1970s Sculptures

1970s wooden sculpture of a woman looking upwards.

Paul Wunderlich Leaf Bronze Sculpture Signed, Numbered 248/350 Dated 1979 Paul Wunderlich, (1927 - 2010) Born in Eberswalde on 10 March 1927. The German painter studied at the K...

Bird on a branch by Ferdinand PAUTROT (1832-1874) Bronze with a nuanced old gilded and brown patina Signed on the base " F. Pautrot " old cast Underneath, label of the Resaler-Deco...

This amazing sculpture figures a peacock making the wheel. Each feather is made of a slice of transparent agate, soldered with brass to the rest of the wheel. The agate wheel is me...

Ruth Duckworth Full Tea Service (INV# NP3746) stoneware and glaze teapot: 8.25 x 7 x 3.5” creamer: 3.25 x 2 x 2.25” sugar bowl: 1.5 x 3.25” approx. cup: 3 x 2.5 x 1.75” approx. saucer: .75 x 4.5 x 4.5” circa 1972 signed RWD Ruth Duckworth (1919-2009) was born in Hamburg, Germany as the youngest of five children. The daughter of a Jewish woman, Duckworth had to leave Nazi Germany for her studies in sculpture and drawing, attending the Liverpool College of Art in 1936. She later studied at the Hammersmith School of Art, the City and Guilds of London Art School, and the Central School of Arts and Crafts. She joined the faculty of the University of Chicago in 1964 and, upon retiring from the university in 1977, moved her studio space to a former pickle plant in Lakeview, Chicago. Her work is featured at such institutions as the Art Institute of Chicago; Boston Museum of Fine Arts; Windsor Castle, England; Stuttgart Museum, Germany; National Museum of Modern Art, Japan; Museum Boymans-Van Beuningen, The Netherlands, Philadelphia Museum of Art; The Smithsonian Institution, Washington, DC; National Museum of Scotland; Kestner Museum, Germany; Schleswig Holsteinisches Landesmuseum, Germany; Museum fur Kunst und Gewerbe, Germany; City Museum, Bassano Del Grappo, Italy; Buckingham County Museum, England; Utah Museum of Fine Arts, Utah; American Craft Museum , New York; Los Angeles County Art Museum, California; Evanston Public Library, Illinois; The Metropolitan Museum of Art, New York. Most recently, Ruth Duckworth had a major exhibition at Salon 94...

One of a kind Goddess sculpture by Noche Crist (1909-2004). Noche Crist was an American artist born in Romania. Sculpture is made from polyester res...

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...

Impressed with artist’s seal Porcelain, radiating inlaid lines, manganese bands to rim and foot, with kiln splits 5 x 11 1/2 inches

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

Horse With Two Riders Large Outdoor Bronze Sculpture 1974 Artist signed, edition 2/6. Light blue green patina. Deaccessioned from the Boca Raton Museum of Art. This is a stunning ...

Eternal Moment Bronze Sculpture With Two Nude Figures Man and woman embracing, indoor or outdoor large bronze sculpture signed V. Salmones edition 6/10, 1979. Included in the Victor Salmones book published in 1991 "A Sense of Human". This large sculpture 76" almost two meters tall 196cm. Victor Salmones (1937-1989) was the most widely known sculptor living and working in Mexico during his lifetime. His sculptures won him universal acclaim and are held in the collections of museums, corporations, cities, universities and private collectors in some 30 countries. During his career, he was highly sought after and increasingly involved in the execution of commissions for major public works around the world. Salmones developed his love and talent for creating sculptures by working with clay in high school. He attended the Instituto de Bellas Artes where he was an apprentice to the Bauhaus master, Hoffman. He was trained to use the exacting, age-old lost wax method of casting and worked principally in bronze. His work explores styles that are both abstract and figurative and the grace and spirit inherent in his work endow his bronzes with a transcendent vitality. The international acceptance of Salmones sculpture...

Nam June Paik and Charlotte Moorman Happy New Year, circa 1970 Signed by both artists Electronic circuit board 8 1/4 x 9 1/4 x 1 1/4 inches Nam June Paik (1932–2006), international...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

Cheung Yee, Cast Paper painting, wall sculpture, black, edition CHEUNG YEE (1936–2019) The Chinese artist Cheung Yee, a pioneer of the contemporary art scene in Hong Kong, died in Los Angeles on December 4 at the age of eighty-three. The Hong Kong Museum of Art confirmed his passing. Best known for his paper castings; bronze relief; and wooden, stone, and bronze sculptures, which mixed Western modernism, traditional Chinese aesthetics, and elements of folklore and ancient philosophies, Cheung cofounded the avant-garde Circle Art Group with Hon Chi Fun, Wucius Wong, and several other peers. The group was active from 1964 to 1971. Born in Guangzhou, China, in 1936, Cheung was raised in Hong Kong but was forced to leave the region when the Japanese invaded China during the Second Sino-Japanese War; his family relocated to Guangzhou. When the conflict ended, Cheung returned to the region and began learning Gongbi, a realist brush technique in Chinese painting. In the 1950s, he studied art at Taiwan Normal University in Taipei, where he met his wife. Throughout his schooling, Cheung pursued his interests in archaeology and began experimenting with different materials and with approaches to copperplate etching, welding, and modeling. In 1964, Cheung’s first major retrospective was organized by the City Museum and Art Gallery at Hong Kong City Hall. The following year, he received a grant from the Institute of International Education to study in the United States and Europe. Since then, he has had solo exhibitions at the Hong Kong Museum of Art, AO Vertical Art...

Yaacov Agam, Purple blue, Kinetic art, Israeli art most, Israeli art

Chrome plated metal sculpture. Incised signature by Wifredo Lam. Edition 243/500B. Size 10.5 x 5.5 x 3.5 inches. Artwork is in excellent condition. All reasonable offers will b...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

Bronze sculpture of blind Samson collapsing the temple in the ultimate act in the story of Samson and Delilah created by American artist Arnold Goldstein...

One of a kind Goddess sculpture by Noche Crist (1909-2004). Noche Crist was an American artist born in Romania. Catalogue of a postumous retrospecti...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The s...

Artist/Designer; Manufacturer: Tom Wesselmann (American, 1931-2004) Marking(s); notes: signed; 1972 Materials: acrylic on paper over wire support Dimensions (H, W, D): 12"h, 8.5"w, 4...

"Louis Armstrong Blowing His Trumpet" is a unique painted fiberglass sculpture depicting the jazz musician Louis Armstrong. The sculpture is 32" x 48". Louis Daniel Armstrong was a...

Multi dimensional tower sculpture (polymorph screen print on folded PVC) on brass base. Hand signed by Yaacov Agam. Hand numbered 66/150 (slightly faded - see pic). Size: 34.25 x ...

Hand-signed Daido Moriyama Skateboard decks: set of 2 individual works: These works originated as a result of the collaboration between ...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Impressed with artist's seal Stoneware with an off-white matt glaze and bronzed rim 4 1/4 x 7 1/2 inches

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

"Scalloped Basket" is a stoneware piece with the decorative layer of the rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite pieces. The basket portion is shaped with gentle curves and a sculptural handle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This particular "basket" also has the cool blues and grays that contrast with the umber. It is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

Retaining a fine patina and in overall good condition. Signed with initials SB. I believe the edition size was 7 But I cannot find a mark. Stanley Bleifeld (1924 – 2011) was an American sculptor. Stanley Bleifeld was born and raised in Brooklyn, New York, Bleifeld earned bachelor of fine arts, bachelor of science in education and in 1949 a master of fine arts degree in painting at Tyler School of Art of Temple University. After a trip to Rome in 1959 or 1960 he gave up painting for sculpture. He began his fine-art career as a painter. However, a visit to Italy and exposure to the bronzes of Donatello, Michelangelo, and Ghiberti changed his direction He worked with the Art Foundry of Massimo del Chiaro and alongside artists such as Lucchesi, Harry Marinsky, Fernando Botero, Igor Mitoraj and Ivan Theimer. Many of his early pieces were religious subjects, and reflected both painting and sculptural techniques in bas reliefs* that had "liquid landscapes in undulating reliefs and free-flowing portraits reminiscent of classical fragments" (166-167). He later turned from these abstract pieces to more realistic figures in bronze. Bleifeld was a National Academician in Sculpture, and a member of the National Academy of Design, and helped set policy for that organization. He was also President of the National Sculpture Society. Past presidents of the society have included John Quincy Adams Ward, James Earle Fraser, Chester Beach, Wheeler Williams, Leo Friedlander, Neil Estern, and Cecil de Blaquiere Howard. The first woman to gain admission into the NSS was Theo Alice Ruggles Kitson, in 1893. She was followed a few years later by Enid Yandell and Bessie Potter Vonnoh in 1898; Janet Scudder in 1904; Anna Hyatt Huntington in 1905 and Evelyn Longman and Abastenia St. Leger Eberle in 1906. In 1946, Richmond Barthé was likely the first African-American to be admitted. In 1994, the NSS held their first exhibition outside the United States at the Palazzo Mediceo Di Seravezza in Italy. Titled “100 Years of the National Sculpture Society of the United States of America in Italy” it ran from the 16th of July through the 4th of September and was curated by Nicky and Stanley Bleifeld along with Costantino Paolicchi, Lodovico Gierut and Paolo Giorgi. Among the 60 notable American sculptors whose work was selected for the exhibition were Stanley Bleifeld, Andrew DeVries, Neil Estern, Leonda Finke, Bruno Lucchesi, Barbara Lekberg...

Artist: A. Ganso Title: Lions and Deer Year: 1973 Medium: Bronze Sculpture, signature inscribed Size: 23 x 15 x 13 inches (58.5 x 38 x 33 cm)

Deidad (Deity) edition 17/20, 1988, signed with certificate. Edgard Negret studied at the School of Fine Arts in Cali between 1938 and 1943. The followi...

Wonderful and one of a kind nude sculpture by Noche Crist (1909-2004). Catalogue of a postumous retrospective in 2008 at the American University Museum Ka...

Sam Gilliam (1933–2022) is beloved as one of the 20th century's most important abstract artists. He was a true innovator in the evolution of American abstraction. Several groundbreak...

Plexiglass and color screenprint multiple, circa 1970. With the artist's signature incised and numbered 85/125 at the base.

Combining patterns reminiscent of tessellation and a large grid-like system, Vasarely turns a plain hexagon into a concave surface. Shades of light and dark play across the 'facets' ...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The s...

An original carved marble sculpture by Constantin Antonovici from his Owl Series. Referenced in "Constantin Antonovici: Sculptor of Owls", pg 51. signature and date inscribed verso. ...

Helen Weber Large wall hanging wood and metal sculptural relief in a tropical Hawaiian or Polynesian motif with tropical flowers. "Art belongs everywhere from cruise ships to churches" This has been the mantra of Helen Webber since she began her career in the 1970’s creating hundreds of art works for public spaces throughout the United states and abroad. It was her strongly held belief that art can touch the spirit of many more people than those whose art experiences are limited to the halls and walls of museums and galleries. Her bold and richly hued art works executed in a wide variety of media, such as tapestry, glass, metal wood and clay have been installed in universities, corporations, medical facilities, cruise ships, hotels, religious spaces, community and civic centers and even in a train station. Over the years many architects and interior designers have collaborated with Helen Webber finding that her work enhanced their designed environments, giving her the opportunity to create art for well known corporations as well as multitudes of residences. It is the tapestries that she is best known for, and it is this medium that dominates the largest body of her work, which was first introduced to the design world in the mid 1970's. The tapestries utilize a fabric collage technique combining an array of designer upholstery fabrics such as velvets, brocades, worsteds, jacquards, mohair, hand woven woolens, among many others. Yarns of all kinds are integrated into the tapestries surrounding the edges of each fabric piece. Some clients, who saw that Webber’s particular art style could be expressed in a variety of media, offered her commissions in stained and etched glass, wood collage, sculpted tile...

Paul Sisko (American, b. 1942) Untitled, 1971 Stainless Steel Sculpture: 18 1/4 x 6 x 4 1/2 in. Base: 2 1/2 x 5 1/2 x 4 in. Signed: Paul Sisko "71" 9/12 Edition 9 of 12 Paul Sisko ...

Jacques Lerebourg hand made abstract metal sculpture in welded and polished metal with inclusion of a natural quartz or crystal mineral specimen. part of a distinguished group of Fre...

Carole Eisner's indoor sculptures, averaging two to four feet tall, are made from a welded collage of drops and cut-out steel pieces from the same series of scrap she found in a Conn...

Nine unique 3-Dimensional multi-layered abstract structural and architectural shapes fill the frame with the added interest of the shadows cast by the layering. Greg Copeland was the...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

Sculpture made of clay depicting a seated man in a cubist way

This polished bronze bust is sealed with Glasurit- a car finish that is baked on. It prevents the sculpture from tarnishing or yellowing. All you need to do is dust with a soft cloth. This bust is from a full figure wood sculpture...

Untitled, 1975 Bronze ED. 1 of 6 20 x 6 x 4 in Literature: Le Minotaure. Cardenas 1925-2001. May 15 - June 15, 2003. Illustrated on page 9 of the catalog.

Alfred Van Loen 1978 (1968 in casting?) signed 18 1/2" x 5 1/2" abstract stainless steel sculpture "Grand Kabucki", mounted on wood base, overall size 21 1/2" x 7" If there are any ...

Contemporary Aluminum Eagle Bird Sculpture Large Unique Metal Americana Folk Art Similar in design to the US Post Office logo from the 1950's. Signed "...

Organic, abstract bronze sculpture by Yulla Lipchitz of a woman lying down with a tree. About this artist: Yulla Lipchitz, née Halberstadt, was born on April 21, 1911 in Berlin, Ge...

Silver cast metal sculpture of an American buffalo created by American artist Arnold Goldstein. This artwork has the signature inscribed on the belly.

Margaret Koscielny (b.1940). Floating Images, 1974. Plexiglass sculpture. !0 x 10 x 10 images. Light base is new. Margaret Koscielny's work has been recognized in Who's Who in American Art; International Who's Who; Contemporary American Sculptors: An Illustrated Bio-Bibliographical Dictionary; Dictionary of American Women Sculptors; with articles in Kalliope (interview, photographs), The Florida Times-Union, Jacksonville Journal, Jacksonville Magazine; St. Petersburg Times; Atlanta Constitution and Journal; essays, by Joseph Jeffers Dodge, Drawings in Light and Space ; and Elihu Edelson, Arts Assembler; and reviewed in various newspapers, including a general review by John Canady, for The New York Times, of the American Drawing Competition, Moore College of Art, Philadelphia, (in which Koscielny was a participant). Influences and Early Background A native of Florida, Margaret Koscielny grew up in a family of classical musicians. Her mother, a violinist, was a descendent of an American Revolutionary war hero who, according to family legend, was related to William Pitt, the Elder, Prime Minister of Great Britain. Her father, a violist, was a graduate of the Leipzig Conservatory, emigrating to the US in 1929, where he became a music pioneer in Florida, teaching, directing bands and orchestras, and developing music education for string ensembles in the public schools. Her sister, Anne Koscielny, a concert pianist, was also a professor of piano for over 4 decades. Her step-brother, Gordon Epperson, was a prominent cellist, writer and college professor. Her niece, Cécile Audette, is a singer and choral conductor, and her grandniece, Renée, a violinist. Both sets of grandparents were musical, as well. This has influenced Koscielny's work the most, as it has provided inspiration and a sense of layers and the element of time in the construction and architecture of her work. Early Education and Career, 1960's Margaret Koscielny began her art studies at Texas Woman's University with Toni La Salle, (a student of Hans Hoffman). La Salle was the first, and most important influence on Koscielny's approach to drawing and art. Ms. La Salle's paintings reflected the ideas she developed under Hoffman's instruction, and she was Koscielny's first encounter with an Abstract Expressionist painter. Koscielny then attended the University of Georgia, where she earned the degrees of Bachelor of Arts in Art History and Master of Fine Arts in Art. Printmaking and drawing were the primary interests of her graduate work while studying with Charles Morgan, (a student of Jimmy Ernst, son of Max Ernst, the Surrealist). German Expressionism, surrealism and Abstract Expressionism were important influences during this time. The painters, Howard Thomas, James Herbert, and a fellow student, Jim Sitton were important mentors. She began, independently, the exploration of a technique evolved from printmaking combined with transparent media, and created her first "three-dimensional drawing-sculpture" in 1966. During the next two decades, Plexiglas was to be her primary format for drawings engraved, lighted and formed into assemblages. Teacher, Museum Curator, Artist, 1970's After a brief career teaching in public and private schools as well as Jacksonville University, she became Assistant to the Director of the Cummer Museum of Art and Gardens, (then called Ninah M. H. Cummer Gallery of Art). Margaret Koscielny was responsible for the organization and installation of exhibitions, publications, the training of Docents, and lectures on art history. During that time she also appeared regularly on television to discuss works of art in the museum's permanent collection. In December of 1973, Koscielny made a solo month-long tour of 9 major artistic capitals of Russia and the Ukraine in the former Soviet Union. This journey became the subject of nine lectures to capacity audiences at the Cummer Museum. She left the museum in 1974 to focus her activities primarily on her artwork. The 1970's were a time of numerous commissions, private and corporate for Koscielny, and she won the first National Endowment for the Arts grant in conjunction with the Florida Arts Council in 1975. This allowed her to execute three large sculptures in plexiglas which were exhibited at the Cummer Museum in 1976. Numerous other exhibitions throughout the Southeast followed. She also founded an independent group of 10 artists, Art Celebration! in 1973, because of the lack of galleries in Jacksonville.The success of the group's exhibition over a 5 year period precipitated new galleries to be established. Koscielny finished the decade with an invitation for a One Person Show at Vanderbilt University, also winning an international competition for the new Atlanta Hartsfield International Airport in 1979-80. She was one of only 3 women out of 13 artists, chosen from 500 competitors.The resulting three-dimensional assemblage, "Whole Sight," was in four parts, each 9 x 13 feet. They were installed on four walls over a descending 40 foot escalator. In late 1979, she was invited to produce and design an original ballet...

This exceptional Murano glass piece was created in 1970 by Alessandro Barbaro (Dorsoduro, 1936), a renowned artist and master glassmaker celebrated for his ability to transform glass...

Cast metal multiple. Signed, titled and numbered 2382/5000. Initialed and numbered 2382/5000 on the printed plastic justification card. Cast by the Mirano Foundry, Venice. Produced b...

A fine and rare aquatic themed Del Campo Studio wall sculpture by Virgilio Bari of Torino, Italy. This piece is masterfully constructed of welded steel rod, and freeform spill-castin...

Geoffrey Rose - Frozen Moments - Spilt Tea, Year: 1978, Medium: Resin sculpture, Size: 7 x 9 x 11 in. (17.78 x 22.86 x 27.94 cm)

William Haendel framed 16.75 X 17 paper 11.5 X 12.5 Bas relief on hand-made molded, cast, paper; Visual statement of modernist society’s role in conformity of the individual and acq...

"Man" by Isobel Folb Sokolow Welded steel, found metal, automotive metal, welding rod Sokolow directly welds found metals creating both purely abstract and abstract figurative indoo...

"Carta Series, Paper Imbeds" Experimental Printmaking Wall Sculpture Handmade paper sculpture by Harold Paris (American, 1925-1979). This piece exemplifies post-minimalist and exper...

Geoffrey Rose - Frozen Moments - Root Beer Float, Medium: Resin and Styrofoam Sculpture, Image Size: 6, Size: 8.5 x 6 in. (21.59 x 15.24 cm)

Wax lost bronze. 3/8. Founder CHAPON. Michel SERRAZ was born on August 2, 1925 in Paris he knows the price and importance of work and is constantly in a harmonious relationship wi...