Abstract Sculptures

Antonio Puri's "Tantra" sculptural painting is one of 100 intimately-scaled minimalist round mandala circles built from tiny seed beads adhered to canvas in a range of red hues, crea...

Element, landscape, sunset, mountains, aerial perspective. It is like hills that disappear into the distance illuminated by the morning sun. Made by hand molding of living metal, fra...

SALE ONE WEEK ONLY John Piet's "Untitled" from 1974 is a welded sculpture with two opposing forms connected by a swoop of steel. Piet's sculptural work explores the tension between contending elements, and other works investigating the relationship of heaven and earth. The form shown here in Untitled appears similar to the form in his 1975 large-scale work The Entrance currently located at the entrance of Harmonie Park in Detroit. The abstract drawing in the pictures above is part of the sculpture offer. The drawing was a study, work-in-progress, as John "worked out" the details of the final sculpture. John Piet was born in Detroit on American Street, and was educated at the Detroit Society of Arts and Crafts (now named College for Creative Studies). College for Creative Studies (formerly Center for Creative Studies) faculty and graduates include Richard Jerzy, Harry Bertoia, Doug Chaing (currently director of Lucas Film), Stephen Dinehart (game maker, writer, designer connected with The David Lynch Foundation), Tyree Guyton (international artist), Herb Babcock, Jerome Feretti, Kevin Siembieda (writer, designer and publisher of role-playing games), Renee Radell, Philip Pearlstein, Charles McGee (nationally recognized African American sculptor of animal and dancing spirits), Philip Pearlstein (2000 Honorary Doctorate, Modern Realism style), John Louis Krieger (American Modern), William Girard (American Modern), Charles Culver, Henry Heading, Hughie Lee-Smith and Joseph Wesner. He received his MFA from Wayne State University where other well-known individuals taught or studied including Arthur Danto, Dr. Wayne Dyer, Susan Aaron-Taylor, Tyree Guyton, Hughie Lee-Smith, Philip Levine, Casey Kasem and Helen Thomas. Sergio DeGuisti, Stanley Rosenthal...

The Big Door (La Grande Porta) is an original Contemporary artwork realized in 1986 by the italian Contemporary artist Leo Guida (1992 - 2017). Relief ...

Italian stainless steel. This sculpture will be shipped directly from the artist's studio. All sculptures are made with the highest quality Italian stainless steel available and im...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. Her newest body of work is inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...

Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires tha...

"Table Round II" by Joel Perlman Welded steel Joel Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimalism was the p...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

Abstract oil painting titled Moon Light. it is signed in hebrew. it is not dated. inscription in Hebrew refers to a museum exhibition. 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...

"Solstice" by Richard Heinrich, 2011 Steel Contemporary Abstract Sculpture, Industrial, Modern, Indoor, Outdoor

Spray acrylic, latex, MDF & matte varnish Scott Troxel has exhibited his work at numerous fairs and exhibitions across the United States, including The Other Art Fair in NYC, Texas ...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

The modern Sculpture " El Menguante ” is a unique Sculpture made from a burnout mold and recycled wood by David Marshall in 2014, sand cast in aluminium in our foundry, handcrafted ...

Elliptical Series Ira Sapir, American (1955) Hand-Blown Glass, dedicated to "Diane" Size: 4 x 13.5 x 13.5 in. (10.16 x 34.29 x 34.29 cm)

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

The project "Eternal and Ingenious" is taken as a basis for portraits of all kinds of mitts in the world of Ukraine. The concept of the creator is the image of the inner and the outw...

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Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Where am I going? They offer us no clues that might help us answer these questions. Instead, they give us all the more scope for associations and imagination. They appeal to our subc...

Rolf Hans Frankfurt 1938 - 1996 Basel Figure XXV, 1995 wooden sculptures signed, dated, and titled on the underside 126 x 24 x 26 cm The sculptures are accompanied by a catalog about...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

Where am I going? They offer us no clues that might help us answer these questions. Instead, they give us all the more scope for associations and imagination. They appeal to our subc...

Artist: Paul von Ringelheim, Austrian/American (1933 - 2003) Title: Spiral 1 Medium: Painted Flame-Cut Steel Sculpture Size: 47 x 52 x 8 in. (119.38 x 132.08 x 20.32 cm)

Hand Built and glazed ceramic. Free standing, two pieces (sphere and stand). My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused ...

Megan Klim's mixed media work juxtaposes several materials on one picture plane.  She highlights their inherent qualities to create surface tension which sparks a conversation and in...

Fear and insecurity came uninvited to keep the artist company. Suddenly it became necessary to release the sensations that surrounded him day and night. At times the artist felt as i...

Rolf Hans Frankfurt 1938 - 1996 Basel Set of 4 bird sculptures, 1990 Wood, paint Each signed on the underside 131/121 x 20 x 11.5cm The sculpture comes with a catalog about the artist. Provenance: Estate of the artist Authenticity confirmed in writing At the beginning of the 1970s, Rolf Hans began designing objects for the first time. These were small sculptures that he assembled from iron pipes with round or square profiles. With these, he sought to create a new, three-dimensional reality of experience, parallel to his paintings, which he was creating at the same time. In 1987, Hans returned to the medium of sculpture. He no longer regarded the working process as conscious construction, but rather as allowing himself to be guided by what was already there. And as with his paintings, his objects now arose from an inner necessity, not to fill an intellectual vacuum. "This compulsion has had a hold on me for decades, and for a few years now I have been trying to appease it with the cycle 'Poesie der Dinge' (Poetry of Things). The intellectual climate was ripe." So Hans concentrated on working on the sculpture cycle in the last decade of his life. And as if in a frenzy, he drew on the new possibilities offered to him by the design of the objects: "The poetry of things grows, it swallows up all my time, many things are neglected, hardly any letters, the diary is largely silent, concert visits are limited to the essentials. A compulsion arises, and yet it began as a game, but experiments were always a serious matter that demanded the whole man. [...] The objects have crept into my rational mind, cautiously and unnoticed, claiming their place, taking it, becoming part of myself." "It's a difficult thing with art. Looking at your predecessors, you try to find your way, the spirit of the times and its aesthetics influence the direction, you know about the dissatisfaction in which you move. Now, in the midst of the 'poetry of things', there is a feeling of freedom, yet closely connected to much that came before. There is no program, only a title that allows each work its freedom." But despite the role models before his eyes, Hans succeeds from the outset in finding his own unique ways of expression with his object cycle. What connects him to Max Ernst, Brancusi, and Duchamp is solely the source material: found objects. These are very mundane things from everyday life—once necessary, useful, and practical items such as tools, utensils, and devices—that have been stripped of their function and now serve as a gateway to the artist's imagination. In this way, Hans strips things of their previous, traditional function or archaic purpose and transports them into a different, new reality in order to breathe new life into them. In doing so, he does not want to deny the found form without aestheticizing it. By making only minor changes to their 'innate' structure, signs of wear, and color, he seeks to emphasize their meaning and purpose as form and to redefine their inherent charisma. The objects are worked on, forced to reveal their unique characteristics in their struggle with the artist and to make new statements in connection with other objects. In this way, Hans presents the abstract symmetries of the wood and metal objects without any artificiality and places them on a pedestal in accordance with artistic tradition. Furthermore, he integrates the pedestal into the work. As the lowest component, the pedestal not only prepares the viewer for the sculpture, but also loosens, loosens, or strengthens its connection to the earth. By raising them up, he gives the sculptures a further life of their own, a second existence, so to speak, and also gives them a new identity with a new name. "They show their personality, some more, some less, as is the case in life, or in art." What they all have in common is their influence from the past into the here and now. In doing so, they reveal their original beauty and the mysticism that fires our imagination. However ambivalent the sculptures and objects by Rolf Hans may appear to us, they never do so in a loud or exalted manner. With their balanced and simple appearance, they quietly and calmly, but decisively, enter into contact with us. In an unsettling way, they repeatedly prompt us to ask questions: Who am I? Where do I come from? Where am I going? They offer us no clues that might help us answer these questions. Instead, they give us all the more scope for associations and imagination. They appeal to our subconscious. They invite us to linger and meditate: it is the familiar beginning and the unconscious departure into the mysteries of creation. Exhibitions (selection) 2023 Kunsthandel Draheim, position berlin art fair 2023 Galerie Jörg Schuhmacher, Frankfurt am Main "Rolf Hans-Farbenspiel" 2022 Galerie Michael Blaszczyk, Bad Homburg, Rolf Hans, "Einblicke Hommage Reflexion" 2021 Jörg Schumacher Gallery, Frankfurt am Main "Rolf Hans-Farbwelten" 2021 Michael Blaszczyk Gallery, Bad Homburg "Sprache der Farben-Das Baseler Kabinett" 2020 Malte Ueckermann Art Dealers, Berlin, Kanalidarte, Brescia "Che cosa avrebbe detto Hegel_ROLF HANS... e la Poesia della cose," Italy Kunsthandel Draheim "art Karlsruhe," "Poesie der Dinge" 2019 Jörg Schuhmacher Gallery, Frankfurt am Main, Blaszczyk Gallery, Bad Homberg 2018 Art Karlsruhe, Kunsthandel Draheim, Wiesbaden, Color Fields 2018 Galerie Dekker, Baden-Baden, Retrospective Galerie Blaszczyk, Bad Homburg 2017 Gallery Eklektik, Monte Carlo, Monaco 2016 Galerie Schuhmacher, Frankfurt am Main 2016 Galerie Cerny Partner, Wiesbaden (Language of Colors) Art Karlsruhe, Kunsthandel Draheim, Wiesbaden (Tachist Painting + Iron Sculptures) Galerie Rainer Klimczak, Viersen Galerie Schuhmacher, Frankfurt am Main (Black on White) 2015 Galerie Blaszczyk, Bad Homburg art Karlsruhe, one Artist show (Galerie Cerny und Partner) Gallery Eklektik, Monte Carlo, Monaco 2014 Jörg Schuhmacher Gallery, Frankfurt am Main (A Retrospective-1) Tristan Lorenz Gallery, Frankfurt am Main (A Retrospective-2) Hellhof Gallery, Kronberg im Taunus (Works from 1960–1980) Art Fair, Cologne, Monochrome Painting (Draheim Gallery Art Dealers, Wiesbaden) 2013 Kunsthandel Thole Rotermund, Hamburg (In the Force Field of Color) + catalog Galerie Kunsthandel Draheim, Wiesbaden (Painting Sculpture 1970–1990) 2012 art KARLSRUHE, one Artist show (Galerie Art Dealers Draheim, Wiesbaden) 2011 Gallery Art Dealers Draheim, Wiesbaden (In the Rush of Colors – Works from the 1960s) 2009 Ketterer Kunst, Berlin (Rolf Hans – Painting and Sculpture) Art Dealers Michael Draheim, Wiesbaden (Rolf Hans – Poetry of Things) 2008 Galerie Art Mayence, Mainz (Rolf Hans – Language of Colors) Galerie Jörg Schuhmacher, Frankfurt am Main (Rolf Hans) Galerie Winterberg, Munich (Rolf Hans – The Language of Colors) Galerie Jörg Schuhmacher, Frankfurt am Main, Art Karlsruhe (Rolf Hans – One Artist Show) 2007 Galerie Jörg Schuhmacher, Frankfurt am Main ("Rolf Hans in the Field of Tension of the 'Quadriga'") 2001 Kunstraum Aare, Olten ("Rolf Hans – Paintings, Sculptures, Photographs") 1999 'Kunst im Liebrüti', Kaiseraugst ("Martin Frigg and Rolf Hans") 1992 Kommunale Galerie, Schlangenbad ("Gabriele Schmolk-Hieber, Paintings – Rolf Hans, Objects") 1991 Museum Schloß Salder, Salzgitter ("Poetry of Things") 1990 Galerie Brechbühl, Grenchen ("Poetry of Things") 1985 1985 Toni Brechbühl Gallery, Grenchen ("Two Friends, Ho-Kan, Milan – Rolf Hans, Basel") Toni Brechbühl Gallery, Grenchen ("Rolf Hans – Oil...

Where am I going? They offer us no clues that might help us answer these questions. Instead, they give us all the more scope for associations and imagination. They appeal to our subc...

Hand Built and glazed ceramic. Free standing, two pieces (sphere and stand). My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused ...

Striking cut and polished slice of rhodochrosite, a semi precious mineral, with its distinctive red color and white banding. Presented on a custom lucite and brass stand.

A central figure in the California Light and Space movement, Laddie John Dill has been crafting light and earthy materials like concrete, glass, sand, and metal into luminous sculptures, wall pieces, and installations since the 1970s. Referring to his choice of materials, Dill explains: “I was influenced by [Robert] Rauschenberg, Keith Sonnier, Robert Smithson...

Hand fabricated bronze with patina. Sealed with lacquer and wax. Large pyramid- 20"h x 8 x 8 x 4" base, small pyramid 18"h x 7 x 7 x 4" base 2 separate pyramids. Total size together ...

"Presto" by Kevin Barrett Epoxy, acrylic, and urethane on carved aluminum panel Barrett is noted for creating unique, rhythmic, abstract indoor and outdoor sculpture and wall relief...

Spray acrylic on solid maple with gloss clearcoat Scott Troxel has exhibited his work at numerous fairs and exhibitions across the United States, including The Other Art Fair in NY...

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

This piece appears unsigned and unmarked. It came from an important estate in the Palm Beach area. It is an abstract flame or torch in a bronze vase. Venetian glass (Italian: vetro ...

'Movin and Groovin' 2025 by Contemporary American artist, Sheryl Zacharia. Ceramic, 13.5 x 15 x 5 in. This sculpture incorporates a rich palette of colors in bronze, red, pink, black...

'Untitled Wallpaper Abstraction #36' 2024. Found wallpaper collage on wood form, 48 x 36 x 6 in. is a multicolor, abstract geometric sculpture featuring carefully cut pieces of found...

Virus lamp tripod small Our Virus luminaire is a spherical luminaire on pedestals with a color filter attachment for indoor use. The tubular sectional steel has been arranged here a...

Antonio Puri's "Tantra in Blue" sculptural painting is one of 100 intimately-scaled minimalist round mandala circles built from tiny glass seed beads adhe...

Chester L. Williams Label on bottom, signed. Title: Promethium Medium: Bronze, Aluminum and wood. Approx. dimensions: 12 X 11 X 4 inches. Chester Lee Williams (1944-1919) was born in 1944, in Durham, North Carolina. Chester cultivated a creative mind that eventually led him to pursue an education in fine arts and sculpture at North Carolina Central University (BA) and the University of Michigan (MFA). In 1974, he made his way to Tallahassee and started instructing at FAMU. Students at the university have a deep appreciation for the jazz lover’s insight and skill. A lifelong artist, Chester's work has been featured in galleries and publications across the country. The body of his work produced over 45 years has evolved from smooth and supple sculptures into the more angular and defiant shapes seen in his later works. Chester has said: "All of the works are me. I still embrace every one of them." Chester enjoyed traveling and exploring different cultures. His art was influenced by his travel and knowledge of African culture. He was an educator for 37 years, teaching at Voorhees College, North Carolina Central University and Florida A&M University before retiring in 2011. He sold his first piece of art in the ninth grade to his homeroom teacher. (That early sale paid off — years later, that teacher’s husband, the president of a bank, commissioned Williams to create a sculpture for the bank’s lobby...

"White Cliff I" Minimalist Abstract Metal Sculpture by Michael Enn Sirvet White powder-coated aluminum In 2017, Sirvet began focusing more intensely upon the cliff faces that accom...

FRANCES PARKER Clay Pearls 88”h x 8”dia (diptych) glazed ceramic $ 12,500. Hand Built and glazed ceramic. Free standing, safe for outdoors. My inter...

I created this piece to celebrate the quiet beauty and resilience found in simplicity. Using ceramics and clay, I shaped delicate petals that bloom in pristine white, inviting calm a...

Hand Built and glazed ceramic. Free standing, safe for outdoors. Diptych. My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused on c...

A great opportunity to own a painting by Vasa Mihich. These works are future forward as they are based on computer-generated programs with a focus on aesthetics. Meaning Vasa wante...

Eileen Braun delights in creating biomorphic or organic sculptural forms. Although they may look as though they're constructed of metal rods, they're actually created from rattan ree...

'Midnight Flower Moon' 2025 by Contemporary American artist, Sheryl Zacharia. Ceramic, 17 x 21 x 6 in. This sculpture incorporates a rich palette of colors in yellow, red, black, and...

A series of works .. ANCIENT .. ..FOREST .. ..AQUA .. all these series have a magical connection with each other. They have the ancient spirit of past civilizations and sections of d...

Jenik Cook Handmade ceramic vase or pot sculpture Hand signed by the artist. Fired clay with a luster bronze painted finish Jenik Esterm Simonian Cook is a painter and ceramicist ...

Ruth Duckworth Untitled Form (INV# NP5225) porcelain, stoneware, and glaze 7 x 16 x 7" 1999 signed by artist provenance: Garth Clark Gallery New York RUTH DUCKWORTH Ruth Duckworth ...

Abstracted, Judaica Maple Sculpture based upon Jewish Star Eric Pesso is recognized for his mind-bending carved creations, created from single trunks of neighborhood trees. In 2012...

EMERSON WOELFFER Abstract Form No. 1 1979 Porcelain on wooden plinth 3.5 x 3.5 x 11.5 inches

The painting "Fool 2" is the second chapter of a symbolic game where beneath the mask of the fool lies a deep internal struggle and a truth known only to the chosen few. In the chaot...

"Relic" is a sculpture of geometric abstraction by Stan Olthuis composed of fire-torched pine wood, plywood, and reclaimed bicycle inner tube, mounted wit...

EMERSON WOELFFER Abstract Form No. 2 1979 Terra cotta on wooden plinth 3.5 x 5.5 x 8.5 inches