Mid-20th Century Figurative Sculptures

signed "Caesar" lower right edge American, 1892-1971 Doris Porter Caesar was born in 1892 in Brooklyn, New York. Her father’s successful career as a lawyer allowed her to attend Mi...

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 ...

This bronze relief ( 29 x 29 cm, plexiglass pedestal 41 x 41 cm) is a model for a commemorative medal dedicated to the Italian Air Force. At the centre there is the Allegory of the ...

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...

A striking metal sculpture of a fish. Iron with gold gilt decoration. Probably Asian.

Bronze (After) Henri (Comte) Geoffroy De Ruille, Mounted Jockeys (French 1842-1922) "Mounted Jockeys Taking a Jump" 40"long x 26" high x 20 ½" wide 20th Century Medium: Patinaed B...

A whimsical fish sits placidly in the center of Pablo Picasso ceramic Service Poisson Plate R (“Fish” Service Plate), 1947 A.R. 3. A sweeping blue back and a orange belly make up the...

  Terracotta galloping horse. Signed on the base by the sculptor Giorgio Rossi (1894-1981). Period: 1930-40 Terracotta modeled by hand by the artist. Unique piece. Dimensions: Heigh...

Burled Maple Sculpture Nude Woman with Arms Over Head Beautiful burled walnut sculpture of a nude woman. The woman stands with her arms stretched over her head. Behind her a dark st...

Thelma Frazier Winter (American, 1903-1977) Woman and Child, c. 1935 Glazed stoneware, painted plaster 14 x 7 x 5.875 inches Thelma Frazier Wint...

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. The artwork is hand made by the technic of the ...

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' ...

A figurative vertical form with two protrusions on top constructed of melt pressed bronze (heated numerous times, squeezed, and shaped. Includes provenance and hand-signed COA from t...

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 ...

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

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches 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," (fig. 1) and his "Burlesque Dancer," (fig. 2). 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" (fig. 3). 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 in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...

Jules Edmond Masson (French, 1871–1932) Bronze Figure of a Lurcher Dog, 1930 Bronze with brownish green patination, on a fitted stone base The base inset with a bronze plaque reading...

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”. ...

PABLO PICASSO (1881-1973) Yan petites têtes (A. R. 515) Terre de faïence pitcher, 1963, numbered 142/300, inscribed 'Edition Picasso' and 'Madoura', painted, with the Madoura stamp.

This work is hand signed. It is not dated. Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre was known for his recycling of surplus steel oil drum lids. Brierre worked as a brick mason, cabinetmaker, tile setter, and blacksmith. He was born in Mirebalais or Port-au-Prince, Haiti and was the younger of two brothers. His older brother, Edgar Brierre, was a painter and sculptor. The brother's signed their works with only their last name, creating some confusion within their professional circles about the authorship of their work. Brierre's sculptures typically ranged from three to six feet in length and reflected Christian, Haitian Vodou, and folklore themes. Brierre was also a painter, but ultimately chose to work with metal because he felt that the material was saturated with spiritual energy. It was a laborious process. The oil drum lids were hammered flat, drawn onto, then cut with a razor. The sheet was then cut with a chisel before finishing was completed with a file. By the mid1970s, Brierre's sculptures included pronounced areas of cut outs surrounding long curved lines of metal. Brierre's iron sculpture titled Chien de Mer overlays a dog head onto the body of a fish. Haiti has long celebrated a rich artistic and cultural heritage. Georges Liautaud (1899–1991) ignited the Haitian metal sculpture movement in the 1950s in Croix-des-Bouquets, Haiti. A blacksmith by trade, he fashioned crosses for public cemeteries before creating more elaborate cut-metal works. Liautaud disseminated the distinctly Haitian art form to emerging artists, such as Murat Brièrre (1938–88) and the Louisjuste brothers, Sérésier, Janvier, and Joseph (1940–89). They, in turn, taught others in Croix-des-Bouquets, including Gabriel Bien-Aimé (b. 1951) and Serge Jolimeau (b. 1952), Haiti’s two leading metal sculptors working today. Discarded steel oil drums have historically served as the base material for Haitian metal artists. The drums’ lids are cut open with a chisel and hammer and a long vertical split is made along the side of the drums. The interiors are filled with dried sugarcane or grass and lit on fire to remove any grime; once cool, the drums are flattened into sheets. Designs are chalked on; pieces are then cut and sculpted using only hand tools and further enhanced by hammering, embossing, cutting holes, and bending the metal. Sculptures reflect everyday life portraits, imaginative themes, and motifs of Haitian Vodou, an African Diasporic religion. Some of the many forms that appear include angels and winged creatures, mermaids and other aquatic figures, musical bands, animals, and earthly, paradisiacal scenes. Solo exhibitions 1967 – Haitian Art Gallery, New York 1968 – Centre d'Art, Port-au-Prince, Haiti; Bradley Galleries, Milwaukee, Wisconsin; Georgetown Graphics Gallery, Washington D.C.; Menschoff Gallery, Chicago; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Roko Gallery, New York 1969 – Centre d'Art, Port-au-Prince, Haiti; Showcase Gallery, Washington D.C.; Botolph Group, Boston 1970 – Centre d'Art, Port-au-Prince, Haiti 1972 – Centre d'Art, Port-au-Prince, Haiti; Roko Gallery, New York 1979 – Areta Contemporary Design, Boston Group exhibitions 1969 – Davenport Art Gallery, Iowa 1974 – Davenport Art Gallery, Iowa 1978 – Brooklyn Museum, New York (traveling) 1982 – Studio Museum in Harlem, New York 1983 – Chicago Public Library Cultural Center 1985 – Davenport Art Gallery, Iowa 1987 – Musée du Panthéon National, Port-au-Prince, Haiti 1988 – Galeries Nationales d'Exposition du Grand Palais, Paris 1989 – Museum of Art, Ft. Lauderdale, Florida 2006 – Phyllis Kind Gallery in conjunction with the Outsider Art Fair, New York 2024 Ayiti Toma II: Faith, Family, and Resistance, Luhring Augustine, Tribeca, New York 2023 Haitian Metal Sculpture, SFO Museum, California, USA 2015 Celebrating African American Art, Flomenhaft Gallery, Chelsea, New York, USA An important exhibition of works by outstanding African American artists. Included were: Emma Amos, Benny Andrews, Romare Bearden, Murat Brierre, Beverly Buchanan...

Il bronzo raffigura un fantino e nel 1957 venne esposto alle personali dell'artista alla Strozzina di Firenze e alla Galleria Cocchini di Livorno. Esiste anche un disegno preparator...

Untitled Large Polished Bronze with Four Playful Girls Artist signed and dated 1969 104"h x 45"w x 28"d base 24"x20" Carla Lavatelli was born in Rome, Italy, in 1928 - (January ...

Corrida sur fond noir, Picasso, Multiple, 1950's, Animal, Toros, Spanish, Plate Corrida sur fond noir Ed. 500 pcs 25.09.1953 White earthenware c...

Portrait of Albert Dubarry by Léon-Ernest DRIVIER (1878-1951) Bronze with a nuanced greenish dark brown patina signed "Drivier" cast by "Montagutelli, Paris, cire perdue" (with the ...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Balancing, Mother and child signed and editioned 1/6 mounted on black marble plinth 14"h x 11.5"w x 8"d (height w...

A puzzle sculpture by Miguel Berrocal from 1970. This sculpture comes apart in 25 pieces. In original box with booklet Artist: Miguel Berrocal, Spanish (1933 - 2006) Title: Mini-Zor...

Original terracotta sculpture by the American sculptor William Huppert. Titled “Expecting”. Circa 1960. Post Modern. Overall height 18 inches including base. Base is 6 wide by 5.25 ...

Modern abstract brutalist metal sculpture by Houston artist Bob Fowler. The work features a skeletal figure welded in a box or locker. Firmly attached to a white and natural wood bas...

Walter Sinz (American, 1881-1966) Mother and Child, 1949 Plaster Signed and dated on base 23.5 x 6 x 9 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on Jul...

A Songye Male Power Figure, Democratic Republic of the Congo, the male figure resting on one knee, with openwork arms and hands resting by the abdomen which contains various charms a...

Mario Spampinato (Italian 1912–2000) Nude Bronze Signed on base 17.5 in. h. x 5.75 in. w. x 6 in. d. The artist was born, raised and trained in Italy. During one of his exhibits (at San Marcos in Rome) the Director of a New York Gallery asked him to come to New York to work for him. The American Consul, before issuing his visa, asked Spampinato to create a bust of him. In exchange, the Consul paid for his passage on the boat to New York. In New York, he worked with his brother Clemente Spampinato who is a well known sculptor as well. After moving to Chicago in 1954, he discovered that there was no foundry in the Midwest that could cast his bronzes. So, he opened his own foundry called the Spampinato Art Foundry, casting in the lost wax process. He also started his own private school (Spampinato Art Workshop, Ltd) and did some teaching at the University of Chicago and conducted seminars at Lawrence University in Kansas. Many of his own works are pictured and cataloged in Volumes 2 & 3 of Bronzes: Sculptors and Founders, 1800-1930 by Harold Berman. Between 1959 and 1967, Spampinato recast a number of Charles M Russell...

Mid Century carved marble flute player by Rodney Marshall Winfield (American, b. 1925). Presented in a rustic wooden frame. Unsigned. Image size: 14"H x 10"W. Framed: 20"H x 16"W. Wear to frame and age wear to marble. A painter in acrylic, designer in stain glass and silver, sculptor and long-time teacher, Rodney Winfield has had a diverse career. He was born in New York City. As a young man, he was artistically inclined and composed music, drew and painted, danced, wrote poetry and created sculpture. Choosing to focus on art, he enrolled in Cooper Union School in New York City. From 1953 to 1970, he was a stain-glass designer for Emil Frei...

"La Chorale" (The Choir) is a sculpture by Paul Ahyi depicting three women joyfully singing. This beautiful sculpture is made with "L'Argile de Nawaré" which...

Max Kalish (American, 1891-1945) Nude Walking, 1930 Bronze Signed and dated on base 17 x 9 x 4 inches Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti and Herbert Adams...

American, 1892-1971 Doris Porter Caesar was born in 1892 in Brooklyn, New York. Her father’s successful career as a lawyer allowed her to attend Miss Chapin’s School for transferrin...

Foal by Berthe MARTINIE (1883-1958) Sculpture in bronze with a black patina Signed twice " Martinie " on the base With the foundry stamp " Valsuani " France circa 1935 height 21,2 cm A similar model is exhibited at the Museum of Modern art in Paris (Inv. AMS 3). Biography : Berthe Martinie (1883-1958), was a French painter and sculptor. From 1906 to 1908, she studied at the Ecole des Beaux-Arts in Paris, in the only studio open to women, that of the painter Ferdinand Humbert (1842-1934). In 1913, Berthe married Henri Martinie, journalist and art critic, who supported her throughout her career. The beginnings of her family life and the First World War nevertheless marked an interruption in her creation. Berthe Martinie frequented the sculptors Robert Wlerick (1882-1944) and Jean Carton...

This superb French Art Deco wooden panel or wall-mounted sculpture features a spectacular Venetian mask and was hand-crafted in the 1930s. The sculpted panel boasts finely detailed c...

Arturo Martini (Treviso 1889 - Milan 1947), La Botola (1930 / 1933) Terracotta sculpture 34 x 42 x 9 cm signed lower left; label of Galleria del Milione, Milan, on back. Provenance...

Artist: John Taylor (1936-) Scottish Title: "Wall Relief Tiles" (a pair) Medium: oil on board Size: 15cm x 20cm inc. frame & 13cm x 21cm inc. frame Notes: Painter, notably in watercolour, and printmaker, gallery owner and teacher, born in Darvel, Ayrshire. Graduated from Glasgow School of Art in 1959, some years later taking a higher diploma in art. Taylor made a big impact on the Scottish gallery scene when in 1963 he opened the New Charing Cross Gallery in Glasgow, giving young artists a chance to exhibit more adventurous work. Taylor had a long association with the Glasgow Print Studio as senior technician. In 1977, with Ainslie Yule, he was recommended by Scottish Arts Council for a residency at Editions Alecto to work on a screenprint. Taylor’s own work could sometimes have a strong polemical element, notably regarding war and the nuclear threat. As well as taking part in many group shows across Europe he was a regular solo exhibitor. Notable among these were Compass Gallery, Glasgow, 1985 and 1987; Richard Demarco Gallery in Edinburgh and Glasgow Print Studio in 1987; and Edinburgh Print...

A Renaissance man,circa 1930's polychrome painting on a wood plaque . Artist unknown

Mid century carved marble figurative girl and kitten by Rodney Marshall Winfield (American, b. 1925). Presented in rustic wood frame. Bio on verso. Image, 14"H x 10"W. Rodney studied at Cooper Union School in New York and worked as a designer at the Emil Frei...

SALE ONE WEEK ONLY This Pre-Star Wars Space Ship captures the magic, power and volume of unidentified objects that pass through our solar system and within viewing site of spaceship Earth. Titled "Untitled" this piece has the monumental quality and style of a spaceship that has been circling the universe forever. Constructed in 1963, prior to film industry creatives scaring viewers with visions of unimaginable spacecraft come to destroy earth, Julius Schmidt's imagination was unstoppable with his numerous and unique cast bronze sculptures. This extraordinary piece is a heart stopping example of what a genius creative can produce. It was exhibited in March 9 - 31, 1963 at the Otto Gerson Gallery, New York, NY. A Catalog of the show accompanies this piece. Julius Schmidt is an American sculptor who earned his B.F.A. from Cranbrook Academy of Art in 1953 and for the next two years studied sculpture under Ossip Zadkine in Paris and at the Accademia di Belle Arti in Florence, Italy. He returned to Cranbrook in Bloomfield Hills, Michigan, in 1955 for his M.F.A. in sculpture. Cranbrook was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (bronze sculptures), Herb Babcock...

Aharon Bezalel (Afghani-Israeli, 1925-2012) Family Grouping Hand signed in with initials in English Figures fit together like puzzle pieces in solid cast bronze with original patina. Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

Woman with flowers on head, terracotta, 1930s-40s, Giorgio Rossi (1894-1981). Tuscan Sculptor. Terracotta modeled by hand by the artist. Unique piece. Dimensions: Height 53 cm. The...

Numbered and signed. Limited edition of 100 pieces. Excellent conditions. Aurelio Mistruzzi was an Italian sculptor and medalist. He attended the Udine School of Art with professor ...

Jules Agard ( 1905 - 1986 ) " la petite chouette " circa 1960 - 1970 " Pièce unique " Sculpture en terre rouge de Salernes montée au tour représentant une petite chouette ( d...

Two Figures Bronze Sculptures Modernist style of Botero - Picasso Bronze figurative Nude sculptures by San Francisco Bay Area artist Mike Evans (American, 20th-21st C.). A Pensive m...

This head of young boy is a rare, precious and unpublished sculpture by Marino Marini, belonging to a private collection for over 60 years. The same subject...

Portrait of boy, terracotta sculpture, 1930s-40s, Giorgio Rossi (1894-1981). Tuscan Sculptor. Terracotta modeled by hand by the artist. Unique piece. Dimensions: Height 31 cm. The...

This sculptural head is made in Haiti from mahogany wood. The wood has a worn, dark brown patina. The carving is somewhat minimalistic, thus giving a modern twist to a tribal gesture...

JOSEPH CSAKY 1888-1971 1888 - 1971 Paris (Hungarian/French) Title: Clio – Muse of History [κλειώ], 1965 Technique: Signed, Dated and Numbered Bronze Sculpture Size: 54 x 10 x 9....

Large and heavy with magnificent patina. This is the large version of this piece. we cannot find any markings on it and it might be unique. Nicky Imber (Vienna, Austria, 1920 -1996) was a multidisciplinary Jewish artist best known for his sculptures on Jewish themes. Grand nephew of Naftali Herz Imber, author of the Israeli national anthem 'Hatikva'. After escaping the Nazi concentration camp in Dachau, he pledged to dedicate his art to perpetuating the memory of the Holocaust. Among his more famous works are "The Hope" and "The Love of Torah". His work can be seen around the world, in Northern Israel, the United States, and the Venezuelan Museum of Natural History in Caracas. Nicky Imber was born in Vienna, Austria. During his studies at the Academy of Arts in Vienna, he drew anti-Nazi caricatures for Jewish student publications. After several thwarted attempts by the family to leave Vienna, in 1938, in the wake of the 'Anschluss', Imber was deported to Dachau. Witnessing the murders of family and friends, he plotted his escape. Using skills he had learned in art school, he made a face mask out of bread and sand, stole a Nazi soldier's uniform and walked out the front gate unnoticed. In 1940, he boarded a ship headed to Haifa. The ship's passengers were refused entry by the British mandatory authorities and imprisoned in a detention camp in Mauritius. In 1943, Imber worked out a deal with the authorities for his release by joining the British Army, serving as a war artist and a dental assistant in East Africa. After the war, he opened an art school in Nairobi, Kenya, and worked as a photographer and a safari guide. In 1949 to 1954, he lived in Venezuela, where he was contracted to do an East African Diorama series. The National Museum added an entire wing to display it. During this period he got married and had a daughter Raquel, who accompanied and assisted him. In 1959, Imber was commissioned to create sculptures and dioramas for the Haifa Prehistory Museum at Gan Ha-em in Haifa, Israel. In 1960 he returned to Venezuela to restaured the Phelps series of Dioramas for the Museum in Caracas. Between 1961 and 1971 he travelled extensively around Europe and after establishing an international name for himself, returned to the United States. In New York he became famous for his realistic oil paintings of portraits of Aga Khan, Tyrone Power, Ava Gardner, David Ben-Gurion, Golda Meir, Sir Richard Burton...

Chana Orloff (1888–1968) Seated Woman, 1958 Bronze, Height: 55 cm Signed, dated, and numbered 3/8 Stamped with foundry mark Susse Fondeur, Paris A masterful example of Chana Orloff’...

Visage, Picasso, 1950's, Unique work, sculpture, design, Frame, Portrait Visage Unique work 1957 Painted and partially glazed ceramic ; tomette 16.9 x 15.2 cm Certificate of authent...

Primarily a figure sculptor in marble and wood, he was born in Russia. In New York City, he studied at the Educational Alliance and Art Workshop and was active in numerous art associ...

Bronze Double Bass Player Klezmer Musician Sculpture signed Mane-Katz at base. Numbered 8/8. -Katz (1894-1962) was a Litvak painter born in Ukraine best known for his depictions of...

Francisco Vazquez Diaz, known as Compostela (1898-1988). Portrait of a Man, 1949. Carved mahogany, measuring 18.75 inches h, 8.5 inches w, 11 in...

Astounding painting and carving on wood panel by the “Hound of Heaven” artist Robert Gammell. Created 1947. This beautiful work features rich color, gold accents and incredible detail. Signed lower right “R.H. Ives Gammell” and dated ‘47. The subject comes from the imagination of the artist and is titled “Lady of the Seven Sorrows.” The work measures 34 1/2"h x 11 1/4"w and is considered to be one of the artist’s “Puppy Panels.” The ornate frame measures 38 1/2"h x 15 1/2"w x 1 1/4"d. The weight is 9 ½ pounds. A label is attached to the verso listing the work as being an entry for the 1967 Grand National Show with the American Artists Professional League in New York. This detailed and beautiful painting is a work to be treasured. More Information Robert Hale Ives Gammell: After completing his major allegorical sequence, the Hound of Heaven, Gammell felt compelled to revisit certain themes and figurative compositions in later years. His original plan was to display the smaller panels, or "Puppy Panels" as he affectionately called them, between the larger Hound panels. Robert Hale Ives Gammell (1893-1981) was a prolific professional painter working in Boston, Provincetown, and Williamstown, Massachusetts. During the sixty-five years of his career, Gammell painted murals, portraits, landscapes, and still lifes, but the pieces which excited him most were the allegorical works drawn from his imagination. In his diary Gammell wrote that he was “fascinated by the drama of man in his relationship to the forces of the universe and of his own nature.” Over the years he experimented using ancient myths and rituals as well as contemporary symbols in his attempts to articulate images of man’s terror, wonder and yearning in the face of a century of upheaval. Excerpt from Elizabeth Ives Hunter, the God-daughter of R. H. Ives Gammell and the daughter of his assistant, Theodore W. J. Valsam. R. H. Ives Gammell believed in the practice and standards of art should rest on the Gold standard established by the 19th-century French system of learning, as practiced by the Ecole des Beaux-Arts and Academie Julian of Paris. His personal mission was to follow that tradition, so he established his own Studio working with a handful of students at a time. His book ‘Twilight of Painting’ would help define a way back to those lofty goals for future artists, reflecting the uncompromising levels of quality that he embraced, and maintained. Robert Hale Ives Gammell was born to wealth in Providence, Rhode Island and spent the majority of his artistic life in Boston at the Fenway Studios and in Williamstown, MA, where he died in 1981. In 1910, Gammell studied briefly with William C. Loring and Wm. Sergeant Kendall before training in 1913 at Boston's Museum School with Philip Hale, F.W. Benson and Edmund C. Tarbell for a few months. Gammell then went to Provincetown, MA to study with Charles Hawthorn and then to the Academie Julian in Paris and the Academie Baschet until the end of 1914. He was tremendously influenced by the teachings of Tarbell and the work of Joseph DeCamp and William M. Paxton. He was so influenced by the Boston School he vowed to hand down their teaching traditions to generations of students and he did exactly that. Some of the painters who are "Gammellites" are Samuel Rose, Thomas R. Dunlay, Robert Cormier, Richard Lack, Gary Hoffman, Stephen Gjerston, Robert Douglas Hunter, David Lowrey, David Curtis...