Art by Medium: Metal
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Period: 1970s
Medium: Metal
#1 Bird, Hand-Welded Bronze, Copper and Iron Sculpture by Delfin
Located in Long Island City, NY
Artist: Victor Delfin, Peruvian (1927 - )
Title: #1 Bird
Year: 1978
Medium: Hand-Welded Bronze, Copper and Iron Sculpture
Size: 45 in. x 71 in. (114.3 cm x 180.34 cm)
Category
1970s Modern Art by Medium: Metal
Materials
Bronze, Copper, Iron
Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting
By Allan Houser
Located in Santa Fe, NM
Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting
Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist in that he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the war path. This bronze edition is a life-time casting. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process. Allan Houser's work is many international collections including the Georges Pomidou Centre, The Smithsonian National Portrait Gallery, The Dahlem Museum among others.
Allan’s first bronze sculptures were started in the late 1960’s and were cast at Nambe Foundry. At the time the foundry was producing both Nambeware and was doing some sculptural foundry work. There was a fire at Nambe and they lost many of the molds for sculpture as well as their records. We acquired these works directly from Allan Houser.
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone
National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Non nato non morto il 1° di settembre 190
Located in Roma, IT
Enamel on cardboard.
Signed at lower right. Signed, dated and titled on overleaf.
Authenticity certificate by Fondazione Pablo Echaurren.
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
Suzanne Benton, 1974, Pelvic Woman, Copper, Coated Steel
Located in Darien, CT
In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC.
Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors.
Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets.
Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen.
In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks.
What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure:
"Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth."
(Pelvic Woman and Protection are illustrated in the book):
What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...
Category
1970s Feminist Art by Medium: Metal
Materials
Copper, Steel
Mexican indian woman with Water Pot (In the style of Francisco Zúñiga)
Located in Guadalajara, Jalisco
Mexican Indian Woman with Water Pot (In the style of Francisco Zúñiga)
Unknow Artis
Lost Wax Bronze
45 x 35 x 35 cm
1960, MX
No base
Category
1970s Expressionist Art by Medium: Metal
Materials
Bronze
Suzanne Benton, Becoming, 1975, Copper, Coated Steel
Located in Darien, CT
In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC.
Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors.
Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets.
Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen.
In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks.
What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure:
"Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth."
(Pelvic Woman and Protection are illustrated in the book):
What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...
Category
1970s Feminist Art by Medium: Metal
Materials
Copper, Steel
Kachina Family, bronze by Dan Namingha, gold and brown patina, limited edition
By Dan Namingha
Located in Santa Fe, NM
Kachina Family, bronze by Dan Namingha, gold and brown patina, limited edition
limited bronze edition
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Large Eternal Moment Bronze Sculpture
Located in Delray Beach, FL
Eternal Moment
Man and woman embracing, indoor or outdoor large bronze sculpture signed V. Salmones edition 6/10, 1979.
Included in the Victor Salmones book published in 1991 "A Sense of Human".
This large sculpture 76" almost two meters tall 196cm.
Victor Salmones (1937-1989) was the most widely known sculptor living and working in Mexico during his lifetime. His sculptures won him universal acclaim and are held in the collections of museums, corporations, cities, universities and private collectors in some 30 countries. During his career, he was highly sought after and increasingly involved in the execution of commissions for major public works around the world.
Salmones developed his love and talent for creating sculptures by working with clay in high school. He attended the Instituto de Bellas Artes where he was an apprentice to the Bauhaus master, Hoffman. He was trained to use the exacting, age-old lost wax method of casting and worked principally in bronze.
His work explores styles that are both abstract and figurative and the grace and spirit inherent in his work endow his bronzes with a transcendent vitality. The international acceptance of Salmones sculpture...
Category
1970s Modern Art by Medium: Metal
Materials
Bronze
Lions and Deer, Bronze Sculpture by A. Ganso
Located in Long Island City, NY
Artist: A. Ganso
Title: Lions and Deer
Year: 1973
Medium: Bronze Sculpture, signature inscribed
Size: 23 x 15 x 13 inches (58.5 x 38 x 33 cm)
Category
1970s American Realist Art by Medium: Metal
Materials
Bronze
Toasted Hermes - 1970s - Pablo Echaurren - Enamel - Contemporary
Located in Roma, IT
Toasted Hermes is a very amusing and surrealist enamel and China ink on cardboard realized in 1970 by Pablo Echaurren.
Signed and dated in black ink on the lower right margin. On the...
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
Spiral
Located in Long Island City, NY
Artist: Paul von Ringelheim, Austrian/American (1933 - 2003)
Title: Spiral 1
Medium: Painted Flame-Cut Steel Sculpture
Size: 47 x 52 x 8 in. (119.38 x 132.08 x 20.32 cm)
Category
1970s Abstract Expressionist Art by Medium: Metal
Materials
Steel
Leda and the Swan, Ed. 1/9
Located in Greenwich, CT
Classical mythology is fraught with stories of sexual misdeeds by Zeus, King of the Gods. Often Zeus would fall in love with a mortal woman and then transform himself into an animal ...
Category
1970s Abstract Art by Medium: Metal
Materials
Bronze
È la promessa di Kimra - 1970s - Pablo Echaurren - Enamel - Contemporary
Located in Roma, IT
È la promessa di Kimra is an amusing enamel and China ink on cardboard realized in 1970 by Pablo Echaurren.
On the back, title, year of creation, and signature are hand-written in bl...
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
I nostri esperti sono giunti ad una conclusione determinante - 1970s - Enamel
Located in Roma, IT
I nostri esperti sono giunti ad una conclusione determinante is an amusing and ironic enamel and China ink on cardboard realized in 1970 by Pablo Echaurren.
Signed and dated in blac...
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
Rabbit
Located in Long Island City, NY
Artist: Constantin Antonovici, Romanian (1911 - 2002)
Title: Rabbit
Year: 1975
Medium: Bronze Sculpture with Patina, signature and number inscribed
Edition: 3/9
Size: 15.5 in. x...
Category
1970s Modern Art by Medium: Metal
Materials
Bronze
Come mestiere faccio il poeta e quindi devo scriverlo con una esse sola - Enamel
Located in Roma, IT
Come mestiere faccio il poeta e quindi devo scriverlo con una esse sola is an amusing and ironic enamel and China ink on cardboard realized in 1970 by Pablo Echaurren.
Signed and da...
Category
1970s Art by Medium: Metal
Materials
Enamel
Sulla ricostruzione di una trappola a paniuzze - 1970 - Pablo Echaurren - Enamel
Located in Roma, IT
Sulla ricostruzione di una trappola a paniuzze is a colorful original painting (enamel and China ink on cardboard) realized in 1970 by Pablo Echaurren.
Signature, date, and title in ...
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
Black Silver, Silkscreen on Foil by Robert Squieri
Located in Long Island City, NY
Artist: Robert Squeri, American (1923 - )
Title: Black on Silver
Year: circa 1970
Medium: Silkscreen on Foil Paper, signed and numbered in pencil
Edition: 32/50
Image Size: 17 x 26 i...
Category
1970s Abstract Geometric Art by Medium: Metal
Materials
Foil
One on the other one by G.Roland 1978 Abstract Sculpture Polished Aluminum
By G. Roland
Located in Brescia, IT
This artwork is composed by two single cubes simply juxtaposed, as the original artist project present in our Gallery Archive.
Unique signed piece.
Category
1970s Abstract Art by Medium: Metal
Materials
Metal
Floor Chimes (Sonambient)
Located in Long Island City, NY
This modern abstract bronze sculpture by Bruggemann is characteristic of his work. His works derive from and depend largely upon elemental laws of physics and kinetic principles, approaching the practical limits of artistic statement combined with supreme craftsmanship.
Artist: Winni Brueggemann, German
Title: Floor Chimes...
Category
1970s Conceptual Art by Medium: Metal
Materials
Bronze
Stainless Steel Sculpture -- The Sun, the Moon and the Wedge
By Martin Rubio
Located in Troy, NY
This elegant stainless steel sculpture relies on forms that change according to the angles at which the piece is observed. It rests on three points that change as the piece is moved....
Category
1970s Abstract Art by Medium: Metal
Materials
Stainless Steel
Oohiye, Bronze Sculpture by Clemente Spampinato
Located in Long Island City, NY
A classic relic from the American West, Spampinato's exquisite solid bronze sculpture is beauty, grace and action-packed. Signature inscribed on sculpture and plate stamped on base. ...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Resting
Located in Greenwich, CT
Ed. 2/6.
Bronze sculpture by Bruno Lucchesi of a woman sitting.
Category
1970s Realist Art by Medium: Metal
Materials
Bronze
Landscape
By Wes Olmsted
Located in Buffalo, NY
An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition Man of Extremes at Benjaman Gallery in Buffalo, NY.
Westley G. Olmsted ...
Category
1970s Modern Art by Medium: Metal
Materials
Gold Leaf
Martignac, Polignac, Cavaignac
Located in Roma, IT
Enamel on cardboard.
Signed at lower right. Signed, dated, titled on overleaf. Authentication by Fondazone Pablo Echaurren.
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
"Eclipse" Minimalist Aquatint Etching by Robert Squieri
Located in Long Island City, NY
Artist: Robert Squeri, American (1923 - )
Title: Eclipse
Year: circa 1970
Medium: Etching with Aquatint, signed in pencil
Edition: AP
Image Size: 17.5 x 17.5
Size: 21.5 x 21.5 in. (5...
Category
1970s Abstract Geometric Art by Medium: Metal
Materials
Foil
Couple with a Child Bronze by Michel Serraz
By Michel Serraz
Located in Pasadena, CA
Wax lost bronze. 3/8. Founder CHAPON.
Michel SERRAZ was born on August 2, 1925 in Paris he knows the price and importance of work and is constantly in a harmonious relationship wi...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting
By Allan Houser
Located in Santa Fe, NM
Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting
Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist in that he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the war path. This bronze edition is a life-time casting. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process. Allan Houser's work is many international collections including the Georges Pomidou Centre, The Smithsonian National Portrait Gallery, The Dahlem Museum among others.
Allan’s first bronze sculptures were started in the late 1960’s and were cast at Nambe Foundry. At the time the foundry was producing both Nambeware and was doing some sculptural foundry work. There was a fire at Nambe and they lost many of the molds for sculpture as well as their records. We acquired these works directly from Allan Houser.
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone
National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore.
Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze
Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze
Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green
The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green
The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze
The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze
The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe
Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States.
This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma.
Allan Houser was born in 1914.
His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs.
Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist.
Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time.
In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction.
With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes.
As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble.
A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond.
Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans.
Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994.
“It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Going Out
Located in Greenwich, CT
Sculpture of an East Asian woman, in traditional garb, putting a coat on.
Category
1970s Realist Art by Medium: Metal
Materials
Bronze
Anche la Valvola Mitrale Ha Una Sua Morale - Original Enamel on Cardboard
Located in Roma, IT
Enamel on cardboard. Hand signed, 1970.
Dimensions: 27x22 cm.
This artwork by Pablo Echaurren is a typical example of his production in 70s. Echaurren, son of Sebastian Matta, is ...
Category
1970s Contemporary Art by Medium: Metal
Materials
Enamel
Classic Form
By Naomi Savage
Located in Concord, MA
NAOMI SAVAGE (1927-2005)
Classic Form, c. 1970’s
Line-cut photo-engraving on zinc-plated copper
9 ½ x 7 ½ inches (plate)
Titled and inscribed on artists label verso: “Classic Form” / Collection- Eve Kraft / N.F.S. / Insurance value / $500.00
Artists label on the reverse reads: NAOMI SAVAGE / DRAKES CORNER ROAD / PRINCETON, NEW JERSEYT / PHOTOGRAPH BY / NAOMI SAVAGE
Original Kulicke Lucite frame
PROVENANCE
Ex. Collection Eve Kraft N.F.S.
Private collection, Princeton, New Jersey
Naomi Savage was born in Jersey City, New Jersey in 1927. From a very early age, Naomi was interested in the arts. Her mother encouraged her to pursue music, and as the niece of famous Dada and Surrealist painter, sculptor, and photographer, Man Ray, she was able to pursue her interests with much support from her family.
During high school, Naomi attended a class taught by Bernice Abbott, Man Ray's assistant in the 1920’s, at the New School for Social Research. She later attended Bennington College, where she studied music and the arts. Shortly after college, she traveled to California to study and apprentice with her uncle, Man Ray. Ray was a great inspiration to the young Naomi; he encouraged her to let her imagination create her art. Savage said later in her life that her strongest inheritance enriching her artistic career came from her uncle, Man Ray. "I never forgot his insightfulness," she said. "With him you could try anything - there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured and that kind of encouragement was wonderful".
In 1950, Naomi married painter, sculptor, and architect, David Savage. Shortly after, the couple moved to Lambertville, New Jersey, residing there for three years before moving to Princeton, New Jersey.
She had her first exhibition in 1952 at the Museum of Modern Art in New York City, and exhibited there again in 1960, 1966, and 1968. Her work can now be seen in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the International Center of Photography in New York, the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Noyes Museum in Oceanville, New Jersey.
Savage pioneered the use of photographic engravings for which she is best known. With a photographic engraving, the actual metal photographic plate itself is the art. It is described as a kind of topographic photograph with forms in three dimensions and with a variety of metallic surfaces and tones. Some of her most famous photographic engravings involve a series of portraits of her sister, which she manipulated in countless ways over many years. But her most famous photographic engraving (perhaps her most famous work of all) is a fifty-foot long mural she did on the side of the Lyndon B. Johnson Library and Museum in Austin, Texas.
Her approach to photography represents an involvement with process as medium, and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles...
Category
1970s American Modern Art by Medium: Metal
Materials
Copper
Futurismo rivisitato
Located in Roma, RM
Mario Schifano (Homs 1934 – Roma 1998), Futurismo rivisitato (1972 – 1976)
Smalto spray su tela di cm 100 x 120 in perspex policromo firmato Schifano.
L’opera risulta archiviata ...
Category
1970s Pop Art Art by Medium: Metal
Materials
Enamel
Felipe Delfinger, Pendant Lamp In Metal And Colored Glass, Mexico, 1970s
Located in SAINT-OUEN-SUR-SEINE, FR
Felipe Delfinger.
Suspension in metal and colored glass.
Mexico, 1970s.
Good condition, to be cleaned.
Height: 20 cm
Diameter: 20 cm
Category
1970s Art by Medium: Metal
Materials
Metal
Two Open Rectangles Excentric
Located in Greenwich, CT
Kinetic sculpture by George Rickey.
Incised with the artist's signature, date 1975 and number 1/3 (on the base).
Dimensions:
minimum: 79 by 21 ⅜ by 10 in.
maximum: 79 by 80 by 10 in...
Category
1970s Abstract Art by Medium: Metal
Materials
Stainless Steel
End of the Hunt, by Allan Houser, bronze, sculpture, wildlife, eagle, rabbit
By Allan Houser
Located in Santa Fe, NM
End of the Hunt, by Allan Houser, bronze, sculpture, wildlife, eagle, rabbit
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, P...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Vertical Motif #8
By David Hayes
Located in Fort Lauderdale, FL
American modern master David Hayes created graceful sculptures abstracted from organic forms over an artistic career that spanned six decades. His monumental outdoor sculptures conte...
Category
1970s Contemporary Art by Medium: Metal
Materials
Steel
Charro with Fighting Cock
Located in New Orleans, LA
Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...
Category
1970s Art Deco Art by Medium: Metal
Materials
Bronze
Charro Initial
Located in New Orleans, LA
Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...
Category
1970s Art Deco Art by Medium: Metal
Materials
Bronze
Charro Hastiado
Located in New Orleans, LA
Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...
Category
1970s Art Deco Art by Medium: Metal
Materials
Bronze
Terry O'Neill - Bardot with Dog, on set of Les Novices, 1970, Printed After
Located in Greenwich, CT
Brigitte Bardot on the set of ‘The Novices’ a.k.a. ‘Les Novices’, France, 1970
Lifetime Edition Gelatin Silver Print
Available Sizes:
20”x24” -Co-Signed by Terry O'Neill and Brigitt...
Category
1970s Modern Art by Medium: Metal
Materials
Silver
Terry O'Neill - Brigitte Bardot hands on hips, Photography 1971, Printed After
Located in Greenwich, CT
Brigitte Anne-Marie Bardot is one of the most iconic French actresses and models in the world. She is one of the best known sex symbols of the 1950s and 1960s and was widely referred...
Category
1970s Contemporary Art by Medium: Metal
Materials
Silver
Terry O'Neill - Brigitte Bardot Cigar, Photography 1971, Printed After
Located in Greenwich, CT
Brigitte Anne-Marie Bardot is one of the most iconic French actresses and models in the world. She is one of the best known sex symbols of the 1950s and 1960s and was widely referred...
Category
1970s Modern Art by Medium: Metal
Materials
Silver
May My Heart Rest in the Shades of Night
By Yayoi Kusama
Located in Tokyo, 13
LOT:20231124N01
Medium: Collage, pastel, enamel, ink on paper
Artist signed and dated 1975 in lower left; Artist signed, titled and dated 1975 on the reverse
Unique
This work includ...
Category
1970s Art by Medium: Metal
Materials
Enamel
Preparing to Ride
Located in Missouri, MO
Preparing to Ride
By. George B. Marks (American, 1923-1983)
Signed and Dated
Throughout his artistic career, George Marks’s work was always guided by the...
Category
1970s American Realist Art by Medium: Metal
Materials
Bronze
David Bowie as Ziggy Stardust
Located in Cliffside Park, NJ
"The Jean Genie" David Bowie as Ziggy Stardust, Santa Monica, CA 1972
Acrylic and enamel screen print on linen, 62 x 48 in
Russell Young is a pop artist of international acclaim. Ru...
Category
1970s Pop Art Art by Medium: Metal
Materials
Enamel
Let him kiss me... from Song of Songs of King Solomon, Etching by Salvador Dali
Located in Long Island City, NY
Artist: Salvador Dali (1904 - 1989)
Title: Let him kiss me...
Portfolio: Song of Songs of King Solomon
Date: 1972
Medium: Color etching with gold dust...
Category
1970s Surrealist Art by Medium: Metal
Materials
Gold Leaf
Somewhere on the Reservation, Bronze, Sculpture, Allan Houser, Apache, Singer
By Allan Houser
Located in Santa Fe, NM
Somewhere on the Reservation, Bronze,Sculpture, by Allan Houser, Apache, Singers
Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist in that he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the warpath. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process. Allan Houser's work is many international collections including the Georges Pompidou Centre, The Smithsonian National Portrait Gallery, The Dahlem Museum among others. Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States. This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
San Carlos Girl, bronze, sculpture, by Allan Houser, Apache, woman, brown
By Allan Houser
Located in Santa Fe, NM
San Carlos Girl, bronze, sculpture, by Allan Houser, Apache, woman, brown
lifetime casting limited edition
Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist because he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the warpath. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process.
Allan Houser's work is in many international collections including the Georges Pompidou Centre, The Smithsonian National Portrait Gallery, and The Dahlem Museum among others.
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone
National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. The ceremony officiated by Hillary Rodham Clinton and Tipper Gore.
Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze
Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *” Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green
The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green
The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze
The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze
The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe
Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States.
This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist.
Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction.
With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes.
As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...
Category
1970s Contemporary Art by Medium: Metal
Materials
Bronze
Nude and Mirror Gold Leaf Screen Print by Lebadang
By Hoi Lebadang
Located in Long Island City, NY
Artist: Lebadang, Vietnamese (1922 - 2015)
Title: Untitled - Nude and Mirror
Medium: Silkscreen, signed in pencil
Edition: EA
Size: 30 x 22 in. (76.2 x 55.88 cm)
Category
1970s Contemporary Art by Medium: Metal
Materials
Gold Leaf
Don Quixote Bas Relief in Original Velvet Box
Located in Missouri, MO
"Don Quixote" 1979
Bronze (encased in original velvet box)
Signed Lower right
Numbered Lower Left 157/215
Size of Relief: 27" x 18.5"
Size of Velvet box: 29.5" x 21" x 3.25"
Provenance: Martin Lawrence Galleries
Salvador Felipe Jacinto Dali was born May 11, 1904 in the small Spanish town of Figueras in the province of Catalunya. The name 'Salvador' had been given to an older brother who died in infancy. When Dali was born the name was passed on to him. No one could have known just how revolutionary and important this name would become to the art world. Growing up, Dali was a difficult child and refused to conform to family or community customs. Dali's father, a respected notary, his mother and younger sister all encouraged Dali's early interest in art. In fact, a room in the family home was the young artist's first studio. Early on, Dali's talent was already refined beyond his years, and with each year his talent only grew, as did his interests.
After receiving private art lessons in Figueras for some time, Dali enrolled at the Escuela de Pintura, Escultura y Grabado de Bellas Artes de San Fernando in Madrid in 1921. There he joined an avant-garde circle of students that included film-maker Luis Bunuel and poet-dramatist Federico Garcia Lorca. Although Dali excelled in his academic pursuits, he never took final examinations, deeming that he had no need for the type of education offered by formal schooling. He was expelled and reinstated, yet it mattered little to him. Salvador Dali's passion for the arts and his need to experience life on his own terms could not be met within the confines of school. He left. This did not sit well with Dali's father however, and Salvador was subsequently disowned. With no true home left to him, Dali moved into a fisherman's shack in the small village of Port Lligat, two miles from Cadaques and not far from the French border. Port Lligat would become the site of Dali's future mansion home where he would spend many years of his life.
It was at this time that Dali came under the influence of two forces that shaped his philosophy and his art. The first was Sigmund Freud's theory of the unconscious, introduced to Dali in Freud's book The Interpretation of Dreams. The second was his association with the French surrealists, a group of artists and writers led by the French poet Andre Breton. When Dali visited Paris for the first time, he was introduced to the leading surrealists in the movement, but because of his lack of interest in politics, he was eventually shunned by this group.
It was also around this time that Dali met the woman who was to become one the most important people in his life... his wife and soul mate, Gala. Gala was a Russian girl...
Category
1970s Surrealist Art by Medium: Metal
Materials
Bronze
Cornelis Zitman, Divertimiento, 1973, Bronze, 72 x 34 x 45 cm
Located in Miami, FL
Cornelis Zitman
Divertimiento, 1973
Bronze, AP
72 x 34 x 45 cm
28.3 x 13.3 x 17.7 in.
Cornelis Zitman (1926-2016)
Born in Leiden in a family of builders, he enters the Fine Arts ...
Category
1970s Art by Medium: Metal
Materials
Bronze
Aharon Bezalel Israeli Modernist Sculpture 2 Parts Minimalist Aluminum or Steel
Located in Surfside, FL
A suite of 2 sculptures. Lovers, man and woman nestled together. sleek minimalist mod sculpture.
polished finish on one side. not sure if theese are stel...
Category
1970s Minimalist Art by Medium: Metal
Materials
Metal
Michael
By Alex Katz
Located in New York, NY
1977
Oil on shaped aluminum
S. 18 7/8 x 12 1/2 x 1/4 in. (47.9 x 31.8 x 0.6 cm)
Unique
Signed
Category
1970s Pop Art Art by Medium: Metal
Materials
Metal
Unicorn with a Golden Wall
Located in Austin, TX
Kelly Fearing (1918 - 2011)
Title: "Unicorn with a Golden Wall"
Medium: Mixed Media on Paper
Dimensions: 18" x 12" (image)
Markings: Signed LR
Framed
Category
1970s American Modern Art by Medium: Metal
Materials
Gold Leaf
Maquette V Two Winged Figures - 20th Century, Bronze, Sculpture by Lynn Chadwick
Located in London, GB
Stamped with the artist's monogram and numbered from the edition of 6 casts
Cast at Lypiatt Foundry, 1974
Reference: F & C 672
Category
1970s Modern Art by Medium: Metal
Materials
Bronze
"Wild Wings" Utah Wild Life Artist Bronze Geese in Flight
By Clark Bronson
Located in San Antonio, TX
Clark Bronson
Born 1939
Utah Artist
Image Size: Height 9 1/2'' Base Length 11 1/2'' Width 12 1/2"
Medium: Bronze
"Wild Wings" Canada Geese
Biography
C...
Category
1970s Realist Art by Medium: Metal
Materials
Bronze
Untitled
Located in San Francisco, CA
Born in Shanghai, China in 1933, Mark di Suvero emigrated to the U.S. in 1941. Raised in San Francisco, he attended the University of California, Santa Barbara and graduated from U.C. Berkeley in 1956 with a B.A. in Philosophy. His sculpture, generally classified as Abstract Expressionist, has been shown in galleries and museums in the U.S., Europe, Asia and Australia since the 1960's. Outdoor exhibitions have taken place in the Netherlands, Germany, France, Italy, Spain and a number of cities in the U.S. citywide shows include Paris, France; Venice, Italy; and New York City. In the U.S., cities with permanent installations of di Suvero's sculpture include Baltimore, Dallas, Grand Rapids, Houston, Los Angeles, Minneapolis, St. Louis, San Francisco, South Bend, and Toledo. In New York, di Suvero's work is in the permanent collections of the Museum of Modern Art, the Whitney Museum, the Metropolitan Museum of Art and the Storm King Art Center (Mountainville, NY). In 1977, di Suvero created the Athena Fountain to assist artists; composer Philip Glass and sculptor Ursula von...
Category
1970s Art by Medium: Metal
Materials
Steel
Centaur, Outdoor Sculpture by Ernst Neizvestny
Located in Long Island City, NY
Artist: Ernst Neizvestny, Russian (1926 - 2016)
Title: Centaur
Year: 1973-89
Medium: Bronze Sculpture, signature and numbering inscribed
Edition: 7
Size: 84 x 65 x 36 in. (213.36 x 1...
Category
1970s Surrealist Art by Medium: Metal
Materials
Bronze
Metal art for sale on 1stDibs.
Find a wide variety of authentic Metal art available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add art created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, red, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Stefan Traloc, Peter Mendelson, Rebecca Skinner, and Stefanie Schneider. Frequently made by artists working in the Contemporary, Abstract, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Metal art, so small editions measuring 0.01 inches across are also available