Chrissy Harris Sculptures

Charna Rickey 1923 - 2000 Mexican-American Jewish Woman artist. Signed Bronze House of Books, Architecture Bronze sculpture, signed Charna Rickey and on the front "House of the book." It depicts an open Torah. Original patina. Approx. dimensions: 7 in. H x 9 in. W x 8.5 in. D. Weight: 13.1 lbs. Modernist Judaica Sculpture Born Charna Barsky (Charna Ysabel or Isabel Rickey Barsky) in Chihuahua, Mexico, the future artist lived in Hermosillo and immigrated to Los Angeles when she was 11. She was educated at UCLA and Cal State L.A., she married furniture retailer David Rickey and explored art while raising their three daughters. Moving through phases in terra cotta, bronze, marble and aluminum, she found success later in life. Rickey became one of the original art teachers at Everywoman's Village, a pioneering learning center for women established by three housewives in Van Nuys in 1963. She also taught sculpture at the University of Judaism from 1965 to 1981. As Rickey became more successful, her sculptures were exhibited in such venues as Artspace Gallery in Woodland Hills and the Courtyard of Century Plaza Towers as part of a 1989 Sculpture Walk produced by the Los Angeles Arts Council. Her sculptures have also found their way into the private collections of such celebrities as Sharon Stone. Another of Rickey's international creations originally stood at Santa Monica College. In 1985, her 12-foot-high musical sculpture shaped like the Hebrew letter "shin" was moved to the Rubin Academy of Music and Dance at Hebrew University in Jerusalem. The free standing architectural Judaic aluminum work has strings that vibrate in the wind to produce sounds. Rickey also created art pieces for the city of Brea. They commissioned some amazing art pieces by Laddie John Dill, Walter Dusenbery, Woods Davy, Rod Kagan, Pol Bury, Niki de Saint Phalle, Magdalena Abakanowicz, Larry Bell, John Okulick...

Silver cast metal sculpture of an American buffalo created by American artist Arnold Goldstein. This artwork has the signature inscribed on the belly.

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...

Max Kalish (American, 1891-1945) Harmony, c. 1930 Bronze with green marble base Incised signature on right upper side of base 14 x 9 x 5 inches, excluding base 17 x 10 x 8 inches, including base 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...

Large sized sculpture of a standing shirt including large piedestal.

Eugenie Gershoy (January 1, 1901 – May 8, 1986) was an American sculptor and watercolorist. Eugenie Gershoy was born in Krivoy Rog, Russia (Krivoi Rog, Ukraine) and emigrated to New York City in the United States as a child in 1903. Considered somewhat of a child prodigy, Gershoy was copying Old Master drawings at the age of 5. Her interest and talent in art was encouraged from a very young age. Aided by scholarships, she studied at the Art Students League under Alexander Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, and Boardman Robinson. Around this time, she created a group of portrait figurines of her fellow artists, including Arnold Blanch, Lucile Blanch, Raphael Soyer, William Zorach, Concetta Scaravaglione, and Emil Ganso, which were exhibited as a group at the Whitney Museum of American Art. At age 17, she was awarded the Saint-Gaudens Medal for fine draughtsmanship. Early in her career she became an active member of the Woodstock art colony. In Woodstock she experimented by sculpting in the profusion of indigenous materials that she found. Working with fieldstone, oak and chestnut, Gershoy created works based on classic formulae. As she became more interested in the dynamism of everyday life, she found that these materials and her idiom were too restrictive. By the time Gershoy came to Woodstock in 1921 her own individual artistic style was already evident in her sculptures. Eugenie Gershoy worked in stone, bronze, terracotta, plaster and papier-mache. Gershoy’s sculptures were mainly figurative in nature and many of her artist peers such as Carl Walters, Raphael and Moses Soyer, William Zorach and Lucille Blanch, became her subjects. Eugenie Gershoy’s works on paper should not be overlooked. She was the winner of the Gaudens Medal for Fine Draughtsmanship at the tender age of 17. Gershoy married Jewish Romanian-born artist Harry Gottlieb. In the late 1920s and early 1930s, the pair kept a studio in Woodstock, New York. There, Gershoy was influenced by sculptor John Flanagan, who lived and worked nearby. From 1936 to 1939, Gershoy worked for the WPA Federal Art Project. She collaborated with Max Spivak on murals for the children's recreation room of the Queens Borough Public Library in Astoria, New York. She developed a mixture of wheat paste, plaster, and egg tempera, which she used in polychrome papier-mâché sculptures; she was the only New York sculptor to work in polychrome at this time. She also designed cement and mosaic sculptures of animals and figures to be placed in New York City playgrounds. Alongside others employed by the FAP, she participated in a sit-down strike in Washington, DC, to advocate for better pay and improved working conditions for the projects' artists. Gershoy's first solo exhibition was held at the Robinson Gallery in New York in 1940. She moved to San Francisco in 1942, and began teaching ceramics at the California School of Fine Arts in 1946. In 1950, she studied at the artists' colony at Yaddo. Gershoy traveled extensively throughout her life. She visited England and France in the early 1930s, and worked in Paris in 1951. She traveled to Mexico and Guatemala in the late 1940s, and also toured Africa, India, and the Orient in 1955. In 1977, Gershoy dedicated a sculpture to Audrey McMahon, who was actively involved in the creation of the Federal Art Project and served as its regional director in New York, in recognition of the work McMahon provided struggling artists in the 1930s. Gershoy's work is in the collections of the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Smithsonian American Art Museum. Her papers are held at Syracuse University Grant Arnold introduced her to lithography in 1930 and Gershoy depicted many scenes of Woodstock artists and their daily activities through this medium. From 1942 to 1966 Gershoy lived and painted in San Francisco where she taught at the San Francisco Art Institute. She traveled extensively, filling sketchbooks with scenes of Mexico, France, Spain, Africa and India. During her later years Eugenie Gershoy returned to New York City and concentrated on numerous well received exhibitions. Her last exhibition in at Sid Deutsch Gallery included many of the sculptures that were later exhibited in the Fletcher Gallery. John Russell, former chief critic of fine arts for the New York Times, writes about the 1986 Sid Deutsch exhibition: “As Eugenie Gershoy won the Saint-Gaudens Medal for fine draftsmanship as long ago as 1914 and since 1967 has had 15 papier-mache portrait figures suspended from the ceiling of the lobby of the Hotel Chelsea, she must be ranked as a veteran of the New York scene. Her present exhibition includes not only the high-spirited papier-mache sculptures for which she is best known but a group of small portraits of artists, mostly dating from the 30’s, that is strongly evocative.” Eugenie Gershoy is an artist to take note of for several reasons. She was a woman who received great awards and recognition during a time when most female artists were struggling to hold their own against their male counterparts. As a young girl she won a scholarship to the Arts Student League where she met Hannah Small...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1940s. Two Figures, 1949, ebony wood, 24 x 7 x 5 inches, unsigned, but comes from Thomas' daughters and includes a copy of a 1949 photo of this work listing the artist's name, title of work and date Robert Chester Thomas was a California sculptor. A native of Wichita, Kansas, Thomas moved with his family to Southern California as a child. During World War II, he joined the army and served for a time in the European theater. When he returned to California, he studied sculpture with David Green in Pasadena in 1946 and 1947, before taking advantage of the GI Bill in 1948 to study with Ossip Zadkine in Paris. He first exhibited at Galerie St. Placide as part of an exhibition of American artists working in late 1940s Paris...

Bronze sculpture of a wild mustang horse created by American artist Arnold Goldstein. This artwork has the signature and numbering inscribed. Numbered...

Chief Joseph of the Nez Perce Indians by Arnold Goldstein, American Date: 1975 Bronze, signed, inscribed and numbered Edition of 4/30 Size: 18 in. x 13 in. x 9 in. (45.72 cm x 33.02 ...

David Pryor Adickes American (b. 1927) John F. Kennedy bas-relief plaster relief sculpture in artists frame incised signature lower center. with gold stars. Deep relief, approximatel...

A designer decor bouquet of aluminum floral forms by Arthur Court Designs (California). Produced 1989. Includes: four (4) aluminum flowers on stems; and...

Retaining a fine patina and in overall good condition. Signed with initials SB. I believe the edition size was 7 But I cannot find a mark. Stanley Bleifeld (1924 – 2011) was an American sculptor. Stanley Bleifeld was born and raised in Brooklyn, New York, Bleifeld earned bachelor of fine arts, bachelor of science in education and in 1949 a master of fine arts degree in painting at Tyler School of Art of Temple University. After a trip to Rome in 1959 or 1960 he gave up painting for sculpture. He began his fine-art career as a painter. However, a visit to Italy and exposure to the bronzes of Donatello, Michelangelo, and Ghiberti changed his direction He worked with the Art Foundry of Massimo del Chiaro and alongside artists such as Lucchesi, Harry Marinsky, Fernando Botero, Igor Mitoraj and Ivan Theimer. Many of his early pieces were religious subjects, and reflected both painting and sculptural techniques in bas reliefs* that had "liquid landscapes in undulating reliefs and free-flowing portraits reminiscent of classical fragments" (166-167). He later turned from these abstract pieces to more realistic figures in bronze. Bleifeld was a National Academician in Sculpture, and a member of the National Academy of Design, and helped set policy for that organization. He was also President of the National Sculpture Society. Past presidents of the society have included John Quincy Adams Ward, James Earle Fraser, Chester Beach, Wheeler Williams, Leo Friedlander, Neil Estern, and Cecil de Blaquiere Howard. The first woman to gain admission into the NSS was Theo Alice Ruggles Kitson, in 1893. She was followed a few years later by Enid Yandell and Bessie Potter Vonnoh in 1898; Janet Scudder in 1904; Anna Hyatt Huntington in 1905 and Evelyn Longman and Abastenia St. Leger Eberle in 1906. In 1946, Richmond Barthé was likely the first African-American to be admitted. In 1994, the NSS held their first exhibition outside the United States at the Palazzo Mediceo Di Seravezza in Italy. Titled “100 Years of the National Sculpture Society of the United States of America in Italy” it ran from the 16th of July through the 4th of September and was curated by Nicky and Stanley Bleifeld along with Costantino Paolicchi, Lodovico Gierut and Paolo Giorgi. Among the 60 notable American sculptors whose work was selected for the exhibition were Stanley Bleifeld, Andrew DeVries, Neil Estern, Leonda Finke, Bruno Lucchesi, Barbara Lekberg...