650 results for ""constantin brancusi""

SATURDAY SALE The first thing I thought upon seeing this was Constantin Brancusi's bird sculptures and the questions about the nature of abstract art it asked. This is an early 20t...

Constantin is a simple but charming candleholder with a geometric shape. This set is composed of 3 elements in wood. Constantin I in natural oak with circles; Constantin II in oak stained black with a cross shape; Constantin III in natural walnut with rhombus. The cylinder in natural brass on the top is the place where to put a 18 mm candle. The same set can also be made in marble with 3 different variety Carrara, Black Marquina, Carnic Rose. A perfect set for a present. Constantin collection owes its name to its inspirer. It is in fact the modern art of Constantin Brancusi that has guided the designer’s hand to conceive candelabra, bookends, containers and centre pieces...

Zhipeng Tan has focused on the ancient technique of lost-wax casting. Through this foundry process, rich in heritage and tradition, Tan explores his interest in organic forms. Often ...

Hand Forged Iron Stone Mosaic Hanukah Menorah Candelabra David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati...

Beautiful, original lithograph on handmade paper by the well known French artist, Aristide Maillol. Artist monogram “M” lower right. Condition is good. Early 20th century on artist...

This sculptural side table is from the Studio Brancusi Collection designed and made by China-based artist Danjie Yan. The works debutted at Sifang Art ...

This painting is an abstract botanical painting featuring hues of blue, orange, green, and yellow on a black ground. Susan Hable is inspired by the work of David Hockney, Milton Ave...

A nice pair of side tables drawing their inspiration from the work of Constantin Brancusi.Glass top is 16' x 16"

NONO's Socle Series No03, Cocktail Tables with a Wooden Twist —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our b...

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure, from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), originates from the 1975 edition published by XXe siecle, Paris, and printed by Curwen Studio, London, October 1975. Reclining Figure embodies Moore’s lifelong fascination with the human form in repose—a theme that became central to his sculptural and graphic work. Through elegant contours and balanced abstraction, the composition captures the harmony between body, landscape, and spirit that defined Moore’s artistic vision. Executed as a lithograph on velin d'Arches paper, this work measures 10.5 x 14 inches (26.67 x 35.56 cm). Unsigned and unnumbered as issued. The edition exemplifies the exceptional craftsmanship of the Curwen Studio in London, a distinguished atelier celebrated for its collaborations with the leading modern artists of the postwar period. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure, from San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, 1975 Medium: Lithograph on velin d'Arches paper Dimensions: 10.5 x 14 inches (26.67 x 35.56 cm) Inscription: Unsigned and unnumbered as issued Date: 1975 Publisher: XXe siecle, Paris Printer: Curwen Studio, London Catalogue raisonne references: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 366. Condition: Well preserved, consistent with age and medium Provenance: From the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, published by XXe siecle, Paris, October 1975 Notes: Excerpted from the folio (translated from French), Finished printing in Paris in October 1975. This album has been printed on velin d'Arches in DLXXV numbered examples. The LXXV original examples include a series of VIII original lithographs, signed and numbered by the artists. In addition, LV examples were printed for artists, authors, friends and collaborators of XXe siecle. The typography is from l'Imprimerie Union in Paris; the lithographs of Max Bill, Marc Chagall, Hans Hartung, Braque, Fontana, Magnelli, Picasso, Magritte and Poliakoff were printed by Fernand Mourlot in Paris; those of Alexander Calder and Joan Miro by l'imprimerie Arte in Paris; that of Max Ernst by Pierre Chave in Vence; that of Zao Wou-Ki by ateliers Bellin in Paris; and that of Henry Moore by the Curwen Studio in London. About the Publication: San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), published in 1975 by XXe siecle, Paris, represents one of the most significant collaborative tributes in modern art publishing. Created in honor of Gualtieri di San Lazzaro, the visionary editor and founder of the journal XXe Siecle, the folio unites original lithographs by the greatest modern masters—Picasso, Chagall, Miro, Calder, Hartung, Moore, and others. Printed by premier ateliers such as Mourlot, Arte, Bellin, and Curwen, the portfolio celebrates the spirit of artistic collaboration and innovation that defined mid-20th-century modernism. About the Artist: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

On offer is a highly abstract scholar rock on a fitted wood stand collected by an American collector in Palm Desert, CA. The dense rock in dark grey is likely granite and takes a natural sculptural form of a bird, which explains the note on the back from the previous collector "A Constantin Brancusi Bird". The rock is presented in the tradition of a Chinese scholar rock on a fitted carved wood stand, very sculptural and visually interesting from different angles. While Chinese scholar stones are appreciated all over the world, many collectors also look into their local stone sources that reflect the same spirit and philosophy of using the viewing stone...

A striking example of hand-carved modernist sculpture, this nude female figure in the style of Ferdinand Parpan captures the elegance and abstraction of the 1930s–40s post-Art Deco e...

This exquisite lithograph after Amedeo Modigliani (1884–1920), titled Portrait (Portrait), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 editio...

Biomorphic Carved Wood Sculpture in the style of Isamu Noguchi, Unseen Force 19 by Joel Escalona This monolithic sculpture, designed by the talented Artist Joel Escalona, is a tower...

This sculptural side table is from the Studio Brancusi Collection designed and made by China-based artist Danjie Yan. The works debutted at Sifang Art ...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...

This is a unique set. A prototipe that will not be produced again. Constantin is a simple but charming candleholder with a geometric shape with circles and rhombus. The body is in M...

Biomorphic Carved Wood Sculpture in the style of Isamu Noguchi, Unseen Force 18 by Joel Escalona This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beauty in craftsmanship. Hand and digital machine made; the standing sculpture stands...

Fishes is a series of sculptural coffee tables inspired by the famous Fish (1930) sculpture of Rumanian artist Constantin Brancusi. Brancusi's work has been widely regarded as a masterpiece of modern art, and his Fish sculpture remain an iconic symbol of his artistic vision. The Fishes Coffee Tables series is a tribute to Brancusi's mastery of creating a sense of tranquility and serenity. Each coffee table in this collection is meticulously shaped from natural finish or black-tinted oak wood or walnut. The design process for the Fishes Coffee Tables collection was deeply stimulated by Brancusi's Fish sculpture, with each coffee table featuring soft and rounded forms that capture the fluidity and motion of aquatic life with simplicity and elegance. The sculptural forms of the Fishes Coffee Tables by NONO Furniture reflect this aesthetic, evoking a sense of quietness and stillness. The natural beauty and rich texture of oak and walnut create a warm and inviting atmosphere that is both elegant and sophisticated, making the Fishes Coffee Tables collection a perfect addition to any home decor. Each coffee table in the Fishes Series...

Dining by Design, Socle Solid Wood Tables, Crafted by Joel Escalona No44 —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side tabl...

Susan Hable is inspired by the work of David Hockney, Milton Avery, Henri Matisse, Alex Katz, Howard Hodgkins, Hilma af Klint, Georgia O'Keeffe, Barbara Hepworth and Constantin Brâncuși. With humor and a bit of mischief, Susan Hable’s “Don't Pick The Flowers!” is a body of work that is at once a refuge and a playground. Inspired by her sumptuous garden just outside of her Athens studio, Susan flows from one medium to the next from painting to collage to sculpture. Susan sees her garden as a place for adventure and daydreaming, challenging her perceptions of what her Art can be. Even a weedy ground cover has caught Susan’s eye, an overlooked invasive is seen in a new light becoming a dreamlike fairytale path. Her work asks us to engage in life, go for a walk and play. Susan Hable Smith is the artist and designer behind the boldly colored and hand drawn patterns of Hable Construction...

Francois-Xavier Lalanne (1927-2008), Sheeps, unique work This unique work by François Xavier Lalanne is made of watercolor, with lines drawn with graphite and manière de crayon. De...

Biomorphic Carved Wood Sculpture in the style of Isamu Noguchi, Unseen Force 21 by Joel Escalona This monolithic sculpture, designed by the talented Artist Joel Escalona, is a tow...

This visceral and sculptural chair is designed and made by renown artist Zhipeng Tan. Size and color is customizable upon request, lead time is 45-60 days. We ship internationally. Since graduating with an industrial design degree from the China Academy of Art in Hangzhou, Zhipeng Tan has focused on the ancient technique of lost-wax casting. Through this foundry process, rich in heritage and tradition, Tan explores his interest in organic forms. Often inspired by his environmental surroundings, such as water and plants, he explores anthropomorphic themes, as well. Though trained as an industrial designer, he has become an accomplished self-taught sculptor, eagerly exploring the elastic and permeable boundaries between art and design and finding a harmonious fusion of sculpture and furniture, provocative objects of both beauty and utility. Though from his early work, one may sense the influence of Joan Miró, Henry Moore and Constantin Brancusi, and in his more recent pieces there is a nod to the Post-Pop sensibilities of Jeff Koons and Takashi Murakami, the work of Zhipeng Tan is thoroughly original, an expression of his exuberance and imagination. In all of his work, one may see an exploration of our fundamental humanity and a desire to discover worlds within worlds. From the 33 Step Chair...

Dining Tables, Socle's Solid Wood No18, Mealtime Masterpieces by NONO —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side table co...

Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Made of solid wood, its elaborated construction serves as a suppor...

Midcentury Isamu Noguchi Cyclone side table, Model 87 circa 1970 for Knoll International. Original condition, professionally cleaned. Isa...

Socle's Elegance, Solid Wood Dining Tables, Perfect for Gatherings No42 —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side table...

Original print (aquatint and soft varnish) hand signed in pencil by François Xavier Lalanne and untitled "Le Pigeon" ("The Pigeon"), in perfect condition Th...

Der Stein by KASPAR HAMACHER, an organic shaped coffee table. Each piece is made from a solid piece of wood from naturally fallen trees. Handmade in Belgium, Der Stein is made to or...

Sculptural Elegance Unseen Force #53: Joel Escalona's Solid Wood Coffee Table Sculptural coffee table made of solid wood with a natural water-based or carbonized finish. Due to the ...

This large-scale sculpture is crafted from cast aluminum with a striking silver finish and a dark gray wash, giving it a beautifully aged appeal. The stippled surface enhances its un...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio La Varende, Rodin (La Varende, Rodin), originates from the 1944 ...

Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Made of solid wood, its elaborated construction serves as a suppor...

This is a very exciting and very rare signed drawing by Amadeo Modigliani of Mme Anka Zberowska. Madame Zberwoska was the daughter of a Polish aristocrat who, with her husband, arri...

Fishes is a series of sculptural coffee tables inspired by the famous Fish (1930) sculpture of Rumanian artist Constantin Brancusi. Brancusi's work has been widely regarded as a masterpiece of modern art, and his Fish sculpture remain an iconic symbol of his artistic vision. The Fishes Coffee Tables series is a tribute to Brancusi's mastery of creating a sense of tranquility and serenity. Each coffee table in this collection is meticulously shaped from natural finish or black-tinted oak wood or walnut. The design process for the Fishes Coffee Tables collection was deeply stimulated by Brancusi's Fish sculpture, with each coffee table featuring soft and rounded forms that capture the fluidity and motion of aquatic life with simplicity and elegance. The sculptural forms of the Fishes Coffee Tables by NONO Furniture reflect this aesthetic, evoking a sense of quietness and stillness. The natural beauty and rich texture of oak and walnut create a warm and inviting atmosphere that is both elegant and sophisticated, making the Fishes Coffee Tables collection a perfect addition to any home decor. Each coffee table in the Fishes Series...

François-Xavier Lalanne (1927-2008) Pegasus, 2005 Techniques : etching and soft varnish heightened with coloured pencil , hand signed in pencil by François Xavier Lalanne, in perfe...

François-Xavier Lalanne (1927-2008) Les Spitz (dogs), 2004 Original print (etching) hand signed in pencil by François Xavier Lalanne and untitled "Les Spitz" ("The Spitz"), in perfec...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio Douze aquarelles de Auguste Rodin (Twelve Watercolors by Auguste...

Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), Castelli Gal...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

François-Xavier Lalanne (1927-2008) a ram and a bird, 2005. Techniques : watercolored aquatint and soft varnish on paper, hand signed in pencil by François Xavier Lalanne, in perfec...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure Interior Setting I, from the album XXe siecle, Numero special hors abonnement, Hommage a Henry Moore, or...

Dining Room Sets, Elegance No12 by Socle, Crafted by Joel Escalona —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side table collec...

This sculptural side table is from the studio Brancusi Collection designed and made by China-based artist Danjie Yan. The works debutted at Sifang Art ...

Biomorphic Carved Wood Sculpture in the style of Isamu Noguchi, Unseen Force 22 by Joel Escalona This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towe...

Another wonderful marble sculpture with an intriguing provenance. Unsigned. Part of a series by Paul Jencik, circa 1998-2001. This ‘totemic head’ sculpture is carved from a single block of marble in a snowy white. It’s the remaining head from a much larger totemic sculpture, the base now lost. This figurative face can be interpreted in many ways. Jencik references human, animal and natural forms but never quite allows us to reach a conclusion about the origins of his creations. Jencik was a welder, boat builder and metal worker with a strong creative instinct but without the opportunity or artistic training that would afford his work any recognition. He created a large series of marble and timber sculptures...

François-Xavier Lalanne (1927-2008) A ram and a bird, 2005 Techniques : watercolored aquatint and soft varnish on paper, hand signed in pencil by François Xavier Lalanne, in perfect...

Fishes is a series of sculptural coffee tables inspired by the famous Fish (1930) sculpture of Rumanian artist Constantin Brancusi. Brancusi's work has been widely regarded as a masterpiece of modern art, and his Fish sculpture remain an iconic symbol of his artistic vision. The Fishes Coffee Tables...

Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Made of solid wood, its elaborated construction serves as a suppor...

Elegance at Mealtime, Solid Wood Socle Dining Tables by Joel Escalona No31 —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side tab...

This sculptural side table is from the Studio Brancusi Collection designed and made by China-based artist Danjie Yan. The works debutted at Sifang Art ...

Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous ...

This is a mid 20th century mod abstract large bronze sculpture by Wolfgang Behl (German/American, 1918-1994). The sculptural group titled "The Family" features a mother and father with two children. Numbered 20/20. Signed. 21" H x 10 1/4" x 10 1/4 Wolfgang (Johann Wolfgang) Behl (1918 - 1994) was active/lived in Connecticut, Illinois / Germany. Known for Sculpture and as an architectural carver. A carver,designer, and teacher, Wolfgang Behl was born in Berlin, Germany where he studied at the Berlin Academy of Fine Arts. His teacher was otto Hitzberger, sculptor and architecture carver. I have seen some his work, particularly in carved wood compared to Constantin Brancusi although this one seems way more reminiscent of Alberto Giacometti. In 1939, Behl came to the United States and taught briefly in Pennsylvania at the Perkiomen School and in Rhode Island at the Rhode Island School of Design. There in 1943, he won the Joseph N. Eisendrath prize for sculpture. He also became a friend of Louis Mayer, sculptor from Milwaukee. In 1944, Behl took a job as Art Director at the Lake Forest Academy in Lake Forest, Illinois, and he also began a one-year teaching assignment at the Layton School of Art in Milwaukee. The last years of his life until his death were in Hartford, Connecticut. Source: Peter C. Merrill, "German-Immigrant Artists in Early Milwaukee" Originally from Berlin, Germany, Mr. Behl immigrated to the United States in 1939 and became a citizen in 1947. He studied with Waldemar Raemisch at the Academy of Fine Arts in Berlin, and later at the Rhode Island School of Design. He began teaching at the Hartford Art School in 1955, retiring in 1983 to devote his time to sculpting. Mr. Behl had exhibitions throughout the United States and Germany. Some of his solo exhibitions include the Arts Exclusive in Simsbury from 1976 to 1981, and the Bertha Schaefer Gallery in New York City from 1950 to 1973. He showed at the New Britain Museum of American Art, in New Britain, Connecticut in 1969. He also had several retrospectives, including one at the Greater Hartford Jewish Community Center in West Hartford until the end of this month. His works in bronze have a German Expressionist quality to them a pathos found in the works of Kathe Kollwitz and the Expressionist movement. He was known for his classically inspired, but often surrealist sculpture. Among his most-well known pieces are a series of sculptures done for the University of Connecticut Health Center. Several examples of Behl’s work are found on the campus of the University of Hartford. He was included in the show Monumentality in Modern Sculpture at the Contemporary Arts Museum Houston, Texas, 1957. Artists featured in the exhibition: Kenneth Armitage, Hans Arp, Ernst Barlach, Wolfgang Behl, Dorothy Dehner, Edgar Degas, José de Rivera, Max Ernst, Alberto Giacometti, Joseph Glasco, Julio González, Paul Granlund...

The I Primera Sculpture is part of Noviembre collection, which offers a compelling range of furniture, inviting exploration of form, function, and the serene lines that define each p...

Fishes is a series of sculptural coffee tables inspired by the famous Fish (1930) sculpture of Rumanian artist Constantin Brancusi. Brancusi's work has been widely regarded as a mast...

Socle Dessert Tables No11, Sweet Design in Solid Wood by NONO —— Introducing the "Socle Dining Table Series" by NONO, a distinguished expansion of our beloved side table collection...

François-Xavier Lalanne (1927-2008) and Claude Lalanne (1925-1919), Sphinx, 2005 Techniques : gelatin silver print hand signed by François Xavier Lalanne, in perfect condition Dime...

Important work by the artist, were exhibited at Kunsthalle Recklinghausen, Radical Innovations, 2024-25. Signed lower right. Natalia Dumitresco (or Dumitrescu) was born in Buchare...