Art by Medium: Metal

Portrait of Suzanne Vérité by Marcel GIMOND (1894-1961) Bronze sculpture with a nuanced green patina signed on the neck "M. Gimond" cast by "Bisceglia, cire perdue" (with the foundr...

Portrait of Pierre Vérité by Marcel GIMOND (1894-1961) Bronze sculpture with a dark brown patina signed on the neck "M. Gimond" cast by "Bisceglia, cire perdue" (with the foundry st...

This lovely 1940s French polished brass frame is perfect for paintings, drawings, lithographs, mirrors, or any creative decoration. The frame has a large proportion and can be hung i...

"Man on a Stair" American Scene Social Realism WPA Mid 20th Century Modern Robert M. Cronbach (AMERICAN / NEW YORK / MISSOURI, 1908 - 2001) modernist bronze sculpture depicting a st...

Artist: Pablo Picasso Title: Bullfighter (Torero) Portfolio: Carmen Medium: Copper aquatint plate with cancellation marks Date: 1949 Edition: One of a kind Frame Size: 20 3/4" x 17" ...

Artist: Pablo Picasso Title: In Profile (de Profil) Portfolio: Carmen Medium: Copper aquatint plate with cancellation marks Date: 1949 Edition: One of a kind Frame Size: 20 3/4" x 17...

Nison Tregor Born in Lithuania of Polish parents, Nison Tregor studied sculpture at the Warsaw Academy of Fine Arts. After immigrating to the United State...

An original bronze sculpture by Constantin Antonovici from his portrait series. Referenced in "Antonovici" by Uricariu & Bulat, pg 328 Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous Croatian sculptor Ivan Mestrovici, until his arrest by Italian fascists. Antonovici himself survived imprisonment in Germany for his refusal to fight on the side of the Nazis. After the war, he continued his studies in Vienna, under the tutelage of Professor Fritz Behn...

Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous ...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

Substantial, sensitively molded, graceful circa 1940, hand-cast, bronze sculpture of a doe.

This retablo was purchased by the gallery in Mexico City. I knew the family that sold this retablo to me. The writing says" Puebla 1940,. It is a prayer to St. George thanking him that his dog saved him from being attached from a snake. He is is thankful that his dog was not bitten by the snake. Bernardino Pantoja This ex-voto is in excellent condition. It is framed behind conservatorship glass. The framed size is 14" x 15". The class should only be cleaned with ammonia free cleaner. An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, "from the vow made") or in gratitude or devotion. Ex-votos are placed in a church or chapel where the worshiper seeks grace or wishes to give thanks. The destinations of pilgrimages often include shrines decorated with ex-votos. Ex-votos can take a wide variety of forms. They are not only intended for the helping figure, but also as a testimony to later visitors of the received help. As such they may include texts explaining a miracle attributed to the helper, or symbols such as a painted or modeled reproduction of a miraculously healed body part, or a directly related item such as a crutch given by a person formerly lame. There are places where a very old tradition of depositing ex-votos existed, such as Abydos in ancient Egypt. Especially in the Latin world, there is a tradition of votive paintings, typically depicting a dangerous incident which the offeror survived. The votive paintings of Mexico...

Lapin, modèle 6, circa 1944-1949 Edition Leblanc-Barbedienne Bronze with a brown patina 7.5 x 4 x 2.5 cm Sandoz : Sculpteur Figuriste et Animalier 1881-1971, Catalogue Raisonné de l...

Bronze with light gold patina, 1947. Hand signed by the artist. One of seven casts. Very good condition Dimensions: Height 3.35 in ( 8,5 cm ), Width 4.92 in ( 12,5 cm ), Depth 1.97 ...

Figure of a horse , French 1940's , on a marble base appears unsigned finely carved, beautiful rendering, nice patina

This retablo was purchased by the gallery in Mexico City. I knew the family that sold this retablo to me. The writing says" August 8,1944,I give thanks...

Arieh Merzer was a prominent Israeli artist and metal worker. Arie Merzer, an artist who worked in hand-hammered copper, was born in Warsaw, Poland in 1905, the scion of a large Has...

Poisson, Georges Braque, Fish, Sculpture, Bronze, 1940's, Postwar, Valsuani Ed. 6/6 pcs Signed and numbered underneath : 6/6, cire perdue, C.Valsuani fondeur. Certificate of authent...

This Sculpture "Hen" by William Zorach in polished bronze is numbered 3/6 although according to the artist son, only 4 were ever cast. Executed in 1946, signed on the reverse and nu...

This piece appears unsigned and unmarked. It came from an important estate in the Palm Beach area. It is an abstract flame or torch in a bronze vase. Venetian glass (Italian: vetro ...

Very emotional sculpture by Käthe Kollwitz ( 1867-1945 ), Germany. Conceived 1940/1941. Bronze dark patinated on granite rectangular base. One of a 50 pieces, cast 1975. Signed down...

Antique American modernist mixed media sculpture painting by Duayne Hatchett (1925 - 2015) . Mixed media metal sculpture . Signed on verso.

Bronze sculpture with wooden base. Signed and dated under the base. Certificate of authenticity signed by the artist,

Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous Croatian sculptor Ivan Mestrovici, until his arrest by Italian fascists...

Artist: Constantin Antonovici, Romanian (1911 - 2002) Title: Sleeping Owl Year: 1947 Medium: Bronze with Patina on Marble Base, signature and number inscribed Edition: 1/9 Size: 29 i...

In the novel "The Man with the Golden Arm" by Nelson Algren, the main character is a card shark. Here Art has taken a twist on that title by showing Algren as the dealer in one of Art's most famous shots. This work is not framed. Contact the gallery for framing options. Art Shay The Man with the Golden Arm, 1949 silver gelatin print 16h x 20w in 40.64h x 50.80w cm ASY15107 “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen & Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren was to American writing: that rare and absolutely necessary citizen who’s blessed with a cold eye, a clear head, and a warm heart. What is it about Chicago that keeps giving us men like this?” Russell Banks, Novelist “The best images of Simone de Beauvoir and her times have been passed down to us by Henri Cartier-Bresson, Gisele Freund, Robert Doisneau, Georges Brassai, and in America, the Chicago-based Art Shay, all world-class photographers.” Christophe Loviny, Art Editor, Paris “Art Shay is the best photo-journalist Chicago ever produced.” Arthur Siegel...

Edward Bohlin silver mounted parade saddle. Black. Great Bohlin Stamp. Cowboy Saddle, Western Saddle. 1940s one of his most desirable periods. Bohlin of Hollywood California. He made all of the saddles and other related western gear for the movies. The Corona was custom made using the original Corona as the sample to copy. Biography Edward Bohlin (1895-1980) Edward H Bohlin Company (Established 1920) Saddlery-Saddle Maker 1895-1980 BP: Sweden LKL: Hollywood, CA. Born in Sweden in 1895, Edward Bohlin ran away from home at age 15, working his way to America on a huge four-mast schooner with dreams of Buffalo Bill Cody's Wild West in his head. Ed worked cattle drives around Montana before opening his first saddle shop in Cody, Wyoming where he did rope tricks in front of his shop to draw business. He met Tom Mix while performing at the Pantages Theatre in Hollywood and Mix convinced Ed to stay and produce silver and leather items in the Los Angeles area. From his humble beginnings to his fame in Hollywood for high-end pieces, Ed crafted more than 12,000 Bohlin saddles...

William F. Boogar, Jr. Seagull Lamp 1946 Bronze approx. 15 1/4" High x 6 1/2" Wide Signed and Dated Bottom WILLIAM F. BOOGAR, Jr., the Provincetown sculp...

Jean Cocteau Exceptional copy of the complete works in 9 volumes, dedicated to Jacques Fonson, 8 with original endpage drawings Half bound in red morocco with gold lettering 8 volum...