1950s Figurative Sculptures

Pablo Picasso Bird with Worm, 1952 Original ceramic of Pablo Picasso, white faience earth, enamel and oxidized paraffin decoration Annotated on the Back : Empreinte originale Picass...

Visage (A.R. 288), 1955 White earthenware ceramic pitcher with colored engobe and glaze Edition of 500 Stamped “Picasso” and “Madoura Plein Feu” (underneath) The piece is in excelle...

• An authenticated work This work is authenticated by Paloma Ruiz Picasso and Diana Widmaier Ruiz Picasso, who issued a certificate of authenticity on October 7, 2024. • A dated wor...

Pablo Picasso Chouette aux plumes (Owl with Feathers) Original ceramic of Picasso made of white earthenware clay, partially engraved, with colored engobe and glaze. Annoted "Edition...

Pablo Picasso Tall Dish witth Goat Head, 1952 Original ceramic of Pablo Picasso, white faience earth and enamel Stamp on the Back : Empreinte originale Picasso - Madoura Plein Feu L...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

• An authenticated work Stamped on the base “Madoura plein feu,” this unique painted and partially glazed ceramic is accompanied by a certificate of authenticity issued by Claude Rui...

Partially glazed terre-de-faïence convex wall plaque painted in black and white, 1956. Edition of 450. With the Madoura Plein Feu and Empreinte Originale de Picasso stamps, verso. ...

• An authenticated work This work is authenticated by Claude Ruiz Picasso, who issued a certificate of authenticity on January 17, 2019. • A signed and dated work Dated July 11, 195...

• A unique ceramic by Pablo Picasso This work is a unique ceramic by Pablo Picasso, dated on the reverse, reflecting the artist’s direct and personal intervention in the creation of ...

Pablo Picasso, considered the greatest artist of the 20th Century, was a master of all art mediums. He collaborated with Madoura to produce editions of his painted ceramic works beginning in the 1940’s...

• A unique ceramic work by Pablo Picasso Famille, Têtes Laurées : Quatre Personnages is a unique ceramic composition by Pablo Picasso, dated August 8, 1956, with the date inscribed a...

Pablo Picasso Bull (Taureau), 1952 Original ceramic of Pablo Picasso, white faience earth, enamel and oxidized paraffin decoration Annotated on the Back : Empreinte originale Picass...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

• Signed and certified work This unique ceramic was executed in Vallauris in 1957 and is accompanied by a certificate of authenticity issued by Paloma Ruiz Picasso and Diana Widmaier...

Pablo Picasso At the Sea, Beach Scene : Bathers, 1956 Original ceramic of Pablo Picasso, white faience earth, black covered bath and enamel Annotated on the Back : Empreinte origina...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

Large Scale Mahogany Wood Relief Sculpture of Prometheus, The Giver of Fire In the Style of WPA artist Peterpaul Ott Wonderfully executed wood r...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

Waylande Gregory (1905-1971). Nude Reclining, ca. 1950's. Painted composite cast from original sculpted in 1930's. Casting sanctioned and approved by the artist during his lifetime in partnership with MPI, Museum Pieces Incorporated. Very few examples were produced and even fewer survive. Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's Nautch Dancer, and his Burlesque Dancer. He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his Burlesque Dancer at about the same time as Nautch Dancer. As with the Nautch Dancer, he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for Burlesque Dancer, a clue to her identity is revealed in the sculpture's earlier title, Shimmy Dance. The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the Star Spangled Banner and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the Burlesque Dancer sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his Kansas Madonna. But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of Kansas Madonna. The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of Kansas Madonna totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture...

Pablo Picasso Corrida with Spectators, 1950 Original ceramic of Pablo Picasso, white faience earth and enamel Stamp on the Back : Empreinte originale Picasso - Madoura Plein Feu Lim...

RICHARD LOUIS GARBE, RA (1876-1957) Aelfrieda, The Artist’s Daughter Signed and dated 1956 Plaster with patinated surface on a wooden base 30 cm., 11 ¾ in. high Provenance: Gifte...

This female torso represents the young woman's strength and vulnerability. It´s was conceived in the 70ths and is signed with the artists initials on a thumbprint. 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...

Inscribed on base, 'W.G.' for Wedo Georgetti (American, 1911-2005) and created circa 1950. Acquired directly from the artist and accompanied by certificate of authenticity. Born in ...

Created in 1952, Tête de chèvre de profil (Goat’s Head in Profile) 1952 A.R. 145, is a Madoura oblong dish of white earthenware clay with decoration in engobes on partial brushed glaze (mat blue, green, ivory, black). From an edition of 250, this work is stamped with the 'Empreinte Originale de Picasso' and 'Madoura Plein Feu' pottery stamps on verso. Pablo Picasso ceramic Tête de chèvre de profil (Goat’s Head in Profile), 1952 A.R. 145 is a playful and exuberant work of art that highlights Picasso’s capability as a well-rounded artist. Using lines, circles, and earthy colors, he showcases a goat’s head in profile. This work takes its viewers on a journey of sensation as we plunge into the crevices of the ridges that give texture to the coating of the plate. The sensation attributes to the liveliness of the goat as we can almost feel and touch it. Moving from the goat’s profile, we see heavy uses of blue dots outlining the head, reaching out towards the perimeter of the plate. These embellishments can be described as eccentric and imaginative—all of which perfectly designate Picasso as a prolific artist. Electric green, rustic blue, and tranquil beige are all a part of the color palette that bring out all the intricate details and accents. This work encapsulates the mastery of him as an experimenter and innovator. Taking us on a whimsical journey through the sensation of touch and color, this outstanding work embodies Picasso’s ingenious artistic talents. Catalogue Raisonné: Pablo Picasso ceramic Goat...

The Dancer is a sculpture realized by Giacomo Manzù in 1957. Unique piece. Exhibitions:  Manzù. L’Uomo e l’Artista, Palazzo Venezia, Roma 2002-2003 Manzù-Marino. Gli ultimi moderni,...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

Jean COCTEAU Atalanta and Hippomenes, 1958 Original ceramic plate Signed bottom middle Limited to 20 copies, numbered on the back 30 cm (c. 12 inch) diameter and about 3cm (c. 1.5 ...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, opening an important new chapter in his career. • He created over 3,500 ceramic works, transformi...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

Utilizing the minimalist design motifs frequently found in his ceramics, Pablo Picasso ceramic Joueur de flûte (Flute Player ), 1951 creates an intricate and harmonious work that pla...

Created in 1956, this Madoura small convex wall plaque of white earthenware clay with engraving accentuated with oxidized paraffin in a glaze bath (ivory, brown) is from the edition ...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

White earthenware ceramic pitcher painted in black, white and grey patina with knife engraving and partial brushed glaze. Inscribed 'Edition Picasso' in black and with the Edition P...

Created in 1955, Pablo Picasso ceramic Visage dans un ovale (Face in an Oval), 1955 A.R. 273 is a Madoura white earthenware clay oval dish with decoration in engobes and oxides (blue...

Pablo Picasso Scène de tauromachie (Tauromachy Scene), 1959, is a dynamic and visually compelling ceramic created during Picasso’s celebrated collaboration with the renowned Madoura ...

The bronze was first presented at the VII Quadriennale Nazionale d'Arte in Rome, which was held at the Palazzo delle Esposizioni from November 22, 1955 to April 30, 1956, with Fausto...

Olga Fisch was born in Hungary, studied in Germany and lived in Morocco and Ethiopia before receiving asylum as a Jewish refugee in Ecuador in 1939. For her Indian-inspired designs, Mrs. Fisch uses natural black and white sheep...

Created in 1952, Pablo Picasso Tete de chevre de profil (Goats head in Profile) Unique color Variant, 1952, A.R. 154 is an original white earthe...

Framed Hmong Ethnic Necklace, Silver Plated Metal, 20th Century – Laos, Thailand Extraordinary and rarely seen ethnic necklace made of silver plated metal, from Thailand. Recently f...

An authenticated work This ceramic piece has been authenticated by Paloma Ruiz-Picasso (the artist’s daughter) and Diana Widmaier-Picasso (the artist’s granddaughter) on December 9, ...

Jean Cocteau ( 1889 -1963 ) " Trois faces aux triangles " signed Jean Cocteau . plat en terracotta et engobe partiellement émaillé . diamètre : 36cm . exécuté en 1959 dans une sér...

Clemente Spampinato, born in 1912 in Calabria, Italy, was a versatile artist and sports enthusiast. He created Bronze Trophies and Medallions for the Olympics and Italian sporting events in the 1930s and '40s. After becoming a U.S. citizen in 1947, he moved to New York, where he channeled his artistic passion into capturing the essence of the American West, specializing in sports and Western-themed sculptures. His work, celebrated for its realism and dynamic portrayal of athletic movements, is exhibited in museums, galleries, and private collections across the United States, Canada, and Europe. Selected sculptures can be seen in various locations, including Washington DC, Cooperstown, NY, Canton, OH, New Orleans, LA, and the complete collection is on display in Sea Cliff, New York. Large Bronze Nude Of Male Athlete During A Shot Put...

Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947...

Jean Cocteau ( 1889 - 1963 ) Vé and Astrology ceramic's pendant : Vé : signed underneath White 1ere variant ( Terre blanche en relief ). page 212 Size: 7 x5.5 cm catalogue rai...

Gio Ponti (1891–1979) Katze ‘655’, 1956 Copper, silver foil, blue enamel Executed by Paolo De Poli, Padua 13 x 51.2 x 7 cm (5 1/8 x 20 1/8 x 2 3/4 in) Stylised elongated cat form re...

Pablo Picasso Bird with a Crest, 1952 Original ceramic of Pablo Picasso, white faience earth, enamel and oxidized paraffin decoration Annotated on the Back : Empreinte originale Pic...

JEAN COCTEAU (1889 - 1963 ) " Visage " signed : " jean Cocteau "( lower left ) inscribed and numbered 6/30 édition originale de jean Cocteau . Atelier Madeline -Jolly ( undern...

Jean Cocteau ( 1889 -1963 ) Vé : (& Astrology ) ( Blue variant ) . 1958 . 4éme variante : terre incrustée blanche et bleue Size : 7 cm . Signed underneath . Astrology : Penden...

Numbered and limited to 12 copies ( 8 + 4 P.A) Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina ...

Pablo Picasso ceramic Visage de femme (Woman's Face), 1953 is a vibrantly colored pitcher decorated with contrasting saturated greens against chestnut ...

Henry Moore (1898-1986) Mother and Child: Petal Skirt conceived in 1955; cast in 1955 bronze; edition 4 of 6 plus 1 artist’s proof by the Fiorini foundry, London 19 x 9 x 15.5 cm (in...

Jean Cocteau ( 1889 - 1963 ) " Bélier aux cornes jaunes " vase cylindrique . Hauteur 24cm Année 1958 . ouverture 11 cm . Tirage à 15 exemplaires N° 13 / 15 . signé Jean Coc...

Zvi Yehuda Aldouby (Isreali, 1904-1996) Bronze of Mother and Child, Signed "Z. ALDOUBY" on bottom edge of statue, On a black wooden plinth base. Measurements: Height: 8 in. x Width:...

Created in 1953, ceramic Picador A.R. 200 is a round plate of white earthenware clay with oxidized paraffin decoration (brown, green, white) in a stanniferous enamel bath...

Featured in the Doris Caesar catalog by Martin H. Bush, page 110.

A wonderful pair of patinated iron egret bird wall sculptures, one reaching for the sky and one focused forward, each signed on the weighted bases “Maxfield Parrish Jr, March 1956”. ...

this plastic group, depicting "the Annunciation," is a sketch for a bronze that the artist would exhibit between 1957 and 1960 at his solo shows at the Strozzina in Florence, the Coc...

Presenting a monumental original wood assemblage sculpture by American artist Maxine Kim Stussy(1923 - 2020) "Metropolis", is an original unique wood assemblage using solid wood mac...

Giorgio de Chirico, Italian (1888 - 1978) - Cavallo e Cavaliere con berretto frigio, Year: 1950, Medium: Terracotta Sculpture, signature inscribed on base, Size: 15 x 14.5 x 5 in....