20th Century Figurative Sculptures

Signed on base. This was exhibited at the Goldscheider Pavilion at the 1925 Paris Exhibition Marble base has loss to right edge and very small lose to center edge. , Bronze is in ve...

Bronze sculpture of a woman resting in a hammock.

I have ordered a Sensuous Woman. It will be ready to paint mid- November I can leave it all polished or paint it with a BMW white dress or a Ferrari red dress using the car paint Galsurit. Sensuous Woman as pictured is a polished bronze. It is sealed with automotive finish, so it never needs to be polished. The base is black marble, 2"h x 6"d. Sculpture is 20"h. The dynamic sculpture...

"Symphony II" Bronze Sculpture 14.5" x 17" inch by Ibrahim Abd Elmalak Bronze & Marble Signed & Dated Sculptures that mostly depict his characteristic figures of feminine form an...

Sculptor Alfred Basbous (1924 - 2006) was born in Rachana, Lebanon. His works express a lifelong exploration of the human form and its abstract propert...

Unique terracotta sculpture of Saint Mark's Theater.

A sculpture in wood depicting a woman holding an umbrella. "Woman with Square Umbrella" by Post War artist Alexander Calder is signed underneath, "Calder." "Woman with a Square Umbre...

Very rare early work by master Michael Lucero. Originally purchased at Linda Farris Gallery, Seattle in 1982 for $8500. Michael Lucero (b. 1953) was born in Tracy, California and...

Motherhood is based on an image originally created as a costume design for Les Idoles at the Théâtre Sarah Bernhardt in 1924. Catalogue - Erté: The Last Works (Dutton, pgs. 179, 207...

Portrait of a Man by Marcel GIMOND (1894-1961) Bronze with a very nuanced dark brown patina signed on the neck with the monogram "MG" period cast by "Meroni Radice, cire perdue, Par...

Bronze sculpture of a mother holding her child out in front of her.

Unique Piece, Signed

Circle of Henri-Gaudier-Breska 1891-1915 Reclining Figure Carved marble Height 5 inches Born Henri Alphonse Séraphin Marie Gaudier near Orléans in France, Gaudier-Brzeska started using his hyphenated name in 1910 when he met the Polish writer Sophie Brzeska. They moved to London together in January 1911 and adopted their new names and the identity of brother and sister in order to make their cohabitation respectable. Gaudier-Brzeska started to establish himself as a sculptor in 1912. Initially influenced heavily by Rodin, he later assimilated more influences from the modernist movement of cubism and from examples of non-European art he saw in London’s museums. He met the sculptor Jacob Epstein in June 1912, who further encouraged him to break with classical Greek tradition. While working from 25 Winthorpe Road in 1913–14, Gaudier-Brzeska became increasingly involved in London’s avant-garde art scene. He exhibited at the London Salon in July 1913, where he met the poet and arts patron Ezra Pound. Pound described Brzeska as ‘like a well-made young wolf or some soft-moving, bright-eyed wild thing’. Gaudier-Brzeska subsequently became associated with the vorticist movement led by Wyndham Lewis, contributing two important articles to Lewis’s magazine Blast and signing his name against the vorticist manifesto. He was also a founding member of the London Group, which formed when the all-male Camden Arts Group joined with independent artists to challenge the dominance of the Royal Academy of Arts. Other founding members included Walter Sickert, Robert Bevan and Spencer Gore...

Monumental, Art Nouveau, Bronze Sculpture – Anonymous (20th Century) “Woman with Two Borzoi Dogs” 6 feet 7 inches high x 3 feet 3 inches wide x 2 feet 5 inches wide Medium: Silvered, patinaed and painted bronze Provenance: Maxwell House...

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...

Glazed ceramic Ceramic bird jug with multicolored squared decoration. 23 x 21 x 12 cm

Ceramic by Pol Chambost 64 x 20 cm

A brutalist Mid- Century Modern sculpture of an owl by Willem DeGroot ( Netherlands, 20th Century ). The sculpture is made of brass and metal and showing an owl stating on a branch ...

Ceramic by Pol Chambost 19.5 x 10 x 7.5 cm

Artist/Designer; Manufacturer: Alexander Ney (Russian/American, b. 1939) Marking(s); notes: signed Materials: white terracotta, wood (base) Dimensions (H, W, D): 7.75oah; sculpture: ...

"Equine Spirit II" Bronze sculpture 23" x 14.5" inch by Ibrahim Abd Elmalak Equine Spirit II, 1997 Bronze & Marble Signed & Dated Sculptures that mostly depict his characteristic...

XXe 33 x 20 cm Ceramic Unique Piece, signed

Tête de faune, Picasso, Tile,Ceramic,Sculpture, Design, Postwar, Mythological Tête de faune Unique work circa 1968 Painted and partially glazed ceramic, square tile 15.2 x 15.2 cm C...

Antoine Bofill "Little Red Riding Hood" Bronze Inkwell 6H x 10W x 6D Signed Inscribed: 25 Septembre 1920 Antoine Bofill was born in Barcelona i...

XXth 33.5 x 8.5 cm Glazed ceramic signed under the piece

A fine abstract marble sculpture of two lovers, unsigned, in the manner of Lithuanian American artist William Zorach (1887-1966). Zorach was born in Eurberg, Lithuania, was brought t...

20th Century French School Dancer Patinated bronze 38 x 18.5 x 9 inches Provenance: The Tatti Family Collection

Linda Stein, Starting from Canal Street 008 - Mixed Media Collage Wall Sculpture These wall constructions and dioramas were made in the 1970s when Linda Stein was also working on he...

Glazed ceramic black and red

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...

Bing & Grondahl / Weiss, Claire, Youthful audacity Bing & Grondahl figurine by Claire Weiss (1906-1997), Youthful audacity, made between 1970 and 1982, model number 2162, first choic...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

Terracotta unique sculpture Hand-signed by the artist The contemplative creatures of Nili Pincas, of an extreme refinement, invite silence. This isolatio...

This is one of Antoine Bofill's best models, being a signature Art Nouveau nature form with a beautiful nude nymph gazing upon a bumble bee insect. The patina on this statue figure i...

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...

A fine large cast figural bronze fountain of a nude boy with pan flute and three frogs known as “Frog Baby” by American sculptor Edward Berge (1876-1924)....

This impressionist wooden sculpture of the biblical story of Jonah & The Whale was done by New Hampshire artist Robert Hughes (1915-2004). Hughes was born in...

Additional Information: Tom Suomalainen is a ceramic artist known for his creative and imaginative sculptures. Marking(s); notes: signed Country of origin; materials: USA; stoneware

"Club" is a bronze cast sculpture made by Kiki Smith in 1992. The artwork is 33 x 8 x 6 inches and weighs less than 50 lbs. The work is signed and dated, lower middle, "Kiki Smith 19...

Additional Information: Provenance: Private Collection New York, from a collector of many petite works by the artist. Marking(s); notes: signed Country of origin; materials: unknow...

Dan Ostermiller is an American sculptor best known for his depictions of animals. As of 2012, he is president of the National Sculpture Society. He resides in Loveland, Colorado. ...

Created in 1956, this oval dish of white earthenware clay is numbered from the edition of 100. This work is stamped with the 'MADOURA PLEIN FEU' and 'EMPREINTE ORIGINALE DE PICASSO' ...

Signed underneath. This carved stone sculpture by Bernard Takawira (1948 - 1997) is from a private collection. The family owns a quality collection o...

Profil de Jacqueline, Pablo Picasso, Edition, 1950's, Monochrome, Design, Plat Profil de Jacqueline Ed. 100 pcs 22.01.1956 White earthenware clay D. 42 cm Stamped on the back: Empre...

Artist: Unknown, Russian Title: Dolphin Medium: Bronze Sculpture with Patina Size: 35 in. x 13 in. x 8 in. (88.9 cm x 33.02 cm x 20.32 cm)

Torso 1955 is a cast plaster with oil paint to resemble a bronze cast. The base is wood, carved, sanded and painted. The base shows slight wear on corners. The sculpture is perfect. ...

English School Early 20th Century Head of a Young Boy Bronze with stone base Height: 12 3/4 inches (32.5 cm)

Finely carved mythological subject in limestone with Cornucopia associated with the harvest, prosperity, or spiritual abundance. Excellent condition from an estate of Veneto. Measur...

Additional Information: Unfinished base may not be original to the piece. Provenance: Private Collection New York, from a collector of many petite works by the artist. Marking(s); n...

Additional Information: Tom Suomalainen is a ceramic artist known for his creative and imaginative sculptures. Marking(s); notes: signed Country of origin; materials: USA; stoneware

Elegant pair of brass heron sculptures . The item will be well-suited to either an indoor or outdoor setting.

This Sculpture "Hen" by William Zorach in polished bronze is numbered 3/6 although according to the artist son, only 4 were ever cast. Executed in 1946, signed on the reverse and nu...

Linda Stein, Boom Box 277 - Mixed Media Metal Wood Stone Contemporary Art Wall Sculpture In the 1990s Linda Stein began to work on a series called Blades, sculptural works that inco...

Artist: Unknown, possibly Russian Title: Profile Pitcher Medium: Bronze Sculpture with Patina Size: 26.5 in. x 9 in. x 5 in. (67.31 cm x 22.86 cm x 12.7 cm) Base: 2.5 x 10.5 x 10.5 i...

Questo ritratto femminile in gesso, h. 44 cm, è segnato con il numero di inventario 237 e corrisponde a "Ritratto di Albertina, 1959". nonostante non compaia la firma, la sua presenz...

White Deer of Autumn study by Denny Haskew Figurative Bronze 21" high, 9" wide, 9" deep, mounted on granite and wood, turntable base with title plaque. Shipping price includes the c...

"Ritratto di fanciullo" in gesso di h. 44 cm, risalente al 1959. Viene riportato nell'Inventario dell'artista al n. 69 ed è accompagnato dall'autentica del professor Marco Fagioli.

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

Remarkable, large, hand-carved, tribal-type, teak sculpture of an abstract, female form featuring a mix of refined and rough finishes.

White onyx sculpture. Incised artist signature with date. Size includes base. Additional images are available upon request. Certificate of Authe...