Mid-20th Century Sculptures

Émile Gilioli La Boisselune 1954-59 Bronze 23.6 x 15.4 x 7.9 in, 60 x 39 x 20 cm Signed, dated and numbered on the back: “Gilioli, 59, 1/6" Cast from La Plaine Edition 1/6 P...

"Cow" is a paper cutout and ink drawing sculpture by Schomer Lichtner. It depicts a cow in cream and black. 3" x 6 1/4" x 1" art Schomer Lichtner, born...

Bronze art deco ram sculpture by Paul A. Lobel from the RKO Roxy Theater, Rockefeller Center, New York. Hand wrought. Provenance: RKO, Roxy Center Theatre; Mr. Eugene Lee Schoen; Mr. Neal Prince & Mr. Herbert Wade Hemphill Jr.; Mr. Neal Prince; The Trust of the above; Heritage Auctions. Presented by Joseph Dasta Antiques Paul Lobel (1899 - 1983): The accomplishments of Paul A. Lobel, industrial designer, metalsmith, sculptor and cartoonist/illustrator, may be viewed as the quintessential American success story. Born in Romania, at the turn of the century, he emigrated to the United States while an infant, and, from humble beginnings on Manhattan’s Lower East Side, grew up to attain a one-man show in Paris in 1925, win two awards at the International Exposition of Decorative Arts in Paris in 1932, be the subject of two exhibitions at the American Museum of Art and The Museum of Modern Art in New York City. He also founded an innovative jewelry and metals studio/shop in New York’s Greenwich Village. Furthermore, his contemporaries regarded him with awe and almost everything he attempted came to fruition. In the summer of 1926 Lobel exhibited 35 works, including drawings, etchings, paintings, metalwork and sculpture, in a one-man show at the Grande Librairie Universelle in Paris. During the next year, he toured London, Rome, Florence, Rotterdam, Brussels and Berlin, then, broke, returned to America where he again rented desk space and tried to resume his advertising career. But he was haunted by the modern design that he had been exposed to in Paris. So, after borrowing money to open a metalwork studio on Lexington Avenue, he sought out architect Eugene Schoen, an enthusiast of modern design, whom he had formerly been introduced to by Boardman Robinson. Schoen was in the process of opening a gallery devoted to showing the work of designers and craftsmen imbued with the spirit of modernism...

"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...

Motherhood by Baltasar LOBO (1910-1993) A bronze group with a brownish green patina Signed at the lower front " Lobo " Cast by " Susse Fondeur Paris " (with the foundry mark) Number...

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

Charge D’une Croix Constantin Antonovici, Romanian (1911–2002) Date: circa 1950 Hand-Carved Wooden Sculpture Size: 18 x 15 x 3 in. (45.72 x 38.1 x 7.62 cm)

Substantial, sensitively molded, graceful circa 1940, hand-cast, bronze sculpture of a doe.

This female torso represents the young woman's strength and vulnerability. It´s was conceived in the 70ths and is signed with the artists initials on a thumbprint. Gunnar Knut Nilsson, born 1904 in Karlskrona, died 1995 in Versailles in France, was a Swedish sculptor. Gunnar Nilsson studied watercolor painting and modeling at the Technical Vocational School in Karlskrona in 1918-19 and on his own in addition to working as a clerk at Finspångs Metallwerk. His debut exhibition was in Finspång in 1927. With the help of a local fundraiser, and after the encouragement of Carl Eldh, he traveled to Paris in 1928 to study sculpture for, among others, Charles Despiau and Paul Niclausse. In Paris he socialized with Bror Hjorth, whose former studio he also rented, Carl Frisendahl and Alberto Giacometti. He came to belong to "Le groupe des Neuf'' with Paul Cornet...

Terra cotta horse sculpture or object of art decorated in holiday attire under glaze. Signed made in Italy on the bottom.

Yukihisa Isobe Untitled Mixed media (plaster relief on panel) Signed, dated and Inscribed “Tokio” (on the reverse) 28 x 40.5 cm Executed in 1962 PROV...

Mid century rhinoceros sculpture crafted in terra cotta with a white crackle glaze.

An original bronze sculpture by Constantin Antonovici from his Owl Series. Referenced in "Constantin Antonovici: Sculptor of Owls", pg 43 Owl Perched on Ball Constantin Antonovici, ...

An original bronze sculpture by Constantin Antonovici from his Owl Series. Referenced in "Constantin Antonovici: Sculptor of Owls", pg 43. Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous Croatian sculptor Ivan Mestrovici, until his arrest by Italian fascists. Antonovici himself survived imprisonment in Germany for his refusal to fight on the side of the Nazis. After the war, he continued his studies in Vienna, under the tutelage of Professor Fritz Behn...

Bacchante by Charles DESPIAU (1874-1946) Sculpture in bronze with nuanced dark brown patina Signed at the back "C. Despiau" Cast by Alexis RUDIER France Vers 1930 Height 23 cm Width 18 cm Depth 13 cm The plaster model of "Bacchante" was exhibited in 1909 at the Salon of the Société Nationale des Beaux-Arts. Charles Despiau produced several variants of this work, including the one presented here. Among other known versions, there is one cast with the right leg cut off, four casts with the torso alone and eight casts with the raised leg (1929). Bibliography : "Charles Albert Despiau", Collections du musée...

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...

Vintage Italian French bulldog statue or sculpture crafted in terra cotta with a white glaze and glass eyes.

Lila Katzen said, "I feel marvelous when my works find a home. They are like my children. They are my links to the past. They are what I am." The sculpture proposed here consists of...

A sculpture by Harry Bertoia. "Untitled (Suspended Willow)" is an abstract, steel and steel wire sculpture by Post War artist Harry Bertoia. The willow form is one of Harry Bertoia's...

PABLO PICASSO (1881-1973) Frise gravée (Unique) Unique plaster mould. Used in the creation of editioned ceramics at the Madoura studio in Vallauris, plaster moulds like this one we...

Fredda Brilliant (1903-1999) 'The Young Atlas' Bronze 52.5 x 41.5 x 27.5; 16kg Fredda Brilliant was a Polish sculptor and actress, born in Łódź, Pola...

Buste de faune, Picasso, Ceramic, Terracotta, Faune, Mythological, Design Buste de faune Unique piece Partially glazed terracotta 18.5 x 9.3 cm 40 x 32 cm (with frame) Certificate o...

A brutalist Mid- Century Modern sculpture of an owl by Willem DeGroot ( Netherlands, 20th Century ). The sculpture is made of brass and metal and showing an owl stating on a branch ...

Scène de Tauromachie, Picasso, Edition, 1950's, Bull, Plate, Design, Animal Scène de tauromachie Ed. 193/500 pcs 1957 Red earthenware clay, engobe decoration, knife engraved D.24 cm...

Glazed ceramic Ceramic bird jug with multicolored squared decoration. 23 x 21 x 12 cm

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...

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

A fine abstract marble sculpture of two lovers, unsigned, in the manner of Lithuanian American artist William Zorach (1887-1966). Zorach was born in Eurberg, Lithuania, was brought t...

Tête de faune, Picasso, Tile,Ceramic,Sculpture, Design, Postwar, Mythological Tête de faune Unique work circa 1968 Painted and partially glazed ceramic, square tile 15.2 x 15.2 cm C...

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...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez 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. Narvaez 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 Narvaez 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 Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, 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 Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez 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 Narvaez 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. Narvaez 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 Narvaez is a path: the path that Venezuelan sculpture...

PABLO PICASSO Visage de faune tourmenté (A.R. 320), 1956 Ed. 64/200 pcs Earthenware clay, engobe decoration, glaze and patina D. 41 cm I D. 16 1/8 in D.. 49 cm I D. 19 1/4 in (with ...

Richard Smith (British 1931-2016) Envelope No.1 1968 Aluminum Wall Sculpture 16 x 16 x 16-inch, triangle shape, by 2 ½ inches wide Signed and dated ‘68 Numbered edition 10/30 Abo...

Includes a Certificate of Authenticity

Technical Information: Claes Oldenburg Miniature Soft Drum Set 1969 The complete set of 9 sewn screenprinted elements on canvas, some with washline, wood, plastic buttons, rope, metal eye screws and spray enamel with wood base covered with screenprinted paper in colors 9 3/4 x 19 x 13 3/4 in. Artist's Proof - A.P. XVI Initialed and numbered in black ink on the bass drum...

Created in 1956, this oval dish of white earthenware clay is numbered from the edition of 100. This work is stamped with the 'MADOURA PLEIN FEU' and 'EMPREINTE ORIGINALE DE PICASSO' ...

Torso 1955 is a cast plaster with oil paint to resemble a bronze cast. The base is wood, carved, sanded and painted. The base shows slight wear on corners. The sculpture is perfect. ...

Profil de Jacqueline, Pablo Picasso, Edition, 1950's, Monochrome, Design, Plat Profil de Jacqueline Ed. 100 pcs 22.01.1956 White earthenware clay D. 42 cm Stamped on the back: Empre...

Questo ritratto femminile in gesso, h. 44 cm, è segnato con il numero di inventario 237 e corrisponde a "Ritratto di Albertina, 1959". nonostante non compaia la firma, la sua presenz...

This Sculpture "Hen" by William Zorach in polished bronze is numbered 3/6 although according to the artist son, only 4 were ever cast. Executed in 1946, signed on the reverse and nu...

Large Abstract Black Painted Metal Sculpture on Stand, in an openwork form of abstract sails, resting on a tubular steel base atop a square foot. 69.5" H x 25" W x 10.75" D. Provenan...

Mark Morrison (1895-1964) Chipmunk, ca. 1940 Italian granite 5" by 4", height is 4 1/8" Provenance: Estate of Mrs. Mark Morrison. Born: Kingfisher, OK Education: Universit...

An initialed, vigorously modeled, patinated resin sculpture of two stallions at play signed (see image 5) by listed, Italian artist, Marino Mazzacurati (1900-1969). Mazzacurati was ...

"Ritratto di fanciullo" in gesso di h. 44 cm, risalente al 1959. Viene riportato nell'Inventario dell'artista al n. 69 ed è accompagnato dall'autentica del professor Marco Fagioli.

Francisco Narváez Forma (BFM-049), 1956 Bronze (1970) Edition of 25 30 x 8 x 10 cm 11.8 x 3.1 x 3.9 in. LITTERATURE Registro General de la obra de...

Abstract bronze by Reuben Nakian Edition of 9 The powerful legacy of Reuben Nakian has earned him a coveted place in the history of American art. No other sculptor of the twentieth ...

Modern geometric etching on a metal sheet in an abstract style. The piece is not framed. Artist Biography: Dick Wray, a native Houstonian, born in Heights Hospital in 1933 was prima...

"The Glacier" by Emile GILIOLI (1911-1977) "Perlino rosato" polished marble signed to underside "Gilioli" and dated "61" France 1961 height 27 cm width 29 cm depth 20 cm Provenance : World House Galleries, New York, 1962; Joseph H. Hirshhorn, New York, 1962-1966; Donation to the Hirshhorn Museum and Sculpture Garden, Washington; Christie's, sold by order of the trustees of the Hirshhorn Museum, 1994. Biography : Émile Gilioli (1911-1977) was a French sculptor. He was one of the leaders of French post-war abstract sculpture, alongside Brancusi and Arp. Born into a family of Italian shoemakers living in Paris, they moved to Nice after the World War I. In 1932, Émile Gilioli took lessons at the School of Decorative Arts in Nice, notably with the future artist Marie Raymond...

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.

Herend female nude figure, hand-painted. # 5723. Condition is perfect, circa 1960s. Measures: 16” H x 9.5” W.

A unique bronze sculpture. Born in Vorup near Randers, Sven Dalsgaard was self-taught as a painter. His earliest paintings are Naturalistic but around 1934 he was inspired by Wassily Kandinsky and Paul Klee to paint more Abstract works. He debuted at the Kunstnernes Efterårsudstilling in 1943. Inspired by Marcel Duchamp, he embarked on Surrealism in the 1940s but moved into a simpler, more stylized approach in the 1950s, producing tall thin sculptures...

A fine abstract polychromed plaster bust of a figure with hat by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United ...

"La Chorale" (The Choir) is a sculpture by Paul Ahyi depicting three women joyfully singing. This beautiful sculpture is made with "L'Argile de Nawaré" which...

Visage dans un ovale, Multiple, Picasso, 1950's, Portrait, Abstract, Design Visage dans un ovale Ed. 100 pcs 08.04.1955 White earthenware clay, engobe ground engraved by knife under...

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

Trailblazing revolutionary female illustrator/art director Bea Paul creates a three-dimensional mixed media assemblage of cut-out photos, fabric, and cut paper. It depicts two jumpi...

Danseurs et Joueur de Diaule (Dancers and Diaulos Player), A.R. 341 can be compared to several other white earthenware pieces created by Picasso in 1956. Each depicts the carefree imagery of dancers, musicians, and fauns to which the artist returns time and again. Framed under a sloping mountain, two figures dance with arms raised above their heads, hands clasped in a spontaneous gesture. Leafy trees and flowers mark...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Charles Searles (1937 - 2004). Charles Searles was born in Philadelphia, PA and received his fine art educat...

Cormorant by Auguste TREMONT (1892-1980) Rare bronze with a black patina signed at the bottom of the base "A. Tremont" old cast by "C. Valsuani, cire perdue" (with the foundry stamp...

Christo's portfolio of 10 prints and a scale model sculpture of the ‘5,600 Cubic Meter Package’ for Documenta 4 in Kassel, 1968 (height 68 cm). Sold in white vinyl portfolio box. The...