Modern Shadow Boxes

David Gilhooly (1943 - 2013) assemblage. Assemblage measure 30.5" wide, 9" deep and 34.25" high. This is probably one of the largest assemblages that David made. Signed on the bac...

Contemporary Burmese Dolls in Lucite Display Case This display case measures: 69 wide x 5 deep x 34.25 inches high Each piece of Fine Art is care...

Created exclusively for Barneys of New York by the Estate of Roy Lichtenstein, the heavy and custom acrylic display box provides front and rear views of this master work. Stamped wit...

Drones, 2022, is a techno-futuristic riff on the traditional Victorian shadowbox containing horseshoe crab carapaces collected by hand on a visit t...

A Japanese silk haori float-mounted on an acrylic rod to a stretched pink cloth canvas in a custom formed acrylic shadow box by artist Greg Copeland...

Robert E. Matheny Glitter on canvass. Early work 1969, original Lucite shadow box frame. Visual artist starting in circa 1960, two years after graduating from Long Beach state College with an art education Masters Degree, Contemporary of John Baldessari, San Diego Art...

"Crossed Legs" 77/300 Mid-Century Modern watercolor print on handmade paper in large Lucite shadow box frame.

Stunning diorama by American artist Lloyd Brown. “View of Area Above San Rafael Reef, Utah” 1999. Signed and dated with gallery tags. I Lloyd Brown has been fascinated with the viewer’s experience of panorama, particularly as it seems to negate the role of the artist, throughout his career. Tradition has it that the artist, whether painter or photographer etc is singularly responsible for framing a scene. Mr. Brown takes this task off the plate of the artist and thusly provides the viewer with not only more visual information but also the agency to see and understand what they might see and understand within the composition with their own eyes. For example, Imagine if this composition did not include the information to your far right. The work would have been framed as a vista, a landscape painting, a scene of the horizon, the great American West. But by expanding (or in essence, breaking open) the frame, the viewer also sees the world of the artist, or the visual context as part of the vision. He or she stands on the same stained concrete as the artist , is able to see though their eyes but at the same time retain their autonomy by looking away from the vista. He or she does not have to see through the artists eyes and therefore understands the moment, experiences the moment, unencumbered by the task of looking. Viewer and artist are equal. So one might ask, Is the scene about the grand vista? Is it a scene of the great American West as we expect it to be? Or is it a scene that although grand serves to accentuate the viewer’s sense of alienation or even isolation and smallness in the moment, during the experience of the painting and ultimately throughout life’s path? The coupling of the mountains, garbage bins...

Black plastic wall object organizer designed by Dorothee Becker for Design M Ingo Maurer, 1969 Wall object holder in glossy black abs and hooks in nic...