Mario Korbel

Kneeling Female Nude, Bronze By Mario Korbel

1926

A family of lions having green patination depicting a male lion feeding two cubs; mounted on a naturalistic base - signed and applied entitled plaque "Lion 1st Gibier" Paul Edouard Delabrierre...

Native American on horseback. Signed and numbered 24/30, artists cypher. Daro Flood (1954 - 2017) was active/lived in Arizona. Daro Flood is known for Portrait bust Indian and cowboy sculpture...

Female nude by George John Illian (1894-1932), American exhibited at the Salmagundi Club Annual Exhibition. George John Illian born in 1894 and was largely inspired by the 1900s and ...

Polished stainless steel abstract sculpture, "Two Forms" by Roy Gussow (American, 1918-2011), marked and dated with coin seal inlaid to marble base. Similar...

Joseph Stella (1877-1946, American, Italian) "Flower Study". Crayon and pencil on paper. Signed lower left. Image 6 7/8” x 4 /34”. Framed 12 1/2” x 10”. Gallery label Beadleston Gallery N.Y. N.Y. Joseph Stella (American, June 13, 1877–November 5, 1946) was a Futurist painter known for his association with the American Precisionism movement and his works depicting industrial America. Stella was born in Lucano, Italy. In 1896, he relocated to New York, NY, to study medicine. After becoming interested in art, Stella left his medical studies and began to study art at the Art Students League of New York. While there, he studied under William Merritt Chase. During this time, Stella's early works featured a Rembrandt style...

Maud Florance Gatewood (1934-2004) American. Fine example of her work, "Night at the Lake" is polymer on cut board, having the artist original identification card from the 20th Irene Leache MemorialBiennial Exhibition, 1970. Signed and dated lower Right MFG 69. Gatewood was arguably the most important living North Carolina painter and considered by art historians, curators, museum directors and collectors as one of the most important painters in North Carolina history. Maud Gatewood's artwork is familiar to museum-goers throughout the South. She has been a prominent figure throughout the southeastern United States during her 55-year career. An astute student, her interest in art began as a youngster in her hometown of Yanceyville, NC, studying then in 1945 at Averett College in nearby Danville, VA. At the age of 16, after having skipped two grades of school, she entered what is now the University of North Carolina at Greensboro where she received her B.A. in fine arts in 1954. One year later, she received her M.A. in painting from Ohio State University. She continued her education as an instructor beginning in 1956 at Huntingdon College in Montgomery, AL, and then at Texas Christian University in Fort Worth, TX. She then received a Fullbright Grant to study art history and painting at the Akademie Fur Angewandte Kunst and an extended Fullbright to study with Oskar Kokoschka in Salzburg, Austria. Her educational years were interspersed with traveling the world, that was the beginning of a life-long penchant, even at her death she was planning her next trip. In 1964, she returned to the U.S. where she joined the faculty of the University of North Carolina at Charlotte and served as founding head of the university art department. She then went on to teach at Central Piedmont Community College before returning to her home, Caswell County, where she was a professor for many years at Averett University. During her academic career, she also served as a visiting professor and artist at the University of Cincinnati, Davidson College, and the State University of New York, Oswego. Ms. Gatewood was honored by her alma mater, the University of North Carolina at Greensboro, with an honorary Doctorate in Fine Arts in 1999. On her life's path of discovery in painting, Ms. Gatewood was awarded the North Carolina Federation of Women's Club Scholarship in 1953; a painting award from the American Academy of Arts and Letters, National Institute of Arts and Letters in 1972; the North Carolina Arts Council Artist Fellowship in 1980; the Southeastern Center for Contemporary Art NEAA Grant 1981; the prestigious North Carolina Award in Fine Arts (Governor's Award) in 1984; the North Carolina Poster Award Commission for the U.S. Olympic Festival in 1987 and in 1993 she represented North Carolina in the Absolute statehood campaign featured in USA Today and Newsweek. She exhibited widely in the Southeastern United States and was honored with a retrospective exhibition covering 40 years of painting, organized by the Weatherspoon Gallery of Art at UNC-G in Greensboro, NC. The exhibition toured from 1994-95 in what is now the Cameron Museum of Art in Wilmington, NC as well as the Asheville Art Museum in Asheville, NC; Albany Museum of Art in Albany, GA and the Gallery of Art and Design at NC State University in Raleigh, NC. She represented the State of North Carolina in the exhibition Nine from North Carolina the National Museum of Women in the Arts in Washington, DC in 1989. She was also featured in the 1988 Biannual at the Mint Museum of Art in Charlotte, NC; the Southern Arts Federation exhibition tour, Three Approaches to the Figurative, 1986; a drawing exhibition at the Knight Gallery at Spirit Square in Charlotte in 1989; an exhibition at the Greenville Museum of Art in Greenville, SC in 1984 featuring Ten Years - Ten Artists; Greenhill Center for North Carolina Arts in Greensboro, NC in 1984; Painting in the South the Virginia Museum, Richmond, VA 1983-85 and a touring exhibition at the North Carolina Museum of Art in 1983. One of North Carolina's most collected and sought after artists, Maud Gatewood's public collections include BB&T, Charlotte, NC; Baltimore Gas and Electric Company, Baltimore, MD; Burroughs-Wellcome Fund, RTP, NC; Coca-Cola, Atlanta, GA; Nasher Art Museum at Duke University, Durham, NC; Emory University, Atlanta, GA; Fayetteville Museum of Art, Fayetteville, NC; First Union Bank, Charlotte, NC; Smith-Kline Glaxo, RTP, NC; Hunter Museum, Chattanooga, TN; IBM Corporation, Charlotte, NC; Miller Brewing Company, Eden, NC; Mint Museum of Art, Charlotte, NC; National Collection of Fine Arts, Washington, DC; National Gallery for Women in the Arts, Washington, DC; Nations Bank, N.A., Charlotte, Raleigh and Winston-Salem, NC; Philip Morris Company, New York, NY; RJ Reynolds Tobacco Company, Winston-Salem, NC; Sprint, Wake Forest, NC; Kenan-Flagler School of Business, UNC-Chapel Hill, NC; Breakers Hotel...

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.

Fine Grand Tour bronze sculpture of mercury flying on the wind after Giambologna. Polished rouge marble and bronze attached base. Green marble pedestal. Inscribed Jean de Bologne...

Superb 19th century bronze and gilt bronze bust of the god Belvedere Apollo. Circa 1850. This wonderful grand tour bust is a marvel of refined beauty and elegance, crafted with richl...

Aquila Bronze Sculpture on pedestal of marble Hight bronze 57 cm with pedestal of marble (included) 68 cm Wim van der Kant's sculptures are in bronze...

This splendid sculpture represents Young Girl with a Goat (Amalthea and Jupiter's Goat), after the original by Pierre Julien commissioned by Louis XVI in 1785 and completed in 1787 for the cot of Queen Marie-Antoinette in Rambouillet. The work of the sculptor Pierre Julien decorated the interior of a grotto in a pavilion decorated with bas-reliefs by the same sculptor (acquired by the State by dation in 2003). The work was the main element of a rock basin, which was destroyed during the renovation of the gardens of the small castle. The same sculpture was seized during the Revolution and exhibited in the Louvre from 1829. The terracotta sketch, which belonged to the collector Ernst May, must have adorned his château de la Couharde (Yvelines) before entering the Louvre's collections in 1920. The bronze set with a beautiful gilded patina presented here is a work after the original by Pierre Julien (1731-1804) and dates from the 19th century (around 1850). The superbly preserved sculpture, which has belonged to the same family since its acquisition, is presented on its original base in grey serpentine marble. The quality of this work is doubly certified: - on the one hand it is stamped with a round stamp at the top "A. This stamp is a sign of high quality. Achille Collas (1794 - 1859) was the French engineer, engraver and illustrator, inventor among other things of the patented mathematical reduction process of the 19th century to reproduce sculpted objects in reduction, which was very successful. He was awarded a prize at the 1855 exhibition: his "Procédé mécanique", the name under which he prints all his productions, is easily recognisable by the finesse of its execution and by the famous stamp which appears on the base (terrace) of this sculpture. - On the other hand, an important signature is found on the terrace of the sculpture "F. Barbedienne Fondeur", founder. In 1844, Achille Collas, in order to protect his invention, formed the Société Collas et Barbedienne (Paris) with the art founder Ferdinand Barbedienne (1810-1892), which began to produce and sell famous but smaller sculptures in plaster, wood, bronze or ivory. The first object to be marketed was the Venus de Milo after the original in the Louvre Museum. Other sculptures such as the sculpture of George Washington, of which a bronze bust was made by the Barbedienne & Process Collas foundry, are currently in the Metropolitan Museum of Art. HEIGHT OF THE SCULPTURE without base 69CM + BASE = 84CM WIDTH OF THE SCULPTURE without base 28 CM + BASE = 30,5 CM LENGTH OF THE SCULPTURE without base 46 CM + BASE 51 CM The Collas and Barbedienne company was highlighted at the Great Exhibition in London in 1851, the objects of the Barbedienne foundry received a medal and sales soared. At the 1889 Universal Exhibition in Paris, the Barbedienne company again presented a large number of its compositions, including the large neo-Renaissance clock of 1878. This clock, which was part of the Leblanc-Barbedienne estate, was donated by his heirs to the city of Paris, and is kept in the city hall. Pierre Julien (20 June 1731 - 17 December 1804) was a French neo-classical sculptor who worked in the full range of rococo and neoclassical styles. He had an early apprenticeship in Le Puy-en-Velay, near his native village of Saint-Paulien, and then at the École de Dessin in Lyon, before entering the Paris workshop of Guillaume Coustou le Jeune. In 1765, he won the Prix de Rome for sculpture with a bas-relief panel depicting a subject from Antiquity and entered the Royal School for Protected Pupils, which offered a special curriculum under the direction of the painter Louis-Michel van Loo. He was a boarder at the Académie de France in Rome from 1768 to 1773, where he was influenced by the wave of neoclassicism affecting his fellow students. As boarders were required to do, he sent back to France a slightly reduced marble copy of the so-called Cleopatra, the Sleeping Ariadne from the Vatican, which survives in Versailles. Back in France and with his former master, he worked on the sculpture of the mausoleum of Louis, the Grand Dauphin, in the cathedral of Sens. After a failed attempt in 1776, with his Ganymede, he was accepted by the Royal Academy of Painting and Sculpture in 1778, with a Dying Gladiator. He was appointed one of the first members of the Institut de France in 1795, and knight of the Legion of Honour in 1804. He was commissioned by the Count of Angiviller, director of the King's Buildings, on behalf of Louis XVI, to paint the figures for a series of life-size portraits of the great men of France: he produced a Jean de La Fontaine and a Nicolas Poussin, whom he chose to depict in a nightgown, similar to the draperies of a Roman toga. While fulfilling commissions in Paris, for the church of Sainte-Geneviève (now the Panthéon, Paris), or for the Pavillon de Flore in the Louvre, he sculpted in 1785 a virtuoso marble set representing the nymph Amalthée and Jupiter's nurse goat for the Queen's Dairy at the Château de Rambouillet; for his model, he adapted the pose of the famous Venus of the Capitoline. The bas-reliefs of the Dairy, considered his masterpieces, were sold at auction in 1819, but were recovered by the State in 2005, thanks to a gift from the son of the great dealer-collector Daniel Wildenstein. 19th century French school, after Pierre Julien (1731-1804)Amalthea and Jupiter's Goat Bronze with a light brown patina and gilding, reduction made after the marble by Pierre-Julien 1785 executed for Marie-Antoinette at the Laiterie du parc du château de Rambouillet in the Louvre Museum. Among his major works: - Dying Gladiator, marble, 1779, Musée du Louvre. - Ganymede pouring nectar to Jupiter changed into an eagle, [4] marble group, 1776-1778, Paris, Musée du Louvre. - Jean de La Fontaine, marble, 1783-85. Musée du Louvre - Nicolas Poussin, marble, 1789 - 1804. Musée du Louvre - Sketch of a model in terracotta by Nicolas Poussin, ca. 1787 - 1788. Musée du Louvre - Amalthea and Jupiter's goat, marble group, 1787 for the Rambouillet Dairy. The Queen's Dairy at Rambouillet - The girl with the goat, terracotta statuette, 1786. Louvre Museum - Sainte Geneviève restoring her mother's sight, terracotta bas-relief, 1776. Musée du Louvre The works of the famous sculptor Pierre Julien have been referenced in several books and catalogues, including The exhibition catalogue. Gilles Grandjean and Guilhem Scherf. "Pierre Julien 1731-1804". Le Puy-en-Velay, France: Musée Crozatier, 2004. The Lure of Classical Sculpture 1500-1900 (Yale University Press, 1981), cat. no. 24, pp 184-87). Michael Preston Worley, 2003. Pierre Julien: Sculptor to Queen Marie Antoinette. The first modern monograph. Europe in the age of enlightenment and revolution, a catalogue from the libraries of the Metropolitan Museum of Art (fully available online in PDF format), which contains information on Julien. Excerpts from the Grove Dictionary of Art online Pierre Julien in American Public Collections, on the French Sculpture Census website STATUE BARE (BODY) NANNY GOAT (ANIMAL) AMALTHAEA SITTING WOMAN ABOUT US: AYN GALLERY is located in the heart of old Paris on the Ile Saint-Louis surrounded by the Seine, in the most prestigious district of Paris. Just a few steps away from Notre Dame, like a village, this place preserved from urbanists offers a setting as it existed centuries ago with its numerous private mansions which earned the island the nickname "island of palaces" and its illustrious occupants: Charles Baudelaire, Marie Curie, Georges Pompidou or Camille Claudel Our gallery is located just opposite one of the oldest churches in Paris. As the eponymous name of the place indicates, Yasmine Azzi, the owner and artistic director of the place, has a keen eye. Born from the desire to bring together, in a unique space, vintage pieces of 20th century design, contemporary creations, original works of art and interior design know-how, AYN GALLERY was created in 2017. Our gallery presents an eclectic and daring mix, driven by a total freedom of styles and periods. We offer a collection that combines aesthetics and authenticity, in a word what we like and what our customers like. We offer an inspiring selection of furniture from the last century with rare antiques, but also precious objects and lighting with a special emphasis on vintage Italian...

French Mid 20th Century bronze figure of a man presented on an iron 'tige' and marble base. The sculpture is not signed but was purchased from Nice, France, in the 1970s as a work b...