George L.K. Morris

Abstract Sculpture Mid 20th Century Modern Non Objective Biomorphic Plaster WPA

1930s/40s

Ron Arad Screw Stools Set of Three Driade Italy Sculpture Industrial Stainless Ron Arad Screw stools, set of three Driade United Kingdom / Italy, 2006 Stainless steel and aluminum 2...

Brutalist Aluminum Brass Contemporary Totem Sculpture Abstract non objective The work has a sensational presence and look great to the ey...

"Construction 1982" Abstract Wall Sculpture Contemporary Mid 20th Century Modern Painted wood assemblage, 36 x 45 x 4 inches overall. Note the label states 3 foot diameter referring to circular portion. Exhibited, Seymour Fogel Constructions Paintings and Drawing, 1984, typed on Graham Modern label verso Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair Harry Lane (1891-1973) "1939 World’s Fair Construction," 30 x 40 inches, Oil on canvas, signed lower...

"Scalloped Basket" is a stoneware piece with the decorative layer of the rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite pieces. The basket portion is shaped with gentle curves and a sculptural handle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This particular "basket" also has the cool blues and grays that contrast with the umber. It is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

"Untitled" is a stoneware piece with the decorative layer of the rich toned glazes and markings that John was so well-known for. Each piece that John produced was unique. The lip on this piece is slightly scalloped and the shape is removed from the boring circular to mimic a gentle geometric design. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

This magnificent "Scalloped Box" is a stoneware piece with decorative layers of rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite boxes that fit together like a puzzle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes thereby changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

This small exquisite "Bronze Sculpture I" is in excellent condition and a perfect example of Eugene Caples craftsmanship. Although it is mainly abstract, there are bits that look figurative either an arm or a leg attempting to emerge from a fold or attempting to hold a pose such as in yoga. It cries out to be touched and held, looked at and caressed. The beautiful patina on the surface gives voice to the many hands that have done these things. Eugene Caples is a designer and craftsman who worked in Kansas City in the 1960s and later through the early 21st century. He attended the Kansas City Art Institute, earning his Bachelors of Fine Arts in Industrial Design in 1959. In 1963 he was accepted to Cranbrook Academy of Art, Bloomfield Hills, Michigan. The Cranbrook Academy of Art was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists are alumni of Cranbrook and include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), and Paul Evans (Created Brutalist-inspired sculpted metal furnishings.) Gene worked...