1950s Nude Sculptures

Lost wax bronze casting, black patina, certificate of authenticity issued by the Antoniucci Volti Foundation, original work, foundry stamp. Edition of only 8 copies

In this glazed ceramic, Jean Mayodon takes inspiration from one of Auguste Rodin's most emblematic sculptures, Iris Messenger of the Gods, of which Jean M...

A fine cubist unsigned sculpture titled “Reclining Woman” by American artist Peter Winslow Milton (b. 1930). Milton was born in Lower Marion, Pennsylvania and is best known as one of America’s top tier printmakers. The artist commented on the sculpture - “About my 1958 Reclining Woman sculpture...

A substantial and well-patinated French School bronze sculpture of a female torso. Unsigned and created circa 1955. A strongly architectured figural...

Inscribed on base, 'Georgetti' for Wedo Georgetti (American, 1911-2005) and dated 1950. Acquired directly from the artist and accompanied by a certificate of authenticity. Born in I...

Signed on base with initials, 'VP' and created circa 1955. A substantial bronze casting of a full-length sculpture of a young man, shown nude and standing with his arms by his side....

Betty Miller Sleeping Nude clay sculpture on lucite base from the 1950s. Betty Miller American, it appears to be from the '50s. The Sculpture is beautiful...

Rare, large ceramic nude by Emil Ruge, signed and dated 1951. 18 Inches tall. Perfect condition. Ruge is a famous Danish ceramicist.

Marble, Signed E. Freeman American, c.1960 15 Inches tall, 18 Inches wide, 8 Inches deep

Marble sculpture signed E. Freeman. American, c,1960 18 Inches tall, 17 Inches wide, 12 Inches deep.

HARRIET HOCHBERG "WOMAN ON ROCK" BRONZE, SIGNED, TITLED AMERICAN, C.1960 15 INCHES WITH BASE Harriet Hochberg 1916-1996 Harriet Hochberg was an artist and sculpt...

Fine bronze, signed and numbered. 8 Inches tall over all. Beautiful patina, in fine condition. The following is submitted by Cornelia Seckel, publisher Art Times Profile: Eugenie Gershoy By RAYMOND J. STEINER Art Times November 1984 EUGENIE GERSHOY: an emigre from a pogrom-threatening Russia, a member of a distinguished family of the intelligentsia, a life-long artist whose career began before the age of four, a woman of eclectic tastes and cultured learning seasoned with a loving and satirical eyehow and where does one begin to capture her in all her facets? Largely a natural talent with a smattering of formal training, it has been through sheer force of her irrepressible creativity that she has attained a stature and versatility in the world of art that few can match. Represented in almost every major collection (the Whitney Museum of American Art, the Metropolitan Museum of Art, the National Museum of American Art, the Syracuse Museum of American Art, the Delgado Museum of Art, Skidmore College of Fine Art, to name a few), she has exhibited her work in numerous shows from New York and west to San Francisco and south to New Orleans, culminating in her most recent, a special show of her sculptures entitled "Fantasy and Imagination in Sculpture" at the Smithsonian Institute in Washington, D.C. which will continue until January 20,1985. Honors and awards began as early as 1914 when she received the St. Gaudens medal for fine draftsmanship and have continued throughout her career of creating, of teaching and active membership in over twenty gallery and art associations. A recent article in the Smithsonian was the last of almost fifty such pieces on either herself or on her art in various publications from across the country and from as early as the'30's. The astonishing diversity of her life's work is scarcely hinted at in the accompanying photographs. To select any one aspect of Ms. Gershoy's life or work would, of course, lead to distortion and an incomplete picture of her contribution. Fortunately, in addition to being a fine artist, she is highly literate and capable of verbalizing her own growth and artistic concepts, sharing copious notes that she has saved over the years. (An example of her writing and expressions on art can be found in the "SPEAK OUT" section of this issue of ART TIMES.) A chronological highlighting of her career, therefore, seems the only way to do her justice. Exposed to the "masters" in a collection of art books owned by her parents, Ms. Gershoy "drew assiduously from the age of three on" At five, she was copying Michelangelo, Rafael, and daVinci never suspecting that these were, in fact, reproductions of sculpture in three dimensions. Eventually, she drew from life, adding a lively sense of color as she experimented with crayons, colored inks, watercolors, and oils. At thirteen, she set about illustrating "Little Women." Resolving to become a painter and illustrator, she took advantage of a scholarship and entered the Art Students League of New York. Disappointed that the painting class was full, she turned to leave only to be stopped by a young woman who suggested she take a modeling course instead. "What is modeling?" was her immediate response, not having any knowledge of sculpture up until that point. The young woman was Hannah Small...