1930s Art

This is a stunning French Art Deco bronze sculpture figurine. The statue features a stylized freestyle interpretation of Artemis or Diana the Huntress (Diane Chasseresse). The nude f...

Rare original trio of drawings by Paul Desmond Brown (1893-1958) depicting: Virginia Gold Cup 1931/ Llangollen Farms 1932/ & National Horse Show 1932 Art Sz: 27 1/2"H x 11 1/2"W Fr...

Balancing Elephant Louis-Albert Carvin (France, 1875-1951) Bronze, marble Circa 1930s, Art Deco 8 x 7.5 x 2 (4 1/4 x 7 1/2 x 1 7/8 figure) inches Artist Louis-Albert Carvin, born in Paris in 1875, was exposed to art from an early age through his painter father. Carvin's formal education in art began at the École des Beaux-Arts, where he studied under artists like Émmanuel Frémiet and Georges Gardet. Over the years, artist Louis-Albert Carvin became a renowned sculptor, dedicating his life’s work to the modeling of human and animal figures. He studied under Fremiet and Gardet and became a member of the Société des Artistes Français, exhibiting at the Salon des Artists Francais from 1894 until 1933 winning the Medal of Honor in his first year in 1894. Remarkably, he sculpted La Muse de l’Aviation, the bronze trophy...

"Mercury" NYC 1931 Bronze 5th Ave Traffic Light Sculpture American Art Deco WPA In the late 1920s, Joseph Freedlander was asked by the City of New York ...

Francesco Messina (Linguaglossa 1900 – Milan 1995), Fisherman (1930) Bronze sculpture measuring 131 x 52 x 65 cm, signed and dated 1930 on the base. Francesco Messina’s Fisherman w...

Sign by Artist in Lower Right The present work was published as an illustration for Elizabeth Goudge's short story "A Crock of Gold" in the August 1938 issue of Woman's Home Companion. The story follows a family of five children on their summer vacation in Scotland. The kids set...

John William Mills (born 4 March 1933, London) is an English sculptor. He studied at Hammersmith School of Art, 1947–54, and at the Royal College of Art, 1956–60. He was a resident ...

John William Mills (born 4 March 1933, London) is an English sculptor. He studied at Hammersmith School of Art, 1947–54, and at the Royal College of Art, 1956–60. He was a resident ...

A fine quality, twentieth-century bronze model of a ram and a ewe by Alberic Collin (Belgian 1886-1962). Cast by the Rocher Paris foundry signed, inscri...

Numbered 1/8 Cast Fonderie Rocher A fine cast with a vivid green patina of a bird of prey

A fine quality, twentieth-century bronze model of a roaring lioness by Alberic Collin (Belgian 1886-1962). Prior to casting by the Valsuani foundry it w...

Max Kalish (American, 1891-1945) Harmony, c. 1930 Bronze with green marble base Incised signature on right upper side of base 14 x 9 x 5 inches, excluding base 17 x 10 x 8 inches, including base Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti...

Stunning, original Art Deco bronze of a male archer by the well known French sculptor, Pierre Le Faguays. Condition is very good. Verde green finish over bronze patina. Slight rubbed...

Feminine Nude Bronze with black patina Signed on Base 31 inches Paris Listed in Major Art books Iconic pose of both arms pressed close to the body with ...

Landscape "Rue de Saorge" is an etching on paper realized by Friedi Gold Boille in 1935. Hand-signed on the lower right. numbered on the lower left, edition of 1/20 prints, titled o...

Roland Strasser (1895-1974) "Japanese Geisha" Signed lower right Oil and gold leaf on canvas, measures: 76 x 46 cm In fine white-wash wood frame. ...

Edition of 100 copies numbered and signed by the artist. Excellent conditions. Aurelio Mistruzzi was an Italian sculptor and medalist. He attended the Udine ...

Monumental, Art Nouveau, Bronze Sculpture – Anonymous (20th Century) “Woman with Two Borzoi Dogs” 6 feet 7 inches high x 3 feet 3 inches wide x 2 feet 5 inches wide Medium: Silvered, patinaed and painted bronze Provenance: Maxwell House...

Figurative bronze sculpture of a man with his dog hunting. The man has a drawn bow. The sculpture is mounted on a marble base. The signature is stamped on to the bronze. Artist Bio...

Signed 'Lloyd' for Caroline Lloyd (American, 1875-1945) and created circa 1935. Base impressed with foundry stamp, 'C. Valsuani Cire Perdue', for Claude Valsuani Fonderie, Paris. Please note: Video has not been color corrected; for correct color, refer to photographs. Born in Indiana, Caroline Lloyd first studied at the Convent of Notre Dame in Milwaukee. After raising a family, she moved to Paris where she studied under Robert Wierick at the Ecole des Arts Appliqué à l’Industrie and, subsequently, at the Académie de la Grande Chaumière in Montparnasse. In France, Lloyd quickly achieved both commercial and critical success and was made welcome in Modernist artistic circles. She exhibited widely, including at the Salon D'Automne, the Salon des Tuileries and the Salon des Beaux Arts among other Ateliers and galleries. At the Paris International Exposition of 1937, Lloyd was awarded a medal and her exhibited work was purchased by the French government for the permanent collection of the Jeu de Paume...

Artist: Burr Miller (1904-1958) Title: Bust of Helen Coolidge Woodring Year: 1939 Medium: Patinated Bronze, signed, titled, and dated on verso Size: 14.5 x 7.5 x 9 in. (36.83 x 19.05...

The stylized bronze nude posing on black Lucite base,

Numbered and signed. Limited edition of 100 pieces. Excellent conditions. Aurelio Mistruzzi was an Italian sculptor and medalist. He attended the Udine School of Art with professor ...

This head of young boy is a rare, precious and unpublished sculpture by Marino Marini, belonging to a private collection for over 60 years. The same subject...

Sculpture of abstract boat

Bronze with light gold patina, 1931. Numbered 6/11, signed. Foundry stamp: H. Noack Berlin Width: 4.8 in ( 12,2 cm ), Depth: 3.31 in ( 8,4 cm ), Height: 6.1 in ( 15,5 cm )

Artist: (after) Auguste Moreau (French, 1834-1917) Title: "Jeune Fille sur L'oreiller (Young Girl on Pillow)" *Signed in the cast "A. Moreau" on pillow, behind the model. It is also ...

Escena de recolección de frutas BRY-002, 1937 Edition 1/8 Bronze 200 x 113 x 11.5 cm 78.7 x 44.4 x 4.5 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez 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. Narváez 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 Narváez 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 Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, 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 Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez 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 Narváez 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. Narváez 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 Narváez is a path: the path that Venezuelan sculpture...

Conceived circa 1936-37 and cast in 1959 in an edition of 6.

JULIO GONZÁLEZ Spanish, 1876 - 1942 PETIT MASQUE DÉCOUPÉ MONTSERRAT signed "GONZALEZ" 5 of an edition of 9 Cire Perdue "C. VALSUANI" foundry seal bronze...

Acrobat Family is an original artwork realized by Arturo Martini in 1936. Bronze sculpture with wooden base. Provenance: Pecci Blunt Collection. Published in the general catalogue...

Edition of 7