Diana the Huntress, the Goddess of Hunting Bronze Sculpture of Woman

Max Kalish (American, 1891-1945) Nude Walking, 1930 Bronze Signed and dated on base 17 x 9 x 4 inches Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti and Herbert Adams...

Edris Eckhardt (American, 1905-1998) Vernal Equinox, c. 1975 Bronze Signed on base 16.5 x 4 x 3 inches Born in Cleveland, Ohio January 28, 1905, Edris was given the name Edythe Alin...

William Zorach (American 1891-1966) First Steps, 1918 Bronze 8.5 x 5 x 4 inches, including base Born in 1887 in Lithuania, William Zorach immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this new-found stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of wood-block prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jack-knife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptors tools...

Late 18th Century Bronze Sculpture after the Farnese Hercules Grand Tour bronze with a fine encrusted patination on a later wooden base 16 in. h., overall 12.5 in. h., bronze 3.5 in...

This artwork titled "Ixchel" 1977, is a bronze sculpture with brown patina by noted Mexican artist Enrique Gottdiener Soto, 1909-1986. Signature is impressed on the bronze. The sculp...

"Caress of Love" by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze group sculpture with a nuanced dark brown patina Signed on the back "A. Carrier-Belleuse" Reposing on its orig...

The striking figure of a nude female, arms stretched above her head is the subject of this bronze sculpture by Canadian artist Richard Tosczak. Known for his beautiful figurative wor...

This thoughtful, female, nude figure is patinated in a dark blue and black tone. Available by commission in an edition of 8, this piece is 1/8. Please allow 4-5 weeks for completion...