Abraham Harriton Art

Dimensions: 33 W x 45 H x 14 D cm Weight: 11.5 kg Material: Bronze, patina, metal Edition: 1/3 + 1 AP, signed on base Condition: Excellent, certificate Free worldwide shipping in a ...

Dimensions: 20 W x 30 H x 16 D cm Weight: 4,9 kg Material: Bronze, patina Edition: 1/5 + 1 AP, signed on base Condition: Excellent, certificate Free worldwide shipping in a branded ...

Dimensions: 36 W x 38 H x 13 D cm Weight: 8,2 kg Material: Bronze, patina Edition: 3/5 + 1 AP, signed on base Condition: Excellent, certificate Free worldwide shipping in a branded b...

Dimensions: 28 W x 64 H x 28 D cm Weight: 9,8 kg Material: Bronze, patina, metal Edition: 3/4 + 1 AP, signed on base Condition: Excellent, certificate Free worldwide shipping in a b...

Dimensions: 40 W x 25 H x 17 D cm Weight: 9 kg Material: Bronze, patina, metal Edition: 3/8 + 1 AP, signed on base Condition: Excellent, certificate Free worldwide shipping in a bran...

This highly evocative bronze by Vincenzo Vela captures the deposed Emperor Napoléon on his deathbed, holding a map of Europe and lost in thought about what might have been. Remarkable among most portrayals of the exiled leader, this highly detailed sculpture depicts Napoléon at his most vulnerable. Nonetheless, Vela perfectly captures his still-heroic bearing, which imparts to this work a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Château de Malmaison, which was shown at the Paris Salon of 1867. The founder of the verismo movement in Italy, Vela was one of the great exponents of realism in sculpture. Born in Ligornetto, Switzerland in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalism and the romantic painting of Francesco Hayez...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Christ with Crown of Thorns, 1902. Brass relief plate in niello technique with raised sections, 38 cm x 40 cm. Monogrammed and dated “hTh 1...

Edward Bohlin Saddle (1895-1980) Hollywood, California Artist / Saddle Maker One of Montie Montana's personal Bohlin Saddles. Movie Star, Trick Rider, Trick Roper Signed. Leather & Sterling Silver #4 "Montie Montana's" Personal Bohlin Parade Saddle Circa Late 1930s - Early 1940s. It is all Bohlin made and marked to include the saddle, the headstall and the breast collar. All made in Hollywood California. Montie Montana (born Owen Harlen Mickel; June 21, 1910 – May 20, 1998) was a rodeo trick rider and trick roper, actor, stuntman and cowboy inducted into the Pro Rodeo Hall of fame in 1994 Biography Montana was born in Wolf Point, Montana, in 1910. He was a perennial participant in the Tournament of Roses Parade until his death in Los Angeles, California, in 1998. Television viewers know him from more than 60 appearances, waving to the crowd from his silver saddle. During the first inauguration of Dwight D. Eisenhower as the 34th President of the United States on January 20, 1953, Montana lassoed the president after his swearing-in. He can be seen as a contestant on the May 7, 1959 television broadcast of You Bet Your Life, along with his horse Rex.Montana would go to elementary schools and perform with Rex. He was at Camellia Avenue Elementary School in North Hollywood, California, in 1959, and he would talk about the rubber horseshoes Rex would be fitted with so Rex would not slip on the asphalt playground while Montie was riding Rex. He performed rope tricks on and off of Rex, and would pass out photos of him and Rex to the students at the end of his show. In 1996, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him. He was buried at the Oakwood Memorial Park in Chatsworth, California Filmography Year Title Role Notes 1932 The Saddle Buster Rodeo Performer Uncredited 1934 Stand Up And Cheer! Rope Spinner Uncredited 1935 The Circle of Death Little Buffalo, alias Jim Little 1935 Border Vengeance Montie Montana, Trick Rider Uncredited 1935 Melody Trail Rodeo Rider Uncredited 1936 Comin’ Round the Mountain Roper Uncredited 1936 Gun Smoke 1939 The Kid from Texas Trick Rider Uncredited 1943 Riders of the Deadline Ranger Kelton 1944 Take it Big Show Performer Uncredited 1944 Man from Frisco Montana Uncredited 1949 Down Dakota Way Sheriff Holbrook 1952 The Story of Will Rogers Trick Roping Double for Will Rogers Jr. Uncredited 1954 The Boy from Oklahoma Roper Uncredited 1960 The Rifleman Stage Driver 1962 The Man who shot Liberty Valence Cowboy on Pinto Pony Uncredited 1963 Hud Cowboy Uncredited 1964 Cheyene Autumn Trooper Uncredited 1968 Arizona Bushwackers Stage Driver 1972 The Young Rounders (final film role) Honors 1989 Rodeo Hall of Fame of the National Cowboy and Western Heritage Museum 1990 Pendleton Round-Up and Happy Canyon Hall of Fame 1994 Pro Rodeo Hall of Fame 1997 Ellensburg Rodeo Hall of Fame 2011 Cheyenne Frontier Days Hall of Fame 2015 Montana Cowboy Hall of Fame & Western Heritage THE BOHLIN BRAND IS AS ICONIC AS THE FAMED WESTERN STARS that wore it. The late actor Richard Farnsworth sported a recognizable gold steer-head Bohlin buckle...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

ALFRED DRURY, RA (1856-1944) The Age of Innocence Signed: A DRURY Bronze on green marble base Height including base 45.5 cm., 18 in. Born in Islington...

Julio Pedro Borrego is a Colombian artist born in 1951. He is obviously. Influenced by the Colombian master Botero as he likes to portray Rubenesque women. This fabulous.Bronze of a...

Herbert Haseltine Poodles: Nora and Sheila, 1944, cast 1945 Signed and dated on base Bronze with green patina 11 inches high x 17 inches wide x 6 inc...

Striking mid century Italian life size leopard head crafted in terra cotta, hand decorated and glazed, now and forever caught in mid growl.

This 25" x 17" x 11" bronze sculpture by the celebrated multidisciplinary artist Harold Castor is a realistic depiction of a woman with her two children....

The author admires the beauty of the female body. Her movement - smooth, graceful and beautiful. The moment of awakening is very sensual. The girl stretches, revealing the beauty of her young body. Realistic manner shows her original beauty. Sculpture shapes create a play of light and shadow, curves, polished and brushed metal. The work is made of bronze- polish and patina. This sculpture was created in the early period of Alex Radionov...