Unknown

Wilhelm KRIEGER (A) (1877-1945) Deer. Ca 1920

1920

A beautiful large bronze sculpture of a proud standing mare. Old sand cast created during the artist Josuë Dupon's lifetime. Josuë Dupon (also Josué or Josue Dupon) was a Flemish sculptor and engraver. His work also includes painting and graphics. He received his training through evening classes at the academy of Roeselare and Antwerp (1884) and later at the National Institute of Fine Arts (1887). In 1891, he won a gold medal with the monumental sculpture group Samson kills the lion and was runner-up in the Prix de Rome for sculpture. From that year on, his work appeared regularly in exhibitions at home and abroad. His reputation was such, that he became one of a select group of sculptors allowed by King Leopold II to carve statues in Ivory, which was imported from the Congo, the Belgian colony. In 1893 his exceptionally refined ivory statue of Diana was bought by the Antwerp Royal Museum of Fine Arts, which also acquired his spectacular bronze Vulture defending its prey a year later. Working in every genre and mastering every technique and material, Josuë Dupon became best known as a sculptor of exotic animals. He was equally capable of faithfully expressing anatomical detail as of rendering the animals' nature. Josuë Dupon was a technically faultless realist, with a sense of the dramatic, a feeling for decorative complexity and a tendency towards idealizing. The placement of his camel driver and two bronze groups at the entrance to Antwerp Zoo confirmed this reputation as animalier. The career that Dupon subsequently built, brought him numerous important awards and an appointment as professor at the Antwerp Academy, a tenure he held between 1905 and 1934. Besides animals, he sculpted busts, war memorials and public monuments. For one of the largest sculptural monuments and the largest fountain in the city of Buenos Aires, called Monument of the Two Congresses, he collaborated with his good friend, the Belgian sculptor Jules Lagae. Josuë Dupon created several statues of mighty condors for this monument. At the start of his career his conception of art was strongly influenced by traditional 19th century artistic ideals. After the turn of the century his compositions and surface treatment changed and became more modern. He met Rembrandt Bugatti around 1905 or 1906 in the 'Jardin des Plantes' in Paris and invited him to Antwerp. Bugatti began travelling to Antwerp in 1906 to observe and sculpt the inhabitants of its zoo, which was then considered the best in the world, and Dupon allowed Bugatti to stay with him during several of his early visits. As such Dupon became a friend and a bit of a father figure to Rembrandt Bugatti. Dupon did not play a very active part in artistic movements or associations. Dupon remains an important sculptor not only through his body of work but also because of the influence he exercised through interactions and collaboration with other sculptors such as Lagae, Bugatti and Bourdelle but also because he trained leading sculptors such as Albéric Collin (1886-1962), Willy Kreitz...

Ludwig Vordermayer's Kolkrabe mit Beute (Large Raven with Prey, 1909) is a strikingly realistic bronze sculpture. It depicts a raven perched on a naturalistic rock base, firmly holdi...

This evocative double figure sculpture by Guido Righetti, titled Two African Marabous, is a masterful composition created in 1914. Depicting two marabou storks—a species often associ...

Édouard Fortiny’s sculpture, "Vagabond", is a deeply emotive bronze piece that portrays a man from the margins of society. Standing at 28 cm, the sculpture captures the essence of a ...

Knight Emerged 583 is from Linda Stein’s Knights of Protection series, which she started after being forced to evacuate her New York downtown studio for a year post-9/11. Stein's Kn...

An official artist of the Nazi regime, trained in Montparnasse in the 1930s, Arno Breker continued to sculpt after the fall of the Third Reich, producing large-scale public commissions in Germany and portraits of prominent figures. The two small bronzes presented here, dated around 1978, are part of a long tradition of prancing horses dating back to antiquity. The asymmetrical treatment of the two front legs and the inclination of the head make these two copies of the same artwork a highly decorative pair. 1. Arno Breker, a prolific sculptor, from the Bohemia of Montparnasse to the commissions from the Third Reich ... and from the Federal Republic of Germany The son of a stone carver, Arno Breker studied fine art and anatomy in his native Elberfeld. At the age of 20, he entered the Düsseldorf Academy of Art. He moved to Paris in 1926, where he continued his training in the studio of Maillol, who dubbed him "the German Michelangelo of the twentieth century". He shared a studio with Alexandre Calder and frequented Jean Cocteau, Foujita, Brancusi, Pablo Picasso and other artists of the bohemian Paris of the time. It was also in Paris in 1933 that he met Demetra Messala, the daughter of a Greek diplomat who posed for Maillol and Picasso, whom he married in 1937. Having won the Prussian Prix de Rome in 1932, he left Paris to stay at the Villa Massimo, the German Academy in Rome. Returning to Germany in 1934, his style evolved towards a more marked imitation of ancient sculpture. He created two monumental statues for Berlin's Olympic Stadium, before being appointed professor at the Berlin College of Fine Arts in 1937. He came to the attention of the Reich Propaganda Ministry, which awarded him several commissions and provided him with three large studios in which Breker produced many monumental sculptures to the glory of the regime. On June 23, 1940, Breker accompanied Adolf Hitler during a visit to Paris. During the Occupation, his political connections enabled him to intervene on behalf of many artists pursued by the Nazis: for example, he protected Pablo Picasso (then a Communist) from Kommandantur officers. Most of Arno Breker's work was destroyed in Berlin at the end of the war in 1945 by bombing and intentional destruction perpetrated by soldiers of the victorious powers. After the fall of the Nazi regime, however, Arno Breker was never prosecuted. He opened a new studio in Düsseldorf, where he sculpted until his death in 1991. He then carried out several public commissions in Germany (Bayreuth, Wuppertal), as well as portraits of numerous personalities, including King Mohammed V of Morocco, Léopold Sedar Senghor (commissioned by the Académie Française in 1978) and the two chancellors of the Federal Republic of Germany, Konrad Adenauer and Ludwig Erhard. The Arno Breker Museum in Nörvenich is now exhibiting some of his artworks. 2. Related artworks: from the Wild Horses of the Quirinal to the Horses of Marly The prancing horse is a major iconographic theme, found in a series of sculptures from Antiquity, the Renaissance and the Classical Age. Various photos from Arno Breker's studio in Berlin confirm the predominant place of equine representations in his work (alongside male nude statues), and confirm that this reduced version created in 1978 is part of the artist's preferred repertoire. Prancing horses are generally associated with a male figure in a group that, through a reference drawn from Antiquity, symbolizes man's domination over nature. In this respect, it is very interesting to compare our small bronzes with the horse forming part of a large sculpture by Arno Breker (made in 1936 and probably destroyed in 1945) depicting Alexander taming Bucephalus. This statue is itself directly inspired by one of the best-known works of 18th-century French sculpture...

Edition of 31 American, b. 1961 Jane DeDecker’s energetic and dynamic bronze sculptures serve as a reflection of her own life experiences and those of her closely-knit family. Her twelve nieces and nephews are the primary source of her inspiration, though DeDecker’s sculptures are not portraits. In fact, her loose style leaves her viewers with room for interpretation, so as to see their own lives within her sculptures. This imprecision, combined with her unique ability to capture specific moments to which each viewer can relate on a personal level, regardless of age, give DeDecker’s work a timeless quality that spans generations. DeDecker began her artistic training as a painter at the University of Northern Colorado, until a professor, noticing her joy in the portrayal of shapes and forms, suggested she try her hand at sculpture. Taking his advice, DeDecker went on to study at Gobelins School of Tapestry in Paris, and in returning to Colorado, spent five years as master craftsman to the notable bronze sculptor George Lundeen. DeDecker is a Fellow of the National Sculpture Society and has gone on to receive copious awards, such as the Critics Choice Award from the Kimball Art Museum, Fort Worth, TX. Major installations of DeDecker’s sculptures are located at the Presidential Library in Washington, DC; the Mayo Clinic...

Magpie by Jan and Joël MARTEL (1896-1966) A rare and genuine bronze sculpture with a dual patina, dark brown and gilded Signed to the front of the base " J. Martel " Cast by " Susse...