1960s Sculptures

Jesús Rafael Soto (1923-2005) was a Venezuelan artist and key figure of Kinetic Art and Op Art, best known for his large-scale sculptures. After completing his artistic training at...

Jules Agard. ( 1905 - 1986 ) " DOUBLE BEC " Sculpture zoomorphe en terre cuite rouge inspirées par deux têtes d'oiseaux . signé : J. Agard sur la base . circa 1960 -1970 . " Pièce...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The s...

1961 Coty Award Plaque Kenneth Hairdresser Jacqueline Onassis Bronze Fashion Bronze on wood. The wood plaque measures 12 3/4" by 20 3/4 inches. The bronze plaque itself is 13 3/4 x 8 3/4 inches and the the bronze inscription, which reads "COTY, American Fashion Critics Special Award 1961 to KENNETH of LILY DACHE...

May Wilson (1905–1986) was an American artist and figure in the 1960s New York City avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photo collages. Wilson was born in Baltimore, Maryland, into an underprivileged family. Her father died when she was young. She was reared by her Irish Catholic mother, who sewed piecework at home. Wilson left school after the ninth grade to become a stenographer/secretary to help support her family. When she turned 20, she married a young lawyer, William S. Wilson, Jr., and give birth to her first child. She continued to work until the birth of her second child, after which she devoted her energies primarily to mothering and homemaking. In 1942, the couple had prospered enough to move to Towson, Maryland, where she began to take correspondence courses in art and art history from several schools, including the University of Chicago. In 1948, after the marriage of their daughter, the couple moved to a gentleman's farm north of Towson, where she pursued painting and gave private art lessons to neighbors. She exhibited her paintings, scenes of everyday life painted in a flat, purposefully primitive manner in local galleries and restaurants. In 1952 and 1958, she won awards for work submitted to juried exhibitions at the Baltimore Museum of Art. In 1956, her son, the writer Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others. When her marriage dissolved, she moved to New York City in the spring of 1966, aged 61, taking up residence first in the Chelsea Hotel and then in a studio next door, where she threw legendary soirées and became known as the "Grandma Moses of the Underground". By the time she arrived, Wilson was already working with photomontage collage techniques. Encouraged by Johnson, who had sent her magazines through the mail, she scissored patterns into images of pin-up girls and muscle men until they resembled doilies or snowflakes, as Wilson called them. She decorated her hotel room and later her studio on West 23rd Street with these and other manipulated, found object images. Around this time, she also began her series of neo Dada "Ridiculous Portraits", for which she would ride the subway to Times Square, where she made exaggerated faces in photo booths. She then would cut and paste her photo-booth face onto postcards, along with Old Master reproductions, fashion shoots, and softcore Playboy magazine pornography. Long before artists such as Cindy Sherman and Yasumasa Morimura embarked on similar critical projects, Wilson's "Ridiculous Portraits" sent up the ubiquitous sexism and ageism that exists in popular and fine-art images of women. At the age of 70, she converted a nude photograph of herself into a stamp that she pasted on envelopes. Her collages and humorous self-portraits were made as gifts and mail-art items for her friends and were not widely known until after her death. Her work was contemporaneous with the Arte Povera artists Jannis Kounellis and ‎Michelangelo Pistoletto. She was also an innovator of junk art assemblages that incorporated real objects, such as high-heel shoes, bed sheets, sauce pans, toasters, liquor bottles, ice trays, and wrapped baby dolls. Her sculptures were inspired by Surrealist and Dada practices and are similar in spirit to Yayoi Kusama's contemporary accumulations. Wilson was the subject of a 1969 experimental documentary by Amalie R. Rothschild, "Woo Hoo? May Wilson". Since her death, May Wilson's work has been featured in numerous exhibitions and retrospectives at the Baltimore Museum of Art, Maryland; Gracie Mansion Gallery, New York; the Morris Museum, Morristown, N.J.; the Pavel Zoubok Gallery, New York City; and The University of the Arts, Philadelphia. Selected Exhibitions 2010 "Seductive Subversion: Women Pop Artists, 1958-1968", University of the Arts, Philadelphia (traveling exhibition) 2008 "1968/2008: The Culture of Collage", Pavel Zoubok Gallery, New York, City 2008 "Ridiculous Portrait: The Art of May Wilson", Morris Museum, Morristown, New Jersey 2008 "Woo Who? May Wilson", Pavel Zoubok Gallery, New York City 1995 [Retrospective], The Baltimore Museum of Art, Maryland 2001 "May Wilson: Ridiculous Portraits and Snowflakes", Gracie Mansion Gallery, New York, City 2001 "Inside Out: Outside In-The Correspondence of Ray Johnson and May Wilson", Sonoma Museum of Visual Art, California 1991 "May Wilson: The New York Years", Gracie Mansion Gallery, New York City 1973 "Sneakers", Kornblee Gallery, New York City 1973 "Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art", RISD Museum, Providence, Rhode Island 1971 Corcoran Gallery of Art, Washington, D.C. 1970 "Sculpture Annual 1970", Whitney Museum of American Art, New York City 1965 The Baltimore Museum of Art, Baltimore, Maryland 1962 The Johns Hopkins University, Baltimore, Maryland 1957 Bookshop Gallery, Baltimore, Maryland Public collections Whitney Museum of American Art (New York City) The Baltimore Museum of Art (Baltimore, Maryland) Brooklyn Museum (Brooklyn, New York) References William S. Wilson, "May Wilson: Constructing Woman (1905-1986)", in Ann Aptaker, ed., Ridiculous Portrait: The Art of May Wilson, ed. Ann Aptaker, Morristown, N.J.: Morris Museum, Camhi, Leslie, "Late Bloomer", Village Voice, December 18, 2001 Giles, Gretchen, "Cosmic Litterers: Artists Ray Johnson and May Wilson: Taking the Cake", "Northern California Bohemian," June 14–20, 2001 McCarthy, Gerard, "May Wilson: Homespun Rebel", Art in America, vol. 96, no. 8, September 2008, pp. 142–47 Sachs, Sid and Kalliopi Minioudaki, Seductive Subversion: Women Pop Artists, 1958-1968. Philadelphia: The University of the Arts, 2010, ISBN 978-0789210654 Wilson, William S. Art is a Jealous Lover: May Wilson: 1905-1986, andy warhol...

Takako Saito Make 300 Holes with Any Implement: This Is My Gift , 1965 Wood box containing wood frame with paper and stamped ink 3 3/8 × 3 3/8 × 1 1/4 Takako Saito is a Japanese ar...

This chrome sculpture by Peter Chinni, from 1968, is an modern abstract expressionist work. The reflective surface of the twist adds an element of i...

Titled "In G-d We Trust" signed dated and titled verso. there is also a gallery label. Mixed Media wall hanging in a pop art style. Background of pennies and then the foreground is l...

Measures about 4 X 3.75 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know ...

Impressed with the artist's seal Porcelain, matte yellow glaze with manganese rim 3 x 6 1/2 inches

This listing is just for the sculpture. (the picture of the ad is for reference and is not included.) Marie Zoe Greene-Mercier was an artist, writer and arts activist who worked in t...

Artist: Gerard Koch, French (1926 - ) Title: Trapeze Artists Year: circa 1962 Medium: Bronze Sculpture Size: 18 in. x 34 in. x 7 in. (45.72 cm x 86.36 ...

Measures about 4 X 3.75 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know ...

Modern abstract brutalist metal sculpture by Houston artist Bob Fowler. The work features a skeletal figure welded in a box or locker. Firmly attached to a white and natural wood bas...

Abstract metal rhino head metal sculpture by Mexican artist and sculptor. Signed and editioned by artist at the left side. Artist Biography: Sergio Bustam...

This stunning Mid Century Modern welded bronze sculpture was realized by the esteemed 20th Century artist Tony Rosenthal circa 1965. Signed and dated by the artist (and with an inclu...

Modern collection of realistically rendered tupperware cups made out of beeswax and pigment by California artist George Stoll. The piece features a set of...

Created in 1963, ceramic Visage de face (Full-face Face) A.R. 508 is a round plate of red earthenware clay from the edition of 100. This work is stamped with the 'MADOURA PLEIN FEU' ...

Seymour Lipton Maquette for Laureate, ca. 1968-1969 Nickel silver on monel metal Unique 18 × 8 1/2 × 7 inches Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,," Provenance Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale About Seymour Lipton: Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965. In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii] In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall. A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context. Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...

This sculpture, in the form of a silver electroplated egg with a white porcelain holder, represents esteemed Swiss artist Herbert Distel's most iconic form. He created a 22-ton egg d...

This sophisticated sculpture was realized from lymed French oak circa 1950. The perimeter of the piece consists of a mosaic of rectilinear blocks, while the interior rectangular pane...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

Hayward Oubre Hitch Hiked, 1960 Signed on Base: OUBRE 60 Painted wire sculpture 45 H. x 21 W. x 19 D. inches Provenance: Estate of the Artist Deeply at...

Provenance: property of a Palm Beach estate Sz: 16"H x 12"L x 8"W

"The Baker" Stanley Bleifeld Bronze Sculpture 7/7 of a Man Using a Brick Oven Stanley Bleifeld came to prominence as an artist in the 1950s. In 1967, the Bridgeport Sunday Post art ...

SMU Architectural Bronze Dimensions: 16.75 H x 4.75 W x 4.25 D Medium: Bronze "Southern Methodist University"

This is a wonderful abstract figure in bronze by well known sculpture, Sanford (Sandy) Decker. The patina is a beautiful shade of chocolate brown. It has aged well, bronze highlights...

Glazed stoneware, wheel thrown with hand-built slabs, signed on the bottom by Dennis McLaughlin. 7' x 10" diameter McLaughlin’s artistic sensibilit...

Majolica depicting a Boxer breed dog of Tuscan manufacture, executed around 1960s. It measures 28x52x78 cm and is airbrushed, coated, modeled and finished by hand. Majolica is a ty...

mixed media collage (ink, found objects, acrylic) in acrylic box. Edition 20/75

This exceptional 1960s ceramic pot by renowned 20th-century artist Claude Conover (1907–1994) exemplifies mid-century modern ceramic artistry. Titled Venel and signed on the base, th...

This unique, small bronze sculpture by Sven Dalsgaard, dated 1964, transforms an ordinary object into something psychologically charged and quietly ambiguous. Standing just 11.25 inches tall, the form recalls a chair lifted into an improbable vertical stance. Its narrow seat and elongated legs deny any practical use. What Dalsgaard presents is not furniture but the idea of a chair, reduced to structure and presence rather than function. The bronze surface is worked rather than refined, with visible traces of the artist’s hand that catch the light unevenly. This rough handling introduces a sense of vitality into an otherwise rigid form. The exaggerated proportions give the sculpture a totem-like quality, almost figurative in character, as if the chair itself has assumed an upright posture. As the viewer moves around it, the open spaces within the structure become as important as the solid bronze, creating a shifting balance between mass and void. There is a clear surrealist element in this transformation. The chair remains immediately recognizable, yet it no longer belongs to the world of ordinary experience. By displacing scale and function, Dalsgaard creates a subtle tension between familiarity and estrangement. The sculpture suggests presence without an occupant and purpose without use, encouraging psychological rather than literal interpretation. This aligns with a restrained, Northern strain of Surrealism, one shaped by austerity and understatement rather than spectacle. Signed and dated on the base, the sculpture dates from a period when Dalsgaard increasingly explored the symbolic potential of everyday forms. Modest in scale but rich in implication, it demonstrates how a common object can be quietly reimagined as a vessel for reflection, ambiguity, and poetic abstraction. A unique bronze sculpture. Born in Vorup near Randers, Sven Dalsgaard was self-taught as a painter. His earliest paintings are Naturalistic but around 1934 he was inspired by Wassily Kandinsky and Paul Klee to paint more Abstract works. He debuted at the Kunstnernes Efterårsudstilling in 1943. Inspired by Marcel Duchamp, he embarked on Surrealism in the 1940s but moved into a simpler, more stylized approach in the 1950s, producing tall thin sculptures...

This abstract bronze figure is by California artist Robert Stoller (1936-). Striking from a distance, the position and the texture of the figure stand o...

Félix Agostini, rare original sculpture in gilt resin made circa 1960 Representing a Dancer or Icarus, this original sculpture is one of Félix Agostini's rarest creations. Félix Ag...

This stool, made by an unknown artist of the Bamoum tribe in Cameroon, was made from wood, cloth, & beads and was used by a cattle owner. 16 1/2" x 17 3/4" diameter

Albert Wein is one of America's foremost sculptors of the Deco period through Abstraction. September Morn is a poetic work that was very singular in his oeuvre as he embraced a sligh...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

'Bowl (Blue & White)' is a hand-thrown glazed stoneware bowl made by Mark Shekore, signed with his last name on the bottom of the piece. 3.75 x 8.75 in Mark Shekore attended the Un...

"Sweet Tooth" is an original watercolor and ink construction by Joseph Rozman. This artwork features a variety of surreal, cartoon figures going about their lives on the street. The artist inserted himself into the artwork--purchasing candy from the candy machine...

Created in 1960, ceramic Round-eyed Face (Visage aux yeux ronds) A.R. 451 is a Madoura round/square plate of red earthenware clay stamped with the ‘EMPREINTE ORIGINALE DE PICASSO’ an...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

"Tool Relief II" is an original sculptural stonework vase by David Barnett. It is signed and dated on the bottom. 13" H x 3.50 D David Barnett, an artist, collector, appraiser and ...

"Tool Relief III" is an original conceptual sculpture by David Barnett, signed and dated on the bottom. Made of stoneware and ceramic, the cylinder contains imprints of various tools...

'Bowl' is an original glazed stoneware by Mark Shekore. The artist signed the piece on the bottom. It is 8" tall and has a diameter of 6 1/2". Mark Shekore attended the Universit...

Incredible Brutalist torch-cut wall mountable sculpture by artist Gene Montez Flores. Designed to hang as shown. Produced during in the early 1960s in his California studio. Has neve...

"Ring Around the Rosy" is a slab-built ceramic sculpture collaboration between David Barnett and Joseph Rozman. This cylindrical sculpture features geometric designs in low relief t...

This is a signed bronze sculpture of a horse entitled, Il Cavalino, by Barbara Beretich. This is a lost wax cast and the piece is from her home gallery as seen in picture #8. During ...

Yuko Nasaka (1938) Untitled Resin and lacquer on board 45.5 x 45.5 cm (17.9 x 17.9 in) not considering the frame Executed in 1963 About the Artist: Born in Osaka in 1938, Yuko Nasak...

The present work is a rare piece from Roland Goeschl's time at the academy. In the technique of chased copper, which was unusual for him, forms are modelled that are still strongly r...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

Oriental sculpture from the mid-20th century. Finely carved and crafted exotic wooden object depicting a fisherman with fish, of good quality. Sculpture made from a single wooden blo...

Victor Vasarely NB 11, 1968 is a glazed porcelain relief that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) on label affixed on verso.

Title: Going Home Year: circa 1970 Medium: Bronze Sculpture, signature inscribed Edition: 2/7 Size: 24 inches tall + 4 inch base

"The Glacier" by Emile GILIOLI (1911-1977) "Perlino rosato" polished marble signed to underside "Gilioli" and dated "61" France 1961 height 27 cm width 29 cm depth 20 cm Provenance : World House Galleries, New York, 1962; Joseph H. Hirshhorn, New York, 1962-1966; Donation to the Hirshhorn Museum and Sculpture Garden, Washington; Christie's, sold by order of the trustees of the Hirshhorn Museum, 1994. Biography : Émile Gilioli (1911-1977) was a French sculptor. He was one of the leaders of French post-war abstract sculpture, alongside Brancusi and Arp. Born into a family of Italian shoemakers living in Paris, they moved to Nice after the World War I. In 1932, Émile Gilioli took lessons at the School of Decorative Arts in Nice, notably with the future artist Marie Raymond...

Includes a Certificate of Authenticity

Cast plaster with red acrylic paint, 1968, signed in felt-tip pen, incised 'C.O.' and 'Chicago August 1968' on the base, numbered from the edition of 100, published by the Richard Fe...

Includes a Certificate of Authenticity

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...

TECHNICAL INFORMATION: Jesus Rafael Soto (June 5, 1923 - January 14, 2005, Venezuelan) Vibrations Metalliques 1969 painted metal with metal rod with nylon string 10 3/4 x 11 3/4 x 5...

Richard Smith (British 1931-2016) Envelope No.1 1968 Aluminum Wall Sculpture 16 x 16 x 16-inch, triangle shape, by 2 ½ inches wide Signed and dated ‘68 Numbered edition 10/30 Abo...