20th Century Sculptures

The Dan people of Liberia have a history of using masks like these for rituals pertaining to various aspects of their lives. This particular mask has a commanding, yet gentle presence. The carved wooden face...

An original clay wall sculpture by American artist Neil Tetkowski.

TECHNICAL INFORMATION Tom Wesselmann Wildflowers 1987 Enamel on Laser Cut Steel 38 x 24 3/4 in. Edition of 30 Signed & numbered on bottom and on verso Accompanied with COA by Gregg...

A sculptor of kinetic objects, many of them with mazes of thin rods that appear brush like, Harry Bertoia was born in San Lorenzo, Italy, and came to America in 1930. In 1936, he stu...

"The Mother" is a bronze sculpture by the English professor of modeling and sculpture Albert Toft. About the artwork The bronze is covered with dark brown...

Robert Winslow emerged as a recognized sculptor and painter in the late 1970’s. His paintings and sculptures are in the collections of many prominent corporations including McDonald...

Val Bertoia was born in Santa Monica, California in 1949. In the 1950s, his family moved from California to Pennsylvania where he has lived and worked here ever since. In the1960s, V...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 29" tall. Traditional Wayang Golek plays can be compared to European and North America: most performances revolve around Kings, Queens, Princes and Princesses who fight against evil, mystical, beings to (usually) end happily. Three-dimensional Indonesian puppets...

Eternal Moment 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...

"Senufo Mask of Ceremonies (from Republic Ivory Coast)" is an carved wood artifact from the Senufo people of Africa, in the northeastern cote d'Ivoire. The...

This artwork is made in solid cast polished aluminum. The organic forms recall bodies or souls that fit together. Giacomo Benevelli is an Italian ar...

Gérard Ramon recognizes the influence of the great sculptors, such as Auguste Rodin (1840-1917), and that of his master at the Beaux-Arts, Marcel Gimond. ...

"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...

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...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 26" tall. Traditional Wayang Golek plays can be comp...

"The most Greek of all the gods, in art the ideal type of young, but not immature, manly beauty. A master musician, archer, healer, and prophet, he is the god of light and the god of truth. The rugged, strong, masculinity of the stone - its unique character - suggested Apollo to me." - Anita Huffington Quote from the monograph "Anita Huffington," Photographs by David Finn...

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...

Sorel Etrog (1933 - 2014) is arguably Canada's most famous sculptor. His work can be found in numerous museum and private collections including the Tate, the AGO and LACMA. His pub...

"Mossi Head dress Mas ceremonies Rep Upper Volta" is a wood sculpture that includes various other materials such as fabric, and fibers. An abstracted animal with a hump and a bird on it's back make up the top of the headdress. 27" x 6" x 1" The Mossi states were created about 1500 A.D., when bands of horsemen rode north from what is now northern Ghana into the basin of the Volta River and conquered several less powerful peoples, including Dogon, Lela, Nuna, and Kurumba. These were integrated into a new society call Mossi, with the invaders as chiefs and the conquered as commoners. The Mossi make both political art and spiritual art. Figures are used by the ruling class to validate political power, and masks are used by the conquered peoples to control the forces of nature. The several mask styles reflect the diversity of the population before the 15th century invasion. Long tall masks...

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...

Dudley Vaill Talcott, American (1899-1986), Free Form Abstract Sculpture [II], circa 1984. From the estate of the artist. In fine condition. Exhibited: Aetna Life Insurance Galler...

"Couple" is a bronze sculpture by the Bulgarian artist Pavel Quoitcheff. About the artwork "Couple" is a real masterpiece artwork made of bronze. NEW MOVEMENT & STYLE: Contemporar...

Awesome Art Nouveau sculpture by Agathon Léonard ( Lille 1841-1923 Paris ). Gilded bronze, circa 1900. Signed on the back: A Léonard sclp and foundry...

A pair of original wire mesh figurative sculptures by American contemporary artist Randy Cooper.

Assemble, flowers, seeds and wax

This fiberglass sculpture is a minimalistic geometric abstract that would enhance any contemporary setting. It is quite large at 70 inches tall.

Bronze artwork made with lost wax casting technique. This is the prototype, unique signed artist proof. Title "Sleeping body" Sergio Monari is an Italia...

Sculpture in terracotta.

Marble portrait of a boy in 1930 not signed

Marble free form sculpture by Chrissy Harris. Composition is cipollino green marble from Greece. Signed on base of marble sculpture. American School....

Apache Gahn Dancer limited bronze edtion

Franco Mauro Franchi was born in Castiglioncello (Livorno) on 9 October 1951. He completed his artistic studies at the Lucca State Institute of Art and the Academy of Fine Arts in Fl...

Stanley Bleifeld came to prominence as an artist in the 1950s. In 1967, the Bridgeport Sunday Post art critic wrote, “The name Stanley Bleifeld and sculpture are synonymous.” His fam...

"Copernicus' Midnight Sun" from "Worlds in Collision" Large Sculpture Series by Isobel Folb Sokolow Welded steel, welding rod and gold leaf Sokolow welds organic abstract forms fro...

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...

The mirrored surfaces of the stainless steel Maldonado work of art, reflect the world around. Maldonado's artistic research has an ethological matrix: a sign as a kind of pre-Incan g...

Artist: Richard Shiloh, Polish/Israeli (1949 - ) Title: Girl holding a Mirror Year: Circa 1975 Medium: Bronze with Painted patina, signature inscribed ...

This Golek Puppet was created by an unknown Indonesian artist using wood and cloth. It is approximately 22" tall. Traditional Wayang Golek plays can be c...

dated, inscribed and signed ‘1987/ The Hand/ of/ Vitality/ Deborah/ Schneedbeli/ Morrell’ (on the reverse) bodycolour, card and paper mache 18 ⅞ x 12 ¾ in. (4...

Artist: Kuno Lange, German (1950 - ) Title: Mother and Newborn Year: 1997 Medium: Bronze Sculpture, signature and number on base Edition: 2/9 Size: 28 in. x 7 in. x 3.5 in. (71.12 cm...

This bronze patina sculpture is set on a warm toned marble base. The sculptor, Ruth Gutman, has created an expressionist rendering of a woman praying. ...

Provenance Acquired by the gallery directly from the artist Description Peter Brooke's Mayan Warrior depicts a solemn and dignified military subject. Historically, few Mayan warrior...

MELANIE YAZZIE, who has been represented by Glenn Green Galleries since 1994, is talented as a sculptor, painter and printmaker. She is a university professor who teaches two-dimensi...

Bust of a Woman, bronze sculptue. Bronze with dark brown patina signed on the back R. Cortazar 1/9. Originally from Tapachula, Chiapas Mexico, he was b...

Head of Man is an original artwork realized by Amedeo Bocchi in 1920 ca. This little sculpture is made in gilded bronze. The original wax model is published on the artist's monogra...

This Pop work of art in hand-lacquered ABS is composed by two part: the arrow and the capital letter A. The installation decided by the artist would put in evidence the dualism of the world: the two pieces, POP art and Abstract art. Man represented by the PVC and Nature by art. Art and Culture. Gianantonio Abate...

Emile GALLE Tall Cameo Glass Vase with Umbels ornaments Crafted in Nancy (Lorraine) c. 1905 Bearing Galle signature in cameo Made of white opalescen...

An original unique bronze and patina abstract sculpture by Roberley Bell. This dynamic work from the artist's "Lake Erie and Other Waters" series can be h...

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...

Gutai Object, Paris Period by Takesada Matsutani Important organic abstraction in polyvinyl acetate adhesive on vinyl by Takesada Matsutani (Japanese, b. 1937). Titled "Objct" on verso. Signed and dated (1983) on verso with "Japan, Paris, S.F" delinated. Unframed. Image size: 47"H x 37"W. x 3"D Condition: Good: some bending and creasing to thinner edge areas top center and all corners, vinyl on lower right corner and under signature. One image shows a patch of vinyl tape, this is the artists access port for adding air under the acrylic glue to pump up the area. We will mount on Sturdy foam core and make the conservation minor fixes to the vinyl layers prior to shipping. From the early sixties to the early seventies, Matsutani was a key member of the ‘second generation’ of the Gutai Art...

"Guitar Player" is a limestone sculpture by Maureen Bergquist Gray. Much like the cubists in the early 20th century, Maureen abstracts the figure of a guitar player into simple shape...

"Tall Jar with Figures" is an original ceramic by Christine LePage. The artist signed and dated the piece on the bottom. It features silhouettes of figures as...

We are putting this work on Sale for only a short period of time! Great Price. Monumental Wide Flared Casiform Vessel Le Verre Francais Art Glass...

Herend female nude figure, hand-painted. #5719. Condition is perfect, circa 1960s. Has Herend stamp on the bottom Measures: 17.5” H x 9.5” W.

Unknown/ Unidentified Artist, "Untitled" ( Male Figure Reading Newspaper), Abstract Figurative Wire Sculpture, Stands 29" Tall and 12" Wide, Late 20th Century

Artist: William Landwehr (American, b. 1941) Title: Yellow is the Color of my Dead Bird's Tail Year: circa 1980 Medium: Mixed Media Construction with Neon...

A rare sculpture by Daniel Albert Harris (aka: Zev- the Wolf) (1914-1986) c. 1968 A substantial and stunning bronze sculpture of Poseidon (or Neptune) riding on a shell driven by hor...

Purple, blue, magenta, black, and white geometric abstract painting/ wall sculpture by Gary Jurysta titled "Rising Currents". Acrylic on stretched canvas, circa 1972. Signed, dated,...