Men Figurative Sculptures

TERRACOTTA FIGURINE OF A COMIC ACTOR , Greece, c. 350 B.C. Labeled to the reverse, 'LAWRENCE COLL./LOT 426. SOTHEBY./APR. 1892. P. 816.'; Terracotta height 15.2 cm height 6 in Prove...

French sculpture from the mid-20th century. Plaster work depicting a Sailor in Art Deco style, copy of the famous Meurice ceramic, Ideal Man scanning the...

"Gynaeceum" ("Gynécée") is a poetic bronze sculpture of three nude women being at one with Nature, by Isabelle Jeandot. The diameter of its circle bo...

Sorbe Small Bronze Sculpture Nude Boy Drinking Male Figure Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high sc...

Alberto Saucedo (Born 1960) Texas Artist (Sculptor/Painter) 21.5 inches tall Medium: Bronze 2016 "The Enigma of The Egg" Alberto was born in 1960. He was raised in Mexico City. Alberto Saucedo began his career as self-taught artist who demonstrated at a young age a remarkable talent and passion for art that eventually at seventeen years of age led him to formal studies at Universidad Nacional Autónoma de México and later on enrolled at San Diego City College. There he focused on Commercial Art and Interior Design. It was there, where he evolved his unique personal style. It was also at this time that he discovered the work of Master sculptor Francisco Zuñiga and studied sculpture with him. Sculpture subsequently became a major part of Saucedo’s work, and achieved his first real recognition in his field. Saucedo’s training has included a generous study of art history, where he incorporates his sensuous, spiritual and classical techniques, transforming it into a style that becomes evident in his work. A few Notable Clients: Bodybuilder/Actor/Governor Arnold Schwarzenegger. Actress Rita Moreno. Businessman (Founder of SeaWorld) George Millay. Mr Gary Lillian Former Vice President Marketing of PepsiCo, Inc. and now President of Javo Beverages in California. Italian Ambassador to Mexico. Exhibits 1985 – Arts and Crafts Fair, México City. 1985 – Solo show Casa Pedro Domeq, México City 1988 – 1989 – Una noche de Arte, México City 1995 – Solo show Galeria Dagen Bela, San Antonio, TX 1996 – Introspecciones (KVDA Channel 60) San Antonio, TX 1996 – Two Artist from Mexico City, Galería Sol y Luna, San Antonio, TX 1996 – Expo-Formalidades, Universidad Nacional Autónoma de México (UNAM), México City. 1998 Jamboree, San Antonio Art League Museum, San Antonio, TX 1999 – Group Show, Galería 10/10, México City. Publications: 1985 – Prepara muestra Alberto Saucedo, Excelsior, México 1989 – Revista Impacto. Alberto Saucedo escultor de raigambre prehispánica. 1994 – Southwest Art Magazine, April 1996 – Architectural Digest, Rita Moreno, April pg 204 also view letters August issue, 1996. 1996 – Mural’s wedding. San Antonio Express News 1999 – Oblate Virgin winning admirers. San Antonio Express News. 2004 – The Hill Country Edge. Art on the Edge, Alberto Saucedo. October and December magazines. 2007 – Explore Magazine. Alberto Saucedo a master in many mediums. October. 2008 – The Sun News Paper. Wild Flower Wonderlands Butterfly granite sculpture. April. 2002 – “Contemporary Chicana and Chicano Art Vol.2, Bilingual Press. Arizona State University. 2005 – Triumph of Our Communities. Four Decades of Mexican American Art. Bilingual Press. Arizona State University. Commissions: 1989 – Life size sculpture of “Sitting woman” for a private collection. Bronze . 1996 – Commission to paint outside mural “Humanity in its Cosmos”. Wildwood Management Group Building. San Antonio, TX 1999 – Commission of the “Virgin of Guadalupe” for the Oblate School of Theology. San Antonio. TX 2002 – Commission for a life size sculpture in black granite. Private collection. Kerrville, TX. 2005 – 21 Plaques of the U.S. Mexican American War (1847). Port Isabel, TX. 2006 – Commission for a granite Baptismal Fountain, St Joseph Catholic Church, Spring Branch, TX 2007 – 2012, Six Plaques for the U.S. Air Force Academy, USAFA, Co. 2007 – 8’ Granite Butterfly Sculpture for Our Lady of the Rosary Cemetery, Georgetown, TX. 2008 – Murals for “El Chaparral” Restaurant, San Antonio, TX. 2007 – 2012 Over 80 portrait plaques, including Littlefield plaque at The Littlefield Stadium, UT, Austin, TX. Admiral Benjamin Hacker and George Millay (Founder of Sea World). Main plaques for the: Central Security Service of the United States National Security Agency (NSA). Air force ISR Agency Joint Information Operation. Warfare Command. United States Cyber Command. 2014 – “The Olive Tree”. First Presbyterian Church. San Antonio, TX. Sitting Woman Please view my 1stdibs store front for other Great Vintage Texas...

Self Confidence Bronze Sculpture Head Portrait State of Mind Classic In Stock The sculptures of Margot Homan (1956, Oss) show a perfect comman...

Doug Aitken EveryThing, 2015 Mirror, Fibreglass & resin 92.5 x 119.5 x 12.5 inches Edition of 4 plus 2 AP's Provenance: NB: Available on sale

Title : Kneeling Female Zombie Materials : Wood Fired Porcelain Date : 2016 Dimensions : 5″ x 6.25″ x 5″ Signed Gallery COA provided ------------------------ Amy Young Artist State...

An exceptional drummer sculpture by Willitts Designs International and Shen Lung. The sculpture is cold painted and made of hand cast resin. The drumm...

A 19th century 'Grand Tour' bronze figure of the Dancing Faun, standing on a bronze square plinth. The faun balances on his toes and pivots, his horned head raised, his hair wreathe...

Leonard Baskin (1922-2000) Jewish Matriarchs, Sarah, Rebecca, Rachel and Leah with Hebrew calligraphy Bronze, 1998 9.5 X 9 inches Judaic biblical bronze of Jewish mothers. Leonard Baskin (August 15, 1922 – June 3, 2000) was an American sculptor, illustrator, wood-engraver, printmaker, graphic artist, writer and teacher. Baskin was born in New Brunswick, New Jersey. While he was a student at Yale University, he founded Gehenna Press, a small private press specializing in fine book production. From 1953 until 1974, he taught printmaking and sculpture at Smith College in Northampton, Massachusetts. Subsequently Baskin also taught at Hampshire College in Amherst, Massachusetts. He lived most of his life in the U.S., but spent nine years in Devon at Lurley Manor, Lurley, near Tiverton, close to his friend Ted Hughes, for whom he illustrated Crow. Sylvia Plath dedicated Sculpto to Leonard Baskin in her famous work, The Colossus and Other Poems (1960). The Funeral Contege (1997) bronze, Franklin Delano Roosevelt Memorial, Washington, D.C. His public commissions include a bas relief for the Franklin Delano Roosevelt Memorial and a bronze statue of a seated figure, erected in 1994 for the Holocaust Memorial in Ann Arbor, Michigan. His works are owned by many major museums including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Museum of Modern Art, the Art Institute of Chicago, the Boca Raton Museum of Art, the British Museum, the Honolulu Museum of Art, the Udinotti Museum of Figurative Art and the Vatican Museums. The archive of his work at the Gehenna Press was acquired by the Bodleian Library at Oxford, England, in 2009. The McMaster Museum of Art in Hamilton, Ontario owns over 200 of his works (some religious and biblical), most of which were donated by his brother Rabbi Bernard Baskin. Contemporary Religious Imagery in American Art. Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Arman, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others.In 1955, he was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery, they showed many great artists, Chaim Koppelman, for many years, headed the gallery's Print Division; printmakers such as Will Barnet, Leonard Baskin, Robert Conover...

Hebru Brantley Art Toy collection: 2018/2022. Set of 4: Hebru Brantley art toys, each new in original packaging: Composed of three 2017 Hebru Brantley Flyboy's & one Hebru Brantley F...

This highly evocative bronze by Vincenzo Vela captures the deposed Emperor Napoléon on his deathbed, holding a map of Europe and lost in thought about what might have been. Remarkable among most portrayals of the exiled leader, this highly detailed sculpture depicts Napoléon at his most vulnerable. Nonetheless, Vela perfectly captures his still-heroic bearing, which imparts to this work a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Château de Malmaison, which was shown at the Paris Salon of 1867. The founder of the verismo movement in Italy, Vela was one of the great exponents of realism in sculpture. Born in Ligornetto, Switzerland in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalism and the romantic painting of Francesco Hayez...

Ruth Bloch, Blossoming with 3 balloons, Bronze sculpture, lovers or angels, flying high, work, romantic Israeli artist, Israeli art

Dawn by Jane DeDecker Abstract Figurative Cast Bronze Sculpture ©2008 Family of four waking to the rising sun 116x84x27" (base not included) limited edition of 11. Shipping price in...

Upper Italy 2nd half 12th century Maple Original version Height 67 cm

Leon Bonduel (French, 1857-1928) "L'Alerte" [The Alert] Patinated Bronze Sculpture, 1889, depicting reclining nude man rising from sleep with a sword in hand, on a naturalistic base ...

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

After Pierre Lepautre (French, 1660-1744) "Aeneas Carrying Anchises with Ascanius Out of Troy" Patinated Bronze Sculpture, late 19th century, on a squa...

Hebru Brantley Flyboy Pop Art Sculpture / Hebru Brantley Beyond the Beyond, 2018. New in its original packaging. Medium: Painted cast vinyl. Dimensions: 9 x 8 x 4 inches (22.9 x 20...

A very good antique Neo-Classical bronze of a Bacchante or Maenad, by Spanish sculptor Gustave Obiols Delgado (1858-1902). The sculpture circa 1890. This large & very attractive, fin...

Jockey Winner by Isidore BONHEUR (1827-1901) A rare and magnificent bronze group with a dark brown patina Signed on the base "I. Bonheur" A period cast by "Peyrol" (with the foundry stamp) Standing on a molded wooden base France circa 1880 height of the bronze : 53,5 cm total height with the base : 62 cm total length : 68 cm depth : 24 cm Biography: Isidore Jules Bonheur (1827-1901) was a French painter and sculptor. Isidore first received an artistic apprenticeship from his father Raymond and his older sister Rosa, then, in 1827, he entered the School of Fine Arts in Paris. After practicing...

Bronze sculpture. Incised signature by the artist and numbered. Artwork is in excellent condition. Edition of 10. Certificate of authenticity included. All reasonable offers will be ...

Antique, hand-carved statue of a man with traces of silver gilding.

Emile-Louis Picault (French,1833-1915) "Joueur de Luth" [Lute Player] Patinated Bronze Figural Sculpture, late 19th century, the standing figure in Renaissance style costume playing ...

Vasili Grachev, 1831-1905. A patinated chocolate brown bronze grouping of horses pulling a troika with figures. A Classic Russian bronze grouping of three horses tearing through the ...

Emile Andre Boisseau (French, 1842-1923) "Ense et Aratro" [By Sword or by Plow] Patinated Bronze Sculpture, retailed by Tiffany & Co., late 19th century, the standing warrior holding...

Sculpture by Brazilian-born artist Elizabeth Freire. B&W photo is of Ms. Freire with renowned sculptor Etienne Martin at the Ecole Nationals des Beaux-Arts in Paris. Elizabeth Freire is a Brazilian-born, contemporary American artist. At the age of eighteen, she left Rio de Janeiro and moved to Paris to study sculpture at l’Ecole Nationale Superieure des Beaux-Arts, receiving her Diploma there in 1979 under the direction of Claude Viseux, Etienne Martin, and Cesar. During that time she worked as an apprentice at the Fonderie de France where she learned bronze technique and she also attended etching courses at l’Ecole de Montparnasse. In 1976, she won a commission to make three life-size figures representing the printing company, “Les Imprimeries de Boulogne,” at the International Printing Fair in Paris. She spent 1977 in Aix-en-Provence where she carved the local stone of Rogne. Returning to Paris, the painter Lutka Pink introduced her to Otero, Frans Krajcberg and Hajdu from whom she received valuable lessons. In 1978, she traveled to Brazil where she was invited to participate in the exhibit ‘A Century of Sculpture in Brazil’. She also met with the sculptor Sergio Camargo...

This is a one of a kind original wall sculpture by San Diego artist, Cheryl Tall. Its diameter is 12 inches. A Certificate of Authenticity will follow the delivery of this piece. Th...

"LarA 004" is an original sculpture from the LarA series by Spanish artist José Perozo, completed in 2024. Measuring 21 x 29 x 17 cm, this artwork merges the female figure with archi...

Classic female torso inspired by examples of high Greek sculpture. Sculptor explores the lines and shapes of the female body, embodied the diversity, slightly changed the poses. Thi...

Artist: Bruno Luna (Mexican, b.1963) Era: 20th century Dimensions: 14.5"L x 5.25"W x 10"H Edition Number: 22 of 30 The sculpture, exquisitely fashioned from bronze, portrays a voluptuous jazz cabaret pianist seated at a grand piano, attired in a tuxedo painted to enhance the details. Signed Bruno Luna. Bruno Luna was born in Mexico City in 1963. (his birth name was Norman Bardavid) Interested in art since his childhood, he completed a painting workshop with Professor Robin Bond, and then on to the Anahuac University of Mexico City to study Architecture and Graphic Design. He was an assistant to Marcelo Morandin, A renowned Mexican Sculptor. Over the years, his work evolved into a very distinct style, A style of voluptuousness influenced by Colombian master Fernando Botero (he calls them Gorditos) along with influences of Mexican tradition, and a cubist, almost Picasso esque treatment of the human figure. Bruno Luna's sculptures carry an undeniable air of joyousness, happiness and vitality. His work has been exhibited internationally, and is included in many public and private collections. Among those are the collections owned by Prince Rainier of Monaco, the American actor Chevy Chase, and many others. Bruno Luna's sculptures appeared on Mexican most popular syndicated network, Televisa, in a soap opera called "Mi Abuelo y Yo". in 1986 he founded the 10/10 Gallery, promoting mainly artists from Mexico...

Theseus and the Minotaur by Baltasar LOBO (1910-1993) A bronze group with a greenish dark brown patina Signed at the lower backside " Lobo " Cast by " Susse Fondeur Paris " (with th...

Léopold Eugène Kampf French, (1822-1893) The Last Drop Bronze, signed with foundry mark for Alfred Daubrée Height: 16 inches Width: 5 inches Depth: 5.5 ...

Farmer Han and the Farmer's Wife by Dee Clements Figurative Bronze Pair. Excellent condition, reviewed by the artist. See condition notes. Additional images available upon request. ...

Antonio is an elegant figurative sculpture of the male form by Nando Kallweit. Modelled on modern postures but with a nod to the importance of heritage through the stylised Egyptian...

Christian Thomsen (1860 Kolding - 1921 Copenhagen), Carving boy, design around 1915, execution 1966. model number 905. First choice. Porcelain with underglaze painting. 18.5 cm (heig...

Cacciapuoti Tragic Mask, Art Dèco figurative sculpture by Neapolitan artist Guido Cacciapuoti (Naples 1892- Milan 1953) depicting a tragic mask, made of ceramic, hand-molded and sil...

Burman Fisherman III is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 27 × 77 × 21 cm (10.7 × 30.3 × 8.3 in). The sculpture is signed and numbered,...

Exceptional and expressively carved solid walnut near life Size statue of nude woman raised on attached fluted column pedestal base in overall beautifully aged original rich surface ...

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

This is a one of a kind original wall sculpture by San Diego artist, Cheryl Tall. It's 26 inches in height, with a length of 18inches and a depth of 4.5 in...

Toy Soldier #4 (Offhand Position), 2015 Additional information: Medium: 3D digital scanning, CNC digital sculpting, Reinforced Fiberglass Composite, Urethane Dimensions: 72 × 60 × 2...

Burmese School, 19th Century Buddha Head of the Shan (Tai Yai) Style Wood with red lacquered pigment 25 x 13 x 10 inches dry lacquer form with finely sculpted features such as the e...

A beautifully hand carved, full size Carrara marble figure of a boy. The robe is elegantly draped with clasps.

Auguste-Joseph Carrier (French, 1800-1875) "Raphael" Patinated Bronze Sculpture, mid-19th century, depicting the Old Master Raffaello Sanzio da Urbino, cast by "Deniere" fondeur, on ...

Wonderful Art Nouveau "Ebrezza" bronze sculpture of a woman lying on a bed of roses. It bears at the base the signature Barbella and the wording “Rome Palm Sunday 31 III 1912” Brand...

Originally conceived in 1880-82 for the tympanum of the Gates of Hell, where she is cradled in the arms of L'homme qui tombe, as well as crouching in slightly varied form to the lef...

The present work personifies high-end Art Deco. It has a wonderful deep, rich green patina and commands the eye in any room. It looks better in person and is quite heavy. signed an...

Ian Edwards - The Root Within - Original Signed Bronze Sculpure Dimensions: 220 x 70 x 70 cm Edition of 6 Edwards’ practice expresses the power and determination of human endeavour...

Technique: Material: Vinyl, with a fluorescent moon component Size : 38cm length Weight: 1.5kg Certificated NFC chip of authenticity Packaging box with special fluorescent paint ...

American artist Burton Freund worked in Chicago in the 1930's and 1940’s for the FAP (Federal Arts Project) as an illustrator and sculptor. These original wood sculptures are time capsules of the 1930's and 1940's, hand carved out of solid wood including their bases. Walking the train platform in Chicago in 1938, the artist saw a "Red Cap" porter with a Phi Beta Kappa key hanging around his neck. When asked, the porter...

White marble sculpture - The Kiss. ​​19th century. 15 x 20 x h 20 cm including base, 12 x 17 x h 18 cm excluding base. Entirely in white marble, some small breaks and repairs. - ...

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...

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