in Punta Arenas 2007. Sculptural Encounter of San Ramón 2008. I Symposium of Guadalupe 2009. IV International Credomatic Sculpture Symposium, Barva de Heredia, February 2009. He was selected for the Second Biennial of Painting and Sculpture of the ICE Group, March 2009. II Symposium of Guadalupe, 2010. Sculptural Exhibition 2010 organized by the Municipal School of Integrated Arts of Santa Ana, (March-April 2010). I International Symposium of Plastic Arts, Tejeda, Gran Canaria...

Eva Ennist, a mixed media and fiber artist, travels extensively through the Far East, gathering materials and techniques for her practice. The sculpture "NE...

The artists selected their medium, Metalamirror™, for this work, a self portrait, exposing their inner fears and desires. Look deeply and viewers find more than what meets one's eye....

"DOUS" series. Sculptures of this series are created for your interior in different colors. It is always important to combine objects with each other. That is why I created a pair...

Instant Moules I is a nickeled aluminium and bronze sculpture by contemporary Czech sculptor Ondřej Oliva, dimensions are 385 × 45 × 34 cm (151.6 × 17.7 × 13.4 in). This sculpture is...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

This playful and dynamic sculpture by Canadian artist Cynthia McQuillan is interactive and invites viewers to touch it. The four powder coated steel discs (their interiors feature pu...

Jack Balas Grid Study, Appaloosa Oil and Enamel on Board Inscribed verso, dated 1997-99 and hand signed l.l. Sight: 24 x 48 in. (61 x 121.9 cm.), Frame: 26 x 50 x 2 in. (65.4 x 127 ...

This is a large, framed acrylic painting with collaged photographs, gold leaf, metallic paint, and other mixed media. Is it by artist Lavett Ballard, who is the first Black woman to ...

Printed onto direct positive Printing Out Paper and then gold-toned. Linda Connor's imagery of ancient and sacred places explores the relationship between nature, civilization and s...

The nude girl of Sher’s “Siesta” drifts to sleep as her dreams encroach upon her. As her naked body begins to shimmer into an aqueous form of its own, the bubbles of air transform in...

Birdhouse - city gate - on oak stele oxidized 20x20x100 cm Delight your garden birds with an aesthetically pleasing feeding tower. Designed in detail, with different sized windows,...

Artist: George Rodrigue Title: Blue Dog Sterling/Gold Plated Dog Pendant Medium: Foundry Jewelry Date: Circa 1993 Dimensions: 1 3/8" X 1" Description: @rodrigue & “Sterling” on...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing sta...

Exquisite in form and detail, Heather Allen Hietala’s series of hand-built clay vessels symbolize life’s journey. This beautiful piece features a larger vessel; its bold form reminis...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...

Danseur Attirance II is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 35 × 23 × 9 cm (13.8 × 9.1 × 3.5 in). Height of the sculpture with the metal base: 51 c...

Full bronze sculpture. Private collection piece. ARTIST STATEMENT My work passionately reflects my Mexican cultural roots. The art forms appear and are created as stories in the r...

'Social Call' by Slim Aarons SLIM AARONS ESTATE EDITION PRINT Numbered in ink to 150 only and emboss stamped on front. Charley Weaver at the Las Brisas ...

The Unity series is best described by a short story found in the introduction to author Don Miguel Ruiz’s book The Four Agreements. Three thousand years ago there was a [man] just...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2024 Style: Contemporary Art, Subject: Sunset, Size: 37" x 17" x 4'' inch, 94x4...

Wooden sculptures depicting a pair of full-length Roman soldiers Rome, 18th century Carved and gilded wood (walnut?) Dimensions: Maximum height (at lance) 62 cm./ Maximum width: 28 ...

Softish Sea, Signed Digital Photographic Landscape Print, 2020 30" x 20" x 0.5" (HxWxD) Digital Print on Metal Hand-signed by the artist. A gradient sky...

A life size, rusted mild steel sculpture on a steel footing. Edition of 7. Available in different colours or finishes on request.