20th Century Abstract Sculptures

Novello Finotti was born in 1939, in Verona, Italy where he lives and works. He is exhibiting since 1958 taking part to several art events, among which: Triennial Europeen de la Scu...

Artist: Leonardo Nierman Title: Untitled (Sculpture B) Year: circa 1968 Medium: Bronze Sculpture, raised on Wood Base, signature and number inscribed Edition: III/VI Size: 32 x 9.25 ...

"Untitled (Willow)" is an abstract stainless steel Post War sculpture by Harry Bertoia in c. 1970. The artwork is 61 x 32 x 32 inches, weighing over 50 lbs. In Harry Bertoia's oeuv...

Hand Forged Iron Stone Mosaic Hanukah Menorah Candelabra David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati...

This artwork is composed by two single cubes simply juxtaposed, as the original artist project present in our Gallery Archive. One of a kind piece and it is signet by the Author.

Refleksy (Reflexes), flax (linen) and wool, 50" x 48" x 2", 1973. This warm, vivid Mid-Century tapestry, Refleksy (1973) is by Polish textile artist, ...

Measures about 4 X 3.75 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know ...

Plexiglass and color screenprint multiple, circa 1970. With the artist's signature incised and numbered 85/125 at the base.

Margaret Koscielny (b.1940). Floating Images, 1974. Plexiglass sculpture. !0 x 10 x 10 images. Light base is new. Margaret Koscielny's work has been recognized in Who's Who in American Art; International Who's Who; Contemporary American Sculptors: An Illustrated Bio-Bibliographical Dictionary; Dictionary of American Women Sculptors; with articles in Kalliope (interview, photographs), The Florida Times-Union, Jacksonville Journal, Jacksonville Magazine; St. Petersburg Times; Atlanta Constitution and Journal; essays, by Joseph Jeffers Dodge, Drawings in Light and Space ; and Elihu Edelson, Arts Assembler; and reviewed in various newspapers, including a general review by John Canady, for The New York Times, of the American Drawing Competition, Moore College of Art, Philadelphia, (in which Koscielny was a participant). Influences and Early Background A native of Florida, Margaret Koscielny grew up in a family of classical musicians. Her mother, a violinist, was a descendent of an American Revolutionary war hero who, according to family legend, was related to William Pitt, the Elder, Prime Minister of Great Britain. Her father, a violist, was a graduate of the Leipzig Conservatory, emigrating to the US in 1929, where he became a music pioneer in Florida, teaching, directing bands and orchestras, and developing music education for string ensembles in the public schools. Her sister, Anne Koscielny, a concert pianist, was also a professor of piano for over 4 decades. Her step-brother, Gordon Epperson, was a prominent cellist, writer and college professor. Her niece, Cécile Audette, is a singer and choral conductor, and her grandniece, Renée, a violinist. Both sets of grandparents were musical, as well. This has influenced Koscielny's work the most, as it has provided inspiration and a sense of layers and the element of time in the construction and architecture of her work. Early Education and Career, 1960's Margaret Koscielny began her art studies at Texas Woman's University with Toni La Salle, (a student of Hans Hoffman). La Salle was the first, and most important influence on Koscielny's approach to drawing and art. Ms. La Salle's paintings reflected the ideas she developed under Hoffman's instruction, and she was Koscielny's first encounter with an Abstract Expressionist painter. Koscielny then attended the University of Georgia, where she earned the degrees of Bachelor of Arts in Art History and Master of Fine Arts in Art. Printmaking and drawing were the primary interests of her graduate work while studying with Charles Morgan, (a student of Jimmy Ernst, son of Max Ernst, the Surrealist). German Expressionism, surrealism and Abstract Expressionism were important influences during this time. The painters, Howard Thomas, James Herbert, and a fellow student, Jim Sitton were important mentors. She began, independently, the exploration of a technique evolved from printmaking combined with transparent media, and created her first "three-dimensional drawing-sculpture" in 1966. During the next two decades, Plexiglas was to be her primary format for drawings engraved, lighted and formed into assemblages. Teacher, Museum Curator, Artist, 1970's After a brief career teaching in public and private schools as well as Jacksonville University, she became Assistant to the Director of the Cummer Museum of Art and Gardens, (then called Ninah M. H. Cummer Gallery of Art). Margaret Koscielny was responsible for the organization and installation of exhibitions, publications, the training of Docents, and lectures on art history. During that time she also appeared regularly on television to discuss works of art in the museum's permanent collection. In December of 1973, Koscielny made a solo month-long tour of 9 major artistic capitals of Russia and the Ukraine in the former Soviet Union. This journey became the subject of nine lectures to capacity audiences at the Cummer Museum. She left the museum in 1974 to focus her activities primarily on her artwork. The 1970's were a time of numerous commissions, private and corporate for Koscielny, and she won the first National Endowment for the Arts grant in conjunction with the Florida Arts Council in 1975. This allowed her to execute three large sculptures in plexiglas which were exhibited at the Cummer Museum in 1976. Numerous other exhibitions throughout the Southeast followed. She also founded an independent group of 10 artists, Art Celebration! in 1973, because of the lack of galleries in Jacksonville.The success of the group's exhibition over a 5 year period precipitated new galleries to be established. Koscielny finished the decade with an invitation for a One Person Show at Vanderbilt University, also winning an international competition for the new Atlanta Hartsfield International Airport in 1979-80. She was one of only 3 women out of 13 artists, chosen from 500 competitors.The resulting three-dimensional assemblage, "Whole Sight," was in four parts, each 9 x 13 feet. They were installed on four walls over a descending 40 foot escalator. In late 1979, she was invited to produce and design an original ballet...

Robert Arthur Goodnough (AMERICAN, 1917-2010) Untitled oil on aluminum with nuts and bolts Provenance: Christie's Auction House from the estate of William F. Buckley and Patricia ...

Impressed with artist’s seal Porcelain, radiating inlaid lines, manganese bands to rim and foot, with kiln splits 5 x 11 1/2 inches

Georges Charpentier, French (1937 - 2024) - Thinking Figure, Year: circa 1980, Medium: Bronze sculpture with gold patina on wooden base, signature and numbering inscribed, Edition:...

Pomme Bouche, Brooch, Claude Lalanne, French, Design, 1990's, Bronze, Jewels Brooch Pomme Bouche 1990 Edition Arthus-bertrand, Paris Bronze with a golden...

Bronze sculpture Polished and patinated bronze sculpture. "Furnace Flowers" by mid century modern Italian sculptor Francesco Somaini (Italy 1926-...

As a native of Idaho Falls, Drew was inspired since early childhood by the beauty of the surrounding Intermountain Region. The Tetons, Snake River, and a few local wetlands became magical destinations with sounds of wind in the reeds or migrating waterfowl that continue to echo through Drew’s professional work. This cast iron bench has custom stained glass melted into the negative spaces, forming pseudo cushions to rest on. The back of the structure is molded to resemble a playful family of robots, holding each other and posed in a line as if taking a family photo. Art Glass Black...

Pablo Picasso A.R. 496 Face Number 203 1963 10” round Edition of 150 White earthenware clay, decoration in engobe and enamel under partial brushed glaze, grey patina Ramie 496 is a Madoura ceramic that one rarely sees come on the market. The photo you see here is the actual piece that you will receive. Most sellers online post using stock photos that don’t necessarily match exactly to the piece you receive. This particular piece is pristine: there are no nicks, bruises or scratches of any kind. Be careful when buying from others – the pieces sometimes have nicks or scratches. The Certificate of Authenticity comes with this piece. We have sold over 3300 pieces with all positive reviews. We are located in the USA. When you buy from a foreign seller on 1stdibs, you have to consider the problems of getting the piece through Customs. There are often delays and considerable fees to pay in order to import the item. When purchasing from us, we ship the same day and you receive it via FedEx the next day, no problems or hassles. When you purchase from an auction house, you pay a buyer’s premium of anywhere from 23% to 28% over the “hammer price”. So when you “win” an auction for $20,000, the actual price paid is more like $25,000. By contrast, when purchasing from us, the price agreed to is the price paid by the buyer, no hidden fees. When you purchase from an auction house, you pay the packing and shipping fees, which are usually exorbitant. By contrast, when purchasing from us, the price includes packing and shipping. When you purchase from an auction house, the sale is final. If you receive the piece and are not 100% satisfied with it, there is nothing you can do about it. You are stuck with it. By contrast, when purchasing from us, the buyer can determine if they want to keep it. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways! The prices of Picasso Madoura Ceramics have been on fire lately (no pun intended). The major auction houses – Sotheby’s, Christie’s and Phillips – have now been regularly holding Picasso Madoura Ceramic auctions...

Yayoi Kusama Set of 2 Pumpkins: Yellow and Black & Red & Black Naoshima: An iconic, vibrantly colored pop art set - these small Kusama pumpkin sculptures feature the universal polka...

This painted ceramic tile by Italo Scanga, epitomizes the characteristics of his oeuvre. Polychrome and vibrant art from the Memphis Milano era. This is signed with his initials. This is reminiscent of the mid century work of Jean Lurcat and Jean Picart le Doux. Italo Scanga (June 6, 1932 - July 7, 2001), an Italian-born American artist, was known for his sculptures, prints and, paintings, mostly created from found objects. In his youth in Calabria, Italy he worked as a cabinetmaker's apprentice and studies sculpture with a man who carved statues of saints. Italo Scanga was an innovative neo Dada, neo-Expressionist, and neo-Cubist multimedia artist who made assemblage, collage, sculptures of ordinary objects and created prints, glass, and ceramic works. Modern Italian abstract geometric folk art. Scanga's materials included natural objects like branches and seashells, as well as kitsch figurines, castoff musical instruments and decorative trinkets salvaged from flea markets and thrift shops. He combined these ingredients into free-standing assemblages, which he then painted. Although visually ebullient, the results sometimes referred to gruesome episodes from Greek mythology or the lives and deaths of martyred saints. He considered his artistic influences to be sweepingly pan-cultural, from African sculpture to Giorgio de Chirico. He often collaborated with the sculptor Dale Chihuly, who was a close friend. Constructed of wood and glass, found objects or fabric, his ensembles reflect a trio of activities—working, eating, and praying. These activities dominate the lives of those who live close to the land, but they are also activities that are idealized by many who contemplate, romantically, a simpler, bucolic life. Italo graduated from Michigan State University where he befriended fellow artists Richard Merkin and David Pease. He studied under Lindsey Decker who introduces him to welding and sculpture after his initial interest in photography. Also studies with Charles Pollock, the brother of Abstract Expressionist Jackson Pollock. His first teaching job was at University of Wisconsin (through 1964). where he met Harvey Littleton, a fellow instructor. He later moves to Providence, Rhode Island,I to teach at Rhode Island School of Design (RISD). Is colleagues with artists Richard Merkin and Hardu Keck. Starts a correspondence with HC Westermann. Spends summers teaching at Brown University; colleague of Hugh Townley. Moves to State College, PA, and teaches at Pennsylvania State University for one year. Meets artists Juris Ubans, Harry Anderson, Richard Frankel, and Richard Calabro, who remain friends throughout his career. 1967: David Pease helps him get a tenure track position at Tyler School of Art in Philadelphia, PA, . Artists he works closely with include Ernest Silva, Lee Jaffe, Donald Gill, and William Schwedler. Meets graduate student Dale Chihuly while lecturing at RISD and develops a lifelong friendship. 1969: One person exhibition, Baylor Art Gallery, Baylor University, Waco, TX. Works very closely with students Larry Becker and Heidi Nivling (who later run a gallery in Philadelphia, PA), and Harry Anderson. Welcomes many artists into his home including Donald Judd, Dan Flavin, Bruce Nauman (a former student), Vito Acconci, Ree Morton and Rafael Ferrer. 1973: "Saints Glass" at 112 Greene Street Gallery, NYC. Installation at the Institute of Contemporary Art at University of Pennsylvania, Philadelphia, PA. Meets Gordon Matta Clark and contributes to an artist cookbook. Goes to Pilchuck Glass School, Stanwood, WA, founded by Dale Chihuly, as a visiting artist. He continues to work there annually through 2001. Works over the years with Pilchuck artists Richard Royal, Seaver Leslie, Jamie Carpenter, Joey Kirkpatrick, Flora Mace, Robbie Miller, Billy Morris, Buster Simpson...

Rafael Barrios "Trazos Levitantes" 1990 cod# 267 Ed 2 of 3 Lacquered stainless steel 36 x 43 x 10 in Rafael Barrios is a Venezuelan born in 1947 in Baton Rouge, Louisiana, US. Having studied Fine Arts in Canada, the United States, and Venezuela, his artistic trajectory dates back to a very early age. Barrios studied drawing and painting at the Museo de Bellas Artes in Caracas, Venezuela, which led him to achieve his first recognition with the award "National Youth Painting" in 1963. Upon completing his basic studies in Venezuela and Canada, he received a scholarship from J. Walter Thompson International to attend the Ontario College of Art in Toronto, Canada, graduating with honors in "Pure Art" and "Communication and Design". He received a scholarship from New York University (US) to attend its Graduate Program for "Fine Arts" and "Monumental Sculpture Techniques". He was granted several national and international awards: "The Sculpture Award", Ernesto Avellán Exhibition; the McLean Foundation Scholarship, the highest award offered by the Ontario College of Art, Canada; the "Excelentísima Diputado Provincial de la Frontera" Decoration, for his Monumental Sculpture titled "Tercer Horizonte", to commemorate 500 years of America's Discovery, in Palos de la Frontera, Huelva, Spain; "Second Prize" at the Sofia Imber Caracas Contemporary Museum's Biennial of Visual Arts, in Venezuela; the "Conferry Award", First Sculpture Biennial, Francisco Narváez...

Jenny Holzer (American, b. 1950) Inflammatory Essays: Shriek When the Pain Hits During Interrogation, 1996 Multiple: Pewter multiple with engraved text Dimensions: 6.6 × 5 × 1.1 cm (...

Jacques Lerebourg hand made abstract metal sculpture in welded and polished metal with inclusion of a natural quartz or crystal mineral specimen. part of a distinguished group of Fre...

Victor Vasarely was a French-Hungarian artist credited as the grandfather and leader of the Op Art movement. The artist created compelling illusions of spatial depth using geometric ...

Fascinating Large Italian Glass Sculpture - Face with Red Eye. Incised signature on the base - Giuliano Tosi. Created by the famous Italian glassmaker circa 1970's - 1980's. The work measures 19 ½ inches high and 11 inches across at the widest point. It is in excellent condition with no damage and is quite an eye-catching objet d'art. Master Giuliano Tosi, born in 1942, hails from a lineage steeped in glassmaking tradition dating back to 1483. His journey with glass began at the tender age of 12, under the tutelage of Master Albino Carrara. Recognizing Tosi's burgeoning mastery, Carrara gifted him his corteo, an essential glass-cutting tool, symbolizing a rite of passage and an honor Tosi cherishes to this day. Tosi's expertise extends beyond traditional techniques, evident in his introduction of the external sbruffi technique in furnaces, a method enhancing color vibrancy and variation. His works have graced galleries worldwide, including Milan's Fashion District, Chicago, New York, and the Museum of Contemporary Art in Los Angeles, marking him as a significant figure in Murano's glass history over the past six decades. His talent for creating art glass pieces has attracted commissions from luminaries such as the Pope, Julia Roberts, Michael Douglas, and Victoria Adams...

1970 Compression of different metals, fixed on panel Signed, dated and situated in black felt marker at the bottom left side “César 1970 Nice” Referenced in the Durand-Ruel Archives under No. 985 Unique artwork accompanied by the certificate from the Durand-Ruel Archives H. 36 cm W. 20,5 cm D. 9 cm Dimensions with panel: H. 60 cm W. 45,2 cm D. 4,8 cm His parents, Omer and Leila Baldaccini, Italian of Tuscan origin, had a bar in Marseilles, where César was born in 1921 in the popular district of la Belle-de-Mai, at No. 71 rue Loubon, in the center. “I am basically an absolute autodidact,” he says. He first worked at his father’s, before attending in 1935 the courses of the School of Fine Arts in his hometown with his classmate Raymond Normand and, in 1943, the National School of Fine Arts in Paris with Michel Guino, Albert Féraud, Daniel David and Philippe Hiquily, like him in the studio of Marcel Gimond...

Charna Rickey 1923 - 2000 Mexican-American Jewish Woman artist. Signed Bronze House of Books, Architecture Bronze sculpture, signed Charna Rickey and on the front "House of the book." It depicts an open Torah. Original patina. Approx. dimensions: 7 in. H x 9 in. W x 8.5 in. D. Weight: 13.1 lbs. Modernist Judaica Sculpture Born Charna Barsky (Charna Ysabel or Isabel Rickey Barsky) in Chihuahua, Mexico, the future artist lived in Hermosillo and immigrated to Los Angeles when she was 11. She was educated at UCLA and Cal State L.A., she married furniture retailer David Rickey and explored art while raising their three daughters. Moving through phases in terra cotta, bronze, marble and aluminum, she found success later in life. Rickey became one of the original art teachers at Everywoman's Village, a pioneering learning center for women established by three housewives in Van Nuys in 1963. She also taught sculpture at the University of Judaism from 1965 to 1981. As Rickey became more successful, her sculptures were exhibited in such venues as Artspace Gallery in Woodland Hills and the Courtyard of Century Plaza Towers as part of a 1989 Sculpture Walk produced by the Los Angeles Arts Council. Her sculptures have also found their way into the private collections of such celebrities as Sharon Stone. Another of Rickey's international creations originally stood at Santa Monica College. In 1985, her 12-foot-high musical sculpture shaped like the Hebrew letter "shin" was moved to the Rubin Academy of Music and Dance at Hebrew University in Jerusalem. The free standing architectural Judaic aluminum work has strings that vibrate in the wind to produce sounds. Rickey also created art pieces for the city of Brea. They commissioned some amazing art pieces by Laddie John Dill, Walter Dusenbery, Woods Davy, Rod Kagan, Pol Bury, Niki de Saint Phalle, Magdalena Abakanowicz, Larry Bell, John Okulick...

Pablo Picasso A.R. 520 Fluffy-Haired Woman 1964 13” x 10” Edition of 100 Red earthenware clay, printed with engobe pad Ramie 520 is a Madoura ceramic that one rarely sees come on the market. The photo you see here is the actual piece that you will receive. Most sellers online post using stock photos that don’t necessarily match exactly to the piece you receive. This particular piece is pristine: there are no nicks, bruises or scratches of any kind. Be careful when buying from others – the pieces sometimes have nicks or scratches. The Certificate of Authenticity comes with this piece. We have sold over 3300 pieces with all positive reviews. The "Fluffy-Haired Woman" (Tête de femme, Cheveux bouclés) is a ceramic plate designed by Pablo Picasso and produced at the Madoura Pottery studio. This piece is part of Picasso's extensive work in ceramics during the mid-20th century, where he explored new forms of artistic expression beyond his renowned paintings and sculptures. Here are some key details about this particular piece: Title: Tête de femme, Cheveux bouclés (Fluffy-Haired Woman) Date: 1969 Edition: Ramie 520 Medium: Ceramic plate Dimensions: Approximately 26 cm (10.2 inches) in diameter Edition Size: Limited edition, often part of a numbered series The Madoura Pottery studio in Vallauris, France, where this piece was produced, was a significant place for Picasso's ceramic work. He collaborated closely with the owners, Suzanne and Georges Ramié, to create a wide range of ceramics, including plates, vases, and pitchers, all featuring his distinctive artistic style. The "Fluffy-Haired Woman" plate is a representation of Picasso's playful and innovative approach to ceramics, combining his mastery of line and form with the unique qualities of the ceramic medium. Collectors and art enthusiasts highly value these pieces for their artistic significance and the insight they provide into Picasso's creative process. We are located in the USA. When you buy from a foreign seller on 1stdibs, you have to consider the problems of getting the piece through Customs. There are often delays and considerable fees to pay in order to import the item. When purchasing from us, we ship the same day and you receive it via FedEx the next day, no problems or hassles. When you purchase from an auction house, you pay a buyer’s premium of anywhere from 23% to 28% over the “hammer price”. So when you “win” an auction for $20,000, the actual price paid is more like $25,000. By contrast, when purchasing from us, the price agreed to is the price paid by the buyer, no hidden fees. When you purchase from an auction house, you pay the packing and shipping fees, which are usually exorbitant. By contrast, when purchasing from us, the price includes packing and shipping. When you purchase from an auction house, the sale is final. If you receive the piece and are not 100% satisfied with it, there is nothing you can do about it. You are stuck with it. By contrast, when purchasing from us, the buyer can determine if they want to keep it. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways! The prices of Picasso Madoura Ceramics have been on fire lately (no pun intended). The major auction houses – Sotheby’s, Christie’s and Phillips – have now been regularly holding Picasso Madoura Ceramic auctions...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection 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...

White earthenware ceramic pitcher painted in black, white and grey patina with knife engraving and partial brushed glaze. Inscribed 'Edition Picasso' in black and with the Edition P...

What makes this sculpture special is the wonderful melding of abstraction with content and the textured approach to surface of the bronze. What is also striking is the form of the A...

Measures about 5.25 X 3.75 inches. Box is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know if ...

Pablo Picasso A.R. 142 Ice Pitcher 1952 12.6” x 21.6” Pitcher Edition of 100 White earthenware clay, decoration in oxides, knife engraved on white enamel Ramie 142 is a Madoura ceramic that one rarely sees come on the market. The photo you see here is the actual piece that you will receive. Most sellers online post using stock photos that don’t necessarily match exactly to the piece you receive. This particular piece is pristine: there are no nicks, bruises or scratches of any kind. Be careful when buying from others – the pieces sometimes have nicks or scratches. The Certificate of Authenticity comes with this piece. We have sold over 3300 pieces with all positive reviews. We are located in the USA. When you buy from a foreign seller on 1stdibs, you have to consider the problems of getting the piece through Customs. There are often delays and considerable fees to pay in order to import the item. When purchasing from us, we ship the same day and you receive it via FedEx the next day, no problems or hassles. When you purchase from an auction house, you pay a buyer’s premium of anywhere from 23% to 28% over the “hammer price”. So when you “win” an auction for $20,000, the actual price paid is more like $25,000. By contrast, when purchasing from us, the price agreed to is the price paid by the buyer, no hidden fees. When you purchase from an auction house, you pay the packing and shipping fees, which are usually exorbitant. By contrast, when purchasing from us, the price includes packing and shipping. When you purchase from an auction house, the sale is final. If you receive the piece and are not 100% satisfied with it, there is nothing you can do about it. You are stuck with it. By contrast, when purchasing from us, the buyer can determine if they want to keep it. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways! The prices of Picasso Madoura Ceramics have been on fire lately (no pun intended). The major auction houses – Sotheby’s, Christie’s and Phillips – have now been regularly holding Picasso Madoura Ceramic auctions...

Exotica Series, Abstract Woven Tapestry, Textile Sculpture. Cotton, goat hair and sisal, 114" x 60" x 6", 1975. Ritzi Jacobi (1941 - 2022) and Peter Jacob...

Yayoi Kusama Set of 2 Pumpkins: Red & White and Red & Black Naoshima: An iconic, vibrantly colored pop art set - these small Kusama pumpkin sculptures feature the universal polka do...

May Wilson (1905–1986) was an American artist and figure in the 1960s New York City avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photo collages. Wilson was born in Baltimore, Maryland, into an underprivileged family. Her father died when she was young. She was reared by her Irish Catholic mother, who sewed piecework at home. Wilson left school after the ninth grade to become a stenographer/secretary to help support her family. When she turned 20, she married a young lawyer, William S. Wilson, Jr., and give birth to her first child. She continued to work until the birth of her second child, after which she devoted her energies primarily to mothering and homemaking. In 1942, the couple had prospered enough to move to Towson, Maryland, where she began to take correspondence courses in art and art history from several schools, including the University of Chicago. In 1948, after the marriage of their daughter, the couple moved to a gentleman's farm north of Towson, where she pursued painting and gave private art lessons to neighbors. She exhibited her paintings, scenes of everyday life painted in a flat, purposefully primitive manner in local galleries and restaurants. In 1952 and 1958, she won awards for work submitted to juried exhibitions at the Baltimore Museum of Art. In 1956, her son, the writer Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others. When her marriage dissolved, she moved to New York City in the spring of 1966, aged 61, taking up residence first in the Chelsea Hotel and then in a studio next door, where she threw legendary soirées and became known as the "Grandma Moses of the Underground". By the time she arrived, Wilson was already working with photomontage collage techniques. Encouraged by Johnson, who had sent her magazines through the mail, she scissored patterns into images of pin-up girls and muscle men until they resembled doilies or snowflakes, as Wilson called them. She decorated her hotel room and later her studio on West 23rd Street with these and other manipulated, found object images. Around this time, she also began her series of neo Dada "Ridiculous Portraits", for which she would ride the subway to Times Square, where she made exaggerated faces in photo booths. She then would cut and paste her photo-booth face onto postcards, along with Old Master reproductions, fashion shoots, and softcore Playboy magazine pornography. Long before artists such as Cindy Sherman and Yasumasa Morimura embarked on similar critical projects, Wilson's "Ridiculous Portraits" sent up the ubiquitous sexism and ageism that exists in popular and fine-art images of women. At the age of 70, she converted a nude photograph of herself into a stamp that she pasted on envelopes. Her collages and humorous self-portraits were made as gifts and mail-art items for her friends and were not widely known until after her death. Her work was contemporaneous with the Arte Povera artists Jannis Kounellis and ‎Michelangelo Pistoletto. She was also an innovator of junk art assemblages that incorporated real objects, such as high-heel shoes, bed sheets, sauce pans, toasters, liquor bottles, ice trays, and wrapped baby dolls. Her sculptures were inspired by Surrealist and Dada practices and are similar in spirit to Yayoi Kusama's contemporary accumulations. Wilson was the subject of a 1969 experimental documentary by Amalie R. Rothschild, "Woo Hoo? May Wilson". Since her death, May Wilson's work has been featured in numerous exhibitions and retrospectives at the Baltimore Museum of Art, Maryland; Gracie Mansion Gallery, New York; the Morris Museum, Morristown, N.J.; the Pavel Zoubok Gallery, New York City; and The University of the Arts, Philadelphia. Selected Exhibitions 2010 "Seductive Subversion: Women Pop Artists, 1958-1968", University of the Arts, Philadelphia (traveling exhibition) 2008 "1968/2008: The Culture of Collage", Pavel Zoubok Gallery, New York, City 2008 "Ridiculous Portrait: The Art of May Wilson", Morris Museum, Morristown, New Jersey 2008 "Woo Who? May Wilson", Pavel Zoubok Gallery, New York City 1995 [Retrospective], The Baltimore Museum of Art, Maryland 2001 "May Wilson: Ridiculous Portraits and Snowflakes", Gracie Mansion Gallery, New York, City 2001 "Inside Out: Outside In-The Correspondence of Ray Johnson and May Wilson", Sonoma Museum of Visual Art, California 1991 "May Wilson: The New York Years", Gracie Mansion Gallery, New York City 1973 "Sneakers", Kornblee Gallery, New York City 1973 "Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art", RISD Museum, Providence, Rhode Island 1971 Corcoran Gallery of Art, Washington, D.C. 1970 "Sculpture Annual 1970", Whitney Museum of American Art, New York City 1965 The Baltimore Museum of Art, Baltimore, Maryland 1962 The Johns Hopkins University, Baltimore, Maryland 1957 Bookshop Gallery, Baltimore, Maryland Public collections Whitney Museum of American Art (New York City) The Baltimore Museum of Art (Baltimore, Maryland) Brooklyn Museum (Brooklyn, New York) References William S. Wilson, "May Wilson: Constructing Woman (1905-1986)", in Ann Aptaker, ed., Ridiculous Portrait: The Art of May Wilson, ed. Ann Aptaker, Morristown, N.J.: Morris Museum, Camhi, Leslie, "Late Bloomer", Village Voice, December 18, 2001 Giles, Gretchen, "Cosmic Litterers: Artists Ray Johnson and May Wilson: Taking the Cake", "Northern California Bohemian," June 14–20, 2001 McCarthy, Gerard, "May Wilson: Homespun Rebel", Art in America, vol. 96, no. 8, September 2008, pp. 142–47 Sachs, Sid and Kalliopi Minioudaki, Seductive Subversion: Women Pop Artists, 1958-1968. Philadelphia: The University of the Arts, 2010, ISBN 978-0789210654 Wilson, William S. Art is a Jealous Lover: May Wilson: 1905-1986, andy warhol...

Jean Cocteau ( 1889 - 1963 ) Médiévale . Vase signed jean Cocteau at the base ; marked and numbered edition originale de Jean Cocteau . atelier Madeline-Jolly (underneath). partial...

12 Glossy ceramic popsicles sculptures on a natural wood base. Color Numbers: SC- 85 SC- 9 SC-15 SC- 93 SC-18 SC-75 SC-24 SC-73 SC-1 SC-2 SC-23 SC-13 Handmade by artists Osnat Zim...

Nancy Graves New York State Governor's Arts Award, 1988 Bronze, polychrome patina and baked enamel on base with Award plaque 10 1/4 × 7 × 10 1/4 inches Hand signed and dated with inc...

Dimensions: 15.5 X 7 X 7 in. The organic shaped vase showcases an applied light gold colored threaded design enveloping the clear body, around. Hand signed Constantini S. It came from an important estate in the Palm Beach area. Made in Murano, handmade according to the ancient Murano glass tradition. Master Sergio Costantini was born in Venice in 1956 and learned the technique of glass processing from the famous Master Glassmakers of Murano A. Barbini, Licio Zanetti, L. Mellara. His works are exhibited globally in the most important museums and art galleries. Venetian glass (Italian: vetro veneziano) is thought to have been made for over 1,500 years, and production has been concentrated on the Venetian island of Murano since the 13th century. Murano glassmakers created cristallo—which was almost transparent and considered the finest glass in the world. Murano glassmakers also developed a white-colored glass (milk glass called lattimo) that looked like porcelain. They later became Europe's finest makers of mirrors. Murano glassmaking began a revival in the 1920s. Today, Murano and Venice are tourist attractions, and Murano is home to numerous glass factories and a few individual artists' studios. Its Museo del Vetro (Glass Museum) in the Palazzo Giustinian contains displays on the history of glassmaking as well as glass sculpture samples ranging from Egyptian times through the present day. The Venetian glassmakers of Murano are known for many innovations and refinements to glassmaking. Among them are Murano beads, cristallo, lattimo, chandeliers, and mirrors. Additional refinements or creations are goldstone, multicolored glass (millefiori), and imitation gemstones made of glass. Aventurine glass, also known as goldstone glass, is translucent brownish with metallic (copper) specks. Calcedonio is a marbled glass that looked like the semi precious stone chalcedony. This type of glass was created during the 1400s by Angelo Barovier, who is considered Murano's greatest glassmaker. Ercole Barovier, a descendant of Murano's greatest glassmaker Angelo Barovier, won numerous awards during the 1940s and 1950s for his innovations using the murrine technique. Sommerso is a form of artistic Murano glass that has layers of contrasting colors (typically two), which are formed by dipping colored glass into another molten glass and then blowing the combination into a desired shape. The outermost layer, or casing, is often clear. Sommerso was developed in Murano during the late 1930s. Flavio Poli was known for using this technique, and it was made popular by Seguso Vetri d'Arte and the Mandruzzato family in the 1950s. This process is a popular technique for vases, and is sometimes used for sculptures. Some of Venice's historical glass factories in Murano remain well known brands today, including De Biasi...

Artist: Nancy Graves (American, 1939-1995) Title: "Rope Trap" *Titled, signed, and dated by Graves (inscribed into the metal) on red cylinder lower right Year: 1985 Medium: Original ...

Jean Arp, also known as Hans Arp (1886-1966), was an important contributor to the avant-garde movements of the 20th century. Arp was active during the crucial years that shaped Europ...

An important large scale terracotta sculpture from the artist's Galaxy Series.

Cubist abstract mixed-media sculpture titled 'Horse and Rider' was created using various materials including wood, papier-mache, and paint by Bill Low (Scotl...

Untitled Biomorphic Form Abstract Sculpture Onyx Sculpture on granite base. Artist signature Graham dated 73. Richard D. Graham is a Postwar & Contemporary artist born in 1940 know...

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 art...

Striking 3-dimensional acrylic and wood on canvas sculpture by renowned Colombian painter an sculptor, Omar Rayo. Signed, titled, inscribed "New Yo...

Artist: David Bromley Title: Stacked Illustrated Blocks Year: circa 1990 Medium: Six Oil- and Acrylic-Painted Wooden Blocks, Staggered in Size Size: Smallest Block: 5.5 x 5.5 x 5.5 i...

Stunning original mirror made by the artist, with 144 uniquely handmade terracotta tiles. Signed by the artist in one of the tiles. This large, striking mirror has a great Brutalist and Modernist feel. Another slightly smaller mirror of the same style is available on our page. Year: unknown (Ron was active from the mid 1960s to the early 2000s) Colour: Tuscan red...

"The Test," 1970 Aluminum sculpture in 5 parts. Artist's cipher and AP stamped into male figure, front, 20 5/16" x 12 1/2" x 6 5/7" (approx.) American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. William Dickey King was born in Jacksonville, Florida. As a boy, William made model airplanes and helped his father and older brother build furniture and boats. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacomettis conceived by John Cheever.”

Judy Chicago Logo Pin and Pendant, 1993 Enameled pin with pendant loop in original presentation box 2 1/2 × 2 1/2 × 1/5 inches Judy Chicago's incised name and date on the verso Comes...

"Structure Relief 254" is an abstract structural relief painted in earth tones. Throughout his life Barr was interested in engineering, structure, mathematics and nature. Although i...

Victor Vasarely (9 April 1906 – 15 March 1997), was a Hungarian-French artist, who is widely accepted as a grandfather and leader of the Op art movement. In 1928, he enrolled at Sán...

Adolph T. DIODA (1915-1991) Birth place: Aliquippa, PA Lived in West Aliquippa, PA; Detroit, MI; Phila. & Jenkintown, PA Profession: Sculptor, educator Studied: Carnegie Inst Technol; Cleveland School of Art; Barnes Fnd., Art Student League New York, NY; also with John B Flannagan, New York. Exhibited: WMAA, 1939-40; Carnegie Inst., 1941; AIC, 1940, 1951; Sculpture Int., Philadelphia Mus. of Art, 1940-49; AA Pittsburgh, 1941-45; Carved in Stone, Bucholtz Gallery, New York, 1945; PAFA, 1946-47 & 1968 (prize, 1947); Philadelphia A. All., 1951; Carlen Gal., Philadelphia, 1951; 2-man exh. with William Kienbusch...

Paul Dierkes (1907 Cloppenburg - 1968 Berlin), Archaic Head. Limestone, 1952. 15 x 9 x 12 cm (without plinth), 19 x 10 x 11 cm (with plinth), monogrammed "PD" on the reverse. - S...

"[Masakazu Kobayashi's] woven Waves in dyed threads rank[s] among the most perfect in aesthetic effectiveness ever produced by contemporary weaving….This Japanese way of conjuring up such transparency with threads, of perceiving the thread itself as something creative is highly artistic. They celebrate aesthetic beauty in a way no one can elude.” From “Textile Art and the Avant-garde,” Erika Billeter (Contemporary Textile Art: the Collection of the Pierre Pauli...

Adela Akers (b. 1933, Santiago de Compostela, Spain) is a Spanish-born textile and fiber artist. She is Professor Emeritus (1972 to 1995) at the Tyler Scho...

Cubist Nude Patinated Bronze Sculpture. Dominique Polles' bronze sculptures of female nude edition 2/4 patinated bronze signed and dated 1999. Born in Paris in 1945, young Pollès of...

Unique large scale mixed media assemblage featuring a three dimensional, textured handmade paper scroll unfurling to reveal an abstract expressionist watercolor painting with gold ac...

Margaret VIII, flax, sisal and wool, 57" x 39", 1977. This Mid-Century Modern abstract woven tapestry was done by Postwar and Contemporary Polish textile...