Malvina Hoffman

Nijinski Dance Ballet Russes American French Woman Sculptor early 20th Century

1912

1961 Coty Award Plaque Kenneth Hairdresser Jacqueline Onassis Bronze Fashion Bronze on wood. The wood plaque measures 12 3/4" by 20 3/4 inches. The bronze plaque itself is 13 3/4 x 8 3/4 inches and the the bronze inscription, which reads "COTY, American Fashion Critics Special Award 1961 to KENNETH of LILY DACHE...

"Mercury" NYC 1931 Bronze 5th Ave Traffic Light Sculpture American Art Deco WPA In the late 1920s, Joseph Freedlander was asked by the City of New York ...

Max Kalish The Road Builder inscribed M. KALISH 23, with Meroni-Radice foundry mark, on top of base bronze with dark brown patina, on an ebonized rectangular plinth Height: 13 1/8 in...

"La Comete" Iconic French Art Deco Silvered Bronze 1920s Female Nude Maurice Guirard-Riviere (1881 - 1947) La Comete Silvered bronze 23 inches wide x 19 3/4 inches high x 5 1/2 inc...

Industrial Machine Age American Scene WPA Mid 20th Century 1939 SF World's Fair HAIG PATIGIAN (American/Armenian, 1876-1950) Aeronautics Pediments Two Plaster Casts, c. 1930s each 13.25 x 14.75 x 6 inches It's possible these moquettes were created for the 1939 World's Fair, the Golden Gate International Exhibition in San Francisco. Provenance: Private Collection of Lois M. Wright, Author of "A Catalogue of the Life Works of Haig Patigian, San Francisco Sculptor, 1876-1950),” 1967 Loan to Oakland Museum of California (Oakland, CA) BIO Haig Patigian is noted for his classical works, which are especially numerous in public venues in San Francisco, California. Patigian was born in Van, Armenia, which at that time was under Turkish rule. Haig was the son of Avedis and Marine Patigian, both teachers in the American Mission School there. He and his older brother showed an aptitude for art early on and were encouraged by their parents. Their father himself had taken up the new hobby of photography. The 1880s were harsh times, however, for many Armenians under an oppressive rule by the Turkish government. Many people were fleeing to the safety of the United States. Suspicious Turkish authorities accused his father of photographing city structures for the Russian government, and in 1888 he fled for his life to America. Haigs father made his way to Fresno, California, and began life anew as a ranch hand. Within two years he sent for his wife, as well as Haig, his three sisters and brother, and in 1891 the Patigians made the journey from Armenia. Haigs father, an industrious man, worked on various farms, and eventually bought his own ranch and vineyard. It was among fertile farmland of Fresno that Haig grew up. Young Haigs education consisted of teachings by his parents and by intermittent attendance in public schools. Although he had dreams of becoming an artist, he did not have the opportunity for formal study of art, and began working long days in the vineyards around Fresno. At age seventeen, Haig made a step towards his dreams and apprenticed himself to learn the trade of sign painting. In his spare time he nurtured his interest in art by painting nature and life scenes with watercolors and oil paints. When his sign-painting mentor left Fresno, Haig opened his own shop and made a name for himself in the town. San Francisco, in the meantime, had been attracting artists since the Gold Rush and had become a thriving art center. Within a few years, Haig had put aside several hundred dollars to move to San Francisco, joining his brother who was already working there as an illustrator. In 1899, when he was twenty-three, Haig had saved enough money to enroll at the Mark Hopkins Art Institute in San Francisco. Like many aspiring artists of his time, Patigian supported himself by working as a staff artist in the art department of a local newspaper, and in the winter of 1900, nearing his 24th birthday, Haig began work for the San Francisco Bulletin, producing cartoons, black and white illustrations, as well as watercolors. In 1902 tragedy struck Haig and his family. His 29-year-old brother died of pneumonia, and then his frail mother died a short time later. Five months more saw his youngest sister, just out of high school, die too. Saddened and depressed, Haig moved out of the studio he had shared with his brother, and into a dilapidated studio in a poor section of town. During this time of sadness, Haig fed a growing interest in sculpture. In 1904 Haig created what he later called his "first finished piece in sculpture". The work, called "The Unquiet Soul", depicted a man thrown back against a rock while waves lash at his feet. The body was tense and twisted, with one hand, in Haig's own words, "searchingly leaning and clutching the rock, while the other masks his troubled head". The Press Club of San Francisco, which Haig had joined in 1901, put "The Unquiet Soul" on exhibition and local headlines proclaimed "Local Newspaper Artist Embraces Sculptor's Art", and "First Work Predicts Brilliant Future". With the support of friends and community acclaim, the young illustrator left his newspaper job and became a professional sculptor. The path of his new career was not easy though. Haig had never made much money working for the newspaper and his father needed help with growing debt from funeral expenses and business problems. From time to time Haig sold some artwork, but also occasionally borrowed from friends to pay the rent. He was the classic 'starving artist'. In the spring of 1905 a white-bearded 81-year-old stranger knocked on Haig's door. It was George Zehndner, from Arcata, California. Zehndner had been born in Bavaria, Germany in 1824, the son of a farmer. In 1849 he had come to America looking for prosperity, settling in Indiana, where he worked on a farm and learned English. He found his way to the West Coast in 1852. Penniless, he worked in various jobs from San Francisco to Sacramento, then found some luck working in the gold fields of Weaverville in Trinity County, and eventually moving to a farm on 188 acres near Arcata. In his 77th year in May of 1901, Zahndner had taken a trip to San Jose, where he stood in a crowd to see a man he thought much of, President William McKinley. McKinley was popular as 'the first modern president' partially because he realized going out to meet the common person increased his support. In September of that year, however, an anarchist assassinated the president while he stood in a receiving line at the Pan-American Exhibition in Buffalo, New York. Soon after, the city of San Jose erected a statue of the slain president in St. James Park. Zehndner took a second trip to San Jose where he visited the McKinley monument. Touched, Zehndner decided that, no matter the cost, his town of Arcata too would memorialize McKinley. George Zehndner had read about Haig in a newspaper article and asked if Patigian would create a heroic statue of the late President McKinley for Arcata. When asked how much it would cost, Haig responded, despite his borderline poverty, with the fabulous sum of $15,000. Zehndner agreed. The President was to be portrayed standing, wearing an overcoat, with his feet planted squarely on the ground. In the finished statue, one hand is held out before him in a typical posture of speaking, with the other hand holding the speech as his side. The 9-foot statue...

2 Sculptures: "The Power" & "The Glory" WPA Depression WWII era mid 20th century by Agnes Yarnall circa 1940s. Sculptor, painter, poet and artistic historian, Agnes Yarnall has, since the age of six been breathing life into her art. Renowned as a sculptor, whose commissioned portrayals of contemporary celebrities are prized. She has sculpted Judith Anderson, Edna St. Vincent Millay, Carl Sandburg...

Jacques COQUILLAY (né en 1935) Marie Original bronze Size : 56x39x17cm Copy No. 4/8 Signature and numbered on the base. Original bronze made with ...

Jacques COQUILLAY (né en 1935) Victoire Original bronze Size : 105 x 22 x 20 cm Copy No. 1/8 Signature and numbered on the base. Original bronze m...

Diana with an arrow by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with a dual light and dark brown patina signed on the base "Carrier-Belleuse" inscribed on a front plaque "Diane à la Flèche par Carrier-Belleuse (Sculptr)" France circa 1870 height 83 cm arrow added probably in the 20th c. Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois...

Woman taking off her shirt by James PRADIER (1790-1852) Bronze with a nuanced brown patina cast by SOYER and INGE France circa 1850 height 28,5 cm Biography : Jean-Jacques Pradier...

Gunnar Knut Nilsson, born 1904 in Karlskrona, died 1995 in Versailles in France, was a Swedish sculptor. Gunnar Nilsson studied watercolor painting and modeling at the Technical Vocational School in Karlskrona in 1918-19 and on his own in addition to working as a clerk at Finspångs Metallwerk. His debut exhibition was in Finspång in 1927. With the help of a local fundraiser, and after the encouragement of Carl Eldh, he traveled to Paris in 1928 to study sculpture for, among others, Charles Despiau and Paul Niclausse. In Paris he socialized with Bror Hjorth, whose former studio he also rented, Carl Frisendahl and Alberto Giacometti. He came to belong to "Le groupe des Neuf'' with Paul Cornet...

Bronze sculpture with a nuanced dark brown patina signed on the base "A. Carrier" inscribed on a front plaque "Charmeuse de Serpents par Carrier-Belleuse" France circa 1860 height 80,5 cm Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois...