Wayne Salge Art

Pablo Picasso A.R. 172 Bird With Worm 1952 6” round Edition of 500 White earthenware clay, oxidized paraffin decoration, white enamel. Ramie 172 is a Madoura...

Bronze sculpture of a horse that rears on granite base

"Ballerina gold/blue" is a unique bronze scultpure (2023) of Bulgarian mid career artist Günay Aliev. In this sculpture the artist depicts a nude ballerina standing on her tows with...

Hand built heavily glazed solid ceramic structure by NY artist Judy Engel. Solid slabs create this cubist style sculpture that Engel is recognized for. Greatly influenced by the modernism of the middle of the 20th century, Judy's first introduction to this style was the Empire State Plaza in Albany, NY. "In the 1970s, upstate school kids...

Antique Bronze Dog Sculpture Chihuahua "La Petite Belle Lydie" Charles Valton (French, 1851-1918) Circa 15 1/2 x 10 1/4 x 7 Lydie is a Chihuahua making her a very rare image from ...

TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

Cubist abstract mixed-media sculpture titled 'Horse and Rider' was created using various materials including wood, papier-mache, and paint by Bill Low (Scotl...

Elza Mayhew (1916-2004) was known for her abstract bronze sculptures, many large scale, that were described by Colin Graham of the Art Gallery of Greater V...

Antique Bronze Portrait of a Draft Horse Isidore Jules Bonheur (France, 1827-1901) Circa 1840s Cast bronze mounted on a rectangular plinth atop a marble s...

Gilbert Portanier ( Cannes . 1926 ) Sculpture RECTO / VERSO année 1989 . signé . Size: 37 cm . posé sur un socle amovible sur une tige d'acier 12 x 12 cm . " En quelques mots " ...

ULISES JIMENEZ "BAJISTA" METAL, SIGNED COSTA RICA, 2023 32.25 INCHES Ulises Jiménez Obregón was born in La Mansion de Nicoya, Costa Rica, in November 1953. He studied Plas...

Sculpture by the Spanish artist AMANCIO GONZALEZ bronze. The length of the horizontal bars can be modified to your liking Fantastic piece of art representing Spanish sculpture Very p...