Late 20th Century Abstract Sculptures

An abstract sculpture by Post War artist Tim Hawkinson depicting yellow shoes encased in plaster in a red shoe box. Signed underneath, "Tim Hawkinson, Tim...

Clifford Singer's Geometrical Clouds Series has evolved since 1974.

Alan Shields Bucket, 1977-79 Metal wire wrapped in dyed paper 13 3/4 x 8 1/4 x 3 3/4 inches Unsigned

Certificate of authenticity Included (issued by gallery)

Certificate of authenticity Included (issued by gallery)

Certificate of authenticity Included (issued by gallery)

Magdalena Suarez-Frimkess Lidded Venice Beach Motif Jar (INV# NP3997) stoneware, underglaze and glaze 6.5 x 5" 1981 signed by artist provenance - The Nevica ...

A sculpture by Ron Reihel. "Elutheria" is an abstract, cast resin, plaster, wood and canvas wall sculpture executed in a deep, glossy black by contemporary artist Ron Reihel. Ron Rei...

Arturo Di Modica, Italian/American (1941 - ) - Abstract Figures, Year: 1980-81, Medium: Bronze sculpture, signature, numbering and date inscribed, Edition: 1/1, Size: 55 x 36 x 3...

Spirit of the Wind, by Allan Houser, apache, abstract, sculpture, limited edition lifetime bronze casting excellent condition

Pleasant Memories, bronze, sculpture, Allan Houser, Apache, contemporary, modern GLENN GREEN GALLERIES' LONG ASSOCIATION WITH ALLAN HOUSER Allan Houser was represented by Glenn Gree...

The Shy One, bronze, sculpture, by Allan Houser, mother, child, Apache, Native limited edition bronze casting lifetime casting wood base GLENN GREEN GALLERIES' LONG ASSOCIATION WIT...

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: ...

Karel Appel L'Oiseau, 1977 Hand-Signed Unique Wood sculpture (Polychrome over wood) Diameter 34"

Jean (Hans) Arp's Seuil Configuration (1977) exemplifies the artist's mastery of organic abstraction, a defining feature of his sculptural oeuvre. This work, composed of sleek, biomo...

Richard DeVore Untitled Vessel with Void (INV# NP5224) stoneware, and glaze 4.5 x 14 x 14" date unknown Richard DeVore (1933 - 2006) was one of the most important American ceramicis...

Reclining Figure II, by Allan Houser, Apache, abstract, figurative, bronze Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty...

Cameo Pink Seaform with Black Lip Wrap (94.678.s1), 1994 Dale Chihuly (American, b. 1941) 14 x 32 x 18 inches Born in Tacoma, Washington, Dale Chihuly became the most famous ornate ...

Zephyr Green Macchia with Blue Lip Wrap, 1996 Dale Chihuly (American, b. 1941) 8 x 10 x 10 inches Signed and Dated on Bottom Born in Tacoma, Washington, Dale Chihuly became the most...

Rachel Whiteread Untitled 'Torso', 1995 Plaster 9 1/4 x 7 1/8 x 3 1/2 inches Rachel Whiteread (b. 1963) came to prominence in the early 1990s as a cohort of artists, known as the Y...

Observant, by Allan Houser, bronze, sculpture, limited edition, blanketed figure GLENN GREEN GALLERIES' LONG ASSOCIATION WITH ALLAN HOUSER Allan Houser was represented by Glenn Gre...

Kinetic sculpture by George Rickey. Incised with the artist's signature, date 1975 and number 1/3 (on the base). Dimensions: minimum: 79 by 21 ⅜ by 10 in. maximum: 79 by 80 by 10 in...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

Abstract Sculpture by American Artist Jack Youngerman, from the Atlantic Ritchfield art collection. Abstract Form rotating on marble base. Initialed JY (Jack Youngerman, American, b....

Victor Vasarely Song, 1970 is a painted wood relief that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) on verso. Numbered from the edition of 55 on verso.

Victor Vasarely Bellatrix, 1970 is a painted wooden relief on aluminum that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) and is inscribed ' VASARELY E.A. VII' on ...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 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...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 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...

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...

"Moreover" is a minimalist abstract sculpture in fabricated bronze, finished with a warm patina in golden-bronze shades. The sculpture does balance on its own but should be secured t...

Accumulation of Violins Arman, French (1928–2005) Date: 1989 Bronze, signature and number inscribed Edition of 37/99 Size: 13.25 x 6.5 x 6.5 in. (33.66 x 16.51 x 16.51 cm)

Included: one original KS Icon Drawing. Cabinet 01. 3 styles of Tondo Mugs and 4 Hedz Mugs all sold out. NewTondo stickers first edition of 14, 10 on inner Kabinet doors as plaques and 4 on white lacquer tray. Assorted KS books and early white pages book.1990 KS for Kambly Tin. With reproduction personal photographs inside. Cateyeguy 2004 edition of 2500. Dogeyeguy with original packaging 2004 edition of 2500. Vintage KS deck of cards. New in Box KS zippo 1993 # 75 of 999. KS Lido Paris...

"Offshoot" is a horizontal pedestal sculpture by renowned Australian artist Clement Meadmore. It is an elegantly simple form with a beautiful dark brown patina. "Offshoot" balances o...

Lead Singer, bronze, sculpture, Allan Houser, Native American, Drummer, Apache Allan Houser Haozous Warm Springs Chiricahua Apache 1914-1994 National Medal of Arts awardee Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States. This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...

Buffalo Dance, bronze, sculpture, by Allan Houser, brown, casting, Pueblo,dancer limited edition bronze casting of 20 lifetime casting

Edgar Negret Mascara, 1994 Painted Aluminum 87 x 87 x 32 cm 34.2 x 34.2 x 12.5 in. The artwork is signed and dated on the back and illustrated as follows...

Edgar Negret El Sol Rojo, 1985 Painted Aluminum 250 x 244 x 80 cm 98.4 x 96.1 x 31.5 in. Carlos Jiménez Moreno, Negret Escultor: Homenaje. Villegas Edito...

Beverly Pepper Untitled, 1982-1983 steel and iron 33h x 27.50w x 10d in

Desert Breeze, Sculpture by Allan Houser Haozous, Bronze, Cloaked Figures,Apache Allan Houser was represented by Glenn Green Galleries (formerly known a...

Pedro Barreto Esfera, Undated Marble ø 25.6 in. ø 65 cm (Depth 5.9 in. 15 cm) Base: 7.9 x 7.9 x 9.8 in. 20 x 20 x 25 cm Pedro Barreto (b. Santa Catalina, Venezuela, 1935; d. Lechería, Venezuela, 2008) His first experiences as a sculptor were with wood, influenced by his place of birth in the Orinoco River delta. Between 1954 and 1958, he studies at the Plastic and Applied Arts School of Caracas. In 1957, his first one-man exhibition took place in Tucupita, earning him a scholarship to study in Europe. He attends the School of Fine Arts of Rome until 1960, after which he travels to Paris and works in Agustín Cárdenas’ studio. In 1973, he is awarded Tokyo’s Shinsakasho Prize and Venezuela’s Salón Arturo Michelena.

Jesús Rafael Soto Quadrato 1974 Edition Denise René. Ed. 32/75 Acrylic on aluminum with painted metal rods 45.7 x 40 x 32 cm 17.9 x 15.7 x 12.5 in. Jesús Rafael Soto (1923 - 2005) ...

Artist: Garth Evans (British, b. 1934) Title: "The Duck (N.6., No. 3)" Year: 1982 Medium: Painted plywood wall-hanging sculpture Signed and titled Dimensions: 24" x 12" x 7" Conditio...

"Tornado" by Joel Perlman Abstract Metal Sculpture in steel 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...

Artist: Sophia Vari, Greek (1940 - ) Title: Entwined Bodies Year: circa 1985 Medium: Bronze Sculpture, Signature and number inscribed with foundry stamp Edition: 4/6 Size: 12.5 x 2...

Ernest Tino Trova "Black Falling Man with Form" 1996 Bronze Ed. 1/3 Signed, Dated and Numbered Verso approx. 16 x 8.5 x 16 inches Known for his Falling Man series in abstract figura...

Artist : Arnie Zimmerman Title : Platter Materials : Stoneware, glaze Date : 1982 Dimensions : 22.75" x 23.5" x 4.5" Description : Hand-signed and dated o...

"Scoop" by John Ruppert Galvanized chain link fabric, stainless steel Over the past 35 years, John Ruppert has been working in cast metals; manufactured ...

Artist: Sophia Vari, Greek (1940 - ) Title: Gree's Head Year: 1985 Medium: Bronze Sculpture, Signature and number inscribed with foundry stamp Edition: 1/6 Size: 7.25 x 7 x 6 in....

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...

Jealousy, bronze edition sculpture of a man with two women, Eduardo Oropeza Jealousy, bronze and straw sculpture of a man with two women edition of 12

Jealousy, bronze edition sculpture of a man with two women, Eduardo Oropeza Jealousy, bronze and straw sculpture of a man with two women edition of 12

Peter Voulkos Title: Plate CR952-W Medium: Woodfired ceramic Year: 1989 Signed and dated by the artist Size: approx. 20.5 x 5 inches A West Coast potter and sculptor, Peter Voulkos (1924-2002) led in the development of pottery as an art form. . With an MFA from California College of Arts and Crafts (1952), he taught at Black Mountain College (1953) where he was exposed to the avant-garde. In 1954, Voulkos moved to Los Angeles to become the chairman of a newly established ceramics department at the Los Angeles County Art Institute (later renamed the Otis Art Institute) and soon assembled a remarkable group of students: Paul Soldner, Jerry Rothman, Kenneth Price, John Mason, Henry Takemoto...

Peter Voulkos Title: Plate CR1056-W Medium: Woodfired ceramic Year: 1992 Signed and dated by the artist Size: approx. 24 x 4.5 inches A West Coast potter and sculptor, Peter Voulkos (1924-2002) led in the development of pottery as an art form. . With an MFA from California College of Arts and Crafts (1952), he taught at Black Mountain College (1953) where he was exposed to the avant-garde. In 1954, Voulkos moved to Los Angeles to become the chairman of a newly established ceramics department at the Los Angeles County Art Institute (later renamed the Otis Art Institute) and soon assembled a remarkable group of students: Paul Soldner, Jerry Rothman, Kenneth Price, John Mason, Henry Takemoto...

Peter Voulkos Title: Plate 1329-W Medium: Woodfired ceramic Year: 1998 Signed and dated by the artist Size: approx. 20.5 x 21 x 5.25 inches A West Coast potter and sculptor, Peter V...

Peter Voulkos Title: Plate CR1190-W Medium: Woodfired ceramic Year: 1995 Signed and dated by the artist Size: approx. 19.5 x 20.5 x 5.75 inches A West Coast potter and sculptor, Peter Voulkos (1924-2002) led in the development of pottery as an art form. . With an MFA from California College of Arts and Crafts (1952), he taught at Black Mountain College (1953) where he was exposed to the avant-garde. In 1954, Voulkos moved to Los Angeles to become the chairman of a newly established ceramics department at the Los Angeles County Art Institute (later renamed the Otis Art Institute) and soon assembled a remarkable group of students: Paul Soldner, Jerry Rothman, Kenneth Price, John Mason, Henry...

Artist: Sergio Camargo, Brazilian (1930 - 1990) Medium: White Marble Sculpture, signature inscribed on base front Size: 7.875 x 12.25 x 10.25 inches ; 2...

Wood Fired Platter Material: Stoneware and woodfired Year: 1989 Signed Dimensions: 3 x 22 x 22" Provenance - Charles Cowles Gallery, NYC A West Coast potte...

Yaacov Agam "Star of Peace" c. 1970s Metal Ed. 2/300 approx. 9 x 2 x 2 inches Born in Israel on May 11, 1928. His father was a rabbi, a Talmudic scholar and a Kabbalist. The famil...

Organic sculpture by famous sculptor David Nash of a tree trunk that has been shaped into a square with a concentric square cut out in the middle. Artist Biography: David Nash is a British sculptor and Land artist and works primarily with natural materials and live trees. His wooden sculptures are made using heavy equipment including chainsaws and blowtorches, morphing trees into unexpected shapes such as his Oculus Block (2010), a melding of two Eucalyptus stumps into a solid square. Born on November 14, 1945 in Esher, England, he attended the Kingston College of Art and later the Chelsea School of Art. Among his first and best-known works is Ash Dome (1977), for which the artist planted a circle of ash trees to form a wooden dome...