Ferdinando Codognotto Art

1961 Coty Award Plaque Kenneth Hairdresser Jacqueline Onassis Bronze Fashion Bronze on wood. The wood plaque measures 12 3/4" by 20 3/4 inches. The bronze plaque itself is 13 3/4 x 8 3/4 inches and the the bronze inscription, which reads "COTY, American Fashion Critics Special Award 1961 to KENNETH of LILY DACHE...

Windswept Face Of A Man Marble Sculpture Signed, on wooden base. Leon Saulter (1908 - 1986) was active/lived in California born in Poland. Moved to US in 1921. Leon Saulter is known for sculptures, paintings also writer. Born in Poland on March 31, 1908. By the 1930s, Saulter was active on the Federal Art Project while a resident of Los Angeles. Exhibitions: Painters & Sculptors of LA, 1936-40; Artists Union (LA), 1939; Stendahl Gallery (LA), 1941; LACMA, 1940, 1943, 1946 Santa Barbara Museum; Bonita Union High School (Spirit of Youth Learning Industry); David Starr Jordan School, Long Beach (Head). Museums: University of Wyoming Art...

A 1928 woodcut on paper of a self-portrait of notable Chicago Modernist artist, Emil Armin. Artwork size: 10 1/2" x 8". Archivally matted to: 12 1/2" x 14 1/2. Signed, titled and numbered in pencil. Edition 7/30. Emil Armin was born in Radautz, Austria in 1883. By the age of 10, Armin was orphaned and was raised by his older siblings. He supported himself by working in restaurants and drew in his spare time. In 1905, at the age of 21, Armin immigrated to Chicago. He began studying at the Art Institute of Chicago in 1907, but financial difficulties forced him to start and stop a number of times, finally graduating in 1920. He studied with George Bellows and Randall Davey. Armin was an integral part of Chicago’s 57th Street Art Colony and exhibited in both the more avant-garde Chicago No-Jury Society Shows, as well as the more formal and conventional Chicago Society of Artists Exhibitions, the Chicago Renaissance Society and Art Institute of Chicago (1922-1949) exhibitions. He taught at Hull House...

Ceramic parrots atop wood perches, each is handmade Our objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, s...

Tokyo: c1893. Wooblock tryptich printed in colors on hand laid mulberry paper, 14 3/4 x 29 inches (375 x 737 mm), the full sheet. Meiji period. In very good condition with extensive...

This is an original gallery show poster the Boris Mirsky Gallery, Newbury St. Boston. titled Sculpture Prints Drawings. It is dated 1962. it is in red and black. Leonard Baskin (Augu...

Pedro Friedeberg Unique Hand Foot Sculpture Gilt finished wood Signed PEDRO FRIEDEBERG on bottom of the foot 12 inches tall, 6 inches wide (base of hand), 3 inches wide (base of foot...

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...

Artist: Utagawa Kunisada "Toyokuni the Third" (Japanese 1786 - 1864) Page Size: 14 x 9.5 in. Frame Size: 21 x 16.25 Translation of Calligraphic Japanese Text: 大星由良之助 Ōboshi Yuranosu...

"Saw Whet Owl" is a charming and striking woodcarving relief sculpture created by American artist Dana Younger. Made from walnut, resin, and acrylic, this pie...

Hand-carved eucalyptus wood sculpture by the artist Álvaro de la Vega (1954, Lugo, Spain) in 2013. It is part of a series of sculptures of bodies made with chisel and hammer, in the ...

Repousse sculptural plaque from the original Bezalel Art School in Jerusalem. This is marked "Made in Palestine" as it is from the British Mandate period. It is in an Orientalist des...

"Kingfisher" is a charming and striking woodcarving relief sculpture created by American artist Dana Younger. Made from walnut, resin, and acrylic, this piece depicts a Kingfisher pe...

Gerald Coles - Original 1958 Woodcut. Signed and dated in pencil lower left corner. On Japan paper. Numbered 1/30. In fine condition. Gerald Anthony Co...

Mystery Artist Untitled, 20th century Bronze with wood and acrylic mounting Overall: 19 1/4 x 7 1/4 x 1 1/8 in. Bronze plate: 17 5/8 x 5 3/4 in. Numbered lower left: 7/30 Initialed l...