Lions Gallery Figurative Sculptures

Mathias Goeritz (German Mexican, 1915-1990) Bronze sculpture Signed and numbered Dimensions: (approximate) Height: 10 inches, Width: 4 inches, Depth: 2 inches. This is a cast bronz...

Deaccessioned from the Spertus Museum in Chicago Hand signed by artist in wood carving Chaim Goldberg -- born in the Polish shtetl of Kazimierz Dolny Chaim Goldberg has worked in ne...

Marc Sijan (American, born 1946) Hyper realistic wall sculpture. titled and dated on verso "Champagne Glass" 1986 Limited edition number 14/95. Features a Art Deco style girl in ...

Renowned Israeli sculptor Menashe Kadishman (1932-2015), CONTINUUM, 1979, revolving metal sculpture, Dimensions 16.5 x 10 x 9.25 inches. Hand signed and numbered on dedication pla...

Arman Temps 2 (Mecanismes de montres) 1976 Accumulation of watch parts on three sheets of Plexiglas, encased in a box Dimensions: 18.125 h × 18.125 w × 4.375 d in (46 × 46 × 11 cm) H...

Untitled (it depicts acrobats, trapeze artists or gymnasts in mid pose) bronze cast sculpture signed and numbered from small edition (1 of 3). Gerard Koch was a French Post War & C...

Roberto Estopinan, Cuban, 1920 - 2015 Dimensions: 24.5" wide x 13" high plus 6" high base. Roberto Estopiñán (1921–2015) was a Cuban American sculptor known for his sculptures of the human form, including political prisoners. Born in Camaguey, Cuba, he lived in the United States for over fifty years. His works are held by major institutions such as the Museum of Modern Art, the Whitney Museum and the Smithsonian Museum of American Art. Roberto Gabriel Estopinan, a sculptor, draftsman, and printmaker, was born in Havana, Cuba on March 18, 1921. Estopiñán enrolled at the San Alejandro Academy when he was just 14 years old and became the protegé and studio assistant of the sculptor Juan José Sicre. After graduation he traveled first to Mexico, where he met and befriended Francisco Zuniga, and studied Pre-Columbian sculpture. In 1949 he traveled to Europe, visiting England, France and Italy. In these trips he encountered the sculpture of Henry Moore and Marino Marini, and their humanistic yet formal visions would be influential on Estopinan's work. Estopiñán was a pioneer of direct carvings using wood and of welding techniques in Latin America. Throughout the 1950s, Estopiñán received important prizes at various national exhibitions in Havana. In 1953 he was the only semi-finalist from Latin America at the Tate Gallery's international sculpture competition for a Monument to the Unknown Political Prisoner. In 1961, the artist moved to New York, where he resided until 2002. Roberto Gabriel Estopiñán a Cuban emigre sculptor who emigrated to exile in the United States not long after Fidel Castro’s revolution in 1959, is considered one of Latin America’s most important 20th-century artists. His work, which includes drawings and prints as well as sculptures in wood and bronze, is in the collections of New York’s Museum of Modern Art, the Smithsonian’s American Art Museum, the Art Institute of Chicago, and the Detroit Institute of Art, among many locations. He is best known for his stark, disturbing renderings of political prisoners, the fruit of his own experiences as a dissident under both Castro and his predecessor, the dictator Fulgencio Batista, and for his representations of the female torso that can remind viewers of both classical statuary and the high-modern, abstractly elongated work of Henry Moore.mHe was born in Havana to a father from Asturias in northwest Spain and a mother of African descent. Estopiñán was something of a prodigy. At the age of fourteen, he won the first prize in drawing at the Centro Asturiano, a regional association for Cubans of Asturian descent. Shortly afterward he received special permission to enter the San Alejandro Academy of Fine Arts in Havana. At the school he was mentored first by its director, the painter Armando Menocal (1863-1941), then by the landscape artist Antonio Rodríguez Morey (1872-1967), and finally by Juan José Sicre (1898-1974), regarded as one of Cuba’s greatest sculptors. Sicre, a professor of sculpture at the Academy, had helped introduce European modernist art to Cuba, and from the 1930s through the 1950s had sculpted monumental figures in Havana of José Martí and other Cuban national heroes that stand to this day. Estopiñán was first Sicre’s student, then his assistant, and, finally, his colleague for the next fifty years. After graduating from San Alejandro in 1942, Estopiñán began simultaneously teaching art at the Ceiba del Agua School for young men, assisting Sicre in public art projects and developing his own artistic vision. He also traveled widely, to Mexico, New York, France, and Italy. From the late 1940s through the 1950s his sculpture evolved from an early neoclassical phase under the influence of Maillol to what he defined as “formalist humanism”: emphasizing the abstract beauty of the shapes he sculpted while not abandoning the human figure as the basis of his work. As the 1950s progressed he chose to carve in native Cuban woods...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Balancing, Mother and child signed and editioned 1/6 mounted on black marble plinth 14"h x 11.5"w x 8"d (height w...

Moonstruck 1994 3D porcelain ceramic plate. limited edition. Red Grooms (born Charles Rogers Grooms on June 7, 1937) is an American multimedia artist best known for his colorful pop-art constructions depicting frenetic scenes of modern urban life. Grooms was given the nickname "Red" by Dominic Falcone (of Provincetown's Sun Gallery) when he was starting out as a dishwasher at a restaurant in Provincetown and was studying with Hans Hofmann. Grooms was born in Nashville, Tennessee during the middle of the Great Depression. He studied at the Art Institute of Chicago, then at Nashville's Peabody College. In 1956, Grooms moved to New York City, to enroll at the New School for Social Research. A year later, Grooms attended a summer session at the Hans Hofmann School of Fine Arts in Provincetown, Massachusetts. There he met experimental animation pioneer Yvonne Andersen, with whom he collaborated on several short films. Grooms follows in the tradition of William Hogarth and Honoré Daumier, who were canny commentators on the human condition. In 1969, Peter Schjeldahl compared Grooms to Marcel Duchamp, because both embodied "a movement of one man that is open to everybody." In the spring of 1958, Grooms, Yvonne Andersen and Lester Johnson each painted twelve-foot by twelve-foot panels, which they erected with telephone poles on a parking lot adjacent an amusement park in Salisbury, MA. Inspired by artist-run spaces such as New York's Hansa Gallery and Phoenix, and Provincetown's Sun Gallery, Grooms and painter Jay Milder opened the City Gallery in Grooms' second-floor loft in the Flatiron District. When Phoenix refused to show Claes Oldenburg, Grooms and Milder dropped out of Phoenix and City Gallery presented Oldenberg's first New York exhibition, as well as that of Jim Dine. Other artists who showed at City Gallery include Stephen Durkee, Mimi Gross (daughter of Chaim Gross and Red grooms wife), Bob Thompson, Lester Johnson, and Alex Katz. Inspired by George Méliès's 1902 film A Trip to the Moon...

Salvador Dali (1904-1989) – Surrealist bronze sculpture by Salvador Dalí depicting an interpretation of the soul of Don Quiote. The sculpture is mounted on...

Guitar or Mandolin playing musician. Music themed bronze sculpture Signed and numbered Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigra...

Rare Vintage unusual piece. A cute couple, Chassidic bride and groom in their wedding best. Frank Meisler has sculpted the city of Jerusalem, its walls and buildings culminating in the Temple Mount. There is a little hole in his hand for the flower that is currently missing but can easily be filled with any small sprig FRANK MEISLER Gdansk, Poland - Israel, b. 1929 Frank Meisler (born 1929) is an Israeli architect and sculptor. He was born in Germany, grew up in England, before moving to Israel in 1960. Meisler was born into a Jewish family in Danzig (then in Germany, now Gdańsk in Poland). He was evacuated from Germany by the Kindertransport in August 1939, travelling with 14 other Jewish children via Berlin to the Netherlands and then to Liverpool Street station in London. His parents were arrested three days after his departure, held in the Warsaw Ghetto and later murdered at Auschwitz concentration camp. He was raised by a grandmother, who lived in London. He attended school in Harrow, and then did national service in the Royal Air Force. He studied architecture at the University of Manchester, and was involved in the construction of the Heathrow Airport. Meisler moved to Israel in 1960, where he has a workshop in the Old City of Jaffa. He makes small Judaica sculptures, and also large public works. His public works include a memorial to Ben Gurion in Israel, a statue "Eternal Kiev" in Kiev, and a series of Kindertransport memorials: "Kindertransport - the arrival" erected at Liverpool Street station in London in 2006, "Trains to life, trains to death" erected at Friedrichstraße station in Berlin in 2008, "The departure" erected at Gdańsk Główny station in 2009, and "Crossing to life" erected at the Hook of Holland in 2011. Each includes bronze statues of a group of children, with luggage. Known for his whimsical Folk Art, Judaic sculptures he is a long time denizen of Jaffa along with Ilana Goor. He made large-scale sculptures commemorating various historical figures, including Joseph Stalin, Theodore Roosevelt, Winston Churchill at the 1945 Yalta Conference, and Christopher Columbus. Meisler also worked on a smaller scale, producing menorah, Jerusalem fountains, Jewish figurines...

Minna Rothenberg Harkavy (1895-1987) Estonian-American This is not signed bronze portrait bust Provenance: Estate of the artist by descent Minna Harkavy (1887 – 1987) (birth occasio...

Sculpture Of A Sleeping Dog. A wonderful and realistic cast bronze signed and numbered. With beautiful weathered patina Small edition of 10 Colin Webster-Watson (1926, Palmerston...

Marcelo Morandin 1933-1996 Untitled (Embracing Couple, Lovers) Bronze 1988; ed. P/E; Hand signed, dated and editioned to lower edge DImensions: 48.5 x 32 x 21 cm / 18.8 x 12.5 x 8.2 inches (approximately) PAREJA, Bronce, patinado Marcelo Morandin (1933 - 1996) was active/lived in Argentina, Mexico. Argentinian, Mexican Postwar & Contemporary sculptor Morandin is best known for his monumental sculpture. This is a wonderful, art deco inspired nude couple, the woman appears pregnant). Marcello Morandín (Marcelo Román Morandín Paroni) was born in 1933 in Argentina. He was an important plastic artist and Argentine architect, distinguished in Mexico for being an excellent sculptor and furniture designer. At the end of his studies at the Faculty of Architecture of Buenos Aires, Argentina, he traveled to Mexico and settled in Xalapa, Veracruz. In this city he was part of several artistic projects and noted for being one of the founders of the Department of Aesthetic Research and Applied Design at the University of Veracruz, as well as the Department of Aesthetic Research at UNAM. Between the years 80 and 90, he carried out several monumental works, among them "La pigeon de la paz" a project for the UN; "The foundation of Tenochtitlan" located in front of the Official Residence of Los Pinos; and "The Kinetic Tower" Of the government of Veracruz that combines the light and the sound with diverse moving parts to the compass of the music of Arnold Schoenberg. (Lily Kassner. Dictionary of Mexican sculptors of the twentieth century. Volume II. Mexico. Conaculta, 1997). Similar in style to Israeli artists Aharon Bezalel and Isaac Kahn. He has shown with Jose Villalobos, Nicolas Moreno, Pedro...

Grisha Bruskin (Russian, b. 1945) Vision, 1992 steel Hand signed and inscribed Grisha Bruskin in Cyrillic numbered 117/300 Genre: Contemporary Subject: Religious Medium: Steel Gri...

This work is hand signed. It is not dated. Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre was known for his recycling of surplus steel oil drum lids. Brierre worked as a brick mason, cabinetmaker, tile setter, and blacksmith. He was born in Mirebalais or Port-au-Prince, Haiti and was the younger of two brothers. His older brother, Edgar Brierre, was a painter and sculptor. The brother's signed their works with only their last name, creating some confusion within their professional circles about the authorship of their work. Brierre's sculptures typically ranged from three to six feet in length and reflected Christian, Haitian Vodou, and folklore themes. Brierre was also a painter, but ultimately chose to work with metal because he felt that the material was saturated with spiritual energy. It was a laborious process. The oil drum lids were hammered flat, drawn onto, then cut with a razor. The sheet was then cut with a chisel before finishing was completed with a file. By the mid1970s, Brierre's sculptures included pronounced areas of cut outs surrounding long curved lines of metal. Brierre's iron sculpture titled Chien de Mer overlays a dog head onto the body of a fish. Haiti has long celebrated a rich artistic and cultural heritage. Georges Liautaud (1899–1991) ignited the Haitian metal sculpture movement in the 1950s in Croix-des-Bouquets, Haiti. A blacksmith by trade, he fashioned crosses for public cemeteries before creating more elaborate cut-metal works. Liautaud disseminated the distinctly Haitian art form to emerging artists, such as Murat Brièrre (1938–88) and the Louisjuste brothers, Sérésier, Janvier, and Joseph (1940–89). They, in turn, taught others in Croix-des-Bouquets, including Gabriel Bien-Aimé (b. 1951) and Serge Jolimeau (b. 1952), Haiti’s two leading metal sculptors working today. Discarded steel oil drums have historically served as the base material for Haitian metal artists. The drums’ lids are cut open with a chisel and hammer and a long vertical split is made along the side of the drums. The interiors are filled with dried sugarcane or grass and lit on fire to remove any grime; once cool, the drums are flattened into sheets. Designs are chalked on; pieces are then cut and sculpted using only hand tools and further enhanced by hammering, embossing, cutting holes, and bending the metal. Sculptures reflect everyday life portraits, imaginative themes, and motifs of Haitian Vodou, an African Diasporic religion. Some of the many forms that appear include angels and winged creatures, mermaids and other aquatic figures, musical bands, animals, and earthly, paradisiacal scenes. Solo exhibitions 1967 – Haitian Art Gallery, New York 1968 – Centre d'Art, Port-au-Prince, Haiti; Bradley Galleries, Milwaukee, Wisconsin; Georgetown Graphics Gallery, Washington D.C.; Menschoff Gallery, Chicago; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Roko Gallery, New York 1969 – Centre d'Art, Port-au-Prince, Haiti; Showcase Gallery, Washington D.C.; Botolph Group, Boston 1970 – Centre d'Art, Port-au-Prince, Haiti 1972 – Centre d'Art, Port-au-Prince, Haiti; Roko Gallery, New York 1979 – Areta Contemporary Design, Boston Group exhibitions 1969 – Davenport Art Gallery, Iowa 1974 – Davenport Art Gallery, Iowa 1978 – Brooklyn Museum, New York (traveling) 1982 – Studio Museum in Harlem, New York 1983 – Chicago Public Library Cultural Center 1985 – Davenport Art Gallery, Iowa 1987 – Musée du Panthéon National, Port-au-Prince, Haiti 1988 – Galeries Nationales d'Exposition du Grand Palais, Paris 1989 – Museum of Art, Ft. Lauderdale, Florida 2006 – Phyllis Kind Gallery in conjunction with the Outsider Art Fair, New York 2024 Ayiti Toma II: Faith, Family, and Resistance, Luhring Augustine, Tribeca, New York 2023 Haitian Metal Sculpture, SFO Museum, California, USA 2015 Celebrating African American Art, Flomenhaft Gallery, Chelsea, New York, USA An important exhibition of works by outstanding African American artists. Included were: Emma Amos, Benny Andrews, Romare Bearden, Murat Brierre, Beverly Buchanan...

Renowned Israeli sculptor Menashe Kadishman (1932-2015), Sheep iron sculpture, Hand signed with initials in yellow paint. Menashe Kadishman was born in Tel-Aviv in 1932. He is a Gr...

Blas Alfredo Castagna was born in Buenos Aires, Argentina in 1935. He studied at the Manuel Belgrano National School of Fine Arts and at the Prilidiano Pueyrredón School, where he obtained the title of National Professor of Drawing and Decorator Painter. In 1959 he traveled to Italy and in Sicily he attended the metal-beating workshop at the Scuola d´Arte di Comiso. A year later, he had a solo show of oil painting and gouaches at the “Alcora” Gallery in Buenos Aires, also presenting it in the province of San Juan. In addition to his artistic activity, he worked between 1974 and 1976 as a teacher in the Department of Plastic Arts, Faculty of Humanities, of the National University of San Juan. In 1982 he was invited to exhibit plates and monotypes at the Galerie de L´Université - Tour Mauran in Toulouse, France. A year later he exhibited in our country at the Van Riel Gallery, where a long connection with this room begins. In 1998 he exhibited again in Toulouse, at the Espace Croix Baragnon, an exhibition entitled "Origins, Mémoide", also presenting that year, at the Enrique Larreta Museum of Spanish Art in Buenos Aires, his "Obra Figurativa 1973-1993". Collectively, he presents his works in Uruguay, Cuba, Spain, at the Museum of Modern Art in Buenos Aires and at the National Museum of Fine Arts, at the Borges Cultural Center (2007 and 2008), at the Museum of Modern Art in Bahia ( Brazil, 2005), at the Sainsbury Center Norwich (United Kingdom, 2004), Centro Cultural Recoleta (1999), at the Fortabat Foundation (1985), at the II Biennial of Havana (1986) and at the ARCO fair in Madrid ( 1987). In 1990 he was awarded the Spirit of Greece Award for engraving, and in 1992 the “Konex Platinum Award. His work is influenced by the Latin American geometric constructivism present in Argentina and Uruguay as well as the European influences of Surrealism and Dada Art. He showed at the prestigious van Riel Gallery. For over 80 years the Frans van Riel Gallery has exhibited at the forefront of Argentinean art. Beginning with Alfredo Hlito “Grupo de Artistas Modernos de la Argentina” (Argentinian Modern Artists). The avant-garde of the 1950s and the work of Kenneth Kemble, Leónidas Gambartes and the Grupo Litoral, Juan Del Prete, Aldo Paparella sculpture, Julio Llinás, Aldo Pellegrini, Juan Batlle Planas, Libero Badii, Malena Babino, Horacio Butler, Alejandro Corujeira, Juan Del Prete, Kirin, Luis Felipe Noé...

Jack Schuyler (1912-2002) Polished Metal Sculpture "Abstract Figural Composition" Hand signed and Dated 1982. Measures 27" x 26-1/2" x 10.5" inches. There is not much known about t...

Born in 1923, alumnus of the Warsaw Academy of Fine Arts. Student of the Warsaw University of Technology, is an extraordinary artist, searching for his own artistic way. Ambitious,...

Large and heavy with magnificent patina. This is the large version of this piece. we cannot find any markings on it and it might be unique. Nicky Imber (Vienna, Austria, 1920 -1996) was a multidisciplinary Jewish artist best known for his sculptures on Jewish themes. Grand nephew of Naftali Herz Imber, author of the Israeli national anthem 'Hatikva'. After escaping the Nazi concentration camp in Dachau, he pledged to dedicate his art to perpetuating the memory of the Holocaust. Among his more famous works are "The Hope" and "The Love of Torah". His work can be seen around the world, in Northern Israel, the United States, and the Venezuelan Museum of Natural History in Caracas. Nicky Imber was born in Vienna, Austria. During his studies at the Academy of Arts in Vienna, he drew anti-Nazi caricatures for Jewish student publications. After several thwarted attempts by the family to leave Vienna, in 1938, in the wake of the 'Anschluss', Imber was deported to Dachau. Witnessing the murders of family and friends, he plotted his escape. Using skills he had learned in art school, he made a face mask out of bread and sand, stole a Nazi soldier's uniform and walked out the front gate unnoticed. In 1940, he boarded a ship headed to Haifa. The ship's passengers were refused entry by the British mandatory authorities and imprisoned in a detention camp in Mauritius. In 1943, Imber worked out a deal with the authorities for his release by joining the British Army, serving as a war artist and a dental assistant in East Africa. After the war, he opened an art school in Nairobi, Kenya, and worked as a photographer and a safari guide. In 1949 to 1954, he lived in Venezuela, where he was contracted to do an East African Diorama series. The National Museum added an entire wing to display it. During this period he got married and had a daughter Raquel, who accompanied and assisted him. In 1959, Imber was commissioned to create sculptures and dioramas for the Haifa Prehistory Museum at Gan Ha-em in Haifa, Israel. In 1960 he returned to Venezuela to restaured the Phelps series of Dioramas for the Museum in Caracas. Between 1961 and 1971 he travelled extensively around Europe and after establishing an international name for himself, returned to the United States. In New York he became famous for his realistic oil paintings of portraits of Aga Khan, Tyrone Power, Ava Gardner, David Ben-Gurion, Golda Meir, Sir Richard Burton...

Minna Rothenberg Harkavy (1895-1987) Estonian-American signed bronze portrait bust, marble, stone base. Minna Harkavy (1887 – 1987) (birth occasionally listed as 1895) was a Jewish ...

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...

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 cast acrylic sculpture titled Chin Up by American artist Marc Sijan. This sculpture is made from acrylic and portrays the upper torso of a clothed woman wearing a bandana over her ...

Bronze Double Bass Player Klezmer Musician Sculpture signed Mane-Katz at base. Numbered 8/8. -Katz (1894-1962) was a Litvak painter born in Ukraine best known for his depictions of...

From small limited edition of 7, this is a signed and dated hollow cast bronze sculpture. Provenance: Important Miami Beach estate that included many paintings and sculpture by Post Impressionist masterpieces and works by Latin American masters. Felipe Castaneda (Mexican, b.1933) was born in 1933 in La Palma in the state of Michoacan, Mexico. His artistic career began at the National Museum of Anthropology in Mexico City where he became an assistant to the renowned sculptor Francisco Zúñiga (French, 1867–1947), Zuniga helped the artist realize his aptitude for sculpting and carving. Castañeda finished his studies in 1963, and by 1970, he was showing his work in exhibitions. Castañeda experimented with many media in order to master molding clay for his sculptures, preferring to work in marble, onyx, and bronze. The heavy influence of pre-Columbian artifacts...

This is an original wooden sculpture with hand painting on both sides. it does not appear to be signed or numbered and does not currently have any label. I believe this might be the ...

Alfred Van Loen signed 32 piece chess set. In heavy solid bronze. Rare Chess Game: Liberty versus Slavery Dimensions: a) Joy-Tenderness H. 6 3/16 in. a...

Jose Marmol "An American Marriage" Hand signed and dated Painted bronze Provenance: Allan Stone Gallery, New York. It came with an inlaid art deco box also signed Marmol. I cannot find any conclusive biography of the artist. Allan Stone (1932–2006) was a legendary American art dealer, collector, and leading authority on Abstract Expressionism. In 1960, he founded the Allan Stone Gallery where he became renowned for his early advocacy of preeminent 20th-century artists. He championed artists such as John Chamberlain, Joseph Cornell, Willem de Kooning, Richard Estes, Arshile Gorky, John Graham, Eva Hesse, Franz Kline, Yasuhide Kobashi, Wayne Thiebaud, and Jack Whitten. He was also known for his zealous and eclectic approach to art collecting, amassing a collection that spanned painting, sculpture, assemblage, collage, folk art, Art Nouveau, Art Deco, furniture, mechanical parts, signs, and bugatti cars. At the time of his death, he had the largest collection of African and Oceanic art in private hands. His clientele included Robert Mallary, John Chamberlain, and Elaine de Kooning, During the gallery's first decade Stone showed established luminaries such as Willem de Kooning, César, Franz Kline, John Chamberlain, Barnett Newman, and Alfred Leslie. He gave first or early shows to Arman, Robert Arneson, Richard Estes, Dorothy Grebenak,Eva Hesse, Robert Ryman, Wayne Thiebaud, and Jack Whitten. The Allan Stone Gallery was one of the few that would see artists and their work without an appointment—a vital lifeline for the inexperienced and unconnected. It was also unconventional in its frequent showings of unknown woman artists and artists of color, such as Eva Hesse, Gerald Jackson, Jack Whitten, Elizabeth King, Sue Miller, Sylvia Lark, Kazuko Inoue, Diana Moore, Oliver Lee Jackson, Mary Lovelace O'Neal and Lorraine...

María Simón Argentinian (1922-2009) Untitled (from Serie de los Sobres) 1982 welded and enameled black sheetmetal sculpture Escultura en metal, moldeado, soldado, esmaltado 18 1/4 x 11 1/4 x 8 1/2 inches Provenance: The Graciela Kartofel Collection María Simón Padrós (1922 – 5 July 2009) was an Argentine sculptor. Simón was born in Aguilares, Tucumán in 1922. Her father, John Simon Padrós, was an engineer, a prominent politician and industrialist; her mother was Emilia Dublé. Today she is represented in the collections of the Museo Moderno and the Museo de Bellas Artes, where one of her sculptures is on display until the end of July, along with others by Noemí Gerstein...

Skylar Fein, (American, 1968-), carved wood painted sculpture "Telephone Man", black paint on weathered wood, Cartoon figure drawing of phone man. bears artist signature token verso....

Genre: Surrealism Subject: people, architecture rendering Medium: Etching Surface: Paper Salvador Dali (Spanish, 1904-1989) I believe the title is L'Immortalite de L'Imperialisme Ge...

Handmade Benin sculptural tribal bronze figural judgement throne chair. The base of the chair with two tiers of standing figures. The back of the chair with two more tiers of standin...

Roughly hewn and painted, carved wooden sculpture. Hand signed and dated. Provenance Richard Gray Gallery, Chicago, Illinois, (accompanied with copy of original invoice dated 1986.) This was from his show Out of Africa. Expressionist paintings and carved reliefs at the Richard Gray Gallery, Chicago His first one-man exhibition in the United States, the show featured multidimensional and multi-media work with influences from Africa and nature. Philippe Cognée...

Miriam Sommerburg (American female artist, born Germany, Hamburg, 1900–1980 New York) Modernist Wood Carved Sculpture, Carving depictin...

Benedict Tatti (1917-1993) worked in New York city as a sculptor, painter, educator, and video artist. He studied stone and wood carving under Louis Slobodkin at the Roerich Museum. He later attended the Leonardo da Vinci School of Art studying under Attilio Piccirelli. In l939 he taught adult classes with the Teachers Project of the WPA and attended the Art Students League for three and a half years on full scholarship. He studied under William Zorach and Ossip Zadkine and later became Zorach’s assistant. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City. Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage architecture sculptures, using bronze metal and other industrial materials. He was included in the important show "Aspects de la Sculpture Americaine", at Galerie Claude Bernard Paris, France, in October 1960 along with Ibram Lassaw, Theodore Roszak, David Smith, Louise Bourgeois, Danese Corey, Dorothy Dehner, Lin Emery, Lily Ente, David Hayes, Louise Nevelson, Tony Rosenthal, Richard Stankiewicz, Sam Szafran...

Guillaume Couffignal (French b. 1964) Theatre, 2014. Bronze. 19 7/8 x 13 1/2 x 7 1/4 inches. Signed on the base: Couffignal. Beautiful texture and patina. Guillaume Couffignal is a ...

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...

A cast bronze sculpture depicting an elderly jewish peddler carrying a basket of geese going to the shtetl market. Signed on base. This is not editioned...

Bezalel Schatz, (1912-1978), Yaad Studio Workshop Mid century modern The standing part is 6 X 5 inches. The copper sheet is 10 X 5 inches each. This is for a pair. they are copper w...

20th Century Charming Metal Eiffel Tower Star of David Judaica Candle Holders 9.5" X 2.5" X 2.5" These are unmarked. Not sure of the country of origin. ...

Colin Webster Watson (1926-2007, New Zealand), sleeping horse, sculpture, bronze, supported on wooden base, signed, AP Sculpture Of A Suspended Horse Colin Webster-Watson (1926, Pa...

Artist: Bruno Luna (Mexican, b.1963) Era: 20th century Dimensions: 14.5"L x 5.25"W x 10"H Edition Number: 22 of 30 The sculpture, exquisitely fashioned from bronze, portrays a voluptuous jazz cabaret pianist seated at a grand piano, attired in a tuxedo painted to enhance the details. Signed Bruno Luna. Bruno Luna was born in Mexico City in 1963. (his birth name was Norman Bardavid) Interested in art since his childhood, he completed a painting workshop with Professor Robin Bond, and then on to the Anahuac University of Mexico City to study Architecture and Graphic Design. He was an assistant to Marcelo Morandin, A renowned Mexican Sculptor. Over the years, his work evolved into a very distinct style, A style of voluptuousness influenced by Colombian master Fernando Botero (he calls them Gorditos) along with influences of Mexican tradition, and a cubist, almost Picasso esque treatment of the human figure. Bruno Luna's sculptures carry an undeniable air of joyousness, happiness and vitality. His work has been exhibited internationally, and is included in many public and private collections. Among those are the collections owned by Prince Rainier of Monaco, the American actor Chevy Chase, and many others. Bruno Luna's sculptures appeared on Mexican most popular syndicated network, Televisa, in a soap opera called "Mi Abuelo y Yo". in 1986 he founded the 10/10 Gallery, promoting mainly artists from Mexico...

Artist: Bruno Luna (Mexican, b.1963) Issued: 20th century Dimensions: 7.5"L x 6"W x 12"H Edition Number: 3 of 30 The sculpture portrays a whimsical female sultry cabaret musician engaged in playing either an soprano saxophone or a clarinet. It is meticulously crafted from bronze, with colors applied to accentuate its details. Signed Bruno Luna. Bruno Luna was born in Mexico City in 1963. (his birth name was Norman Bardavid) Interested in art since his childhood, he completed a painting workshop with Professor Robin Bond, and then on to the Anahuac University of Mexico City to study Architecture and Graphic Design. He was an assistant to Marcelo Morandin, A renowned Mexican Sculptor. Over the years, his work evolved into a very distinct style, A style of voluptuousness influenced by Colombian master Fernando Botero (he calls them Gorditos) along with influences of Mexican tradition, and a cubist, almost Picasso esque treatment of the human figure. Bruno Luna's sculptures carry an undeniable air of joyousness, happiness and vitality. His work has been exhibited internationally, and is included in many public and private collections. Among those are the collections owned by Prince Rainier of Monaco, the American actor Chevy Chase, and many others. Bruno Luna's sculptures appeared on Mexican most popular syndicated network, Televisa, in a soap opera called "Mi Abuelo y Yo". in 1986 he founded the 10/10 Gallery, promoting mainly artists from Mexico...

SCOTT KILGOUR (b. 1960): ELECTRIC LIGHT BULB Etched slate, 1992, signed ''Scott Kilgour'', titled and dated on the reverse. Provenance: Camilla and Earl McGrath Collection. Scott Kilgour is a British Postwar & Contemporary painter who was born in 1960. Their work was featured in several exhibitions at key galleries and museums, including the Elga Wimmer PCC and the Howl! Happening. Encouraged by the first curator of 20th Century Art at the Metropolitan Museum, Henry Geldzahler, to move to New York City in the early 80's, Kilgour experienced first hand the frenetic contemporary American art scene. By the end of the decade, after absorbing the eclectic New York sensibility, Scott's lines and curves had evolved due to contact with Pop Art, Minimalism, New Wave, Graffiti and modern dance. His work was further influenced by Edmund Carpenter, a prestigious anthropologist, who galvanized his interest in continuous line drawing and knotwork designs. Gallery exhibits in the ‘80s included 56 Bleecker Street Gallery, DIA Foundation and Holly Solomon Gallery. In the 90's, Kilgour would further expand his body of knot-work designs, embarking on a decade-long study exploring the spatial relationship of continuous line drawing in Scottish Celtic Interlace. Kilgour's linear style is grounded in Charles Rennie Mackintosh's Art Nouveau aesthetic. This exploratory culminated in a 1999 exhibition at the Mackintosh Museum, Glasgow School of Art, as part of the Glasgow UK City for Architecture & Design celebration. Currently, Scott is working on a botanical body of work inspired while drinking a glass of rose in Provence, surrounded by a blossoming white French rose garden. Flowers are an ideal subject for Scott’s linear execution, as no two images are the same based on rosette whorl and luminous petals radiating from a single node. Kilgour attended the Glasgow School of Art and has been featured in media outlets including Interview Magazine, New York Magazine and Elle Décor. Select Group Exhibitions 2019 MM Gallery, New York, Regarding Tom & Henry - Tom Slaughter, Stephen Hannock, Robert Harms, Scott Kilgour, Ray Charles White. 2018 Elga Wimmer Gallery, New York, Bloom / Wilt / Bloom - Donald Baechler, Crash, Alex Katz, Donald Sultan, Scott Kilgour, Andy Warhol. 2017 Howl Arts, Arturo Vega...

Carlos Aguilar y Linares, Mexican Sculptor (1945-2010) Sculpture chose him. In his hands and his soul he always had the necessary impulse to create wi...

Bronze sculpture signed in Hebrew and numbered from small edition of 6 BIOGRAPHY "I was born in Czechoslovakia in the year 1925, of traditional parents. I spent my youth partly in ...

This is original hand carved wood carving used to produce a woodcut print. Hand colored with painting. signed woodblock (unique piece, not a print) by Jacob Steinhardt 1887-1968 "Reuben Offering Food and Drink to Joseph" Hand carved and painted surface, painted in relief. Signed LR, dated LL. In thin wood painted frame, woodcut panel approx. 1/2" thick, raised on frame. panel within gold painted wood liner 16"H x 12.5 framed 22.5 x 18.75 Judaica biblical scene. Steinhardt, Jakob, Painter and Woodcut Artist. b. 1887, Yaacov Steinhardt was born in the then remote, largely Polish town of Zerkow in the Posen District of Germany. (poland/german) Immigrated 1933. Studies: 1906 School of Art, 1906 Studied in Berlin Arts and Crafts School. Berlin; 1907 painting...

Joseph Manobla, (Israeli, 1930-1979), The Western Wall (The Wailing Wall), Painted diorama sculptural relief, 12.5 x 15.75 inches (relief), 17 x 20.25 inches (including original painted artist’s frame), Signed lower right. titled verso "the Wailing Wall". I am not sure of the material used. I have seen some described as jerusalem stone and some as composition. Provenance: The Engel Gallery Jerusalem. The Engel Gallery was founded in Jerusalem in 1955. Rafi Lavi, Arieh Aroch, Aviva Uri...

Mario Ceroli (Italian, 1938-) Untitled c. 1970 Wood collage on paper Cut wood attached to paper, depicting multiple figures facing each other. Hand signed and numbered to lower right 'Ceroli prova d'artista'. This work is an artist's proof. (not sure of edition) Dimensions: Framed 35.5 x 47.5. sheet 27.25 x 39.5 Provenance: Basel Art Fair, 1976 CDS Gallery, New York (bears label verso) Exhibited: Emilio Cerolli, 1976, Sala Funacion Mendoza, Caracas, Venezuela, An International Scene, 20 September - 20 December 2003, CDS Gallery, New York Mario Ceroli, born 1938 in Castel Frentano, Province of Chieti, Italy Mario Ceroli is an Italian sculptor. His work has been exhibited at the Museum of Modern Art in New York City and the Mississippi Museum of Art in Jackson, Mississippi. Ceroli is one of the most influential artists of the Italian post-war period. Ceroli moved to Rome at the age of ten where he later graduated from 'Accademia delle Belle Arti'. At the Art Institute he worked under the guidance of Leoncillo Leonardi, Pericle Fazzini and Ettore Colla, where he experimented with the use of ceramic. In 1958, he first exhibited these works at the Premium Spoleto. In the same year Ceroli held his first solo exhibition at Galleria San Sebastianello of Rome. During 1959 he began to experiment with new materials, particularly with raw wood, such as Russian pinewood. He used these materials to create silhouetted shapes in his furniture and objects that related simplistically to the surrounding space. In the 1960's Ceroli took part in exhibitions related to the "Arte de Povera" group. He had also been involved as screenplay director collaborating with "II Teatro Stabile" in Turin and with "La Scala" In Milan. He was part of the generation of Italian post war artists that included Aligliero Boetti, Lucio Fontana, Alberto Burri, Pino Pascali, Piero Manzoni, Enrico Castellani, Arnaldo Pomodoro, Michelangelo Pistoletto, Mimmo Rotella, Emilio Vedova. One of Ceroli's major works was his 'Mobili nella Valle' series, inspired directly by the Giorgio De Chirico 1927 painting...

Vintage stylized figural sculpture by J James Akston (1898-1983 Poland/New York/Florida) Crafted of cast bronze with a rich dark brown patina. A sports figure, depicting a snow skii...

Marcello Fantoni brutalist welded torch cut metal figurines. Signed on base. Metal label reads "Fantoni Firenze Italy Raymor". Italian Mid century modern Sculptural pair of students. Marcello Fantoni (1915-2011) sculptor, ceramicist, metalworker, multimedia artist and designer Born in Florence in 1915, Marcello Fantoni began studying ceramic art at age 12 at the Art Institute of Florence with ceramicist Carlo Guerrini, artistic director of the famed Cantagalli Factory. He continued years of training in ceramics and the arts, including sculpture with Libero Andreotti and Bruno Innocenti, and figurative art with Gianni Vagnetti, graduating as a maestro of art in 1934. After a stint as art director for a ceramics factory in Perugia, in 1936 he opened the Fantoni Ceramic Studio in Florence. Here he produced ceramic series as well as unique mod pieces, sculptures and furnishings. In 1937 Fantoni’s pieces were exhibited in the Florence National Arts and Crafts Exhibit where their unique combination of rustic forms decorated with African and marine motifs and painted figures garnered considerable acclaim. By the start of World War II Fantoni’s melding of ancient Italian pottery techniques with decidedly Modernist elements had won him artistic and commercial success both in Italy and abroad. Having participated in the resistance, after the War Fantoni worked for the 500-year old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. In the 1950s he refocused on his Florence studio, dedicating himself to larger sculptural pieces and working on many collaborations. He also expanded his experimenting with materials, forms, drawing from varied influences – Primitivism, Novecento style, Cubism and Abstract Expressionism. Fantoni gave special emphasis to ancient Etruscan ceramic techniques, glazes and colors, heightening the timeless appeal of his pieces. As well as clay, he also worked in metals to great effect. Whether created as a series or as a unique piece, every Fantoni piece was ultimately rendered unique by his hand-painting it. The extraordinary diversity of shapes and textures notwithstanding, one the most identifiable qualities of his creations was his painting style. Through the 50s and 60s he made many cubist-inspired vases and ewers painted in colors bordered by sgraffito lines scratched through the paint in a manner evoking Picasso and Braque. Along with figurative and abstract works, the 60s also saw Fantoni creating brutalist pieces with edgy, angular shapes, while in later life, his work took a minimalist turn. In 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. (Many of his students and employees would go on to become noteworthy artisans and artists in their own right.) Maintaining great versatility throughout his career, Fantoni completed projects for public and private buildings, churches, schools, theaters, cinemas, and ships. His works, meanwhile, were collected by important museums worldwide. When Marcello Fantoni died in Florence in 2011 at the age of 95, his obituary in the Italian newspaper La Nazione hailed him “The master of beauty.” Museums and Exhibitions MoMA New York, Metropolitan Museum of Art of New York, Brooklyn Museum, Museum of Fine Art of Boston, Victoria and Albert Museum of London, Royal Scottish Museum of Edinburg, Museums of Modern Art of Tokyo and Kyoto, International Museum of Ceramics in Faenza, National Bargello Museum and Gabinetto Disegni e Stampe of the Uffizi in Florence. “Materia e colore, l’arte di Marcello Fantoni”, Loggia della Limonaia di Palazzo Medici Riccardi di Firenze, 2015 "Marcello Fantoni, A Beautiful Form with Beautiful Color", Archaeological Museum of Fiesole, 2005 "Ceramics as Art, Marcello Fantoni Ceramist and Sculptor", Salone delle Regie Poste, Florence, Marcello Fantoni’s work fused painting, Primitivism, tradition, Modern art, the revival of craft, and the base material of clay itself. Some aspects of Marcello Fantoni’s ceramics – their spikey and angular shapes, with their forms reduced to multiple flat planes of colour bordered by inscribed sgraffito lines – suggest inspiration from Cubist painters Pablo Picasso and Georges Braque. Publications Marcello Fantoni: Ceramista in Firenze Dal 1929 by Antonio Paolucci, Edizioni della Bezuga, 1999 Marcello Fantoni, Ceramica come Arte, Published by Octavo, 2000 Marcello Fantoni Mostra al Museo Archeologico di Fiesole Select Fairs where his work has been exhibited: 2017 Maison Gerard at The Salon Art + Design 2017, Maison Gerard 2016 Patrick Parrish Gallery at The Salon Art + Design 2016, Patrick Parrish Gallery 2015 Galleria Rossella...

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

Painted wood wall hanging sculpture "Red, White and Blue," (and gold) 2008 Stamped signed with initials, date and edition 2/5 Oded Halahmy, Abstract Modernist artist, was born in Iraq in the old city of Baghdad in 1938, the artist came from a family of Orthodox Jews with deep roots in ancient Babylonian culture. His father, Salech Haskel Chebbazah, was a prosperous goldsmith in Baghdad and a Jewish member of the Communist Party when Jews comprised more than a quarter of the population of Baghdad. He refers to his home as the “land of wheat, barley, grapes, figs, pomegranates, olives and dates.”, Oded moved with his family to Israel in the 1950s, was educated at St. Martin's School of Art in London which was then a leading center for sculpture, led by Anthony Caro and Philip King and having links to Henry Moore. He taught sculpture are in the collection of the Guggenheim Museum, the Hirshhorn Museum, and the Israel Museum in Jerusalem, as well as many other public and private collections worldwide. He currently lives in New York City and Old Jaffa, Israel. Like countless New Yorkers who arrived from distant lands, Oded Halahmy has a rich personal history of exile, migration and travels. Although New York has been his home for over 45 years, memories of Iraq left an indelible imprint on his life and work. Known for his dynamic yet often playful figurative pop art style sculptures in wood and bronze, he fills his work with images — albeit abstracted from reality — that evoke the landscape, architecture and rich colors of the Middle East. Palm trees, doves, pomegranates, temples and age-old symbols abound along with deep reds, amber, sky blue and the familiar greenish-blue hues of aged bronze. SELECTED SOLO EXHIBITIONS Dates-Pomegranates-Olive Oil: Chanukah Lamps, Yeshiva University Museum, New York, NY District of Columbia Jewish Community Center Ann Loeb Bronfman Gallery, Washington, D.C. Homeward: Baghdad - Jerusalem - New York, Sundaram Tagore Gallery, New York, NY Homelands: Baghdad-Jerusalem-New York, A Retrospective, The Ann Loeb Gallery, Washington, Homelands: Baghdad-Jerusalem-New York, A Retrospective, Yeshiva University Museum, NY The Common Ground; The Sculpture Of Oded Halahmy, Sundaram Tagore Gallery, New York, NY Herr-Chambliss Fine Arts, Hot Springs, AR Artists Studio, Old Jaffa, Israel Byer Museum of Art, Evanston, IL The Aldrich Museum of Contemporary Art, Ridgefield, CT Tomasulo Gallery, Union College, Cranford, NJ Martha White Gallery, Louisville, KY Louis K. Meisel Gallery, New York, NY New England Center for Contemporary Art, Brooklyn, CT Hebrew Union College, New York, NY Bicentennial Tribute, United States Federal Plaza, New York, NY Horace Richter Galleries, Jaffa, Israel, 1976 Parsons School of Design, New York, NY America-Israel Culture House, New York, NY Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Louis K. Meisel Gallery, New York, NY Gallery Moos, Toronto, Canada Old Jaffa Gallery, Jaffa, Israel Pollack Gallery, Toronto, Canada SELECTED GROUP EXHIBITIONS 2006 Iraqi Art...

This listing is just for the sculpture. (the picture of the ad is for reference and is not included.) Marie Zoe Greene-Mercier was an artist, writer and arts activist who worked in t...

Signed bronze from small edition of 8. plus 4 artists proofs Dominik Albiński (born 1975, South Africa) He started carving at the age of twelve. When he was eighteen he went to Pari...

American sculptor Joseph Martinek was born in Chicago in 1915. He was a second generation apprentice to Auguste Rodin. He studied sculpture at the State Industrial School of Art, Pra...

American sculptor Joseph Martinek was born in Chicago in 1915. He was a second generation apprentice to Auguste Rodin. He studied sculpture at the State Industrial School of Art, Pra...