1930s Sculptures

Refined white marble statue from the first half of the 20th century. This is a very high quality copy of a work by the great Italian sculptor Giacomo Ginotti (1845-1897). Known as Th...

Dan Super "SAM HOUSTON" (1873-1953) Houston Artist Image Size: 3 3/4 inches tall Medium: Carved Horn of Sam Houston to celebrate the Texas Centennial. Texas Centennial 1936 "Sam Houston Pin Cushion Holder" Biography Dan Super (1873-1953) Dan E. Super, Jr. (1873 – 1953) Dan Super had the eye of a sculptor, envisioning and then creating hundreds of objects from the elongated form of a Texas Longhorn’s tusk. At the age of six, Dan Super carved his first drawing into a piece of the horn of a Texas Longhorn. Over the next 56 years, he made utilitarian pieces like pencil cups, pin cushions, and backscratchers, realistic replicas of animals and birds, and imaginative carvings of elegant nudes. While these carvings resemble the traditional art of scrimshaw, carvings from whale bone, we’ve not been able to identify another carver who used the Texas Longhorn as his material. “My work is done with an ordinary pocketknife, hacksaw file and rasp,” Super wrote in 1937. He used the horn in every way conceivable; whole, allowing the shape to define the object he was making, flattened to make mosaic or inlay work. He incised and pierced it and carved in the round. His own hands polished the horn to a sheen. Daniel Super, Jr. was born in Houston on August 22, 1873. His father owned stock years, D. Super and Brothers Co., providing the young Super with ready access to his raw material. Throughout his life, he worked in the businesses key to the identity and success of young, booming Houston, cattle, oil, real estate and rail. In 1896 he married Lula, and took over the family business, expanding it to include a grocery. He closed the company in 1912 and got into the oil business...

Art Deco patinated bronze titled "The Discus Thrower" by Claire Jean Roberte Colinet (1880-1950) Raised on a circular green marble base and the attached to a square lacquered metal b...

Golf (Wall Plaque) Polychromed ceramic, c. 1930-1 Signed with the artist's initials: VS recto Very rare, only a few produced prior to the closure of Cowan Pottery Format: Round ceramic plate, 11 1/4 inches Designed by the artist while working for Cowan Pottery in 1930. One of Cowan's clients, an interior designer, requested plates decorated with different outdoor activities. Others in the series included "Swimming," "Tennis," "Polo," and "The Hunt." According to Henry Adams, the number of examples created was very limited due to the closing of Cowan Pottery in 1931. Very rare Condition: Good, with the usual craquelure of the glazes used. Note: Industrial design democratizes high style, and Mr. Schreckengost was widely considered among the most democratic industrial designers. He made, quite literally, the stuff of life — things found routinely in homes, backyards and garages in this country and around the world. He designed bicycles for Sears and everyday china for American Limoges...

Asymmetrical head of man, terracotta sculpture, 1930s-40s, Giorgio Rossi (1894-1981). Terracotta modeled by hand by the artist. Unique piece.  Dimensions: Height 34 cm. The choice ...

White stone head in the art deco style. Born in Lithuania at the end of the nineteenth century, Boris Lovet-Lorski studied art at the Imperial Academy of Art in St. Petersburg before working briefly as an architect. He immigrated to New York in 1920 and became an American citizen five years later. His sculptures epitomize the ideals of the Art Deco decades: comprised of sleek lines and smooth surfaces, the streamlined compositions reflect the new technological forms of the machine age. Despite their modernist treatment, Lovet-Lorski’s elegant, stylized figures reference both ancient and classical sources and are characterized by a universal and serene sensibility. Concentrating on figural busts, familial groups, and standing female nudes as his subject matter, the artist rendered them in a variety of media. The materials range from the traditional bronze and marble to exotic woods and unusual stones; each is carefully selected so that its surface texture and color contribute to the emotive aura of the work. Carved out of a block of limestone, Untitled (Head) depicts a female visage nearly androgynous in its idealization. The delicate features of her face, the long, straight nose, thin pursed lips and high cheekbones, are made even more diminutive by the massive bulk of the stone that serves as their backdrop. The prominent widow’s peak of her hairline and the strong arch of her brow, two of Lovet-Lorski’s most distinctive characteristics, are elongated to accentuate the linear rhythms of the composition. The layers of her hair are delineated by stepped striations reminiscent of archaic precedents, which meld into structural columns and connect the form architecturally to the stone’s mass. Unlike the majority of Lovet-Lorski’s sculptures, in which the heads of the figures are tilted to the side or downward to convey a pensive mood, the woman in Untitled (Head) looks straight ahead. Her frontal positioning gives the composition a nearly perfect symmetry, in turn endowing the work with a still, eternal sensibility. The notched surface of the surrounding limestone stands in sharp contrast to the smoothness of her skin. In the twenties, the artist tended to finish his sculptures to a highly polished degree of refinement, but in the thirties he began to experiment with contrasts of texture and the aesthetic of the fragment. In this respect, the work is vaguely evocative of Egyptian funerary sculptures, in which the figures were carved with an eye for three-dimensionality but were left intact in a larger piece of stone to give them physical durability and permanence. Embodying classical ideals of stoicism and universal beauty, the sculpture ultimately exudes a surface allure that is difficult to resist. A similar example of this approach can be seen in the 1937 sculpture Diana, which resides in the permanent collection of the Hirshhorn Museum and Sculpture Garden, Washington D.C. Carved from a piece of black Belgian marble, the work is a stylized bust of the Greek goddess Diana...

Pair of bookends with Elephants by Ary BITTER (1883-1973) A very fine pair of bronze sculptures with a nuanced dark brown patina Signed " Ary Bitter Sclp " on an original plaque on ...

Keith Murray, architect and industrial designer, created this particular vase, "Chinese Lantern" in moonstone white ( shape no.3765) Made in England. Priced individually at $1200 each, we have this same vase in Yellow and in Green. A quote can be given for additional pieces. We have yellow green and moonstone in bombe in small and large sizes. We have celadon bowls, yellow bowls, and small moonstone pot with lid. All c. 1935 art deco style made in England. All in excellent condition. These are the most desirable classic examples of pottery by Architect Keith Murray produced for Wedgwood in the 1930's. Published and illustrated in the book "Wedgwood Ceramics...

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

French Art Deco bronze sitting nude by F. Trinque, 1930. A gorgeous Art Deco woman stretching her arms and drying her back with a towel possibly after a swim or bath with a rich gold...

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...

Rare and beautiful sculpture by Niki de Saint Phalle, certificate by Niki de Saint Phalle Foundation. Some small lacks of gilding on the wings of the bird.

Young woman seated with drapery by Pierre-Marie POISSON (1876-1953) Bronze sculpture with nuanced green patina signed on the base "P. Poisson" old cast France circa 1935-40 height 21,5 cm length 24,5 cm depth 11 cm Biography : Pierre-Marie Poisson (1876-1953) was a French sculptor and medalist. He studied sculpture at the Ecole des Beaux-Arts in Toulouse from 1893 to 1896, where he trained in plaster works. He completed this teaching in the Barrias studio in Paris. He began to exhibit his works in 1899 at the Society of French Artists and in 1907 obtained a medal of honor at the Salon as well as an allowance to reside at the villa Abd-el-Tif in Algiers where he designed and produced the decorations. He returned there regularly until 1914. After the Great War, Poisson collaborated with the Compagnie des Arts Français with Süe and Mare. In 1922 the city of Niort commissioned Poisson a war memorial located on the esplanade of the keep. Poisson created the monument to the dead in Le Havre in 1925, considered his masterpiece. He participated in various decorative works : lounge of the Paquebot...

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...

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...

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...

"Nkondi Bakongo Fetish - Zaire" is a sculpture created out of wood, cloth, nails, and twine in circa 1930. This statue is large and formidable. The figure's limbs are wrapped up in a...

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...

Patinated bronze sculpture realized in 1930s after the american sculptor Avard Tennyson Fairbanks (1897-1987). The first known original work of this subject is held in the collection...

Sculptor, engraver and medallist. Serge Zelikson received his secondary artistic education in his native country. In 1914 he arrived in Paris, where he studied at the Ecole des Beaux...

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...

This sculpture is part of our exhibition Charles Goeller: A Wistful Loneliness. Carved and painted wood and gesso, 23 x 15 3/4 x 3 inches, Signed verso "Carved by Charles L. Goeller...

Arrighini Nicola (Pietrasanta 1905-1977) a sculptor of Pietrasanta (Italy) in 1930 decided to create, in white Carrara marble on black marble basis, the Mask of Leopoldo Fregoli, o...

Ena Rottenberg (1893-1952) art glass sculpture titled "Modell.” Made in Czechoslovakia. Marked “Rottenberg” 13" H. This piece was awarded the Grand Prix at the World’s Fair Paris, 19...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1930s Music (attributed), brass and wire construction, c. 1936, 28 x 14 x 5 inches; perhaps exhibited at Hollywood Riviera Gallery, 1936 (third prize); provenance includes Estate of Jon Spencer Helfen (Los Angeles, CA About the Sculpture In 1935, Philip Paval bought a box of metal in a “blind auction.” Paval, a painter, sculptor, and jeweler, had hoped the box contained silver. To his dismay, it was brass. Seeing an opportunity, Paval started to make sculptures from the brass sheets. His subjects included Cinema, Hollywood, Radio, Dance, Aviation and Music. The works were well-received with the Hollywood crowd and critically acclaimed. Actor and comedian, Ben Bard, purchased four of them for his theater, and novelist and screenwriter, Vicki Baum ordered four more for her drawing room. Movie director King Vidor also purchased them. Los Angeles Times art critic, Arthur Millier, described Paval’s “contraptions” as “ingenious, decorative, different.” Paval exhibited these works for several years in the late 1930s, including at the American Artists’ Congress Gallery in Los Angeles in an exhibition called Formalism and Abstraction in 1938 and at a solo show at Stendahl Galleries in 1939. The appeal of these works must have been irresistible, as a 1936 Los Angeles Times article noted, “Two feet of brass art has been stolen from the Hollywood Riviera Galleries. The work is an abstraction. It portrays the spirit of music and rested on the grand piano in the main hall. The work of Philip Paval, it won third prize in the current gallery exhibition at the gallery.” One can only wonder whether this is the “contraption” which was pilfered from the gallery nearly one hundred years ago. Given the description of the work, its subject matter and size, it seems likely. About the Artist Philip Paval was a sculptor, painter, and jeweler. Born in Denmark, Paval was apprenticed to a silversmith and studied art in Denmark. He immigrated to the US in 1919 and first worked as a merchant seaman in New York. The following year, Paval settled in Los Angeles where he later opened his own jewelry shop featuring works he designed and produced. Paval became a favorite in the entertainment world, making a good living selling silver...

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...

Entangled bodies, 1942. Terracotta sculpture by Giorgio Rossi (1894-1981). Tuscan Sculptor. Material: Hand-modeled terracotta by the artist. Unique piece. Dimensions: Height 23 c...

Presenting an original carved wood sculpture by American WPA artist Avis Zeidler Nemkoff. "Isabella", is a hand carved wood sculpture measuring 18.5 inches tall, exceptional original condition, originally acquired from the estate of the artist who resided in Northern California. This is a magnificent one of a kind hand carved wood sculpture, c.1938. Please contact the gallery for additional information •Avis Zeidler was born in Madison, Wisconsin, in 1908. •It is not known when Zeidler moved to California. However, in the 1930s she majored in art at the University of California. •Later, she enrolled at the California School of Fine Arts after receiving a scholarship for her studies there. She studied with Ray Boynton, Lucien Labaudt, Karl Eugen Neuhaus, and Ralph Stackpole...

The small bronze depicts a small seated faun, immortalized while playing a wind instrument as can be clearly seen by the puffy cheeks. is signed at the base R. Castagnino and is from...

Philip Paval was a sculptor and silversmith who worked primarily in Los Angeles. He was known as a Hollywood Artist, as he affiliated with many of the Hol...

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...

Hans Harders (1875 Mörel - 1955 Berlin), Boy playing the shawm, around 1930. Dark patinated bronze with round plinth on a black marble base (2 cm high), t...

Polo (Wall Plaque) Polychromed ceramic, c. 1930-1931 Signed with the artist's initials: VS recto Cowan Pottery stamp verso References And Exhibitions: Designed by the artist while working for Cowan Pottery in 1930. One of Cowan's clients, an interior designer, requested plates decorated with different outdoor activities. Others in the series included "Swimming," "Tennis," "Golf," and "The Hunt." Condition: with the usual craquelure Size: 11 1/4 inches in diameter Industrial design democratizes high style, and Mr. Schreckengost was widely considered among the most democratic industrial designers. He made, quite literally, the stuff of life — things found routinely in homes, backyards and garages in this country and around the world. He designed bicycles for Sears and everyday china for American Limoges. He designed children’s toys and pedal cars; flashlights, furniture and fans; lawn chairs, lawn mowers...

'Seated Nude', Paris, Académie de la Grande Chaumière, Salon D'Automne, Woman Artist, LACMA, GGIE, Jeu de Paume Signed 'Lloyd' for Caroline Lloyd (Americ...

Artist: Burr Miller (1904-1958) Title: Bust of Helen Coolidge Woodring Year: 1939 Medium: Patinated Bronze, signed, titled, and dated on verso Size: 14.5 x 7.5 x 9 in. (36.83 x 19.05...

Signed lower right: Marco Novati Italo Balbo was one of the key figures of Italian fascism, being among the four quadrumvirs of the March toward Rome whic...

Bronze Jewish Rabbi. Original Patina. Art-deco wood carved base. It is signed with initials P.K. and marked "Calif Art Bronze Fdry LA" (California Art Bronze Foundry Los Angeles). it is not dated. PETER KRASNOW (1886-1979), Russian-Ukrainian, American artist painter and sculptor, born Feivish Reisberg, was a California modernist and colorist artist known for his abstract wood sculptures and architectonic hard-edge paintings and drawings which were often based on Hebrew calligraphy and other subjects related to his Jewish heritage...

Art Deco bronze sculpture two panther heads by Irenee Rochard, France 1930. The bronze has a green patina and stands on a Belgian Black marble base. Information on the artist: Ani...

RICHARD GARBE, RA (1876-1957) The Falconer Signed and dated on the reverse: Richard Garbe, ARA / 1932 Patinated plaster 49.5 cm., 19 ½ in. high Proven...

Pyrenean bear sitting by Georges GUYOT (1885-1972) Sculpture in bronze with a nuanced black patina Signed " Guyot " on the base Cast by Martin Canal, without founder mark France circa 1935 Height 18,4 cm Width 17 cm Depth 18 cm Biography : Georges Lucien Guyot (1885-1973) known as Georges Guyot was a French animal artist. From an early age, he showed artistic abilities, but the modest conditions of his parents did not allow him to study art. He was doing his apprenticeship with a woodcarver. Guyot then excelled at copying works of the fifteenth, sixteenth and seventeenth centuries, but soon he showed a special attraction for nature. This attraction led him to the Jardin des Plantes in Paris where he could study wild animals and translated his observations into sculpture and painting. As a famous figure of Montmartre, he was the host of the Bateau-Lavoir from the time of Cubism. In 1931, Georges Guyot joined the group of "The Twelve", created by François Pompon and Jane Poupelet, gathering sculptors like Marcel Lémar, Paul Jouve, André Margat, Jean-Claude de Saint-Marceaux, Georges Hilbert, or even the painter Adrienne Jouclard...

Parrotlet by Armand PETERSEN (1891-1969) & SEVRES Manufacture Sculpture in white paste porcelain Signed « A. Petersen » Old edition artwork. Stamped by the porcelain manufacture of ...

John William Mills (born 4 March 1933, London) is an English sculptor. He studied at Hammersmith School of Art, 1947–54, and at the Royal College of Art, 1956–60. He was a resident ...

"Idgo Nigeria Female Standing" is a wooden statue with blue and white pigment created in Nigeria circa 1930. This figure stands up right with arms out slightly in front of her. A st...

Portrait of a woman by Marcel GIMOND (1894-1961) Bronze with a nuanced dark brown patina signed on the neck with the monogram "MG" period cast by "Meroni Radice, cire perdue, Paris"...

This exquisite pair of Art Deco wood sculptures attributed to Ferdinand Parpan features elegantly stylized nudes, masterfully carved with smooth, ...

Numbered 1/8 Cast Fonderie Rocher A fine cast with a vivid green patina of a bird of prey

African Wood c1930 Ceremonial Figure w/Vessel For Offering. Nigeria-Yoruba 32 1/2 x 16 x 10"

This ceramic pot was made by an unknown Mossi artist in Burkina Fasso. It was used as a farmer's water jug. The Mossi are a people in central Burkina Faso, living mostly in the villa...

"Cow Pull Toy" is a carved and painted wood sculpture by an unknown folk artist. The sculpture is 9 1/4" long and 7 1/4" high.

Pair of bookends with Elephants by Ary BITTER (1883-1973) A very fine pair of bronze sculptures with old gilded nuanced dark brown patina Signed " Ary Bitter Sclp " on an original plaque Old cast by Susse Frères Raised on wooden bases France Circa 1935 total height for one: 27,5 cm total height for the other: 17 cm Biography: Ary Jean Léon...

Modern artist George L.K. Morris created this abstract biomorphic nonobjective plaster sculpture during the WPA era of the 1930s / 40s. Monogrammed. Though George Lovett Kingsland Morris studied with realist painters John Sloan and Kenneth Hayes Miller at the Art Students League, the influence of their points of view was replaced by that of abstractionists Amedee Ozenfant and Fernand Leger. The paintings of Morris were two-dimensional, hard-edged and brightly colored. Born in New York City in 1905, Morris became a full-fledged abstractionist and a founder in 1936 of the American Abstract Artists. He edited "The World of Abstract Art, the group's publication, and was their president from 1948-1950. Morris had graduated from Yale in 1928 and studied at the League until 1930, when he went to Paris to attend the Academie Moderne. A sculptor, writer, art critic and teacher in addition to abstract painter Morris himself later taught at the Art Students League from 1943-1944, as well as St. John's College, Annapolis, Maryland, 1960-1961. Morris' intrinsic abstract bent was made even clearer by his positive feeling for Hans Arp's sculpture. He and Arp edited the French art magazine, "Plastique." Morris also edited the "Bulletin of the Museum of Modern Art" and "Partisan Review." He died in 1975 in New York City. George LK...

"Fire Spiter's Mask/Senufo Mask of Worship Ceremonies" is made of wood and was created in the Ivory Coast circa 1930. This mask has to heads on either side...

Marble portrait of a boy in 1930 not signed

A very rare bronze cast of two battling Rams, by Sirio Tofanari (1886-1969). An old cast with a dark brown shaded patina. On a heavy green marble steppe...

Keith Murray Pottery 6" matte green vessel. Excellent condition, normal wear on the bottom. We also have a larger collection of Keith Murray pottery in large Moonstone and Bombe, celadon polished glaze bowls and many others. Please contact for further details and photographs. Keith Murray was both an architect and industrial designer, considered one of the most famous industrial designers for art deco ceramics. This green piece photographed, has a matching one in yellow. Each are 950.00 or $1700. for the pair. We have an extensive collection of his pieces, many not illustrated here. Please inquire for further photographs. All from Keith Murray designed for Wedgwood in the 1930' and illustrated in the book "Wedgwood Ceramics...

This ceremonial mask was created by an unknown artist in the Yaka tribe of Africa. This mask is made out of carved wood, plant fibers, and painted intricately. This mask is mounted on five steel rods and has a base. 26" x 14" x 15" The Yaka are an African ethnic group numbering around 300,000 found in southwestern Democratic Republic of the Congo, with Angola border to their west. The Yaka are notable for their arts and handicrafts. They make statues, portraits, baskets, carved objects, masks, tools for cooking, building, hunting, fishing or entertaining with additions of instruments such as drums. Their masks are bulky, distinctive with upturned noses and eyes shaped in the form of globules. These masks were frequently used in various Traditional Religion ceremonies. Their sculptures called Mbwoolo and their carved slit drum...

"Bobo Mask of Dance" is a wood sculpture with painted accents. A human face with two protruding shapes make up the mask, while a long structure sit atop. 37...

Monumental, Art Nouveau, Bronze Sculpture – Anonymous (20th Century) “Woman with Two Borzoi Dogs” 6 feet 7 inches high x 3 feet 3 inches wide x 2 feet 5 inches wide Medium: Silvered, patinaed and painted bronze Provenance: Maxwell House...

A fine quality, twentieth-century bronze model of a roaring lioness by Alberic Collin (Belgian 1886-1962). Prior to casting by the Valsuani foundry it w...

Ducks by Josette HEBERT-COEFFIN (1906-1973) Sculpture made in stone signed on the base "J. H. Coëffin" France circa 1930 height 10 cm width 16,5 cm depth 14,1 cm Biography : Jose...