Harry Bertoia

Untitled

1964

Arman Statue of Liberty features a recurring motif in the artist’s body of work. Throughout his career, Arman has worked with themes and techniques o...

Beto Gatti’s Toy Art (2022) is a striking bronze sculpture exploring the paradox of modern life, depicting a reflective character absorbed by a smartphone. In Toy Art (2022), Brazi...

Karl Bitter Reclining Woman, 1897 Signed: Bitter 97 Stamped: GORHAM M F G CO. Bronze 10.25 x 10.25 x 4 inches Initially from Vienna, Karl Bitter first studied art at the city’s Kunstgewerbeschule and the Kunstakademie before being drafted into the Austrian army. He deserted his position in the military while on leave, and departed for New York City where he would discover considerable success. Early on, he won a competition for the Astor memorial bronze gates at Trinity Church, which awarded him enough capital to open his own studio. He went on to execute sculptures of Alexander Hamilton and Thomas Jefferson at the Cuyahoga Courthouse in Cleveland; he also created portraits of Jefferson for the state of Missouri and the University of Virginia. These commissions caught the attention of sculptor Richard Morris Hunt (who famously designed the façade of the Metropolitan Museum), earning Bitter the duty of producing the portrait medallions that now appear near the top of the museum’s grand face. Notably, he presented at Chicago’s 1893 World’s Columbian Exposition and directed the Pan-American Exposition in Buffalo in 1901. Over his career, his artwork became more flexible – his early academy training is easily identifiable within his work, but after moving to America, conventions of Modernism became more prevalent within his sculpture. In addition to many awards, Bitter presided over the National Sculpture Society in 1906-1907, and was a member of the National Institute of Arts and Sciences, the National Academy of Design, the American Academy of Arts and Letters, the Architectural League, and the Art Commission, New York. His public work can be found at the Biltmore Estate, Asheville, NC; Gettysburg National Military Park, Gettysburg, PA; Wisconsin State Capitol, Madison, WI; United States Naval Academy...

Oscar Lenz Echo, 1904 Signed and dated on base: Oscar L Lenz 1904 Bronze 70 1/4 x 25 x 25 1/4 inches Oscar Lenz was an American sculptor born at Providence, Rhode Island. He receiv...

My Angel (Mi Angel), Eduardo Oropeza, bronze, sculpture, antique silver, patina Sculptor, painter, printmaker, & photographer, Eduardo Oropeza remains a commanding presence in conte...

This unique, small bronze sculpture by Sven Dalsgaard, dated 1964, transforms an ordinary object into something psychologically charged and quietly ambiguous. Standing just 11.25 inches tall, the form recalls a chair lifted into an improbable vertical stance. Its narrow seat and elongated legs deny any practical use. What Dalsgaard presents is not furniture but the idea of a chair, reduced to structure and presence rather than function. The bronze surface is worked rather than refined, with visible traces of the artist’s hand that catch the light unevenly. This rough handling introduces a sense of vitality into an otherwise rigid form. The exaggerated proportions give the sculpture a totem-like quality, almost figurative in character, as if the chair itself has assumed an upright posture. As the viewer moves around it, the open spaces within the structure become as important as the solid bronze, creating a shifting balance between mass and void. There is a clear surrealist element in this transformation. The chair remains immediately recognizable, yet it no longer belongs to the world of ordinary experience. By displacing scale and function, Dalsgaard creates a subtle tension between familiarity and estrangement. The sculpture suggests presence without an occupant and purpose without use, encouraging psychological rather than literal interpretation. This aligns with a restrained, Northern strain of Surrealism, one shaped by austerity and understatement rather than spectacle. Signed and dated on the base, the sculpture dates from a period when Dalsgaard increasingly explored the symbolic potential of everyday forms. Modest in scale but rich in implication, it demonstrates how a common object can be quietly reimagined as a vessel for reflection, ambiguity, and poetic abstraction. A unique bronze sculpture. Born in Vorup near Randers, Sven Dalsgaard was self-taught as a painter. His earliest paintings are Naturalistic but around 1934 he was inspired by Wassily Kandinsky and Paul Klee to paint more Abstract works. He debuted at the Kunstnernes Efterårsudstilling in 1943. Inspired by Marcel Duchamp, he embarked on Surrealism in the 1940s but moved into a simpler, more stylized approach in the 1950s, producing tall thin sculptures...

Dani Kafri (Czech Israeli, 1945-2024) Bronze sculpture of a father and son Birkat Kohanim (Birchat Kohanim) 1987, Signed D. Kafri and marked A.P, Dimensions 23" H x 12" W x 9" Daniel Kafri, sculptor, born 1945, Czechoslovakia. He works in bronze, marble, steel and terracotta Dani Kafri is one of the most famous and valued sculptors in the world of Jewish Art. Education: Bezalel School of Art, Jerusalem. Advanced studies, New York City and Carrera, Italy In 1970 he was among those whose works were chosen to represent Israel in the Monaco Biennale for Young Artists, and in 1977 he was awarded the Jerusalem Prize for sculpture. Dani Kafri created an in dependent style derived from the archaic forms of ancient Middle Eastern sculpture...

Large Feline is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 24 × 175 × 47 cm (9.4 × 68.9 × 18.5 in). The sculpture is signed and numbered, it is p...

Seane II is an elegant figurative bronze sculpture portraying a couple in love by Nando Kallweit. Modelled on modern youthful postures but with a nod to the importance of heritage t...

Victor Heinrich Seifert 1870–1953 German Nude Drinking from a Bowl Signed “V. Seifert” Gilt bronze on marble base Graceful yet commanding, Nude Drinking from a Bowl stands among ...