Ruth Gutman Figurative Sculptures

Organic, abstract bronze sculpture by Yulla Lipchitz of a woman lying down with a tree. About this artist: Yulla Lipchitz, née Halberstadt, was born on April 21, 1911 in Berlin, Ge...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The s...

Maurice Lambert Head of Dame Edith Sitwell 1901-1964 Patinated bronze on marble base Dimensions: 7 x 16 inches (18 x 41 cm) Provenance Private collection Originally commissioned by Edith's brother Osbert Sitwell circa 1926/27. Our version is of the same period and must have been commissioned at the same time. A version of this piece made in 1984 in aluminium is held in the permanent collection of the National Portrait Gallery (NPG 5801). Maurice Lambert Maurice Lambert, born in Paris, was son of the Russian-born Australian painter George Washington Lambert...

EDITION Signed and monogrammed. Edition Arthus Bertrand, Paris

An inverted miniature head in polished bronze, Mini Testa No. 5 is a figurative sculpture by Óscar Aldonza Torres, created in 2026. Dark oxidized details emphasize the eyes, mouth an...

EDITION Monogramed and numbered: FxL; 400/900 Editor’s mark on the tail: Artcurial CERTIFICATE OF AUTHENTICITY A certificate of authenticity issued by Artcurial, dated October 4, 19...

A rare bronze by the German sculptor Walter Scheufen, who died during the First World War in the Flanders fields when only in his mid 30s. Depicting a stone carrier straining beneath...

A Monumental Museum Quality Pair of French 19th Century Figural Gilt and Patinated Bronze Rosso Granite Marble Flambeaux Urns, each depicting a pair of standing allegorical and whims...

Weathered verdigris bronze reclining miniature figurative head sculpture with deeply recessed eyes, an eroded surface and selectively polished golden highlights, individually cast an...

Edition Numbered, dated and marked: 31/250; 1995 and marked under the mouth: Blanchet Fondeur Literature D. Marchesseau, The Lalannes, Paris, 1998, p. 37. Daniel Abadie, Lalanne(s), Paris, 2008, p. 188. Paul Kasmin, Claude & François-Xavier Lalanne, New York, 2012, n.p. Les Lalanne, Fifty years of work, 1964 – 2015, exhibition catalogue, Paul Kasmin Gallery, New York, March 26 – May 2 2015, pp. 71, 88-89 and 106-109. Adrian Dannatt, François-Xavier & Claude Lalanne, In the Domain of Dreams, New York, 2018, pp. 66, 180-181 and 192. François-Marie Banier and Jean-Gabriel Mitterand, François-Xavier Lalanne, Montreuil, 2019, pp. 40-41. François-Marie Banier and Jean-Gabriel Mitterand, La maison-atelier de Claude et...

This is a mid 20th century mod abstract large bronze sculpture by Wolfgang Behl (German/American, 1918-1994). The sculptural group titled "The Family" features a mother and father with two children. Numbered 20/20. Signed. 21" H x 10 1/4" x 10 1/4 Wolfgang (Johann Wolfgang) Behl (1918 - 1994) was active/lived in Connecticut, Illinois / Germany. Known for Sculpture and as an architectural carver. A carver,designer, and teacher, Wolfgang Behl was born in Berlin, Germany where he studied at the Berlin Academy of Fine Arts. His teacher was otto Hitzberger, sculptor and architecture carver. I have seen some his work, particularly in carved wood compared to Constantin Brancusi although this one seems way more reminiscent of Alberto Giacometti. In 1939, Behl came to the United States and taught briefly in Pennsylvania at the Perkiomen School and in Rhode Island at the Rhode Island School of Design. There in 1943, he won the Joseph N. Eisendrath prize for sculpture. He also became a friend of Louis Mayer, sculptor from Milwaukee. In 1944, Behl took a job as Art Director at the Lake Forest Academy in Lake Forest, Illinois, and he also began a one-year teaching assignment at the Layton School of Art in Milwaukee. The last years of his life until his death were in Hartford, Connecticut. Source: Peter C. Merrill, "German-Immigrant Artists in Early Milwaukee" Originally from Berlin, Germany, Mr. Behl immigrated to the United States in 1939 and became a citizen in 1947. He studied with Waldemar Raemisch at the Academy of Fine Arts in Berlin, and later at the Rhode Island School of Design. He began teaching at the Hartford Art School in 1955, retiring in 1983 to devote his time to sculpting. Mr. Behl had exhibitions throughout the United States and Germany. Some of his solo exhibitions include the Arts Exclusive in Simsbury from 1976 to 1981, and the Bertha Schaefer Gallery in New York City from 1950 to 1973. He showed at the New Britain Museum of American Art, in New Britain, Connecticut in 1969. He also had several retrospectives, including one at the Greater Hartford Jewish Community Center in West Hartford until the end of this month. His works in bronze have a German Expressionist quality to them a pathos found in the works of Kathe Kollwitz and the Expressionist movement. He was known for his classically inspired, but often surrealist sculpture. Among his most-well known pieces are a series of sculptures done for the University of Connecticut Health Center. Several examples of Behl’s work are found on the campus of the University of Hartford. He was included in the show Monumentality in Modern Sculpture at the Contemporary Arts Museum Houston, Texas, 1957. Artists featured in the exhibition: Kenneth Armitage, Hans Arp, Ernst Barlach, Wolfgang Behl, Dorothy Dehner, Edgar Degas, José de Rivera, Max Ernst, Alberto Giacometti, Joseph Glasco, Julio González, Paul Granlund...

• Model created in 1979 by François-Xavier Lalanne, edited by Artcurial, cast in patinated bronze and brass • Part of Lalanne’s celebrated bestiary, a central theme in his sculptura...

• Created in the mid-1930s, the Figure floor lamp reflects Alberto Giacometti’s early exploration of the relationship between sculpture and functio...

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...

Edition Signed with the stamp: Lalanne Monogrammed, marked and numbered under the apple: CL ; Artcurial ; 57/250 Literature Robert Rosenblum, Les Lalanne, Genève, Éditions Skira, 1991, an other version reproduced p. 123. Claude et François...