20th Century Abstract Sculptures

Georges Braque (French, 1882-1963) Antiboree Gold and Enamel Brooch, 1963 18k gold textured brooch designed by Georges Braque, a rare 18ct gold textured brooch from 1963, a bird flyi...

Wonderful post-modern wall sculpture that is part of artist Jack Reilly (American, b. 1950) "Classics Series" solo exhibition held at the Boritzer-Gray Gallery in October, 1989 at Los Angeles. This unique piece juxtaposes classical motifs with 3 dimensional stacked geometrically modern shapes and hues. The combination of linear structure and color field painting with illusionary space resulted in a unique synthesis of abstraction and pictorial depth, which was sometimes referred to as "Abstract Illusionism." Signed and dated on verso "Jack Reilly, October 1989." Image size: 19"H x 29"W x 3.5"D Reilly's early work reflected various influences of prominent artists of the time including Frank Stella, Elsworth Kelly...

Richard Royal Glass Sculpture, titled "Relationship Series" hand blown glass sculptural vase. Signed with an incised signature, "Richard Royal '94" Measures 35 inches high by 7 inc...

Moving Planes dates from the period in Iommi’s body of work that corresponds to the so-called “Baroque” period of Concrete Art. This is a sophisticated work that picks up exploring i...

Bronze sculpture with marble base. Incised artist signature and date. Sculpture size 13.5 x 7 x 6 inches (including base). Sculpture is in excellent condition (marble base has a c...

Max Bill "Endless Loop from a Circular Ring II" This work was conceived in 1947-1949 and executed in 1958 in gilded brass with a white marble base. This sculpture is very important...

Artist: Leonardo Nierman Title: Untitled (Sculpture A) Year: circa 1968 Medium: Bronze Sculpture, raised on Wood Base, signed Size: 41.25 x 14 x 15 inches (including base)

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Original handmade fibreglass relief sculpture from Ron Hitchins' own home. Uniquely handmade and signed by the artist. Part of a series of 3 (see our other listings for the other two...

Colin Webster Watson (1926-2007, New Zealand), sleeping horse, sculpture, bronze, supported on wooden base, signed, AP Sculpture Of A Suspended Horse Colin Webster-Watson (1926, Pa...

"Cocoon (1990)" by Suzanne Anker Suzanne Anker (born August 6, 1946) is an American visual artist and theorist. Considered a pioneer in Bio Art. She has been working at the relationship of art and the biological sciences for more than twenty five years. Her practice investigates the ways in which nature is being altered in the 21st century. Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the "necessity for enlightened thinking about nature’s 'tangled bank'.” Anker frequently works with "pre-defined and found materials"botanical specimens, medical museum artifacts, laboratory apparatus, microscopic images and geological specimens. Suzanne Anker was born in Brooklyn, New York on August 6, 1946. She earned a B.A. in Art from Brooklyn College of the City of New York and an M.F.A. from the University of Colorado in Boulder (1976). She also completed independent Studies with Ad Reinhardt (1966-1967) and studied at the Brooklyn Museum Art School (1968). She lives with the artist Frank Gillette in Manhattan and East Hampton, NY. During the mid 70s to the mid 80s, Anker worked almost exclusively on sculptural handmade paper reliefs. She started papermaking in 1974 on the basis of reading Dard Hunter's and Claire Romano's books. In 1975 she worked with Garner Tullis at the Institute of Experimental Printmaking in Santa Cruz, California. The paper reliefs produced at his institute were exhibited at the Martha Jackson Gallery in New York City in 1976.[ The same year, she participated in the North American Hand Papermaking exhibition organized by Richard Minsky at the Center for Book Arts in New York City. From a background as a printmaker, Anker initially worked with cast paper, made in latex molds. Subsequently, she incorporated limestone and fossils in her experiment with combinations of paper and stone. For her 1979 solo exhibition at the Walker Art Center, Anker installed large limestone planks that extended from the interior to the exterior of the gallery. The same year, she presented an installation of limestone and its residual chalk dust at P.S. 1’s "A Great Big Drawing Show" curated by Alanna Heiss with artists Vito Acconci, Alice Aycock, Frank Gillette, Sol LeWitt, Robert Morris, Bruce Nauman, Dennis Oppenheim, Richard Serra, and others. Suzanne Anker is considered "one of the pioneers in the broader field of art, science, and technology", particularly in the burgeoning field of Bio Art. In 1994, Suzanne Anker curated Gene Culture: Molecular Metaphor in Visual Art – one of the first art exhibitions on the subject of art and genetics – at Fordham University’s Lincoln Center Campus in New York. The exhibition investigated "the ways in which genetic imaging operates as aesthetic signs". From 2004 to 2006, Suzanne Anker hosted twenty episodes of the Bio-Blurb Show, a 30-minute-long internet radio program originally broadcast on WPS1 Art Radio, in collaboration with MoMA. The show focused on the intersection of art and the biological sciences, and the ethical and aesthetic dimensions therein. It is currently archived on Alanna Heiss’ Clocktower Productions. In 2006, Anker co-curated the exhibition Neuroculture: Visual Art and the Brain, at the Westport Arts Center with Giovanni Frazzetto. The exhibition presented an investigation of aspects of the human brain, and its attendant representations. Suzanne Anker is the Chair of the School of Visual Arts (SVA)'s BFA Fine Arts Department in New York City (2005-present). She previously chaired the SVA BFA Art History Department (2000-2005). In 2011, Anker founded the SVA Bio Art Lab, the first Bio Art laboratory in a Fine Arts Department in the United States. The SVA Bio Art Lab is located in Chelsea, New York City and has been conceived as a place where "scientific tools and techniques become methodologies in art practice". Anker has participated in lectures and symposia in prominent institutions around the world, including Harvard University, Boston; University of Cambridge, Cambridge, UK; Yale University, New Haven; Art-Sci UCLA, Los Angeles; Maryland Institute College of Art (MICA), Baltimore; Rensselaer Polytechnic Institute, New York; Museum of Arts and Design, New York; Nanyang Technological University, Singapore; London School of Economics, London; European Molecular Biology Laboratory- EMBL, Monterotondo, Italy; Max Planck Institute of Molecular Cell Biology and Genetics, Dresden; Leiden University, NL; Hamburger Bahnhof, Berlin; Dundee Contemporary Arts, Dundee; Courtauld Institute of Art, London; Banff Art Center, Alberta; The National Academies of Sciences, Engineering, and Medicine, Washington, D.C.; Berlin-Brandenburg Academy of Sciences and Humanities, Berlin;[ University of Amsterdam, NL; New York Academy of Sciences, Institute for the Humanities, New York University; DLD, Munich. Selected artworks Gene Pool Anker’s interests in the natural world extended her investigation into the microscopic domain of chromosomes and genes. Appropriating scientific images, she created Gene Pool in 1991, a body of work that includes suspended pigment on large vellum sheets and expansive sculptural arrays employing metallic fibers of stainless steel, copper, aluminum and bronze. Other works that reflect scientific representations of chromosomes include Chromosome Chart of Suzanne Anker –a presentation of her own DNA sequence as a self-portrait– and Cellular Script, in which she displays chromosome patterns as a kind of calligraphy. Biota (2011) is a sculptural installation by Suzanne Anker composed of porcelain sculptures and silver-leaf figurines. The porcelain objects are fabricated by immersing natural sea sponges into a mixture of kaolin, feldspar, and quartz. "The organic material of the sponge burns away in the process, leaving behind only the perfect replica of nature". Exhibitions Selected one-person exhibitions "The Biosphere Blues Mending an Unhinged Earth", O'NewWall, Seoul, Korea (2017). “Culturing Life”, Sam Francis Gallery...

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...

This artwork titled "Wave" 1975 is a metal and glass sculpture multiple by noted Israeli artist Menashe Kadishman 1932-2015. It is signed, numbered 1/7 and dated under the main metal part. The size assembled as intended by the artist is 21 inches long, 10 inches high and 3 inches wide. The all metal and the glass and metal part disunited are 18 x 10 inches each. The rectangle part at the top is movable and can be oriented in different position (see picture #1 and #7) It is in very good condition. The large version of this sculpture is referenced in the two following publications: Pierre Restany, Kadishman, Tel Aviv, 1996, illustration of the large version pp. 76-77 Jacob Baal-Teshuva (ed.), Menashe Kadishman, Munich, 2007, no. 22, illustration of the large version p. 17 About the artist: Menashe Kadishman (August 21, 1932 - May 8, 2015) was an Israeli sculptor and painter. Menashe Kadishman was born in the British Mandate Palestine in 1932. His father, who was a pioneer, died when Kadishman was 15 years old. The young Menashe left school to help his mother with housework and to earn money. From 1947 to 1950, Kadishman studied with the Israeli sculptor Moshe Sternschuss at the Avni Institute of Art and Design in Tel Aviv, and in 1954 with the Israeli sculptor Rudi Lehmann in Jerusalem. In 1959, he moved to London, where he attended Saint Martin's School of Art and the Slade School of Art. During 1959 and 1960 he also studied with Anthony Caro and Reg Butler. He remained there until 1972; he had his first one-man show there in 1965 at the Grosvenor Gallery. His sculptures of the 1960s were Minimalist in style, On May 8, 2015, Menashe Kadishman died after he was hospitalized at Sheba Medical Center in Tel Hashomer. EDUCATION 1947-50 Studies with sculptor Moshe Sternschuss, Avni Institute, Tel Aviv 1954 Studies with sculptor Rudi Lehman, Jerusalem 1959-61 St. Martin's School of Art, London 1961-62 Slade School of Art, University of London PUBLIC COLLECTIONS Art Gallery of Ontario, Toronto, Canada Bass Museum, Miami, FL Buhsnami Sculpture Garden, Burton, TX Centro d'Arte Contemporaneo, Prato, Italy City of Tel Aviv, Israel City of Breda, The Netherlands City of Kirchheim, West Germany City of Seoul (Olympic Park), South Korea City of Toronto, Canada Columbia University, New York Ein Herod Museum, Yizre'el Valley, Israel Faret Tachikawa, City of Tachikawa, Japan Hara Museum of Contemporary Art, Tokyo Hebrew University, Jerusalem Heichal Hatarbut, Tel Aviv High Museum of Art, Atlanta, GA Hirshhorm Museum and Sculpture Garden, Washington, D.C. Israel Museum, Jerusalem Jewish Museum, New York Lehigh University, Allentown, PA Louisiana Museum, Denmark Metropolitan Museum of Art, New York Montgomery Museum of Fine Arts, Alabama Museo de Bellas Artes, Montevideo, Uruguay Museum Haus Lange, Krefeld, West Germany Museum of Modern Art, New York Museum of Modern Art, Munich, West Germany Museum of Modern Art, Skopje, Yugoslavia Open Air Sculpture, Kirchheim, West Germany Philadelphia Museum of Art, Philadelphia, PA Rabbinical Seminary, Cincinnati, OH Storm King Art Center, Mountainville, NY Tate Gallery, London Tel Aviv Museum, Israel Uffizi Gallery, Florence, Italy Weizmann Institute of Science, Rehovot, Israel Wilhelm-Lehmbruk Museum, Duisburg, West Germany PRIZES AND AWARDS 1960 America-Israel Cultural Foundation Scholarship 1961 Sainsbury Scholarship, London 1967 First Prize for Sculpture, 5th Paris Biennale 1978 Sandberg Prize, The Israel Museum, Jerusalem 1981 The Eugen Kolb Prize, The Tel Aviv Museum 1981 Prize of the Jury, Norwegian International Print Biennale, Fredrickstad 1984 The Pundik Prize, The Tel Aviv Museum 1989 King Solomon Award, America-Israel Foundation, New York ONE-PERSON EXHIBITIONS 1965 Harlow Arts Festival, Harlow, England 1970 The Jewish Museum, New York 1972 Museum Haus Lange, Krefeld, West Germany 1975 Israel Museum, Jerusalem, Israel 1978 Venice Biennale, Venice 1979 Israel Museum, Jerusalem: The Kadishman Connection 1981 University of Haifa Art Gallery, Haifa, Israel 1981 Tel Aviv Museum, Tel Aviv 1983 Muhlenberg College, Allentown, PA 1983 ICC, Antwerp, Belgium 1984 Fabien Booulakia, Paris 1984 The Jewish Museum, New York 1986 De Beyerd, Centre of Contemporary Art, Breda, The Netherlands 1986 Gemeentemuseum, Arnhem, The Netherlands: Installation 1987 The Tel Aviv Museum, Myth Transformed: Painting and Monumental 1987 Sculpture of Menashe Kadishman, Tel Aviv 1988 Kammermusiksaal, Menashe Kadishman: Sacrifice of Isaac, Berlin, Germany 1988 Lehigh University, Bethlehem, PA 1988-89 Kniestedter Kirche Stadtmuseum, Salzgitterbad, Germany 1990 Israel Museum, Jerusalem 1994 Giuliano Gori, Fattoria di Celle, Pistoia, Italy SELECTED GROUP EXHIBITIONS 1980 International Sculpture Symposium, Washington, D.C. 1980 Contemporary Art Meeting, Tel Hai, Israel 1980 The Israel Museum, Borders, Jerusalem 1980 David's Tower, The Jerusalem City Museum, Jerusalem the Israeli 1980 Printmaker, Jerusalem 1981 Henie-Onstad Kunstsenter, Young Art from Israel...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor. Hayes received a B...

SALE ONE WEEK ONLY Schmidt mainly worked in cast iron and bronze. This work reflects the influences of ancient cultures, natural forms, and the machinery of the modern age. Synthesi...

Schmidt mainly worked in cast iron and bronze. This work reflects the influences of ancient cultures, natural forms, and the machinery of the modern age. Synthesizing these elements,...

A steel sculpture by Bruce Stillman from 1980. A kinetic sculpture with rotating components perched atop a whimsically modernist base. Artist: Bruc...

This enamel on aluminum in plexi box by Jay Phillips is a structural contemporary work. Phillips cut and folded his materials to form overlaps and projections. His use of bright colors reflected his early Southern California...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Artist: Thom Cooney-Crawford, American (1944 - ) Title: Four Earth Signs: Lunette Medium: Bronze Sculpture, signature and number inscribed Edition: 4/5 Size: 21.5 in. x 7 in. x 3 in....

A pair of modern geometric string art sculptures featuring nailwork on a gray fabric covered board or panel, unsigned, in custom plexiglass cases....

Brother Mel experimented with various forms of sculpture throughout his 45-year career. This painted-steel wall piece reflects the style that emerged later in his career with its loose composition but the same bold colors and geometric shapes for which Brother Mel is best known. About the Artist: Creating an estimated 10,000 artworks, Brother Mel Meyer...

"Senufo (Gbon) Statute of Royalty" is a sculpture by thr Senufo peoples of Gabon. It is wood, mixed fiber, textiles, and cowry shells. 14" x 8" x 3" The...

Modern abstract mixed media sculpture by Texas artist McKay Otto. The work features steel arms twisting out of a wood center pillar that is attached to a cement base. Signed, dated, ...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

The sculpture is attributed to Swedish artist Bob Pasterkamp (1952-) who has created similar pieces during the 1990s and early 2000s. An inspirational contemporary sculpture is composed of various metal objects such as an old bicycle...

Ross Palmer Beecher (born 1957) Hand signed in sharpie on the verso. Dimensions: 19.5"w x 17"h. A unique contemporary found object assemblage tap...

Benedict Tatti (1917-1993) worked in New York city as a sculptor, painter, educator, and video artist. He studied stone and wood carving under Louis Slobodkin at the Roerich Museum. He later attended the Leonardo da Vinci School of Art studying under Attilio Piccirelli. In l939 he taught adult classes with the Teachers Project of the WPA and attended the Art Students League for three and a half years on full scholarship. He studied under William Zorach and Ossip Zadkine and later became Zorach’s assistant. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City. Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage architecture sculptures, using bronze metal and other industrial materials. He was included in the important show "Aspects de la Sculpture Americaine", at Galerie Claude Bernard Paris, France, in October 1960 along with Ibram Lassaw, Theodore Roszak, David Smith, Louise Bourgeois, Danese Corey, Dorothy Dehner, Lin Emery, Lily Ente, David Hayes, Louise Nevelson, Tony Rosenthal, Richard Stankiewicz, Sam Szafran...

Bent Wire Wall Sculpture Unsigned, from the artist collection. Walter Bastianetto is an Italian born sculptor who moved to Mexico in the 1970s and resided there. Well-known artist ...

"Screen Sculpture #62" by David Hayes Abstract Metal Outdoor Sculpture in black-painted, welded steel American modern master David Hayes creat...

This artwork is a composition of three stones made by Piero Gilardi in 1969. The Certificate of Authenticity is provided by Archivio Piero Gilardi n. 1969.01 dated 17/12/2017. This s...

Stone sculpture, certainly travertine of Italy, signed on base Ivan Avoscan, né le 13 mars 1928 à Buxy et mort le 3 janvier 2012 à Chalon-sur-Saône, est un sculpteur français

Edition 3 of 12, signed "R Holmes 3/12" on back edge of kneeling figure, and "Kneeling 3/12" on underside of base. Robert Holmes's sculpture has been exhibited over the past thirt...

Mid Century C. Jere brass over door or wall art with a chic pleaded design reminiscent of a sunrise with Art Deco influences. Signed C. Jere 1984.

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

It has a variegated texture to it. It is signed and titled. Large format drawing or painting in pastel or crayon. pastoral landscape with boulders and rocks in pasture. Dennis Leon, was a San Francisco Bay Area sculptor and art instructor Mr. Leon was chairman of the sculpture department at the California College of Arts and Crafts in Oakland from 1972 to 1988. He remained a faculty member until his retirement as professor emeritus in 1993. A vibrant work in pastel with the energy and texture seen in the work of Wolf Kahn. He was born in London, England and emigrated in 1951 to the United States, where he studied at Temple University in Philadelphia. He graduated with art degrees, including a master's degree in fine art. He served in the U.S. Army and the Army Reserve from 1957 to 1963. In 1959, Mr. Leon joined the faculty of the Philadelphia Museum College of Art. He also worked as an art critic for the Philadelphia Inquirer until 1962. After coming to the Bay Area, he held his first local one-man show of sculpture in 1973, at the James Willis...

Mid-Century enameled steel, glass sculpture that is visually balanced from 360 degrees. All the positive and negative spaces work in total harmony which is a testament to Samuel Cashwan...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Incised signature by the artist and stamp numbered with foundry and date. Additional images are available upon request. Certificate of Authenticity is included. Please do not hesitat...

Realized by the Artist in 3 different variants, each with a different central body. Declaration of authenticity signed by the Artist on rear of photo in 1975. Provenance: Private Col...

Hand Forged Iron Stone Mosaic Pricket Sconce Candelabra Holocaust Memorial Judaic Wall Sconce Sculpture David Palombo was an Israeli sculptor and painter. He was born in Turkey a...

This artwork titled "Art Crate #X" 1986 in a wood and acrylic paint sculpture by American minimalist artist Sam Richardson, 1924-2013. The size is 37 x ...

EMERSON WOELFFER Abstract Form No. 2 1979 Terra cotta on wooden plinth 3.5 x 5.5 x 8.5 inches

Paper mache "Les Argonautes" Artist: JS. Ferlay Vallauris Workshop "Les Argonautes", Vallauris: Isabelle Ferlay (1917-?) And Frédérique Bourguet (1925-1997) Isabelle Ferlay and Frédérique Bourguet founded their ceramic workshop in Vallauris in 1953, which they named "Les Argonautes", in reference to the famous Greek epic. Isabelle studied painting at the Fine Arts school of Lyon in 1940, then she attended the Fine Arts in Marseille. Finally, she finished her artistic training in Montpellier, at the Fontcarade national school, where she learned ceramics. Françoise dit Frédérique Bourguet studied at the Beaux-Arts in Montpellier until 1945 and it was in Sèvres, in Françoise Bizette's studio, that she trained in the art of ceramics. She created her first workshop in Paris in 1945, which she shared with Valentine Schlegel until 1951. The two women ceramicists then practiced modeling technique. It was in 1953 that she met Isabelle Ferlay and together, they decided to set up a workshop in Vallauris. They produce shaped pieces, sometimes molded, made of earthenware, enamelled in bright colors. In the 1970s they made stoneware cooked over a wood fire. Some ceramists frequented their workshop, notably the very talented Jacques Innocenti and François Raty.

Bench (work no. HVP01145) is a small size contemporary modern abstract geometric aluminum sculpture by acclaimed Dutch constructivist Henk van Putten, who was born in The Netherlands...

Magnificent geometric abstract sculpture in acrylic-painted wood by Swiss artist Albert Chubac measuring 104 x 100 x 11.5 cm

Eric Rhein “Butterfly Girl” 1992-1995 Accompanied by a certificate of authenticity Steel, brass, and gold-filled wire, thread, glue, and found object...

Fabulous deco penguin design- bronze cigar stand by Connecticut sculptor Robert Garret Thew, (1892-1964). Signed on the base "G.Thew" and dated 1929. In excellent condition with a be...

This lovely hammered copper candlestick by Roycroft, the famed American Arts & Crafts workshop, was likely made in the 1920s and bears the Roycroft mark stamped into the underside. W...

Artist/Designer; Manufacturer: Pino Signoretto (1944-2017) Marking(s); notes: no marking(s) apparent; 1993 Country of origin; materials: Italian; hot sculpted glass, steel (base) Dim...

Linda Stein, One Dollar Ring 139 - Mixed Media Assemblage Contemporary Art Wall Sculpture One Dollar Ring 139 is from artist Linda Stein's Brush Assemblage series, where she combine...

Stunning abstract with Native American symbols using earth tones and 3D aspect for increased depth and texture by listed artist Duane Armstrong (American, b. 1938). 1966. Signed and ...

Bronze on marble base with gold brown patina, 1967. No 28 of 35 pieces. Numbered and signed on the edge. Dimensions: 8.98 x 8.98 in ( 22,8 x 22,8 cm ), Height: ca. 15.16 in ( 38,5 cm )

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...