Mid-20th Century Sculptures

  Terracotta galloping horse. Signed on the base by the sculptor Giorgio Rossi (1894-1981). Period: 1930-40 Terracotta modeled by hand by the artist. Unique piece. Dimensions: Heigh...

Burled Maple Sculpture Nude Woman with Arms Over Head Beautiful burled walnut sculpture of a nude woman. The woman stands with her arms stretched over her head. Behind her a dark st...

Pablo Picasso A.R. 412 Scène de Tauromachie 1959 16.5” round Edition of 100 White earthenware clay, partially glazed. Ramie 412 is a Madoura ceram...

Theo Meier (1908-1982) View of the Village of Iseh, painted from the house of Theo Signed and dated 48 Theo Meier lower left Oil on canvas, 68.5 x 50 cm In original frame carved by the artist. Note: Theo Meier arrived in Bali in 1936 with the intention of going on to Tahiti where he had been before. However Bali turned out to be the paradise he had been searching for in his dreams and he had no desire any more to move elsewhere. Bali at that time was still a very traditional place where society lived according to an acient religious system and in a luscious tropical setting the modern world was ignored. Here he met Walter Spies...

Thelma Frazier Winter (American, 1903-1977) Woman and Child, c. 1935 Glazed stoneware, painted plaster 14 x 7 x 5.875 inches Thelma Frazier Wint...

Robert Cook’s Splash sculpture draws inspiration from the iconic photograph of a drop of milk creating a circle and splash in a pool of milk. This fleeting moment of suspended motion sparked Cook’s exploration of how to capture such dynamic energy in a static form. Robert Cook was a great American sculptor and his works are in many museums and his iconic Dinoseras piece commands a spot on the street of New York at 51st Street. Important to note with this work that it is unique and there are no other casts. Cook sculpted in wax and when he cast this destroyed the wax and there was no mould. Very few sculptors work in this manner and it speaks to a very pure and altruistic form of sculpture. If perhaps he had been more commercially minded he would have done large editions but instead he valued singularity as in nature. In Splash, Cook freezes a moment of kinetic energy, capturing the elegant tension between impact and expansion. The sculpture embodies both grace and chaos, with a fluidity that suggests movement at the very instant it’s frozen in time. Cook’s mastery of his medium allows this dynamic moment to be immortalized in bronze, creating a powerful and emotional resonance that transcends the physical form, making Splash both a formal and philosophical exploration of time, space, and motion. Signed: R Cook...

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. The artwork is hand made by the technic of the ...

One of a kind ceramic sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of classic organic forms and human figures. Sculpture retains the original wood and black laminate base with metal cage. Ceramic is in good original condition. Laminate is in poor condition with a few chips. Raúl Valdiveso was born September 9, 1931 in Santiago, Chile. In 1952 he began his studies at the School of Fine Arts at the University of Chile. There he took to sculpture and studied under professors like Marta Colvin...

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' ...

A figurative vertical form with two protrusions on top constructed of melt pressed bronze (heated numerous times, squeezed, and shaped. Includes provenance and hand-signed COA from t...

Kosso Eloul (1920-1995) is one of our favorite sculptors and an important contributor to public art in Toronto. In addition to the numerous public sculptures in Toronto by Eloul, his works can be found in many other prominent open spaces around the world, from California to Israel. Most familiar with Eloul associate his work with his signature forms; large brushed aluminum (or steel) angled rectangles. However his earlier work was realized in stone. This fine sculpture, a form that is revisited and eventually created in metal, is made of Jerusalem Stone...

Victor Vasarely NB 11, 1968 is a glazed porcelain relief that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) on label affixed on verso.

Whimsical pair of Italian midcentury terracotta male and female lions with a white glaze and painted details. Although hardly ferocious these seated big ca...

Mid-century nautilus sculptures or objects of art carved from mahogany in a stylized form with a dark lush finish.

A fine quality, twentieth-century bronze model of a ram and a ewe by Alberic Collin (Belgian 1886-1962). Cast by the Rocher Paris foundry signed, inscri...

Jean COCTEAU Atalanta and Hippomenes, 1958 Original ceramic plate Signed bottom middle Limited to 20 copies, numbered on the back 30 cm (c. 12 inch) diameter and about 3cm (c. 1.5 ...

Featured in the Doris Caesar catalog by Martin H. Bush, page 110.

Jules Edmond Masson (French, 1871–1932) Bronze Figure of a Lurcher Dog, 1930 Bronze with brownish green patination, on a fitted stone base The base inset with a bronze plaque reading...

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...

A wonderful pair of patinated iron egret bird wall sculptures, one reaching for the sky and one focused forward, each signed on the weighted bases “Maxfield Parrish Jr, March 1956”. ...

Fumio Otani (Japanese, 1929-1995). Untitled and Untitled, ca, 1965. Cast and polished steel. Smaller composition measures 14.75 x 7.75 x 1.5 inches. Larger composition measures 16...

PABLO PICASSO (1881-1973) Yan petites têtes (A. R. 515) Terre de faïence pitcher, 1963, numbered 142/300, inscribed 'Edition Picasso' and 'Madoura', painted, with the Madoura stamp.

This work is hand signed. It is not dated. Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre was known for his recycling of surplus steel oil drum lids. Brierre worked as a brick mason, cabinetmaker, tile setter, and blacksmith. He was born in Mirebalais or Port-au-Prince, Haiti and was the younger of two brothers. His older brother, Edgar Brierre, was a painter and sculptor. The brother's signed their works with only their last name, creating some confusion within their professional circles about the authorship of their work. Brierre's sculptures typically ranged from three to six feet in length and reflected Christian, Haitian Vodou, and folklore themes. Brierre was also a painter, but ultimately chose to work with metal because he felt that the material was saturated with spiritual energy. It was a laborious process. The oil drum lids were hammered flat, drawn onto, then cut with a razor. The sheet was then cut with a chisel before finishing was completed with a file. By the mid1970s, Brierre's sculptures included pronounced areas of cut outs surrounding long curved lines of metal. Brierre's iron sculpture titled Chien de Mer overlays a dog head onto the body of a fish. Haiti has long celebrated a rich artistic and cultural heritage. Georges Liautaud (1899–1991) ignited the Haitian metal sculpture movement in the 1950s in Croix-des-Bouquets, Haiti. A blacksmith by trade, he fashioned crosses for public cemeteries before creating more elaborate cut-metal works. Liautaud disseminated the distinctly Haitian art form to emerging artists, such as Murat Brièrre (1938–88) and the Louisjuste brothers, Sérésier, Janvier, and Joseph (1940–89). They, in turn, taught others in Croix-des-Bouquets, including Gabriel Bien-Aimé (b. 1951) and Serge Jolimeau (b. 1952), Haiti’s two leading metal sculptors working today. Discarded steel oil drums have historically served as the base material for Haitian metal artists. The drums’ lids are cut open with a chisel and hammer and a long vertical split is made along the side of the drums. The interiors are filled with dried sugarcane or grass and lit on fire to remove any grime; once cool, the drums are flattened into sheets. Designs are chalked on; pieces are then cut and sculpted using only hand tools and further enhanced by hammering, embossing, cutting holes, and bending the metal. Sculptures reflect everyday life portraits, imaginative themes, and motifs of Haitian Vodou, an African Diasporic religion. Some of the many forms that appear include angels and winged creatures, mermaids and other aquatic figures, musical bands, animals, and earthly, paradisiacal scenes. Solo exhibitions 1967 – Haitian Art Gallery, New York 1968 – Centre d'Art, Port-au-Prince, Haiti; Bradley Galleries, Milwaukee, Wisconsin; Georgetown Graphics Gallery, Washington D.C.; Menschoff Gallery, Chicago; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Roko Gallery, New York 1969 – Centre d'Art, Port-au-Prince, Haiti; Showcase Gallery, Washington D.C.; Botolph Group, Boston 1970 – Centre d'Art, Port-au-Prince, Haiti 1972 – Centre d'Art, Port-au-Prince, Haiti; Roko Gallery, New York 1979 – Areta Contemporary Design, Boston Group exhibitions 1969 – Davenport Art Gallery, Iowa 1974 – Davenport Art Gallery, Iowa 1978 – Brooklyn Museum, New York (traveling) 1982 – Studio Museum in Harlem, New York 1983 – Chicago Public Library Cultural Center 1985 – Davenport Art Gallery, Iowa 1987 – Musée du Panthéon National, Port-au-Prince, Haiti 1988 – Galeries Nationales d'Exposition du Grand Palais, Paris 1989 – Museum of Art, Ft. Lauderdale, Florida 2006 – Phyllis Kind Gallery in conjunction with the Outsider Art Fair, New York 2024 Ayiti Toma II: Faith, Family, and Resistance, Luhring Augustine, Tribeca, New York 2023 Haitian Metal Sculpture, SFO Museum, California, USA 2015 Celebrating African American Art, Flomenhaft Gallery, Chelsea, New York, USA An important exhibition of works by outstanding African American artists. Included were: Emma Amos, Benny Andrews, Romare Bearden, Murat Brierre, Beverly Buchanan...

This Modern abstract piece by Stanley Bate is a wood panel sculpture that has been painted white. Three-dimensional that are reminiscent of architectural pieces are tightly stacked w...

Il bronzo raffigura un fantino e nel 1957 venne esposto alle personali dell'artista alla Strozzina di Firenze e alla Galleria Cocchini di Livorno. Esiste anche un disegno preparator...

Repecto al caliz, comentar que es integramente de plata menos la tapa de la base que es de metal La patena tambien es de plata En ambas piezas no hay punzones, pero se ha comprobad...

Takako Saito Secret Santa , 1965 Stamped inscribed in pen recipients name Wood construction 1 1/2 x 1 1/4 x 1 1/4 inches Takako Saito is a Japanese artist closely associated with F...

Untitled Large Polished Bronze with Four Playful Girls Artist signed and dated 1969 104"h x 45"w x 28"d base 24"x20" Carla Lavatelli was born in Rome, Italy, in 1928 - (January ...

Brass silver colored Kinetic Chanukiah (Menorah) by the well known Israeli artist Yaacov Agam. the chanukiah comes with the candle holder. signed and numbered by the artist.

Corrida sur fond noir, Picasso, Multiple, 1950's, Animal, Toros, Spanish, Plate Corrida sur fond noir Ed. 500 pcs 25.09.1953 White earthenware c...

Portrait of Albert Dubarry by Léon-Ernest DRIVIER (1878-1951) Bronze with a nuanced greenish dark brown patina signed "Drivier" cast by "Montagutelli, Paris, cire perdue" (with the ...

Brutalist abstract sculpture in steel and aluminum by renowned Israeli sculptor Bert Schwartz titled "Prometheus and Pandora". The sculpture was exhibited at the Brooklyn museum in N...

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...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Balancing, Mother and child signed and editioned 1/6 mounted on black marble plinth 14"h x 11.5"w x 8"d (height w...

A puzzle sculpture by Miguel Berrocal from 1970. This sculpture comes apart in 25 pieces. In original box with booklet Artist: Miguel Berrocal, Spanish (1933 - 2006) Title: Mini-Zor...

Created in 1965, this sculpture is hand signed by Victor Vasarely (1906 – 1997) in black ink on one of the aluminum panels in the lower right (nearest to the center cross-section); f...

"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...

This abstarct sculpture is a lost wax bronze, patinated in green color, one piece of the 3 existing. Signed by the artist. The young artist was presented in Paris by the Gallery Sind...

Striking mid-20th century abstract biomorphic sculpture by American artist Eduardo Chavez, expertly carved from what is likely cherry wood. This vintage piece showcases smooth, flowi...

Original terracotta sculpture by the American sculptor William Huppert. Titled “Expecting”. Circa 1960. Post Modern. Overall height 18 inches including base. Base is 6 wide by 5.25 ...

Ellen Key-Oberg (1905-1989), "Untitled: Modernist Abstract Figure/Creature", Abstract/ Modern Lithograph on Paper signed in Pencil, 21 x 17, Mid 20th Century Colors: Black and White...

Modern abstract brutalist metal sculpture by Houston artist Bob Fowler. The work features a skeletal figure welded in a box or locker. Firmly attached to a white and natural wood bas...

Walter Sinz (American, 1881-1966) Mother and Child, 1949 Plaster Signed and dated on base 23.5 x 6 x 9 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on Jul...

A Songye Male Power Figure, Democratic Republic of the Congo, the male figure resting on one knee, with openwork arms and hands resting by the abdomen which contains various charms a...

Naum Knop (Ukrainian-Argentinean, 1917-1993) Modernist Brutalist bronze figural sculpture with heavy verdigris green finish. Melted forms in the shape of an abstract pretzel like twist. Affixed to white stone plinth. Artist signature, "NK" side of base. Good condition, shows rich green patina and aged oxidation. Measures approximately 17.5 in. x 19.5 in. x 6.5 in. Naum Knop, Argentine sculptor, was born in 1917 in Buenos Aires, into a Jewish family of Russian origin from Ukraine. His childhood was spent in the neighborhood of La Paternal where his father had a carpentry workshop, a space in which he made contact for the first time with the technique of wood carving. After finishing elementary school, he worked with the teacher Luis Fernández and soon after he dedicated himself to furniture design. Around 1935, he entered the Manuel Belgrano School of Fine Arts . Between 1941 and 1942 he attended the course for graduates taught by Alberto Lagos and Alfredo Bigatti at the National School of Fine Arts and continued his training between 1942-1945 at the Ernesto de la Cárcova High School with Soto Avedaño, Carlos de la Cárcova and José Fioravanti. At this time he put his works in dialogue with other young artists such as Libero Badii and Aurelio Macchi . Around 1947 he made his study trip abroad. He goes to California, United States, where he enters the Art Institute of Los Angeles. At the same time visit museums and galleries. In January 1948 he organized his first exhibition abroad, held at the Hall of Arts in Beverly Hills in Los Angeles. During this period he toured Chicago and then New York. That year he traveled to Europe; his itinerary includes France, Italy, Switzerland and England. As a result, he came into contact with the work of Henry Moore, Hans Jean Arp, Jacques Lipchitz, Constantin Brancusi, Umberto Boccioni, Henry Laurens, Ossip Zadkine. Artists who have an impact on the young Knop and whom he honors in his subsequent production. He returned to Argentina in 1949 and installed his workshop where he worked on ornamental carving and on pieces in which he oscillated between a synthetic figuration and abstraction. In 1956 he began his successful participation in salons , obtaining numerous awards at the national and municipal level. In 1959 he participated in the shipment to the 5th São Paulo Biennial and since then, to the success achieved at the local level, the multiple exhibitions carried out in the international field have been added. The exhibitions in Tel Aviv , Jerusalem and Rome (1966) stand out; Dusseldorf (1977); Los Angeles and Palm Spring (1981); New York (1986), San Pablo and Los Angeles(1989). During this period, his work matured, while he began to experiment with the direct wax technique, obtaining textured surfaces similar to welds that gave it a strong abstract expressionist feature. In parallel to his personal production and to the small models, the artist receives private and public commissions for which he works on large-scale sculptures and murals. Around 1967, the architect Mario R. Álvarez summons him to participate in a closed competition for the creation of a work to be located in the General San Martín Cultural Center . Libero Badii and Enio Iommi participate with the artist ; the bronze Reclining Figure Knop is chosen. Among the large-scale monuments it is worth remembering the piece Los tres soles temporarily located in Recoleta in 1984 and later installed in Maryland, United States; as well as Seated Figure (Reminiscence of Michelangelo) located in the shield of a private building in 1970. To these are added the numerous murals in which he experiments with various materials and techniques such as casting in bronze, openwork and reliefs in wood and work in cement. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein, Julio Gero, Naum Knop, Aldo Paparella, Enrique Romano, Eduardo Sabelli, and Luis Alberto...

Hand Forged Iron and Drilled Stone Candelabra Holocaust Memorial Judaic Menorah Sculpture David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati, General Exhibition, Art in Israel 1960 Tel Aviv Museum of Art Artists: Naftali Bezem, Nachum Gutman, Shraga Weil, Shraga, Marcel Janco, Ruth Schloss

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Mario Spampinato (Italian 1912–2000) Nude Bronze Signed on base 17.5 in. h. x 5.75 in. w. x 6 in. d. The artist was born, raised and trained in Italy. During one of his exhibits (at San Marcos in Rome) the Director of a New York Gallery asked him to come to New York to work for him. The American Consul, before issuing his visa, asked Spampinato to create a bust of him. In exchange, the Consul paid for his passage on the boat to New York. In New York, he worked with his brother Clemente Spampinato who is a well known sculptor as well. After moving to Chicago in 1954, he discovered that there was no foundry in the Midwest that could cast his bronzes. So, he opened his own foundry called the Spampinato Art Foundry, casting in the lost wax process. He also started his own private school (Spampinato Art Workshop, Ltd) and did some teaching at the University of Chicago and conducted seminars at Lawrence University in Kansas. Many of his own works are pictured and cataloged in Volumes 2 & 3 of Bronzes: Sculptors and Founders, 1800-1930 by Harold Berman. Between 1959 and 1967, Spampinato recast a number of Charles M Russell...

Gorgeous Vintage MCM Fratelli Fanciullacci Elbee Italian Pottery Pitcher and Platter, made in Italy in the late 1950s/60s. A beautiful example of MCM Italian ceramic design featuring...

Mid Century carved marble flute player by Rodney Marshall Winfield (American, b. 1925). Presented in a rustic wooden frame. Unsigned. Image size: 14"H x 10"W. Framed: 20"H x 16"W. Wear to frame and age wear to marble. A painter in acrylic, designer in stain glass and silver, sculptor and long-time teacher, Rodney Winfield has had a diverse career. He was born in New York City. As a young man, he was artistically inclined and composed music, drew and painted, danced, wrote poetry and created sculpture. Choosing to focus on art, he enrolled in Cooper Union School in New York City. From 1953 to 1970, he was a stain-glass designer for Emil Frei...

"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...

Ben Vautier Mystery Box (Boîte mystère), 1965 Painted wood with letterpress label 3 13/16 × 2 3/4 × 2 7/16 inches Ben Vautier was a French artist known for his text-based paintings...

Max Kalish (American, 1891-1945) Nude Walking, 1930 Bronze Signed and dated on base 17 x 9 x 4 inches Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti and Herbert Adams...

American, 1892-1971 Doris Porter Caesar was born in 1892 in Brooklyn, New York. Her father’s successful career as a lawyer allowed her to attend Miss Chapin’s School for transferrin...

Foal by Berthe MARTINIE (1883-1958) Sculpture in bronze with a black patina Signed twice " Martinie " on the base With the foundry stamp " Valsuani " France circa 1935 height 21,2 cm A similar model is exhibited at the Museum of Modern art in Paris (Inv. AMS 3). Biography : Berthe Martinie (1883-1958), was a French painter and sculptor. From 1906 to 1908, she studied at the Ecole des Beaux-Arts in Paris, in the only studio open to women, that of the painter Ferdinand Humbert (1842-1934). In 1913, Berthe married Henri Martinie, journalist and art critic, who supported her throughout her career. The beginnings of her family life and the First World War nevertheless marked an interruption in her creation. Berthe Martinie frequented the sculptors Robert Wlerick (1882-1944) and Jean Carton...

Ernest Tino Trova Limited Edition of 2000 Silkscreen on heavy art paper Unframed This exclusive poster, created by renowned American artist Ernest Trova as an edition for Pace Columbus, is a testament to his profound influence in contemporary art and his longstanding association with Pace Gallery...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

This superb French Art Deco wooden panel or wall-mounted sculpture features a spectacular Venetian mask and was hand-crafted in the 1930s. The sculpted panel boasts finely detailed c...