Abbott Pattison Sculptures

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

This Carrare statuary marble stone sculpture in a very pure white with slightly colored veins is by Lutfi Romhein. A graduate from the Academy of Fine A...

Aharon Bezalel (Afghani-Israeli, 1925-2012) Family Grouping Hand signed in with initials in English Figures fit together like puzzle pieces in solid cast bronze with original patina. Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

Artist: Kuno Vollet Title: High Schwerelos Materials: Bronze sculpture with a dark patina on black granite base Size: 90 cm height, base, 6 x 17 x 14 cm Edition of 15

Chain is 23.5 inches long. Pendant is 3.75 X 2 X 1 inches This piece is not signed. but the chain matches completely with the signed one that I have. Pal Kepenyes is a sculptor and researcher of Hungarian art, whose artistic production includes sculptures of small and medium format, jewelry and miniature decorative pieces, all made by hand, without any machinery. Wearable art. Sculptural pendant on matching chain cast in polished bronze or brass. Reminiscent of Harry Bertoia. Organic Modernism. Mod, space age, handmade artisan, studio jewelry. Pal Kepenyes, wearable art pioneer. sculptor, goldsmith, jeweler, artist, was born in 1926 in Hungary. His creative talent, specifically in creating sculpted works, was evident early on. He moved to Budapest, where he first studied at the University of Arts and Crafts and later at the Academy of Fine Arts. His professor, Beni Ferenczy was one of Hungary's most influential sculptors. Pal Kepenyes (20/21st century) is active/lives in Hungary, Mexico. Pal Kepenyes is known for sculpture, jewelry making, miniature decorative pieces especially influenced by Mexican folk art and folklore. His work also includes animals, lions, tigers, fish, nude figures and milagros. He began his studies at the School of Decorative Arts in Budapest, and then was a prisoner of war during the Stalinist regime. In 1956, at the end of the Hungarian Revolution, he finally was released and left the country for Paris, where he studied at the School of Fine Arts. In 1956, he also traveled to Mexico, a country to which he has been devoted for the rest of his life because of his attraction pre-hispanic cultures. Along with Pedro Friedeberg, Arnold Coen, Vladimir Cora, Byron Galvez, Mathias Goeritz, Leonardo Nierman, Gabriel Orozco...

EDITION Monogrammed : FXL Dated : 2003 Numbered EA 2/4B Stamped with foundry mark : bocquel fd. PROVENANCE Marie Lalanne former collection, daughter of the artist. LITERATURE W....

This striking bronze sculpture by Angelo Canevari blends ancient symbolism with contemporary design, making it a captivating centerpiece for any sophisticated interior. The work's ar...

I first realized my love for visual storytelling when I began producing and directing television shows. Starting with the writer’s script, my palette was everything seen through the ...

The historic tradition of cast bronze provides a contemporary avenue for the creation of Wayne Salge’s abstracted human and animal figures. Thoroughly modern and distinctly impressio...

Modern bronze sculpture of a skeletal lion resting on a slab of black polished granite. Beautiful patina on the bronze that accentuates the intricate details.

Chester L. Williams Label on bottom, signed. Title: Promethium Medium: Bronze, Aluminum and wood. Approx. dimensions: 12 X 11 X 4 inches. Chester Lee Williams (1944-1919) was born in 1944, in Durham, North Carolina. Chester cultivated a creative mind that eventually led him to pursue an education in fine arts and sculpture at North Carolina Central University (BA) and the University of Michigan (MFA). In 1974, he made his way to Tallahassee and started instructing at FAMU. Students at the university have a deep appreciation for the jazz lover’s insight and skill. A lifelong artist, Chester's work has been featured in galleries and publications across the country. The body of his work produced over 45 years has evolved from smooth and supple sculptures into the more angular and defiant shapes seen in his later works. Chester has said: "All of the works are me. I still embrace every one of them." Chester enjoyed traveling and exploring different cultures. His art was influenced by his travel and knowledge of African culture. He was an educator for 37 years, teaching at Voorhees College, North Carolina Central University and Florida A&M University before retiring in 2011. He sold his first piece of art in the ninth grade to his homeroom teacher. (That early sale paid off — years later, that teacher’s husband, the president of a bank, commissioned Williams to create a sculpture for the bank’s lobby...