Carved wall panel by Studio Ponzio, Italy 1930’s

Grande Baroquial (Acropolis) Armand FERNANDEZ, known as ARMAN (1928–2005) Sculpture composed of an accumulation of miniature cello fragments, executed in patinated gilt bronze. Sign...

Bronze is renowned for its durability and rich dark color that develops a patina over time. When polished, it can even be gilded. Jules Wabbes had a deep appreciation for noble mater...

Jorge Zalszupin for L’Atelier, Rare Rosewood Chest of Drawers, 1960 This exceptional chest of drawers by Jorge Zalszupin is a striking example of Brazilian modernism. Designed in th...

Gino Sarfatti Wall light 238/5, designed in 1960 painted metal and glass Manufactured by Arteluce, Milan With the editor's label on the metal

Unique decorative wood panel. France 1970's. Signed by "Jidé" in the bottom right corner on one of the sides. The natural oak side is "à la gouge" carved and represents cabinetmaker ...

Nerone Patuzzi sculptural wooden wall panel for NP2, mahogany, Italy, 1973. This untitled sculpture panel, created by Nerone Patuzzi around 1970, is a unique piece craft...

An Italian wall panel by Gianni Pinna, hand-carved in the 1970s. Just over 30 inches tall, the plank is worked in deep relief with geometric motifs cut by the sculptor’s hand and sof...

This monumental wood sculpture by Leroy Setziol (1915–2005) is a rare and significant early commission, created in 1963 for the National Bank of Portland, Oregon. Measuring an impressive 191" x 31" x 7", the piece marks a pivotal moment in Setziol’s career as he transitioned into large-scale architectural work—integrating fine art with the built environment in a way that would define his legacy. Carved in his signature style of deeply incised geometric forms and rhythmic abstraction, the panel reflects Setziol’s exploration of nature, spirituality, and cultural symbolism. Commissioned during a period of progressive architectural development in the Pacific Northwest, the work exemplifies the region’s modernist ethos—where art and architecture were conceived in harmony. Setziol would go on to complete numerous public commissions, collaborating with leading architects such as Pietro Belluschi and becoming one of the most influential wood sculptors of the 20th century. Early, large-scale works like this are exceptionally rare on the market and offer a unique opportunity to own a foundational piece of Pacific Northwest modernism. This sculpture is not only a stunning example of Setziol’s craft—it is a historical artifact from a turning point in American architectural and design history. The following is taken from the Portland Art Museum's profile of Leroy Setziol for their exhibit in 2015-16 celebrating the 100th year anniversary of his birth "Leroy Setziol" Sept 5, 2015 – Oct 30, 2016 "A composer in wood, Leroy Setziol created lyrical sculpture that honors the beauty of a material strongly identified with the Northwest. The black walnut, teak, fir, and other woods he employed enhanced his complex gridded compositions, bringing them to life. A self-taught, intuitive worker, Setziol visualized his complex carvings using the grid as an armature to frame imaginative shapes. Throughout his career, his sculpture ranged from intimate works to large-scale public commissions. The largest work on display is an elegant, teak, two-panel wall relief from 1991. Twenty-three works are on view, including free-standing sculpture, totems, and a variety of wall reliefs. Setziol’s sculpture gained greater recognition with Portland’s architectural community in 1964 when he was invited by Northwest Regionalist architect John Storrs to carve a series of large-scale relief panels for Salishan Lodge in Gleneden Beach...