Bronze Abstract Sculptures

White Bronze Sculpture 'KAYA' by Carola Eggeling. Abstract sculpture with beautiful curved lines. German bronze sculpture Bronze Lacquered Color : Glossy White Certificate of authe...

Abstract bronze sculpture

Bronze Sculpture 'O.T.I' by Carola Eggeling Abstract sculpture with beautiful curved lines. German bronze sculpture Bronze Polished Certificate of authenticity Numbered and signed ...

Bronze Black Sculpture 'O.T. 2' by Carola Eggeling Abstract sculpture with beautiful curved lines. German bronze black sculpture Bronze patinated Certificate of authenticity Numbere...

Bronze freely rotating on a Cumbrian slate base Series of variations Stamped with monogram signature and uniquely numbered 627A The polished bronze spheres require care as they will ...

Original Aircraft Sculpture - Bronze- Deep Sea Green Patina Part of the Aerogenic series of bronze sculptures, a progression in the HERRINGKEL seri...

Original Aircraft Sculpture Cast in Bronze on a mild steel base, the sculpture is patinated in a rich “Christmas Island Crab Red “ patina to emphas...

TECHNICAL INFORMATION Harry Bertoia Spray 1979 (year completed) Steel wire, bronze 37 h x 13 dia in. Sold with a certificate of authenticity from the Harry Bertoia Foundation and a...

Bronze sculpture

White Bronze Sculptures 'OPUS' by Carola Eggeling. Abstract sculptures with beautiful curved lines. German bronze sculptures Bronze Lacquered...

Black Sculpture 'Wandobjekt' by Carola Eggeling Abstract sculpture with beautiful curved lines. German bronze sculpture Finish: Black Bronze Patinated Certificate of authenticity Nu...

Dutch, b. 1938 Renowned for his monumental sculpture created primarily for open-air public locales, Hans Van de Bovenkamp has been described as an artist-mystic whose work -- with i...

Abstract sculpture depicting the Greek myth of Leda and the swan. Edition 2 of 7.

Abstract sculpture

Numbered and limited to 12 copies ( 8 + 4 ) Artwork signed Authenticity: Sold with certificate of Authenticity from the gallery Invoice from the gallery Sculpture: bronze, metal, bro...

Full bronze sculpture. Private collection piece. ARTIST STATEMENT My work passionately reflects my Mexican cultural roots. The art forms appear and are created as stories in the r...

Stamped with the artist’s monogram, dated 94 and numbered 6/6 (on the reverse) Bronze, on York stone base Executed in 1994, this work is number 6 from an edition of 6. Provenance: ...

"Terracotta" by Joel Perlman Abstract sculpture in bronze Joel Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimali...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 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...

46 x 32 x 32 inch bronze sculpture on 32 x 16 x 16 inch black granite base

Bronze knot sculpture

"Black Tower" by Joel Perlman Unique cast bronze, marble base Joel Perlman has been creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimalism was the predominant style of his genration, Perlman chose to push his forms into ever-more complicated, gravity defying, configurations. Perlman investigates with originality. He expands, rather than appropriates, enriching our experience with industrial materials. Contemporary, Abstract Outdoor Metal...

"Muskateer" by Bill Barrett Abstract metal sculpture, unique bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is internati...

Dutch, b. 1938 Renowned for his monumental sculpture created primarily for open-air public locales, Hans Van de Bovenkamp has been described as an artist-mystic whose work -- with i...

"Creation-Female'' is a edition bronzes sculpture by Paul Braslow. This sculpture is hand-signed. He was an American sculptor and artist that established himself in the medium of fig...

"Astarte'' is a edition bronzes sculpture by Paul Braslow. This sculpture is hand-signed. He was an American sculptor and artist that established himself in the medium of figurative bronze sculpture with permanent collections in museums around the world. His sculptures show life as it should be — graceful, elegant, and hopeful. Each sculpture is cast in bronze from a wax mold and then sealed with an enamel finish. Some are left with their natural bronze coloring while others are coated with vibrant, rich colors. His sculptures inevitably recall works by Brancusi in their startling grace, as well as the intensity of works by Giancometti. After the first impressions, one reads the sculptures for their strength of balance, and only then the sense of emotion becomes apparent and remains the lasting impression. In his series "Gaea", Braslow depicts the various stages of a woman's life by capturing the gesture and form of an adolescent girl to a mature lady. In other pieces, he captures the elegance and seduction of Aphrodite, the goddess of love. Paul Braslow went to U.C.L.A. and got a degree in Arts. In the late 1970s, he went to Israel to execute the Entebbe Rescue Memorial at Ben-Gurion Airport and sculptures for Yad Vashem Memorial Holocaust Museum...

"New York'' is a edition bronzes sculpture by Paul Braslow. This sculpture is hand-signed. He was an American sculptor and artist that established himself...

"New York'' is a edition bronzes sculpture by Paul Braslow. This sculpture is hand-signed. He was an American sculptor and artist that established himself in the medium of figurative...

Signed and dated 1952 and numbered 3/10 on the back. This sculpture was included in a 1966 exhibition of Nakian's work at the Museum of Modern Art, NYC. Reuben Nakian, born August ...

"Perfect Imbalance (model)" by Bill Barrett Cast bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is internationally known...

"Tree Series 6: Flamenco" by Bill Barrett Cast bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and...

"Tree Series 16" by Bill Barrett Cast bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is inter...

"Tree Series 19" by Bill Barrett Cast bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is inter...

"Tree Series 21" by Bill Barrett Cast bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is inter...

"Aria DNA 5" by Bill Barrett Fabricated bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is internationally known for his ...

"Plexus" by Bill Barrett Fabricated bronze Bill Barrett is considered a central figure in the second generation of American metal sculptors and is internationally known for his abst...

Artist: Antoine Poncet, Swiss (1928 - ) Title: Cororeol Medium: Polished Bronze Sculpture, Signature 'A.P.' inscribed Edition: 2/6 Size: 41 in. x 21 in. x 5 in. (104.14 cm x 53.34 cm...

Sculpture