Elevate your home space with our stunning Metal Ornaments, the perfect accessory for adding a touch of sophistication and charm to any room! Crafted with exquisite attention to detail, these ornaments serve a multitude of functions, from enhancing your home decor to serving as art pieces and collectables. Embrace a range of styles with our versatile collection, including Modern Luxury, Minimalist, Contemporary, Traditional, Transitional, and Rustic designs. For those with a penchant for opulence, our Luxury Crystal Home Decor pieces are sure to impress. Constructed from high-quality metal and accented with lustrous gold brass, each ornament exudes elegance and refinement. This set includes three pieces, each with unique dimensions: 14.5 x 5.5 x 20.5cm 14.5 x 5.5 x 20.2cm 14.5 x 5.5 x 23cm

Stand amidst the sculptures of Martin Puryear and you are aware that he is one of the few living artists whose work consistently communicates wit and visual eloquence. On exhibit at Matthew Marks (through January 10, 2015) are ten recent sculptures executed in a variety of woods and metals. Although these pieces do not have the monumental impact of works in his 2007 exhibit at MOMA, they are enormously satisfying. Puryear's devotion to craftsmanship is evident in the meticulous and elegant realization of each piece. His manipulation of materials serves to expand our expectations of their properties, while his manipulations of a single form suggest new ways of seeing it. In this exhibit, Puryear takes the form of the Phrygian cap (more on this below) and offers it up whole and in parts--sensuous, obstinate, uncertain, decorative. Begin with Up and Over, a modestly sized piece in cast ductile iron. The form is organic, almost anthropomorphic, as it curves over and presses tightly against itself. There is a tenderness to this piece that completely subverts the hardness of the iron. I find it captivating from every vantage point. UP AND OVER 2014 cast ductile iron 18 5/8 x 26 1/2 x 12 3/4 inches Contrast that with Big Phrygian in the next room. It is a hulking piece of painted red cedar that sits heavily and unyielding. Constructed from multiple layers of wood veneer, it is stubborn in its redness and has a cartoonish quality to the shape. Nothing about it entices me to linger. Yet when I draw close, I see the irregularities in its surface, perhaps a hint of vulnerability. This piece also represents the most overt representation of the Phrygian cap (see more on this below). BIG PHRYGIAN 2010-2014 Painted red cedar 58 x 40 x 76 inches Another of the variations on the form is evident in the open network of Untitled, one of the larger pieces on exhibit. In this piece, although the saplings have been bent and tied together, Puryear has left the wood in its most natural state. UNTITLED 2014 Hardwood saplings, cordage 174 1/2 x 148 x 52 inches Puryear is known for his exquisite craftsmanship with wood and in this exhibit he puts his skills on display. He makes use of a variety of woods (among them tulip poplar, pine, ash, holly, ebony, yellow cedar, and red cedar). Puryear works the wood to various effects -- in several pieces, paper thin layers of wood are joined into curving forms, while elsewhere, thicker pieces of wood are joined to build torqued arches and bulbous volumes. CASCADE, 2013 Alaskan yellow cedar, 66 x 54 3/4 x 17 inches CASCADE detail QUESTION 2010, Tulip poplar, pine, ash 90 x 109 1/4 x 34 1/2 inches QUESTION detail PHRYGIAN PLOT 2012 Inlaid holly and black dyed veneer 60 x 74 x 4 inches Puryear paints some of his pieces, some to a delicate and organic effect as seen in Shell Game, in others (as in Big Phrygian) with a heavy intensity, and in still others (such as Faux Phrygian), his brilliant colors serve to emphasize the geometry of the forms. SHELL GAME 2014 Tulip poplar, milk paint 56 1/4 x 72 x 9 1/2 inches Puryear's wit can be seen in how he titles each piece. The word cascade generally evokes a powerful downpour, while Puryear's Cascade is delicate and turns back up on itself, defying the downward pull. Rather than concealing something, as usually occurs in a shell game, his Shell Game is cut open to reveal its hollowed out and delicately painted innards. Puryear pulls out all the stops with Faux Vitrine, a display case that tilts in such a way that anything placed on its shelves would slide right off. Approach it from the another side and this colorfully painted piece morphs into something else entirely--devoid of color and optically confusing with shelves of polished stainless steel. Many people in the gallery did a double-take, perhaps thinking they were looking at two different sculptures. FAUX VITRINE 2014 Mirror polished stainless steel, curly maple, black walnut, marine plywood, Japan color 73 3/4 x 46 1/2 x 40 3/4 inches Another element of Puryear's work is its political/historic content. Historic references were noticeably present in several of the pieces in the retrospective at MOMA. (For more about that as well as other insights into Puryear's work, read sections of John Yau's recent article in Hyperallergic). In this exhibit, the Phrygian cap (also called a 'liberty cap') is a recurrent reference point. This soft, conical cap, often depicted in red, first appeared in antiquity and can be seen in Greek sculpture and vase paintings. It was also associated with a felt cap worn by emancipated slaves of ancient Rome. Later worn by the sans-culottes during the French Revolution, it signifies freedom and liberty. (For the trivia nerds among you, the Phrygian cap also appears in the coat of arms of Haiti, the Seal of the US Senate, the War Office seal of the US Army, on several state flags and in the coat of arms of Argentina. Small images appear at the end of this post.) In the press release for this exhibit, Puryear states "Although I was certainly aware of numerous depictions of this cap in European and early American art when I began work on the Big Phrygian sculpture, I only discovered the engraved image of the black man wearing the read Phrygian cap.... years afterwards." The engraving, which dates from 1794 when slavery was first abolished in France, includes the caption "Moi libre aussi" (I am free too). The cap appears in its most visually explicit form in the large, red Big Phrygian. With Shackle, Puryear combines a reference to the shape of the cap with a ring evoking the chains which shackled the slaves. Executed in iron, the sculpture is small but emphatic, with a subtly textured surface. SHACKLED 2014 Iron 27 1/2 x 30 5/8 x 8 3/8 inches While clearly referencing both the historic symbolism of the Phrygian cap as well as its shape, perhaps Puryear is also making a personal statement about his freedom as an artist. But whether or not you choose to consider his intentions, go see this exhibit for the joy of his artistry. A selection of Phrygian caps in art and politics .......

Untitled vase, 1965; purchased in South Carolina; stoneware, iron, reduction; Gift of American Ceramic Society Collection 2004.2.0281

Noguchi pedestal price at auction surprises design experts.

Hanging vessel Soap stone and iron Grave find Björkö, Adelsö, Uppland, Sweden. SHM 34000:Bj 879

This eye-catching colorful red vessel is wheel thrown with the addition of texture. Each handmade item is then bisque fired, stained, glazed, then re-fired to 2400 degrees to achieve the finished art form. This individual piece has many gorgeous iron spots which add to its attractiveness. Your vase may vary slightly in coloring from the item that is pictured. All sizes are approximate. Each piece is signed on the bottom.

About A Dinanderie flared-shape cup with red patina, the decor with silvered triangles friezes on the border, resting on a small circular base in wrought iron Signed.

Holz ist die grosse Leidenschaft des international renommierten deutschen Künstlers und Drechslers Ernst Gamperl. Technisch oft an der Grenze des Machbaren, schafft er raumfüllende Skulpturen in einer einmaligen gestalterischen Qualität.

Hanging vessel Ceramic Grave find Husby, Vansö, Södermanland, Sweden. SHM 16340

Set of height Art Déco Timber vases by Belgium Manufacturer De Coene Frere Height from smallest to bigger ones: 15.74 / 20/22/26.7/29.1 inches (40/51/56/68/74 cm) beautiful graphic effect with solid oak and mahogany marquetry. All in excellent condition.

Keiichi Tanaka is a popular potter with quite a following. We're happy to have restocked a selection of work, but have also added the blue wide bowl to our collection, which is fired with pigment.

Since medieval times, the cast-iron kettle has stood at the center of the traditional Japanese household, steaming on the stove and ready to supply water f

About One of a kind. Brass Michael A. Malpass was born in 1946 in Yonkers, New York. In 1965 he enrolled at Pratt Institute where he studied fine arts. Influenced by artists such as Theodore Roszak, Arnoldo Pomodoro and Alberto Giacometti he acquired an avid interest in sculpture. His career commenced in 1977 when he had his first solo exhibition at The Betty Parsons Gallery in Manhattan. Meeting, knowing and gaining appreciation of Betty and her insights into the many aspects of the art world and their relative importance was indeed a landmark in his career. Just two years later Michael found his work prominently featured on the cover of the March 1979 issue of ART news. Michael primarily explored the sphere using found metal objects. He would often say, “The sphere is the most perfect form. It is efficient, for example, with the most volume for the least surface area.” Applying traditional blacksmithing techniques he literally manipulated tons of steel. The industrial shapes are composed of iron, steel, brass, bronze and copper that were forged into an arc and welded together to form the sphere. Ultimately they were ground and polished, wire brushed or painted. His vast, stimulating and powerful body of work has established him as one of the most respected sculptors of the twentieth century. Today Michael’s work can be found in major museums and collections around the world.

Vessel Ceramic Kugeltopf ware. North-west European/Frieslandic provenance. Grave find, Björkö, Adelsö, Uppland, Sweden. SHM 34000:Bj 408