Terracotta Mixed Media

A sculpture in wood depicting a woman holding an umbrella. "Woman with Square Umbrella" by Post War artist Alexander Calder is signed underneath, "Calder." "Woman with a Square Umbre...

Good eye ceramic egg sculpture for home, office decor, collector piece. handmade in the picturesque village Arsuf in Israel is an art piece for designers a...

Renato Giuseppi Bertellis Born in 1900 in Lastra a sign and died in Florence in 1974. The title is sometimes given as Head of Mussolini, but is better known as Head of Mussolini (Co...

Signed, dated, and inscribed on the verso: Malvina Hoffman/ Den Pasar/ “Nipolog”-/ © 1932/ Bali Provenance: The artist; her estate. Literature: Mal...

A powerful presentation piece, this stunning bust of Jean Bécu - Comtesse du Barry is both beautiful and tragic. Executed in terracotta that has been left natural and shows a complex...

Arman 1996 Cut of violin, wood, and blue pigment in a Plexiglas box Edition of 90 from I/XC to XC/XC + 9 AP from EA I/IX to EA IX/IX Signed and numbered in the Plexiglas Recorded at...

Melanie Sherman Cup with Interior III (Hand-Painted, Gold Luster, Vase, Flowers, Bookcase) Porcelaneous Stoneware, Underglaze, Glaze, Porcelain Paint, Hand-made Vintage Decals, Gold ...

Jacob Foran (US. 1983; MFA 2010) is a Seattle based ceramic artist. Born in Urbana, Illinois, Foran received a BFA from the University of Illinois Urbana-Champaign in the interdisciplinary Painting & Sculpture Program. He then obtained a second BFA in Ceramics from the Univ. of IL in 2008, where he was awarded Allie D. Hughston-Enochs Scholarship for the Outstanding Graduate in the School of Art+Design. Prior to transferring to the Univ. of Illinois School of Art, Foran received a full tuition merit scholarship from Parkland College where is obtained an AFA with an emphasis in Drawing & Painting. During these years, he developed working relationships with Cinema Gallery and Ann Nathan Gallery in Chicago. Jacob moved to Seattle in 2008 to study with artists Akio Takamori, Doug Jeck, and Jamie Walker in the University of Washington’s Ceramics Department (consistently ranked in the top five nationally according to the U.S. News and World Report). Foran received the Kottler & Noritake Scholarship from the UW and the national juried Kate Neal Kinley Fellowship (20k) in 2009. He was awarded First Prize in the national Marge Brown Kalodner Graduate Student Exhibit at the Clay Studio in Philadelphia, PA. Foran began his teaching career while a graduate student at the UW under guidance from Akio Takamori. Upon receiving his MFA he was also given the Teaching With Excellence Award from the School of Art+Art History+Design at the UW. Foran’s 2010 thesis exhibition, titled ‘Headspace,’ made reviews in major publications including Surfaces Magazine in Beijing, China, Designboom in Milan, Italy and Beautiful Decay in Los Angeles, CA. His work has also been featured in publications such as ArtSlant New York, Clay Times, Ceramics Monthly, and the Seattle Times. Museum exhibitions include ”Continuum of Excellence: Haystack Clay Selects,” at the Fuller Craft Museum in Brockton, MA, “Creating The New Northwest: Selections from the Collection of the Herb and Lucy Pruzan” at the Tacoma Art Museum, WA, the NCECA National Biennial at the Museum of Art and Craft in Louisville, KY. Major gallery exhibitions include “Games of Antiquities” at Gasser & Grunnert in New York City, SOFA New York and SOFA Chicago with Ann Nathan Gallery, and most recently “Bodies and Beings” at Abmeyer+Wood Fine Art...

Egpytian Lion was produced after we were asked to restore and copy an 18th century 'Coade' Manufactory original at Deepdene House, Surrey, England. Robert Adam, the 18th century neoclassical architect, ordered these lionesses for Culzean Castle, Scotland, which was the home of Thomas Hope, the designer of the day and arbiter of early 18th century decoration. The Coade original was modelled on the Egyptian...

Within Reach by Beverly Mayeri is a wonderful wall mounted ceramic sculpture that also contains hand painted surface illustration. The multi-faceted aesthetic experience creates an ...

Tiger or possibly a lioness, modelled after an 18th century original by 'Coade' Manufactory. Shown seated, looking to sinster, on a modern rectangular base. In Chinese mythology, t...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...