651 results for ""constantin brancusi""

An original bronze sculpture by Constantin Antonovici from his Owl Series. Referenced in "Constantin Antonovici: Sculptor of Owls", pg 43 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 Croatian sculptor Ivan Mestrovici, until his arrest by Italian fascists. Antonovici himself survived imprisonment in Germany for his refusal to fight on the side of the Nazis. After the war, he continued his studies in Vienna, under the tutelage of Professor Fritz Behn...

Constantin II is a simple but charming candleholder with a geometric cross shape. The body is in solid oak stained black. The cylinder in natural brass on the top is the place where to put a 18 mm candle. In the same collection 3 different models of candlesticks in wood or in marble. 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...

Constantin II is a simple but charming candleholder with a geometric shape with cross. The body is in solid oak wood painted black. The cylinder in natural brass on the top is the place where to put an 18 mm candle. In the same collection 3 different models of candlesticks in wood...

Constantin 1 is a simple but charming candleholder with a geometric shape with circles. The body is in solid oak wood. The cylinder in natural brass on the top is the place where to ...

Alexander Liberman (1912-1999): Svet III Mixed media on board, 1984, signed 'Alexander Liberman' and dated at bottom= Hand signed, titled and dat...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Constantin is a simple but charming candleholder with a geometric shape. The body of Constantin I is in solid oak painted black shaped with a cross, Constantin III in Canaletto walnu...

Pietra Serena' Inca' Console by Angelo Mangiarotti for Skipper, Italy, 1978 The "Inca" range represents an advancement of the previously established "Eros" system, maintaining the ...

Francois-Xavier Lalanne (1927-2008) Donkey (Âne bâté), 2002 Techniques : etching on paper Hand signed in pencil by François Xavier Lalanne, in perfect condition Dimensions of the...

David Hare Dancer, circa 1955 Bronze with integral stand 68 high x 17 wide x 13 1/2 deep inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Hand Forged Iron Sconce Candelabra Holocaust Memorial Judaic table Sconce Sculpture 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 menorah). 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...

Francois-Xavier Lalanne (1927-2008) Men and woman, 2002 etching on paper hand signed in pencil by François Xavier Lalanne, in perfect condition This etching by François Xavier Lal...

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) Men (ephebes), 2002 Techniques : etching on paper Hand signed in pencil by François Xavier Lalanne, in perfect condition Dimensions of the pape...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

'Owl' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Joel Nhete. The artist presents in this sculpture a highly abstracted figure of a wi...

'Face' is an original cobalt sculpture by the Zimbabwean artist Obert Mukumbi. This sculpture demonstrates the artist's influence from the great Shona...

Noviembre is a collection of furniture that, through seats, tables and decorative pieces, invites you to explore form, function and, above all, the feeling of slow, opulent and seren...

Gate Taught Version 1991. Large format silver gelatin photo. signed and dated. Zeke Berman’s still lifes are fabrications derived from the material of ordinary and intimate experience, reconstituted to satisfy the demands of improvised play, monocular vision, and the special characteristics of photographic description. They are concerned with the pictorial aspect of sculpture and the provisional nature of realistic indication. In the central tradition of still-life art, they aim to establish an unsuspected order in the congregation of unremarkable things. Since the late 1970's Zeke Berman has been making singular, studio-based photographs. These works reflect his long standing interest in visual cognition, optics and the intersection between sculpture, photography and drawing. The formal range of his work and his sculptural use of materials is varied, original and idiosyncratic. Berman’s work has been collected and exhibited in museums such as The Museum of Modern Art, The Metropolitan, Whitney, Art Institute of Chicago and LA County Museum. His work was featured in the first New Photography Exhibition, 1984, at MoMA. Awards include Guggenheim, NEA and NYFA Arts Fellowships. Berman lives and works in New York City. from MOMA A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and other artists using photography have worked and experimented within their studios, from photography’s inception to the present. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own brings together photographs, films, and videos by artists such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper...

Hans Namuth Maurice Grossman Carolyn Brown Photograph, circa 1960s Stamped on verso Photography 13 3/4 x 10 3/4 inches Provenance Estate of Carolyn Brown, New York 2025. Born in E...

“XYZ4” by Alberto Cabiddu, 1999 – Signed Sculpture in Pietra di Vicenza Artist: Alberto Cabiddu Title: XYZ4 Year: 1999 Medium: Pietra di Vicenza (Vicenza Stone) Dimensions: 50 ...

'Bird' is an original opal serpentine sculpture by the Zimbabwean artist Samuel Tichafa Masakwa. Trained in the Shona stone carving tradition, the artists here presents an elegantly abstracted water fowl: above the egg-shaped form of the body, the bird's long neck curls outward forming a loop. Such abstracted forms recall traditional African sculpture as well as the work of modern masters like Constantin Brancusi who looked to non-Western sources for inspiration. opal serpentine stone 31.5 x 12 x 11 inches not signed 140 lbs Overall good condition; some scratching Samuel Tichafa Masakwa was born in 1971 on the 15th of September, the first born of nine siblings. He was educated at Zengeza No. Five Primary School and later, Zengeza Four High School. Out of keen interest, he started sculpting at a tender age of fourteen. His cousins were accomplished sculptors, Nicholas Mukomberanwa and Albert Nathan Mambura whose brotherly love nurtured the interest in him to greater heights. During Samuel's school holidays, Albert Mamvura shaped his pending career as an artist by engaging him as his assistant. In 1991 he completed his 'O' levels and began sculpting full-time at Albert's workshop. As an apprentice he learned how to carve Shona abstracts, figures and heads. While he was working with Nicholas Mukomberanwa he had the chance to learn how to clean hidden angles on hard stones like springstone, cobalt, serpentine and the original green opal. In 1996 his cousins advised him to be independent in order to explore the new avenues he was bringing into the field. He discovered he did not have his own trade mark so he went to yet another accomplished artist, Joe Mutasa...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

François-Xavier Lalanne (1927-2008) the donkey, 2002. Techniques: etching on paper, hand signed in pencil by François Xavier Lalanne, in perfect condit...

Francois-Xavier Lalanne (1927-2008) Le Chat, 2004 Original print (aquatint and soft varnish) hand signed in pencil by François Xavier Lalanne and untitled "Le Chat" ("The Cat"), in perfect condition This rare print is a variation over one of the iconic subject of the artist. It is the print version of the sculpture "Chat qui dort" ("Cat Sleeping", in a stylistic way which recalls Pierre Le Tan...

Francois-Xavier Lalanne (1927-2008) Cat, mouse and seated man, 2002 This print by François Xavier Lalanne depicts a cat, a mouse and a seated man. The cat is reminiscent of two s...

François-Xavier Lalanne (1927-2008) Sirens (women-headed birds in greek mythology), 2005 Techniques : aquatint and soft varnish on paper, hand signed in pencil by François Xavier L...

Abigail Varela (1948-) Atrapando un corazón 2008 Madera, resina y acrílico Catching a Heart Wood, Resin and Acrylic Hand signed verso with initials and...

David Hare Cronus Descending, 1971 Acrylic on linen 64 x 46 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most ...

'Eye Witness' is an original opal serpentine sculpture signed by the Zimbabwean artist Josphat Makenzi. Makenzi was trained in the contemporary Shona stone carving tradition, and thus his works take on themes from African as well as from European art history. His sculptures of the human face have the abstracted qualities of traditional African sculptures and masks...

Edward Steichen, John Durniak, Monroe Wheeler and Edward D. Museum of modern art on Feb 10, 1962 Photographer Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson, Jasper Johns, Franz Kline), actors (Dustin Hoffman, Robert De Niro on the set of “Taxi Driver”), musicians (Janis Joplin, Alice Cooper, Bob Dylan) and documentary images of early happenings and performances (Yayoi Kusama, Charlotte Moorman, Al Hansen, Jim Dine, Nam June Paik). The many images of Andy Warhol include the well-known one with his Brillo boxes at the Stable Gallery in 1964. Woody Allen, Diane Arbus, W. H. Auden, Francis Bacon, Joan Baez, Louise Bourgeois, David Bowie, Jimmy Breslin, William Burroughs, John Cage, Leo Castelli, Christo, Leonard Cohen, Merce Cunningham, William de Kooning, Jim Dine, Mark di Suvero, Marcel Duchamp, Bob Dylan, Federico Fellini, Allen Ginsberg, Robert Indiana, Mick Jagger, Jasper Johns, Kusama, John Lennon, Sol Lewitt, Roy Lichtenstein, Nam June Paik, Elvis Presley, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Lou Reed, James Rosenquist, Mark Rothko, Ed Ruscha, Robert Smithson, Susan Sontag, Andy Warhol, and others. McDarrah’s prints have been collected in depth by the J. Paul Getty Museum and the National Portrait Gallery, Washington. His work is in numerous public and private collections. Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and art gallery and museum curator. Steichen's were the photographs that most frequently appeared in Alfred Stieglitz's groundbreaking magazine Camera Work during its publication from 1903 to 1917. Together Stieglitz and Steichen opened the Little Galleries of the Photo-Secession, which eventually became known as '291', after its address. Steichen laid claim to his photos of gowns for the magazine Art et Décoration in 1911 being the first modern fashion photographs ever published. From 1923 to 1938, Steichen was a photographer for the Condé Nast magazines Vogue and Vanity Fair while also working for many advertising agencies including J. Walter Thompson. During these years, Steichen was regarded as the best known and highest paid photographer in the world. In 1944, he directed the war documentary The Fighting Lady, which won the 1945 Academy Award for Best Documentary. From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While at MoMA, he curated and assembled exhibits including The Family of Man, which was seen by nine million people. In 1904, Steichen began experimenting with color photography. He was one of the earliest in the United States to use the Autochrome Lumière process. In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, which eventually became known as 291 after its address. It presented some of the first American exhibitions of Henri Matisse, Auguste Rodin, Paul Cézanne, Pablo Picasso, and Constantin Brâncuși. He worked with Robert Frank even before his The Americans was published, exhibited the early work of Harry Callahan and Aaron Siskind, and purchased two Rauschenberg prints...

David Hare Cronus Waiting, 1990 Acrylic on linen 72 x 42 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Genre: Post Impressionist Subject: Landscape Medium: Oil Surface: Canvas Country: France Dimensions: 13" x 16" Jacques Zucker was born in 1900 in Radom, Poland. He was a notably fa...

François-Xavier Lalanne (1927-2008) The Mermaids (les Néréides), 2005 Techniques : aquatint and soft varnish on paper, hand signed in pencil by François ...

Francois-Xavier Lalanne (1927-2008) Women and Man, 2002 Techniques : etching on paper Hand signed in pencil by François Xavier Lalanne, in perfect condition Dimensions of the pape...

Constantin coffee table, Studio Simon, Italy, ca. 1970. A tribute to Constantin Brancusi, the Constantin coffee table was designed by Studio Simon, founded by Dino Gavina, a key fi...

François-Xavier Lalanne (1927-2008) Horse and Boar, 2005 Techniques : aquatint and soft varnish on paper, hand signed in pencil by François Xavier Lalanne, in perfect condition Dim...

This painting is an abstract botanical painting featuring hues of pink, blue, orange, green, and yellow. Susan Hable is inspired by the work of David Hockney, Milton Avery, Henri Ma...

Untitled is an artwork realized by Jacques Hérold in 1974. Original colored lithograph. Good conditions. Printed by Mourlot , France. This lithograph was realized  by the artist i...

Francois-Xavier Lalanne (1927-2008) The pig (in french : le cochon), 2004 This extremely rare print by François Xavier Lalanne depicts a pig, more precisely a sow and her babies. It...

'Stork Bird' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Jonathan Nhete. The artist presents in this sculpture a highly abstracted figure of a bird, the long beak and eye of which emerges shining and polished from within a heroic almond-shaped loop formed by the bird's wings. Such abstracted forms recall traditional African sculpture as well as the work of modern masters like Constantin Brancusi who looked to non-Western sources for inspiration. The sculpture's surface is brought to a beautiful polish, allowing the green of the serpentine to create a glittering depth as immense as a lake or river. opal serpentine 32 x 19 x 6 1/2 inches, sculpture 2.75 x 12 x 12 inches, concrete and marble base (included at request of buyer) 34 .75 x 19 x 12 inches, overall 85 lbs signed "Nhete Jonathan" along bottom edge on reverse with hole drilled in foot to accommodate 0.5-inch steel support rod overall good condition; brown stain at base of bird neck; some minor scratches Jonathan Nhete was born on November 16, 1972 into a family of 5 boys. He decided to explore in the art industry and was fascinated by the works made by a local artist Dudzai Mushawepwere...

François-Xavier Lalanne (1927-2008) La chèvre (the goat), 2004 Original print (etching on paper) hand signed in pencil by François Xavier Lalanne and untitled "La Chèvre" ("The Goat"...

Francois-Xavier Lalanne (1927-2008) The three Geese (in french : les trois oies), unique trial proof dated 30 jully 2004. This unique trial proof by François Xavier Lalanne depic...

François-Xavier Lalanne (1927-2008) and Claude Lalanne (1925-1919), Sphinx, 2005 Techniques : aquatint and soft varnish on paper, hand signed in pencil by François Xavier Lalanne, i...

Francois-Xavier Lalanne (1927-2008) The ants, 2002 lithograph hand signed in pencil by François Xavier Lalanne, in perfect condition This lithograph by François Xavier Lalanne depi...

Peter Potworowski 1898-1962 Cornwall, 1953/1954, circa watercolour 17.5 x 23 cm 6 7/8 x 9 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived...

Joel Escalona's Unseen Force #57: Solid Oak Table, Sculptural Presence ——— This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beauty i...

Unseen Force #52: Solid Oak Table, Joel Escalona's Functional Art ——— This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beauty in cra...

Sculptural Elegance Unseen Force #53: Joel Escalona's Solid Wood Coffee Table ——— This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of b...

Sculptural Harmony Unseen Force #47: Joel Escalona's Oak Coffee Table ——— This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beauty i...

Solid Wood Unseen Force #46: Joel Escalona's Coffee Table, Artistic Craft ——— This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beau...

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...

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...

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...

Socle No89 Nightstand, Wooden Contemporary Design by NONO Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Made o...

Socle No88 Side Table, Minimal Solid Wood Furniture by Joel Escalona Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design te...

Modern Solid Wood Nightstand Socle No86, Joel Escalona Design Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Mad...

Wooden Side Table Socle No82, Modern Interior Design by Joel Escalona Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design ...

Wooden Stool Socle No84, Minimal Modern Design by Joel Escalona Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. M...

Socle No81 Stool, Solid Wood Minimal Furniture by NONO Socle side table, auxiliary table, night stand Socle is a small solid wood table designed by the NONO design team. Made of so...