20th Century Sculptures

This silk ikat textile wall hanging is by Japanese fiber artist, Jun Tomita.

Sculpture is a beautiful gray, with delicate texturing and the opening at the top of the stairs casts a striking reverse shadow. This plated steel pedestal sculpture is from Bella Fe...

This engaging bronze sculpture on black wooden base, well represents a human bust, but for its expressive force, the bust turns into an abstract shape of it. The artist who created t...

Albert Wein was born in New York in 1915 and was the only son of an accomplished woman artist, Elsa Wein. Her influence and intense commitment to nurturing the young Albert's seeming...

This artwork was created by the Italian artist Piero Perin. Piero Perin was born in 1924, in Cervarese , near Padua Italy. He lived and worked in Padova where he teached at the Schoo...

This is an Dale Chihuly Skagit Blue Pilchuck Aerial, 1996. In very good condition no cracks or breaks. Buyer is reasonable for all shipping cost.. 400 made

Ballet Dancer. Rosenthal Selb Porcelain Manufactory. Model 1772 Porcelain figurine representing the ballet dancer Sybille Spalinger, made by the Rosenthal Art Department (Kunstabtei...

Klaus Ihlenfeld (b.1934). Untitled, ca. 1960. Welded bronze. 8" h.; 5.5 " w; 3.25" d (base). Signed with initial under base. Provenance: Directly from estate of Harry Bertoia. The piece was a gift from Ihlenfeld and is a very early example created during Bertoia apprenticeship era. Excellent condition. Klaus Karl Otto IhlenfeldHe was born in Berlin, Germany in 1934. He studied art at the Hochschule für Bildende Künste and completed graduate work with the metal sculptor Hans Uhlmann. He visited the US in 1957 for the first time living in Durham, NC, where he befriended Dr. W. R. Valentiner, the Rembrandt authority and Director of the Museum of Art, Raleigh, NC. Through this friendship in 1960 he met and worked with the metal sculptor Harry Bertoia in Barto, PA. He joined the Staempfli Gallery in NYC and entered in many group and one-man shows. He has been an Artist-in-Residence in Ogden, Utah; Huntington Museum of Art in West Virginia, Penn State University at University Park; the Colorado State University in Denver; and Shippensburg University. He has large commissions at Kutztown University, Pottstown Hospital, and a monumental relief sculpture at the Emigrant Savings Bank in NYC. He has traveled extensively in Spain, Greece, and Mexico. He is living and working on a farm in Barto, PA welding bronze and forged iron metal sculptures and painting watercolors. Group Shows: North Carolina Museum of Art in Raleigh, NC - 1957 Solomon R. Guggenheim Museum in New York City - 1962 Staempfli Gallery in New York City - 1962, 1964 and 1965 Gallery Ludwig Lange in West Berlin, Germany - 1977 Gallery Herbert Remmert and Dr. Barth in Dusseldorf in West Germany - 1981 Jack Savitt Gallery in Macungie, PA - 1981 and 1984 Heinz Ortleb Gallery, West Berlin, Germany - 1992 Central Bucks Chamber of Commerce Show at the James A. Michener Art Museum in Doylestown, PA - 1997 Berks Art Alliance Show at the Reading Art Museum in Reading, PA - 1997 Mayfair Festival of the Arts at the Allentown Art Museum - 1998 Baum School of Art in Allentown, PA - 1997 Schwenkfelder Library and Heritage Center Art Show in Pennsburg, PA - 2001 Reading Public Museum in Reading PA, 2014 Solo Shows: Kutztown University in Kutztown, PA - 1960 and 1965 Allentown Art Museum in Allentown, PA - 1960 and 1961 Staempfli Gallery in New York City - 1962 Penn State University in University Park, PA - 1964 and 1972 Berks Art Alliance in Wyomissing, PA - 1966 Bertha Eccles Art Center in Ogden, Utah - 1967 Mansfield University in Mansfield, PA - 1967 Huntington Museum of Art in Huntington, WV - 1971 Shippensburg University in Shippensburg, PA - 1972 Albright College in Reading, PA - 1973 Ianuzzi Gallery in Scottsdale, AZ - 1974 Gallery Heimat 85 in West Berlin, Germany - 1977 Jack Savitt Gallery in Macungie, PA - 1981 College Misericordia in Dallas, PA - 1983 Schwenkfelder Library and Heritage Center in Pennsburg, PA, 2013 Periodical Reference: Kaye, Ellen "The Obsessive Collector," Philadelphia Inquirer Sunday Magazine Sptember 21, 1986 pp. 32-33. Chronology: 1-30-1934 Born in Berlin, Germany. Father, Kurt Ihlenfeld, Lutheran pastor, novelist, critic and publisher was born in 1901 in Colmar, Alsace Lorain. Mother, Annie Stuhlmann, was born in 1905 in Breslau, Lower Silesia. 1940 - 1950 Public schools in Berlin; Löwen, Lower Silesia; Coswig, Radebeul, Glaubitz, Saxony. Königin Luise-Gymnasium in Dahlem, Berlin. First artworks, drawings and paintings; few sculptures. 1950 - 1956 Studied at the Hochschule für Bildende Künste in West Berlin, Germany. Graduate work with metal sculptor Hans Uhlmann. For 2 years maintained own studio at the Academy. Friendship with writer Günter Grass, and painter F. S. Sonnenstern. Met painters: Max Pechstein, Karl Schmidt-Rottluff, Carl Hofer, Max Kaus, and sculptors: Bernhard Heiliger, Renee Sintenis, and Richard Scheibe...

Bust of the sculptor Jules Dalou by Auguste RODIN (1840-1917) A stunning bronze bust with a nuanced dark brownish green patina presented on a fine Belgian black marble base Signed o...

An extraordinary group of Ibeji "triplets" sculpted by the same master sculptor. Ibeji is name of a very specific type of carved wooden figure from Yoruba in Nigeria. Ibejis repre...

The Dancer is a sculpture realized by Giacomo Manzù in 1957. Unique piece. Exhibitions:  Manzù. L’Uomo e l’Artista, Palazzo Venezia, Roma 2002-2003 Manzù-Marino. Gli ultimi moderni,...

Beautiful, large Allan Houser bronze titled "Watching." The piece is signed "Allan Houser" and numbered 11 of the edition of 12. The bronze measures 23"h (including the 1" wooden pli...

Elijah David Herschler (1940-2023) Ribbon sculpture, 1985 Chromed metal Signed and dated to one end: elijah david herschler Dimensions: 38" H x 4" Dia. approximately Modern, abstract...

Takashi Murakami Flowers Skateboard Deck: A vibrant piece of Takashi Murakami wall art produced as a limited series in conjunction with the 201...

#9-031 Man on horseback , 1930's figurative sculpture,finely detailed metal casting .

Stamped, inscribed, and numbered below: Madoura plein feu; Edition Picasso; 48/100; Madoura White earthenware, partially colored and glazed Alain Ramié, Picasso: Catalogue de l'Œuv...

R.C. Gorman “Night Song, 1991” ceramic vase . In good condition some minor paint loss . measures 18x12

"Femme de luxe" (Bronze) by Erte Type: Sculpture Media: Patina on Bronze Dimensions: 13 3/4" High Year Produced: 1986 Edition Size: 500 Numbered, 35 AP Edition Number: 13/500 In Exce...

Painted Terracotta sculpture realized by Sirio Pellegrini in 1960s. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his chil...

Lundberg Studios Art Glass Vase. Every piece of glass that bears the Lundberg Studios signature represents the finest in contemporary art glass. Crafted by master glass blowers, trad...

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...

PABLO PICASSO (1881-1973) Visage No. 193 (A. R. 493) Terre de faïence plate, 1963, numbered 73/150, inscribed 'Edition Picasso' and 'Madoura', glazed and painted.

Hermann Volz (1847 Karlsruhe - 1914 ibid.), Naked warrior with short sword, c. 1935. Partially (?) patinated bronze with cast plinth mounted on a black marble base (6.8 cm high). 32....

Ilithyia III is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 26 × 16 × 18 cm (10.2 × 6.3 × 7.1 in). The sculpture is signed and numbered, it is part of a l...

Brumm Handcrafted Wood Wood box with velvet interior. This beautiful handmade inlaid wood decorative box by artist Norman Brumm (1939 - 2008) is an intri...

Painted Terracotta sculpture realized by Sirio Pellegrini in 1960s. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his chil...

Mark Morrison (1895-1964) Ram, ca. 1940 Carved diorite 9" long, 6" wide, height is 7.5" Rusty band on hind quarter is a naturally occurring iron ore occlusion in stone, which bot...

Artist: Pablo Picasso, Spanish (1881 - 1973) Title: Colombe sur lit de paille, (Dove on a Straw Bed) [Ramie 79 variant] Year: 1949 Medium: White earthenware clay, white enamel brushe...

Mid-Century Modern Brutalist Geometric Wall Sculpture by Stuart Mathews, 1970s A bold and architectural statement piece, this original 1970s wall sculpture by Texas artist Stuart Mat...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...

Auguste Rodin French, 1840-1917 "Main Droite Feminine, doigts semi replies, annulaire leve" Feminine Right Hand, semi-folded fingers, raised ring finger Conceived circa 1890-1900; cast circa 1930-1940 Signed "A Rodin" on the right side of the wrist and with the foundry mark "Alexis Rudier...

Created by artist Richard MacDonald for the 1996 Atlanta Summer Olympics, Flair Across America celebrates the triumph of the human spirit and the idealization of the human form. Wh...

Salvador Dali (1904-1989) – The Two Nikes, Lilith, The Double Victory of Samothrace, Homage to Raymond Roussel Literature: Descharnes, Robert, Salvador Dalí, and Nicolas Descharnes. "Dalí, the hard and the soft: spells for the magic of form : sculptures & objects." (Azay-le-Rideau: Eccart, 2004), p, 114 (entry 270). Rare original bronze from edition of 6. This is exceedingly rare as most of his editions run into the hundreds. this is a true authentic Dali original sculpture. This was recently authenticated and comes accompanied by a Report of Authenticity from Frank Hunter, the Director of the Salvador Dalí Archives. Löpsinger 270 Executed in 1966, this bronze statue is incised with the artist’s signature and numbered ‘5/6’ on base. Published by Berrocal Foundry, the work measures 7 3/8 inches in height. Salvador Dalí (Spanish, 1904-1989) A leading proponent of Surrealism, Salvador Dalí is perhaps as well-known for his flamboyant personality as his superb technical skill. Dalí became acquainted with André Breton, a key figure of the Surrealist movement, in 1929. “The Persistence of Memory” is often cited as the most important work of this style. The Museum of Modern Art, New York, held a retrospective of the artist’s work in 1941. The next year, he began a more classical series of paintings, incorporating history, science and religion. In addition to painting, Dalí also made prints, photographs, films, jewelry and sculpture. His works can be found in collections worldwide, including the National Gallery, Washington, DC and the Salvador Dalí Museum. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous - the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches...

Cockatoo Head turned to the right, with a raised and spread out crest by Edouard-Marcel SANDOZ (1881-1971) A bronze sculpture with a dark brown patina nuanced with green Signed on t...

This intense bronze sculpture was made by the well known Italian artist, Aron Demetz, in 2004, Italy. This is a lost wax bronze hand painted. The title is "Il grande freddo" translat...

Painted Terracotta sculture realized by Sirio Pellegrini in 1960s. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his child...

This intense bronze sculpture was made by the well known Italian artist, Aron Demetz, in 2004, Italy. This is a lost wax bronze hand painted. The title is "Ricordo" translated in "Me...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: La Femme A La Panthere Year: 1981 Medium: Bronze Edition: 43/250 Numbered, 12 AP, 9 HC Size: 15 inches Condition: Excellent Inscrip...

Cubist style abstract mixed-media sculpture titled 'Blue Tone Tower' was created using various materials including wood, papier-mache, and paint by Bill Low ...

Stamped with artist stamp on verso. Edition number written on verso. Ed. 50/500. Framed dimensions: 15.88 x 15.88 inches

"Pioneer Family," 23 1/2 x 16 1/4 x 10 3/4 inPlaster. c. 1927. Unsigned. Realism The Smithsonian has a cast of this sculpture in its collection. Pictured on the cover of “The Sculpt...

Mid century modern original terracotta sculpture by the Hungarian artist, Anna Berkovits of a young woman with her two children. Circa 1955. Signed in the inside of the base. Condition is excellent. Parts of the sculpture have been deliberately not been glazed by the artist. Her work rarely becomes available. Provenance: Sarasota, Florida estate. Anna Berkovits was born in Hungary in 1911 and lived and worked in Budapest. She trained under the art teacher Almos Jaschik in Budapest. Later she was trained in ceramics by the artist Gador Istvan...

Walter Sinz (American, 1881-1966) Zinnia, c. 1930 Plaster Signed on base 9 x 8 x 4 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz’s fa...

Vase aux chèvres (A.R. 156), July 6th, 1952 Ed. 40 pcs H. 19 cm I H. 7 1/2 in White earthenware clay, deep engraving filled with oxidized paraffin, dipped in white enamel Dated on on...

French Art Deco terracotta sculpture by Ugo Cipriani (1887-1960), France, 1930s. A man operating a rudder. Measurements : Width : 31"(79cm), Height : 16.7"(42.5cm), Depth : 8.7"(22cm...

PABLO PICASSO (1881-1973) Motif spiralé (A.R. 404), 1957 Ed. 6/500 pcs White earthenware clay, decoration in engobes, knife engraved, glazed underside D. 24.2 cm I D. 9 1/2 in Stampe...

Rotazione Ascensoriale I , 1993 bronze sculpture h15 x 12.5 x 8 cm approx , ( including base ) , diameter Ø approx 13.5 cm limited edition , numbered: 15/70 signed dated and numbered...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Nude Man Holding Crystal Ball White Sculpture Modern cement, plaster, clay sculpture of a man holding crystal ball painted white, Signature not found. Ab...

Painted Terracotta sculture realized by Sirio Pellegrini in 1960s. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his child...

Paul Maxwell Rare Sand Cast Bronze & Wood Brutalist Totem Sculpture (1967, Commissioned) A striking and rare example of Paul Maxwell’s early sculptural work, this monumental totem wa...

A white marble sculpture by Domenico Casasanta from 1972. A pristine, minimalist object of modernist, architectural features. Artist: Domenico Casasanta, Italian (1935 - ) Titl...

PABLO PICASSO (1881-1973) Vase deux anses hautes (A. R. 213) Terre de faïence vase, 1953, from the edition of 400, inscribed 'D'Après Picasso / Edition Picasso', partially glazed a...

Bronze with patina sculpture. Incised signature by the artist and stamp numbered with foundry and date. From the edition of 350. Size including marble plinth approx. 15 x 8.5 x 3.5 ...

A rare and textural abstract wall sculpture by renowned folk artist and preacher Rev. Howard Finster (1916–2001), dated 1992 and numbered 25,000,621. This signed piece is hand-painte...

Two nude figures hold each other in a tender embrace, their eyes closed and hair spilling over their shoulders and across their backs. Although rendered in resin, a patina was added to recreate the effect of bronze. This piece is similar to a work by Auguste Rodin, often called "The Kiss" or "The Embrace". The production studio's signature is inscribed in the base. Lovers Embrace...

This stunning piece of surrealist art captures the viewer's imagination with intricate forms and vibrant colours. It features an interplay of organic shapes, evoking a dreamlike qual...

Deer battle France, bronze, marble, h 29.5 x 66.5 x 18 cm base size 64x20 cm

PABLO PICASSO Visage aux yeux rieurs (A.R. 608), January 9th, 1969 Ed. 137/350 pcs White earthenware clay, decoration in engobes engraved by kn...

Biface Jesus Rafael Soto, Venezuelan (1923 - 2005) Year: 1973 Medium: Color screenprint on black and blue painted metal panel, in front of this black and blue painted metal rods atta...