Nude Sculptures

Eberhard Encke (1881 Berlin - 1936 Bad Nauheim), Female Javelin Thrower, 1932. Brown patinated bronze on a cast rectangular base. 30 cm (total height) x 32 cm (length with javelin) x...

PABLO PICASSO (1881-1973) La source 11.01.1954 Ed. 47/100 pcs White earthenware clay decorated in engobes, knife engraved on partial brushed glaze H. 30 cm Numbered, inscribed and st...

Anonymous, Heroic Worker Lifting a Boulder, c. 1930. Green patinated zinc cast with natural stone mounted on a reddish marble base. Dimensions of the base: 4.5 cm (height) x 74.5 cm ...

This series imagines the artwork as a fragment, hurriedly dislodged from a “wall” with rough sides and a smooth surface. A prosaic image of a dive into water is rendered in a cobalt...

Paul Aichele (1859 Markdorf - 1920 Berlin), Mother protecting her child, around 1900. Brown patinated bronze on cast rectangular terrain plinth. 22 cm (height) x 19 cm (length) x 13 ...

Illustrated: "Walt Kuhn, Painter, His Life and Work, by Phillip Rhys Adams, page 67, plate 27, Courtesy of Kennedy Galleries-Kuhn Estate (see photo) Kuhn’s sculptures were collected...

Wonderful and one of a kind nude sculpture by Noche Crist (1909-2004). Sculpture is made from polyester resin. Catalogue of a postumous retrospective in 2008 at the American Universi...

This resin sculpture by Brazilian artist Aline Matheus depicts a pair of legs arranged in a relaxed, bent position. The artist has created a piece that functions both a representati...

Firmato BRUNO INNOCENTI sulla coscia destra. Il bassorilievo, posto sopra un pannello di legno, è realizzato in gesso tinto di una tonalità calda a rappresentare la terracotta. Il s...

One of a kind sculpture by Noche Crist (1909-2004). Noche Crist was an American artist born in Romania. Sculpture is made from polyester resin. Catalogue of a postumous retrospective...

One of a kind sculpture by Noche Crist (1909-2004). Noche Crist was an American artist born in Romania. Sculpture is made from polyester resin. Catalogue of a postumous retrospective...

Ary Bitter (1883 Marseille - 1973 Paris), Girl with Kid, around 1930. Green patinated bronze with cast plinth loosely mounted on a white-veined dark green marble base. Dimensions of ...

Michael Schwarze (*1939 Krefeld), Tooth-Tooth, 1968, gold-colored patinated bronze on cast plinth, 69 cm (height) x 40 cm (width) x 20 cm (width), weight 30 kg. Monogrammed “MS” on t...

Italian life-size plaster sculpture , figure of the Callipygian Venus, after the antique Roman marble statue. Aphrodite Kallipygos, or Callipygian Venus literally means “Venus of ...

Walter Sinz (American, 1881-1966) Torso, c. 1930 Ceramic Signed on base 12.5 x 7 x 3.5 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz...

Bacchante by Charles DESPIAU (1874-1946) Sculpture in bronze with nuanced dark brown patina Signed at the back "C. Despiau" Cast by Alexis RUDIER France Vers 1930 Height 23 cm Widt...

Bronze sculpture of a runner signed Joe Brown and titled "Sprinter" presented on a marble base. This piece measures 11"W x 9"H x 6"D. Joe Brown is considered a most proficient sculp...

Erich Schmidt-Kestner (1877 Berlin - 1941 Nordhausen), The Feeding, around 1915. Gold and black patinated bronze with cast brown patinated plinth mounted on a lightly veined black-gr...

Breton Wrestlers Plaster Figurative Modern Male Sculpture Female Artist LGBT WPA Malvina Hoffman (American, 1885 - 1966) "Breton Wrestlers" 20 inches high Plaster Signed and titled...

Franz Iffland (1862 Tempelhof - 1935 Berlin), Javelin thrower, after 1910. Olive-black patinated bronze with cast plinth mounted on a white-veined black marble base (7 cm high). Tota...

A Greco-Roman bronze male nude torso atop a plinth base. In very good condition with a natural slight patina throughout with age.

This engaging bronze sculpture on black wooden base, well represents a human bust, but for its expressive force, the bust turns into an abstract shape of it. The artist who created t...

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...

Urbano Lucchesi 1844 - 1906 Italian La Casta Susanna (The Chaste Susanna) Marble This elegant statue entitled La Casta Susanna depicts the virtuous biblical figure Susanna, exper...

Handmade Benin sculptural tribal bronze figural judgement throne chair. The base of the chair with two tiers of standing figures. The back of the chair with two more tiers of standin...

French sculpture from the late 19th century. Work finely sculpted in alabaster depicting a young gleaner, a girl with a scythe and ears of wheat of excellent quality. Sculpture finis...

Small Runner "Start" II is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 22 × 13 × 5 cm (8.7 × 5.1 × 2 in). Height of the sculpture with the metal base: 42 c...

‘ In the expression of our heart’s desires, we take the Leap of Faith.’ Leap of Faith Sculpture is from a limited edition of 12. British artist Ian Edwards creates contemporary figu...

Edouard Drouot (1859 Sommevoire - 1945 Paris), The Gallic warlord Vercingetorix, 1915. Green and brown patinated bronze on a cast naturalistic plinth, 43 cm (height) x 15 cm (width) x 18 cm (depth), weight 5.1 kg. Signed “E.[douard] Drouot” and dated “[19)15” (?) on the plinth. - Slightly rubbed in places, overall in excellent condition for its age - The will to freedom- After antiquity had been regarded as exemplary from the Renaissance until the 18th century, the Enlightenment uncovered the roots of Europe's own history, which in the 19th century led to the veneration of the rediscovered heroes of early history. In Germany, this was above all Hermann the Cheruscan. He had defeated the Roman legions...

Seated Woman is a bronze sculpture by contemporary artist Eric Valat, dimensions are 26 × 15 × 20 cm (10.2 × 5.9 × 7.8 in). The sculpture is signed and numbered, it is part of a lim...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...

This monumental pair of sculptures in "Bardiglio" marble represent Greek Athletes figure , on a cylindrical base . Exaltation of the male strength and beauty, inspired by the trend i...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

Neile is an elegant figurative bronze sculpture of a female nude by Nando Kallweit. Modelled on modern youthful postures but with a nod to the importance of heritage through the sty...

Large Lying Figure I is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 46 × 120 × 17 cm (18.1 × 47.2 × 6.7 in). The sculpture is signed and numbered...

Large Arms Raised Standing Figure II is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 186 × 30 × 32 cm (73.2 × 11.8 × 12.6 in). The sculpture is sig...

Large French Neoclassical sculpture of Androcles and the Lion. Exceptional quality casting and patina. Mid 19th century. The runaway slave ...

Lying Figure V is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 22 × 53 × 9 cm (8.7 × 20.9 × 3.5 in). The sculpture is signed and numbered, it is p...

Cindy Avroch is a multi-talented artist who began her career by following in her mother’s footsteps. Cindy’s first love was always drawing, painting and sculpting, although Cindy is also a trained dancer. While other little girls could be seen carrying Barbie dolls around, Cindy would be juggling a sketchbook, pencils and an eraser in her hands. Among her earlier accomplishments, she received a degree in textile design from the Fashion Institute of Technology in New York City, and a scholarship to study at Winchester School of Art in England.
 Cindy worked for many years as a studio artist and then an art director in New York City’s fashion industry. Her designs were in major department stores and specialty shops nationwide. Working directly with The Walt Disney Co., Warner Bros., United Media and Nickelodeon, she created licensed print collections for the men’s, women’s and children’s markets. Her unique approach and vision, combined with her philosophy to diversify her modes of expression, enabled her to create and to direct her team to develop fashion collections that tripled sales. She left the fashion industry to care for her special needs son and found herself a stay- at-home mom for the first time. Soon afterwards, she launched a new venture from home, designing fine art lighting...

Cindy Avroch is a multi-talented artist who began her career by following in her mother’s footsteps. Cindy’s first love was always drawing, painting and sculpting, although Cindy is also a trained dancer. While other little girls could be seen carrying Barbie dolls around, Cindy would be juggling a sketchbook, pencils and an eraser in her hands. Among her earlier accomplishments, she received a degree in textile design from the Fashion Institute of Technology in New York City, and a scholarship to study at Winchester School of Art in England.
 Cindy worked for many years as a studio artist and then an art director in New York City’s fashion industry. Her designs were in major department stores and specialty shops nationwide. Working directly with The Walt Disney Co., Warner Bros., United Media and Nickelodeon, she created licensed print collections for the men’s, women’s and children’s markets. Her unique approach and vision, combined with her philosophy to diversify her modes of expression, enabled her to create and to direct her team to develop fashion collections that tripled sales. She left the fashion industry to care for her special needs son and found herself a stay- at-home mom for the first time. Soon afterwards, she launched a new venture from home, designing fine art lighting...

Cindy Avroch is a multi-talented artist who began her career by following in her mother’s footsteps. Cindy’s first love was always drawing, painting and sculpting, although Cindy is also a trained dancer. While other little girls could be seen carrying Barbie dolls around, Cindy would be juggling a sketchbook, pencils and an eraser in her hands. Among her earlier accomplishments, she received a degree in textile design from the Fashion Institute of Technology in New York City, and a scholarship to study at Winchester School of Art in England.
 Cindy worked for many years as a studio artist and then an art director in New York City’s fashion industry. Her designs were in major department stores and specialty shops nationwide. Working directly with The Walt Disney Co., Warner Bros., United Media and Nickelodeon, she created licensed print collections for the men’s, women’s and children’s markets. Her unique approach and vision, combined with her philosophy to diversify her modes of expression, enabled her to create and to direct her team to develop fashion collections that tripled sales. She left the fashion industry to care for her special needs son and found herself a stay- at-home mom for the first time. Soon afterwards, she launched a new venture from home, designing fine art lighting...

Cindy Avroch is a multi-talented artist who began her career by following in her mother’s footsteps. Cindy’s first love was always drawing, painting and sculpting, although Cindy is also a trained dancer. While other little girls could be seen carrying Barbie dolls around, Cindy would be juggling a sketchbook, pencils and an eraser in her hands. Among her earlier accomplishments, she received a degree in textile design from the Fashion Institute of Technology in New York City, and a scholarship to study at Winchester School of Art in England.
 Cindy worked for many years as a studio artist and then an art director in New York City’s fashion industry. Her designs were in major department stores and specialty shops nationwide. Working directly with The Walt Disney Co., Warner Bros., United Media and Nickelodeon, she created licensed print collections for the men’s, women’s and children’s markets. Her unique approach and vision, combined with her philosophy to diversify her modes of expression, enabled her to create and to direct her team to develop fashion collections that tripled sales. She left the fashion industry to care for her special needs son and found herself a stay- at-home mom for the first time. Soon afterwards, she launched a new venture from home, designing fine art lighting...

This charming small sculpture created by an unknown artist, depicts a reclining nude woman engrossed in reading. This delightful piece captures the essence of tranquility and grace, ...

Pair of rare , 19' century finely carved mythological subjects in limestone of Goddness and Putto figures. Very good original condition from a Venetian palace lush garden . Mea...

Document from the Nashvile Art Association dated 1925. The marble was purchased in Florence, Italy at an exhibit of The Association of of Italian Artists.

Johannes Boese (1856 Ostrog - 1917 Berlin), Mutterglück, um 1910. Goldbraun patinierte Bronze auf gegossener rechteckiger Plinthe, montiert auf zweifarbigem Marmorsockel (9,5 cm Höhe...

Young Woman in bronze, abstract nude figurative bronze sculpture, limited edition of 24, height 64 cm including base, Sandstone base: approx 17 cm x 15 cm x 5 cm. Cast bronze using t...

PIERRE-AUGUSTE RENOIR (1841-1919) La Danseuse au Voile Cast in 1964 Ed. 14/20 pcs / Conceived in 1913 Bronze with a black patina 64 x 46 x 28 cm Signed, foundry's stamp and numbered ...

Hans Harders (1875 Mörel - 1955 Berlin), Boy playing the shawm, around 1930. Dark patinated bronze with round plinth on a black marble base (2 cm high), t...

Seeking Solace & Sharks in the Water, 2023 by Alex Hodge From the Behind Closed Doors series Hand-built plate with sgraffito and collaged transfers Overall size: 15.5 x 8.5 x 0.25 in...

a very interesting sculpture, a studio of the Belvedere Torso made in french in the 19th Century. Standing on a double order circular wood base, the sculpture present an harmonic and...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the...

Getting at the Heart & Eve in Repose, 2023 by Alex Hodge From the Behind Closed Doors series Hand-built plate with sgraffito and collaged transfers Overall size: 14 x 8.5 x 0.25 in. ...

The Song by Félix CHARPENTIER (1858-1924) Bronze sculpture with a very nuanced dark brown patina Signed on the base " Félix Charpentier " Cast by "E. Colin & Cie Paris" (foundry ma...

PIETA III by Lorenzo Vignoli contemporary bronze sculpture by Italian sculptor Lorenzo Vignoli based in Carrara, Italy Sculpture dimensions: 20in W x 14inch H x 9inch D 52cm W x 3...

Set of 3 wall sculptures, 2023 by Alex Hodge From the Behind Closed Doors series Hand-built plate with sgraffito and collaged transfers Overall size: 9 x 25.25 x 0.25 in. Individual ...

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...