Late 20th Century Sculptures

My Children, by Allan Houser, Apache, Mother, children, bronze, sculpture lifetime bronze casting limited edition of 8

Richard DeVore Untitled Vessel with Void (INV# NP5224) stoneware, and glaze 4.5 x 14 x 14" date unknown Richard DeVore (1933 - 2006) was one of the most important American ceramicis...

Reclining Figure II, by Allan Houser, Apache, abstract, figurative, bronze Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty...

The image shows an old, worn page titled Memoirs of My Dead Life. Below the title is a small, black botanical element, resembling a pressed or carved leaf or fern, attached to the pa...

The image features a page from a medical or anatomical text titled A Study of the Voluntary Muscles, showing a diagram of a shoulder and arm structure. The diagram is labeled with le...

Cameo Pink Seaform with Black Lip Wrap (94.678.s1), 1994 Dale Chihuly (American, b. 1941) 14 x 32 x 18 inches Born in Tacoma, Washington, Dale Chihuly became the most famous ornate ...

Zephyr Green Macchia with Blue Lip Wrap, 1996 Dale Chihuly (American, b. 1941) 8 x 10 x 10 inches Signed and Dated on Bottom Born in Tacoma, Washington, Dale Chihuly became the most...

Louis Sclafani, while studying in 1976 at the Siena School of Art in Italy, became fascinated with glass on a trip to Venice and the Island of Murano. After a 3 year apprenticeship i...

Rachel Whiteread Untitled 'Torso', 1995 Plaster 9 1/4 x 7 1/8 x 3 1/2 inches Rachel Whiteread (b. 1963) came to prominence in the early 1990s as a cohort of artists, known as the Y...

Observant, by Allan Houser, bronze, sculpture, limited edition, blanketed figure GLENN GREEN GALLERIES' LONG ASSOCIATION WITH ALLAN HOUSER Allan Houser was represented by Glenn Gre...

"Woman with Head of Roses" or "Femme à Tête de Roses" is a bronze sculpture by Surrealist Salvador Dali. This interesting piece, referenced by Descharnes as number 684, includes a pl...

Kinetic sculpture by George Rickey. Incised with the artist's signature, date 1975 and number 1/3 (on the base). Dimensions: minimum: 79 by 21 ⅜ by 10 in. maximum: 79 by 80 by 10 in...

End of the Hunt, by Allan Houser, bronze, sculpture, wildlife, eagle, rabbit Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party...

American modern master David Hayes created graceful sculptures abstracted from organic forms over an artistic career that spanned six decades. His monumental outdoor sculptures conte...

Arman Statue of Liberty features a recurring motif in the artist’s body of work. Throughout his career, Arman has worked with themes and techniques o...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Signed underneath. This carved stone sculpture by Brighton Sango (1958 - 1995) is from a private collection. The family owns a quality collection of Shona sculpture. They purchased...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Artist Enrique Alférez was born in Zacatecas, Mexico and lived nearly the entire 20th century. After service in the Mexican Revolution as a youth, he emigrated to Texas, studied in C...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

Duality manifests in her work as she juxtaposes rough, jagged edges with smooth, polished surfaces, as well as with the physical structure of the work, has each of the pieces typical...

Jean-Michel Basquiat & Keith Haring Skateboard Decks (set of 2 individual works): A standout Basquiat & Keith Haring Skateboard Deck set - with each piece trademark by their respecti...

Abstract Sculpture by American Artist Jack Youngerman, from the Atlantic Ritchfield art collection. Abstract Form rotating on marble base. Initialed JY (Jack Youngerman, American, b....

Signed and numbered EA 2/2 ex. Free shipment worldwide. Arman wrote, “The bow on the strings releases an explosion of sounds,” in the book Trio à cordes published by GKM Siwert Ber...

Preparing to Ride By. George B. Marks (American, 1923-1983) Signed and Dated Throughout his artistic career, George Marks’s work was always guided by the...

Victor Vasarely Song, 1970 is a painted wood relief that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) on verso. Numbered from the edition of 55 on verso.

Victor Vasarely Bellatrix, 1970 is a painted wooden relief on aluminum that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) and is inscribed ' VASARELY E.A. VII' on ...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

"Moreover" is a minimalist abstract sculpture in fabricated bronze, finished with a warm patina in golden-bronze shades. The sculpture does balance on its own but should be secured t...

The language featured on this sculpture reads "I am a hesitation before birth, My Life is a hesitation before birth" - Franz Kafka

Although Segal started his art career as a painter, his best known works are cast life-size figures and the tableaux the figures inhabited. In place of traditional casting techniques...

Nicola Bolla is an Italian painter and sculptor. A practicing ophthalmologist and eye surgeon, Bolla divides his time between two passions: art and medicine. Both activities are link...

Lika Mutal is a Dutch-Peruvian sculptor, who worked on diverse stones and material from Peru, inspired on Pre-Columbian art.

Takashi Murakami Flowers Skateboard Deck 2015: A vibrant, unique piece of Takashi Murakami flowers wall-art - this highly collectible limited edition Murakami skate...

Takashi Murakami Flowers & Skulls Skateboard Deck (Black and White): A vibrant piece of Takashi Murakami wall art produced as a limited series in 2018 in conjunction with Complexcon ...

David Wight XXL Emerald Genesis glass 27 x 16 x 14 in

David Wight XL Turquoise Classic Wave Glass 15 x 14 x 13 in

David Wight Epiphany Glass 25 x 13 x 13 in

Salviati Marina, c. 1970's Sommerso Glass - Murano 13 x 5 x 3.12 in

Salviati Marina, c. 1970's Sommerso Glass - Murano 20 x 9 x 4 in

Accumulation of Violins Arman, French (1928–2005) Date: 1989 Bronze, signature and number inscribed Edition of 37/99 Size: 13.25 x 6.5 x 6.5 in. (33.66 x 16.51 x 16.51 cm)

Included: one original KS Icon Drawing. Cabinet 01. 3 styles of Tondo Mugs and 4 Hedz Mugs all sold out. NewTondo stickers first edition of 14, 10 on inner Kabinet doors as plaques and 4 on white lacquer tray. Assorted KS books and early white pages book.1990 KS for Kambly Tin. With reproduction personal photographs inside. Cateyeguy 2004 edition of 2500. Dogeyeguy with original packaging 2004 edition of 2500. Vintage KS deck of cards. New in Box KS zippo 1993 # 75 of 999. KS Lido Paris...

David Hayes (1931 - 2013) Ventana, 1981 Painted, welded steel 22 x 11 x 4.25 in

David Hayes (1931 - 2013) Torch, 1996 Painted, welded steel 21 x 12 x 6 in