Arieh Merzer Art

Outdoor sculpture in polished aluminum. The figure of a face is constructed from old lead typesetting elements, welded together. A mold is then made and the face - which now acts as...

This bronze sculpture of a woman in a chair, is typical of the work of Bruno Lucchese. Born in Italy in 1926, Bruno Lucchesi has been referred to as “the last of the Renaissance scu...

Judith Hoyt's work is included in the collections of the Guggenheim Museum (New York), Pennsylvania Academy of Arts (Philadelphia), The Smithsonian Museum,...

1961 Coty Award Plaque Kenneth Hairdresser Jacqueline Onassis Bronze Fashion Bronze on wood. The wood plaque measures 12 3/4" by 20 3/4 inches. The bronze plaque itself is 13 3/4 x 8 3/4 inches and the the bronze inscription, which reads "COTY, American Fashion Critics Special Award 1961 to KENNETH of LILY DACHE...

Modern bronze with gold patina figural sculpture, in the style of Alberto Giacometti (Swiss, 1901-1966), not signed, depicting abstract nude male a figures, in a parcel gilt finish, ...

Artist: Kuno Lange, German (1950 - ) Title: Seated Nude Woman Year: 1996 Medium: Bronze Sculpture with Black Patina, signature and number inscribed Edition: 3/9 Size: 17 in. x 18 in....

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Bro...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 81 Inches Tall Medium: Bronze Sculpture Dated 2006 "The Spirit Of Texas" Bucking Bronco & Rider They are very scarce. I only know about 2 others that have even come up for sale in the last 10 years or so. Please not the dedication on the wooden base of the sculpture. There is one on Gerald Harvey Jones (G. Harvey) tombstone in the Texas State Cemetery in Austin, Texas. Western, Cowboy, Horse, Bronc, Bronco Riata, Rodeo G. Harvey (Gerald Harvey Jones) (1933-2017) Known for paintings closely linked in mood and subject matter to Edouard Cortes [1882-1962], G Harvey creates romanticized street scenes of turn of the century towns in America. Rain slick streets reflect urban lights, and the weather is obviously cold. He grew up in the rugged hills north of San Antonio, Texas from where herds of longhorn cattle were once driven up dusty trails to the Kansas railheads. His grandfather was a trail boss at 18 and helped create an American legend for his grandson. So the American West is not only the artist's inspiration but his birthright. Harvey's early interest in sketching and drawing slowly evolved into a passion for painting in oils. After graduating cum laude from North Texas State University, Harvey took a position with the University of Texas in Austin, but he soon realized that weekends and nights at the easel did not satisfy his love of painting. He abandoned the security of a full-time job in 1963 and threw his total energy into a fine art career. Harvey paints the spirit of America from its western hills and prairies to the commerce of its great cities. His original paintings and bronze sculptures are in the collections of major corporations, prestigious museums, the United States government, American presidents, governors, foreign leader and captains of industry. The Smithsonian Institution chose Harvey to paint The Smithsonian Dream, commemorating its 150th Anniversary. The Christmas Pageant of Peace commissioned Harvey to create a painting celebrating this national event. He has been the recipient of innumerable awards and the subject of three books. G. Harvey lived in Fredericksburg, Texas, with his wife Pat in a 150-year-old stone home built by German settlers. His studio and residence are nestled within the Historic District of Fredericksburg. It is obligation of fine artists to present us with more than pretty pictures. They must also make us feel. Among the western painters of today, there is none more capable of accomplishing this than G. Harvey. In his paintings, the viewer into only sees the physical elements of his subject, but also senses the mood that surrounds them. It is a remarkable aspect of fine art, which few artists are able to master. Gerald Harvey Jones was born in San Antonio, Texas, in 1933. His grandfather was a cowboy during the trail-driving era when legends grew up along the dusty trails north from Texas. Family stories of wild cattle and tough men were absorbed by a wide-eyed boy and became the genesis of G. Harvey's art. A graduate in fine arts at North Texas State University, Harvey taught full-time and painted nights and weekends for several years. It was through painting that he found his greatest satisfaction, and his native central Texas hill country provided the inspiration for most of his earliest work. With the development of his talent and the growth of his following, Harvey began to expand his artistic horizons. He left teaching and concentrated on a career in fine art. He sought the essence that is Texas and found it not only along the banks of the Guadalupe, but in cow camps west of the Pecos, and in the shadows of tall buildings in big Texas cities. The streets of Dallas once echoed with the sound of horse hooves and the jingle of spurs. Historic photographs reveal what it looked like, but only an artist like Harvey can enable a viewer to experience the mood and flavor or the time. Contemporary western art has too often centered on the literal representations from its roots in illustrations. Artists like G. Harvey take us a step further, to the subjective impressions that are unique to each great talent and which constitutes something special and basic to fine art expression. Harvey was a soft-spoken and unassuming man who cared deeply about what he painted without becoming maudlin or melodramatic. We sense there is more in each Harvey painting than just that which is confined to the canvas. Resources include: The American West: Legendary Artists of the Frontier, Dr. Rick Stewart, Hawthorne Publishing Company, 1986 Artist G. Harvey grew up in the rugged hills north of San Antonio, Texas from where herds of longhorn cattle were once driven up dusty trails to the Kansas railheads. His grandfather was a trail boss at 18 and helped create an American legend. The American West is not only the artist's inspiration but his birthright. Harvey's early interest in sketching and drawing slowly evolved into a passion for painting in oils. After graduation cum laude from North Texas State University, Harvey took a position with the University of Texas in Austin, but he soon realized that weekends and nights at the easel did not satisfy his love of painting. He abandoned the security of a full-time job in 1963 and threw his total energy into a fine art career. Two years as a struggling artist followed, but 1965 brought acclaim for the artist's first prestigious show, The Grand National exhibition in New York, and the American Artists' Professional League presented him with their New Master's Award. President Lyndon Johnson discovered his fellow Texan's talent, became a Harvey collector and introduced John Connally to the artist's work. Connally was enthusiastic about Harvey's art, and, on one occasion, he presented a G. Harvey original to each governor of Mexico's four northern states. Harvey paints the spirit of America from its western hills and prairies to the commerce of its great cities. His original paintings and bronze sculptures are in the collections of major corporations, prestigious museums, the United States government, American presidents, governors, foreign leader and captains of industry. The Smithsonian Institution chose Harvey to paint The Smithsonian Dream commemorating its 150th Anniversary. The Christmas Pageant of Peace commissioned Harvey to create a painting celebrating this national event. He has been the recipient of innumerable awards and the subject of three books. Through his art, our history lives. Gerald Harvey Jones, better known as G. Harvey, grew up in the Texas Hill Country listening to his father and grandfather tell stories about ranch life, frontier days in Texas, and driving cattle across the Red River. Early in his career, he began to draw inspiration from that collective memory for paintings that would eventually earn him the reputation as one of America's most recognized and successful artists. His art is rooted in the scenic beauty of the land he grew up in and the staunch independence of the people who live there. He says, "My paintings have never been literal representations. They are part first-hand experience, and part dreams generated by those early stories I heard. They are a product of every place I have been, everything I have ever seen and heard." G. Harvey graduated from North Texas State University. He taught in Austin, but continued to study art in his spare time, eventually devoting full time to his painting. The year 1965 was a turning point when he won the prestigious New Masters Award in the American Artist Professional League Grand National Exhibition in New York. It is often said that in viewing a work of art, one is granted a unique look into the thoughts and expressions of values that give meaning to the artist work. Nowhere does this ring truer than the art of G. Harvey. Though Harvey has had nearly two decades of sell-out shows, an outstanding honor came with a series of one-man shows in Washington, D.C. in 1991. The first was at the National Archives featuring his paintings of the Civil War era, then a selection of paintings of notable Washington landmarks was exhibited at the Treasury Department, culminating in a one-man show of 35 paintings at the Smithsonian Institution during their exhibition of The All-American Horse. His work was featured in Gilcrease Museum exhibitions from 1992-1997. In 1987 his alma matter...

Bronze sculpture of young Turkana girl in traditional attire and characteristic hair style. The Turkana tribe, nomadic by nature, are a Nilotic people native to the Turkana District ...

Mid 20th Century sgraffito work on plaster by Jean Pierre de Cayeux. The work is signed and dated on the skirt of the card player, bottom right, and on the stretcher of the chair, bo...

Antique Bronze Dog Portrait of a Terrier Pierre-Albert Laplanche (French, 1826-1873) Signed in script to base "Laplanche" Stamped "E.V 3753" 8 x 2.75 x 8 1/4 inches This is a super...

Ruth Asawa Bronze Flower, 1979 Cast Bronze relief plaque with original presentation box 5 1/4 × 6 1/4 × 1/4 inches Numbered from the Edition of 2500 Signed and dated 'Asawa 1979' (lower edge) incised in the bronze; numbered; stamped "Designed Exclusively for Crown Zellerbach Corporation"; foundry copyright Cast at the Berkley Arts Foundry for Crown Zellerbach Ruth Asawa's estate is represented by David Zwirner. Unframed This beautiful, limited edition signed cast bronze flower plaque makes a distinctive and original gift! It bears the artist's incised signature and is uniquely numbered from the limited edition of 2500. In 1979, the Crown Zellerbach Corporation of San Francisco, which had worked closely with her on neighborhood arts programs, commissioned Asawa to make a series of bronze bas-relief plaques, including this beautiful piece, which were cast by the Berkeley Arts Foundry. Cast at Berkley Arts Foundry for Crown Zellerbach Another example of this work was exhibited in the show "On Black Mountain: The Bauhaus Legacy in America", April 5, 2019-April 27, 2019 at the Sager Braudis Gallery in Columbia, Missouri. It is reproduced on page 13 of the exhibition catalogue. Ruth Asawa Biography American artist, educator, and arts activist Ruth Asawa (1926-2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Born in rural California, Asawa was first exposed to professional artists while her family and other Japanese Americans were detained at Santa Anita, California, in 1942. Following her release from an internment camp in Rohwer, Arkansas, eighteen months later, she enrolled in 1943 in Milwaukee State Teachers College. Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America. Asawa’s work has been exhibited widely since the early 1950s, including early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where Asawa completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (2001; traveled to Oakland Museum of California, 2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and Norton Simon Museum of Art, Pasadena, California (2014). In 2018 to 2019, the Pulitzer Arts Foundation in St. Louis presented Ruth Asawa: Life’s Work, the first major museum exhibition of the artist’s work in more than a decade. An accompanying catalogue published by Pulitzer Arts Foundation and Yale University Press includes essays by Aruna D’Souza, Helen Molesworth, and Tamara H. Schenkenberg. The two-person exhibition, Lineage: Paul Klee and Ruth Asawa was on view at the San Francisco Museum of Modern Art in 2021. In 2022, Ruth Asawa: Citizen of the Universe was on view at Modern Art Oxford, England, and later traveled to the Stavanger Kunstmuseum, Norway. Opening September 16, 2023 at the Whitney Museum of American Art, New York is Ruth Asawa: Through Line, a solo presentation which will later travel to the Menil Drawing Institute in Houston. The artist’s works have also been included in significant group exhibitions, including Leap Before You Look: Black Mountain College 1933–1957, Institute of Contemporary Art, Boston (2015; traveled to Hammer Museum, Los Angeles, and Wexner Center for the Arts, Columbus, Ohio, 2016-2017); America Is Hard to See, Whitney Museum of American Art, New York (2015); Revolution in the Making: Abstract Sculpture by Women, 1947–2016, Hauser & Wirth, Los Angeles (2017); Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York (2017); The Pencil Is a Key: Drawings by Incarcerated Artists, The Drawing Center, New York (2019); and In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury, Art Institute of Chicago (2019). A selection of the artist's work was presented at the 59th Venice Biennale, The Milk of Dreams (2022). In addition to her wire sculptures, Asawa is well known for her public commissions, particularly in San Francisco and the wider Bay Area. These include the much beloved Andrea fountain in Ghirardelli Square (1966-1968) and the San Francisco Fountain outside the Grand Hyatt Union Square (1970-1973), the latter of which includes hundreds of baker’s clay images molded by local schoolchildren, friends, and other artists cast...