Lions Gallery Figurative Sculptures

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’s works have been exhibited in France, the United States, Switzerland, Germany, Israel, Mexico and Jamaica, in such places as the Abbaye de Daoulas, the Grand Palais, the Brooklyn Museum, the Modern Art Museum of Mexico and the Musée du Montparnasse. His work is part of the permanent collections at the Waterloo Museum, the Davenport Museum, the Milwaukee Art Museum, Le Centre d’Art, the Musée d’art Haïtien du Collège Saint-Pierre and the Musée de Panthéon National Haïtien. References Phyllis Kind...

Aharon Bezalel (Afghani-Israeli, 1925-2012) Family Grouping Hand signed in with initials in English Figures fit together like puzzle pieces in solid cast bronze with original patina. Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

Genre: Modern Subject: Abstract Medium: Other Surface: Paper Country: United States Dimensions w/Frame: 21" x 21" Bas relief on hand-made paper; Visual statement of society’s role in conformity of the individual and acquiescence to nationalism. William G. Haendel is originally from Wisconsin, born in West Bend in 1926. He has had exhibitions in Canada, Sweden, Italy, and England as well as many in the United States. He graduated from the University of Wisconsin at Madison with a M.S. degree in 1954 followed by advanced study in both Seattle, Washington and London, England. In 1960 he was the recipient of a Fulbright Award to study silversmithing and sculpture in England. He is Professor Emeritus in Sculpture from Northern Illinois University and currently resides in DeKalb, Illinois. His most notable work is with cast paper. Images are created by transferring a wet sheet of hand-made paper to plaster molds. Images are created by transferring a wet sheet of hand-mad paper to plaster molds. These molds are created with found objects or are the direct product of the artist’s imagination. Many of the found objects are parts of Haendel’s vast collections of old toys...

Genre: Modern Subject: Abstract Medium: Other Surface: Paper Country: United States Dimensions w/Frame: 21" x 21" Bas relief on hand-made paper; Visual statement of society’s role in conformity of the individual and acquiescence to nationalism. William G. Haendel is originally from Wisconsin, born in West Bend in 1926. He has had exhibitions in Canada, Sweden, Italy, and England as well as many in the United States. He graduated from the University of Wisconsin at Madison with a M.S. degree in 1954 followed by advanced study in both Seattle, Washington and London, England. In 1960 he was the recipient of a Fulbright Award to study silversmithing and sculpture in England. He is Professor Emeritus in Sculpture from Northern Illinois University and currently resides in DeKalb, Illinois. His most notable work is with cast paper. Images are created by transferring a wet sheet of hand-made paper to plaster molds. Images are created by transferring a wet sheet of hand-mad paper to plaster molds. These molds are created with found objects or are the direct product of the artist’s imagination. Many of the found objects are parts of Haendel’s vast collections of old toys...

Arieh Merzer was a prominent Israeli artist and metal worker. Arie Merzer, an artist who worked in hand-hammered copper, was born in Warsaw, Poland in 1905, the scion of a large Has...

In this bronze cast the artist (unknown) takes an expressionistic approach, not only in terms of technique but also in terms of the treatment of the subject. The female figure seems ...

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...

Small Jewish Portrait Relief Plaque Signed and numbered in Roman numerals from limited edition Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk...

MORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordechai Avniel is best known for his deft and singular landscape work. He said of his scenes of Israel: "I loved the Israeli landscape. While roaming the country extensively, I gradually absorbed its atmosphere, its lights and moods, the view of mountains and valleys, the Sea of Galilee...

Arieh Merzer was a prominent Israeli artist and metal worker. Arie Merzer, an artist who worked in hand-hammered copper, was born in Warsaw, Poland in 1905, the scion of a large Has...

John Kearney, 1924-2014, "Auto w/4 Passengers", Bronze, signed and dated "J. Kearney Roma '68." From the estate of Dr. Adrian Zorgniotti, 1925-1994, noted American urologist, medical director and house physician for the Metropolitan Opera. Kearney was represented in Chicago, New York, the Berta Walker Gallery in Provincetown and in Wellfleet, His work is fashioned from chrome car bumpers, not the current plastic variety, but chrome plated steel, and welded into great and seemingly alive creatures; a little horse about to leap, a pig, large and strong, and, noble and kingly as it looks over the gallery, a life-size gorilla. Now 78 years old, John and his wife Lynn founded the Contemporary Art Workshop 53 years ago in Chicago and have contributed through his art to the life and style of the Windy City. Chicago and environs is gifted with many pieces, noteably the city's Oz Park, wherein live the Tin Man and the bronze Cowardly Lion. his work is in the collections of Chicago's Museum of Contemporaray Art, the Detroit Children's Museum, the Chrysler Art Museum in Virginia, and the Provincetown Art Association and Museum, to name a few. His work is in the private collections of Norman Mailer, Diane Feinstein, Johnny Carson, Françoise Gilot, Studs Terkel, and Mrs. Robert Motherwell. Profiled by People magazine, a guest on the Tonight Show with Johnny Carson, and written of by Norman Mailer, Kearney studied at Cranbrook Academy of Art in Bloomfield Hills, Michigan, and Universita per Stranieri, Perugia, Italy. Awards and honors include: Fulbright Award to Italy in 1963-64; Italian Government Grant in 1963-64; Visiting Artist American Academy in Rome, 1985, 1992, and 1998; Wallace Truman Prize, National Academy of Design in 1953 and others. brass and marble Numerous One Man exhibitions since 1951 include: New York City at A.C.A. Gallery, 1964 to 1979; Berta Walker Gallery, Provincetown, MA, 1992 to 1997; and in Rome, Venice, Chicago, Detroit, Wichita, Wellfleet, and others with group exhibitions in Rome, N.Y., Santo Domingo, Niamey, Nigeria, Indianapolis, St. Paul, Omaha, Art Institute of Chicago, Art Chicago, Taipei, Sarasota and others. Art gallery; Detroit, Mich. Founded in 1963 by Lester and Kathleen Arwin. Specialized in contemporary art. Closed in 1981. Arwin Galleries records, 1948-1981 9.2 Artists' files, 1948-1981 contain correspondence, photographs, art work, printed material, writings and business records on 86 artists, including Harold Altman, Irving Berg, Harry Bertoia, William Bostick,Irma Cavat...

As an artist and writer, Philip Pavia was a committed member of the Abstract Art community throughout his long, distinguished career. Pavia was active in the art world until his death in 2005 and received immense critical praise for his artistic and literary contributions. Recognized for his signature work The Ides of March, he produced monumental pieces that alternated between figurative and abstract styles. While he was a dedicated sculptor, Pavia extended that passion into writing and published It is: A Magazine for Abstract Art. Born in 1911 of Provencal-Italian descent, the Stratford, Connecticut native received early inspiration from his father, a professional stone cutter. Pavia's sculptures are characterized by rough, chiseled bronze and marble, his father's trade was no doubt a significant influence. In fact, by 1934, his father was so enthusiastic about his son's passion that he encouraged young Philip to study at the Academia delle Belle Arti in Florence, Italy. Before his studies in Europe, Pavia was briefly a student at Yale University but quickly dropped out and enrolled at New York's Art Student League. While attending school, he befriended artists Jackson Pollock and Arshile Gorky. All three were to become major players of the vibrant new Abstract Art movement. At his father's advice, Pavia embarked on his European experience and was introduced to other influential artists of his time. Traveling between Italy and Paris, Pavia met John Ferren...

Arieh Merzer was a prominent Israeli artist and metal worker. Arie Merzer, an artist who worked in hand-hammered copper, was born in Warsaw, Poland in 1905, the scion of a large Has...

American sculptor Hana Geber (1910 - 1990) She was born in Prague of Czechoslovakian heritage and eventually settled in New York. Her sculptures deal with Jewish themes...

Copper repousse hand hammered iconic image, Judaica, Israeli art.Shlomo Goren (Hebrew: שלמה גורן; February 3, 1917 – October 29, 1994), was a Polish-born Israeli Orthodox Religious Zionist rabbi and Talmudic scholar who was considered a foremost authority on Jewish law (Halakha). Goren founded and served as the first head of the Military Rabbinate of the Israel Defense Forces...

Moshe Oved (aka Edward Good) was a Polish-British, jeweler, artist, sculptor and Yiddish author and founder of the antique jewelry shop Cameo Corner. He le...

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...

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...

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...

c. 1960's vintage woodblock "Boxing" by Jacob Landau, 1917-2001. Original carved woodblock for woodcut, framed relief sculpture.

Agnes Yarnall LePage, began studying sculpture at the age of 6 at the Liberty Tadd School of Modeling. She went on to study with Charles Grafly at the Pennsylvania Academy of the Fine Arts before opening her own studio in the late 1920s, with the support of her parents, Anna B. Coxe and Charlton Yarnall. Over the years, Ms. Yarnall's work included numerous portraits, human figures and animal sculptures. Among her proudest achievements were busts of George Washington and General Lafayette, displayed at the Valley Forge Historical Society, and of Abraham Lincoln, at the Union League of Philadelphia. She also counted among her premier accomplishments busts she sculpted of Ronald Reagan, Jack Nicklaus and Pope John Paul II. One reviewer who had seen her depictions of Edna St. Vincent Millay, Dame Judith Anderson, Carl Sandburg and Sir John Gielgud lauded her work for its ''sensitivity, grace and dynamism," her family said. During her early career Ms. Yarnall studied and worked with such great artists as Boris Blai, Paul Manship and Alexander Archipenko. In addition to her long career in sculpture, she also was an accomplished poet. Her books included Indian Summer, Hesperides and Other Poems and Pandora and Other Poems. In 1987 Ms. Yarnall was presented with the Living Legacy Award as ''Evocatrix Extraordinary" by the Women's International Center, joining such honorees as Dame Judith Anderson, Clare Boothe...

Very rare cast. (edition of 1 or 2) This work was featured in an article "The Appropriation of Marginal Art in the 1980s Author: Donald Kuspit Source: American Art, Vol. 5, No. 1/2 (Winter - Spring, 1991), pp. 132-141 Published by: The University of Chicago Press on behalf of the Smithsonian American Art Museum. This appears to be modeled after a figure by HR Giger. it was cast by Polich Tallix Foundry. Born in Brooklyn, 1953 Robert Longo became synonymous with American pictorial art during the 80s, his ambitious large-scale works seemingly synchronized with the booming economy and boisterous values of the Reagan era. In 1974, whilst studying at State University College, Buffalo, Longo co-founded Hallwalls. As a studio and exhibition space for contemporary art, Hallwalls was the precursor of Longo's ongoing concern for utilizing art's multi-disciplinary potential. His partner in this venture was Cindy ShermanAfter graduation Longo showed in 1979 at The Kitchen, a downtown space which encouraged artistic experimentation and collaboration. In the following year, he had his first one-person exhibition in Europe, at Studio d'Arte Cannaviello in Milan. Since then, Longo has shown continuously in Europe and America. However, it was his first solo exhibition at Metro Pictures, New York, in 1981 that brought him international critical acclaim. This installation of Men in the Cities presented his charcoal, graphite and dye studies of office workersThis interruption of a smooth linear reading, notably used in Dada and Surrealist collage, undermines assumptions, whether they be cultural, social or political. In 'Men in the Cities' Longo cuts anonymous people from their environments, then splices their portraits in amongst blocks of buildings. The association is made between the private and the corporate, the human and the industrial, the fragile and the impervious. Engagement with the social and political can be seen in Longo's work throughout the 80s, setting him apart from fellow artists David Salle and Julian Schnabel. Following a major retrospective at The Los Angeles County Museum of Art in 1989, Longo began to focus on single themes, rather than montages of associations. Furthermore, he moved to Paris the following year. The 'Black Flag' series resulted from this change in direction, and location. Taking the Stars and Stripes as his subject, Longo re-worked the treatment of the spangled banner by Pop artist Jasper Johns. J Longo is a multi talented artist who works equally successfully in a variety of media. He is equally well known as a sculptor and film director as he is as a draftsman/painter, and like the best of the contemporary film directors, his aim is to seduce, elucidate, transform, and instruct. SELECTED PERMANENT COLLECTIONS Art Institute of Chicago, USA Guggenheim Museum, New York Los Angeles County Museum of Art, Los Angeles, USA Musee d'Art Contemporain, Montreal, Canada Museum of Modern Art, New York Saatchi Collection, London Stedelijk Museum, Amsterdam, The Netherlands Tate Gallery, London Walker Art Center, Minneapolis, USA The Whitney Museum of American Art, New York SELECTED SOLO EXHIBITIONS 'Das Magellan Projekt', Kunsthalle Tubingen, Germany, 1997 'Das Magellan Projekt', Kunsthal Rotterdam, Rotterdam, The Netherlands, 1997 'Das Magellan Projekt', Kunsthalle Bielefeld, Bielefeld, Germany, 1997 'Robert Longo: Kreuze', Museum Fridericianum, Kassel, Germany, 1996 'Robert Longo: A Retrospective', The Isetan Museum of Art, Tokyo, 1995 'Robert Longo: A Retrospective', Ashikaga City Museum, Kirin Plaza Art Space, Osaka, Japan, 1995 'Faith in Zero' Project: Galerie Daniel Templon, Galerie Antoine Candau, Galerie Thaddaeus Ropac, A.B. Galleries, Galerie Gordon Pym et Fils, Paris, France, 1991 'Black Flags', Galerie Daniel Templon, Paris, 1990 'Robert Longo 1976 - 1989', The Los Angeles County Museum of Art, Los Angeles, 1989 'Robert Longo 1976 - 1989', Museum of Contemporary Art, Chicago, USA, 1989 'Robert Longo 1976 - 1989', Wadsworth Atheneum, Hartford, CT, USA, 1989 'Sequences/Men in the Cities', University Art Museum, California State University, Long Beach, USA, 1986 'Sequences/Men in the Cities', Contemporary Arts Museum, Houston, Texas, USA, 1986 'Sequences/Men in the Cities', Fort Wayne Museum of Art, Fort Wayne, Indiana, USA, 1986 Stedelijk Museum, Amsterdam, The Netherlands, 1985 Metro Pictures, New York, 1981 SELECTED GROUP EXHIBITIONS La Biennale di Venezia: XLVII Esposizioione Internationale d'Arte, Venice, Italy, 1997 'Views From Abroad: European Perspectives on American Art 3', Whitney Museum of American Art, New York, 1997 'Allegories of Modernism: Contemporary Drawing', The Museum of Modern Art, New York, 1992 'A Forest of Signs: Art in the Crisis of Representation', The Museum of Contemporary Art, Los Angeles, USA, 1989 'Documenta 8', Kassel, Germany, 1987 L?epoque, La Mode, La Morale, La Passion, 1977 - 1987', Mus'e National d'Art Moderne, Centre Georges Pompidou, Paris, France, 1987 "New York '85" (with Jasper Johns, Elsworth Kelly...

Sculptor Jacques Lipchitz Terling Silver Anniversary Silver Sculpture Plate Israel This is a beautiful sterling silver commemorative plate. It was spec...

This is a large sculpture in 2 parts it lifts off the base. Born in 1923, alumnus of the Warsaw Academy of Fine Arts. Student of the Warsaw University of Technology, is an extraord...

Bronze figurative sculpture Unknown Israeli Artist

Bronze figurative sculpture Unknown Israeli Artist

This is an equestrian sculpture of a Race Horse or Polo Pony of exquisite beauty. It is signed Delabrierre and does not appear to have any foundry marks. from my research I think this might be cast iron, A material he was known for. it might be bronze I am not positive. it is not dated but it definitely has age to it. Paul-Edouard Delabrierre (1829-1912) Edouard Delabriere was born in Paris in 1829. Delabrierre was an important member of the Animalier school in the late 19th Century. Having been educated by the painter Jean Baptiste-Delestre, he found his true talent in sculpture and later made his debut at the Salon of 1848, where he showed a wax model titled ‘Terrier holding a Hare’. Between 1848 and 1898 he regularly exhibited his lifelike sculptures...

Salvador Dali (1904-1989) – The Two Nikes, Lilith, The Double Victory of Samothrace, Homage to Raymond Roussel Literature: Descharnes, Robert, Salvador Dalí, and Nicolas Descharnes. "Dalí, the hard and the soft: spells for the magic of form : sculptures & objects." (Azay-le-Rideau: Eccart, 2004), p, 114 (entry 270). Rare original bronze from edition of 6. This is exceedingly rare as most of his editions run into the hundreds. this is a true authentic Dali original sculpture. This was recently authenticated and comes accompanied by a Report of Authenticity from Frank Hunter, the Director of the Salvador Dalí Archives. Löpsinger 270 Executed in 1966, this bronze statue is incised with the artist’s signature and numbered ‘5/6’ on base. Published by Berrocal Foundry, the work measures 7 3/8 inches in height. Salvador Dalí (Spanish, 1904-1989) A leading proponent of Surrealism, Salvador Dalí is perhaps as well-known for his flamboyant personality as his superb technical skill. Dalí became acquainted with André Breton, a key figure of the Surrealist movement, in 1929. “The Persistence of Memory” is often cited as the most important work of this style. The Museum of Modern Art, New York, held a retrospective of the artist’s work in 1941. The next year, he began a more classical series of paintings, incorporating history, science and religion. In addition to painting, Dalí also made prints, photographs, films, jewelry and sculpture. His works can be found in collections worldwide, including the National Gallery, Washington, DC and the Salvador Dalí Museum. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous - the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches...

American sculptor Hana Geber (1910 - 1990) She was born in Prague of Czechoslovakian heritage and eventually settled in New York. Her sculptures deal with Jewish themes...

William Haendel framed 16.75 X 17 paper 11.5 X 12.5 Bas relief on hand-made molded, cast, paper; Visual statement of modernist society’s role in conformity of the individual and acquiescence to nationalism. Toy Soldiers in tin, lead or plastic, cast into the paper. Bill Haendel...

A mid Century Modern Italian Toucan bird on a branch by a contemporary master. smoked and clear hand blown Murano glass. The base is Hand signed with the signature "L Zanetti". Licio...

Melanie Yazzie (1966-) Pollen Keeper II (maquette) Powder-coated metal, 2008 Hand signed, titled, dated and numbered 2/30, attributed, titled, dated and numbered again to paper label Mounted to a white composition plinth Provenance: The Freund Family Collection Melanie Yazzie is a Navajo sculptor, painter, printmaker, and professor. She teaches at the University of Colorado at Boulder. Yazzie was born in 1966 in Ganado, Arizona, United States. She is Navajo of the Áshįįhí, born for Tó Dichʼíinii. She grew up on the Navajo Nation. Although she grew up on the Navajo Nation, Melanie Yazzie is of the Salt Water Clan born for the Bitter Water Clan. She first studied art at the Westtown School in Pennsylvania. Yazzie earned a BA in Studio Art with a minor in Spanish from Arizona State University in 1990 and an MFA in printmaking from the University of Colorado at Boulder in 1993. Melanie Yazzie works a wide range of media that include printmaking, painting, sculpting, and ceramics, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native postcolonial dilemmas. Melanie's work focuses primarily on themes of indigenous people. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. Yazzie is known for her multilayered monotype prints that focus on storytelling and reflect her dreamtime friends and companions. The works are filled with colors and textures that reflect different world. The works are made with stencils and often she is printing with soy based inks called Akua inks that are safe for the artist and the environment. The works most often are printed on Arches 88 due to the absorbing quality of that 100% rag paper. It is a fine art paper made in France and very soft to the touch. It is a paper designed originally for screen printing but is the perfect surface for many of the works Yazzie creates. The works often are monotypes as opposed to monoprints. So the works are a one of a kind work of art and not made in multiples. She is a Professor and Head of Printmaking at the University of Colorado at Boulder. She teaches printmaking courses and travels extensively to indigenous communities within the United States and abroad. She can always be found through the University of Colorado Art and Art History Department. In addition to teaching at the Institute of American Indian Arts, the College of Santa Fe (now Santa Fe University of Art and Design), Boise State University, and the University of Arizona, Yazzie has taught at the Pont Aven School of Contemporary Art in France. Yazzie has led over 100 international print exchanges over a 20-year time period. Many of these exchanges include artists from Siberia, Japan, New Zealand, Australia, Canada, Mexico, and Germany. In 2012, the Denver Art Museum welcomed Yazzie as artist-in-residence, making her the first in the Native Arts department. A selection of major exhibitions from the 1990s to present include "Between Two Worlds" (2008) at Arizona State University, "Traveling" at the Heard West Museum (2006), "About Face: Self-Portraits by Native American, First Nations, and Inuit Artists" at the Wheelwright Museum (2005), "Making Connections" (2002) in Bulova, Russia, "Navajo in Gisborne" (1999) in Gisborne, New Zealand and "Watchful Eyes" (1994) at the Heard Museum. In September 2013 she co-curated the exhibition "Heart Lines: Expressions of Native North American Art" in Colorado University Art Museum, partially based on her private collection and including her work "Pollen Girl". Artists featured: Norman Akers, Maile Andrade, Kenojuak Ashevak, Pitseolak Ashoona, Corwin Clairmont, Jimmie Durham...

Mans Best Friend C.M. Junghans 1985 This is done in a German Expressionist style. It is bronze over some sort of fill. It depicts a man gentleman and his dog. a Cocker Spaniel or Co...

Original Painting: Terracotta Relief With Acrylic Painting on Wood Panel Hand signed These works are paintings with a 3D carved sculpture dimension to them, fusing sculpture with painting Mixed media on board depicting a romantic couple, a woman seated on a man's lap. Mark Kanovich...

Calman Shemi (1939-) Laser cut metal wall sculpture 3D Titled "Circus" Signed on the front lower left edge, and signed, numbered, and titled verso. Marked, Jerusalem Limited edition, 2/99 (I don't know how many were actually made) Approx. 34.5" x 35.5" Depicts weightlifter, acrobats, figure on unicycle, clown with umbrella, and acrobat under the circus big top...

Leonard Baskin, American 1922-2000 Homage to the Un-American Activities Committee Bronze relief sculpture plaque This is not editioned, nor signed or numbered, on the piece but according to the catalog there was 12 or less. A number of these are in museum and university art collections and one of them was exhibited at MoMA NY. This was done to commemorate the communist witch hunts of the Mccarthy era. An important, historic piece. Leonard Baskin (August 15, 1922 – June 3, 2000) was an American sculptor, illustrator, wood-engraver, printmaker, graphic artist, writer and teacher. Baskin was born in New Brunswick, New Jersey. While he was a student at Yale University, he founded Gehenna Press, a small private press specializing in fine, small edition, book production. From 1953 until 1974, he taught printmaking and sculpture at Smith College in Northampton, Massachusetts. Subsequently Baskin also taught at Hampshire College in Amherst, Massachusetts. He lived most of his life in the U.S., but spent nine years in Devon at Lurley Manor, Lurley, near Tiverton, close to his friend Ted Hughes, for whom he illustrated Crow. Sylvia Plath dedicated Sculpto to Leonard Baskin in her famous work, The Colossus and Other Poems (1960). The Funeral Cortege (1997) bronze, Franklin Delano Roosevelt Memorial, Washington, D.C. His public commissions include a bas relief for the Franklin Delano Roosevelt Memorial and a bronze statue of a seated figure, erected in 1994 for the Holocaust Memorial in Ann Arbor, Michigan. His works are owned by many major museums including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Museum of Modern Art, the Art Institute of Chicago, the Boca Raton Museum of Art, the British Museum, the Honolulu Museum of Art, the Udinotti Museum of Figurative Art and the Vatican Museums. The archive of his signed work at the Gehenna Press was acquired by the Bodleian Library at Oxford, England, in 2009. The McMaster Museum of Art in Hamilton, Ontario owns over 200 of his works (some religious and biblical), most of which were donated by his brother Rabbi Bernard Baskin. Contemporary Religious Imagery in American Art. Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Arman, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others.In 1955, he was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery, they showed many great artists, Chaim Koppelman, for many years, headed the gallery's Print Division; printmakers such as Will Barnet, Leonard Baskin, Robert Conover, Edmond Casarella...

Leonard Baskin (1922-2000) Fruitfulness From Permanence signed, edition 3/8 Bronze, 1967 19.5 X 16 X 1.5 inches The inspiration for this work was a Bernini sculpture Elephant Carrying Obelisk, a 17th century commission outside an ancient temple dedicated to Minerva the goddess of wisdom. It was one of several works from 1967 on a theme of continuity Leonard Baskin (August 15, 1922 – June 3, 2000) was an American sculptor, illustrator, wood-engraver, printmaker, graphic artist, writer and teacher. Baskin was born in New Brunswick, New Jersey. While he was a student at Yale University, he founded Gehenna Press, a small private press specializing in fine book production. From 1953 until 1974, he taught printmaking and sculpture at Smith College in Northampton, Massachusetts. Subsequently Baskin also taught at Hampshire College in Amherst, Massachusetts. He lived most of his life in the U.S., but spent nine years in Devon at Lurley Manor, Lurley, near Tiverton, close to his friend Ted Hughes, for whom he illustrated Crow. Sylvia Plath dedicated Sculpto to Leonard Baskin in her famous work, The Colossus and Other Poems (1960). The Funeral Contege (1997) bronze, Franklin Delano Roosevelt Memorial, Washington, D.C. His public commissions include a bas relief for the Franklin Delano Roosevelt Memorial and a bronze statue of a seated figure, erected in 1994 for the Holocaust Memorial in Ann Arbor, Michigan. His works are owned by many major museums including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Museum of Modern Art, the Art Institute of Chicago, the Boca Raton Museum of Art, the British Museum, the Honolulu Museum of Art, the Udinotti Museum of Figurative Art and the Vatican Museums. The archive of his work at the Gehenna Press was acquired by the Bodleian Library at Oxford, England, in 2009. The McMaster Museum of Art in Hamilton, Ontario owns over 200 of his works (some religious and biblical), most of which were donated by his brother Rabbi Bernard Baskin. Contemporary Religious Imagery in American Art. Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Arman, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others.In 1955, he was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery, they showed many great artists, Chaim Koppelman, for many years, headed the gallery's Print Division; printmakers such as Will Barnet, Leonard Baskin, Robert Conover, Edmond...

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 design of the Tower of David. marked in Hebrew and English. Jerusalem's Bezalel School The Bezalel Academy of Arts and Design, was founded in 1906 by Boris Schatz. In 1903, Schatz met Theodore Herzl and became an ardent Zionist. At the Zionist Congress of 1905, he proposed the idea of an art school in the Yishuv (early Jewish settlements), and in 1906 he moved to Israel and founded the Bezalel School of Art in Jerusalem. Bezalel, which was a school for crafts as well as for graphic art, became successful very rapidly. Schatz’s vision was to develop useful arts and crafts among Palestinian Jews, thereby decreasing the dependence on charity. At the same time, he sought to inspire his students to create a Jewish national style of the arts, in order to promote the Zionist endeavor. The inhabitants of 19th-century Palestine, both Jewish and non-Jewish, had produced mostly folk art, ritual objects and olive-wood and shell-work souvenirs, as well as oil painting, sculpture, tapestry and mosaics. So the founding of Bezalel provided a professional and ideological framework for the arts and crafts in Jerusalem. The school employed workers and students, of whom there were 450 in 1913, in manufacturing, chiefly for export, decorative articles ranging from cane furniture, inlaid frames and ivory and wood carvings, to damascene and silver filigree and repousse work. A major part of Schatz’s school was the workshops, which, starting with rug-making and silversmithing, eventually offered 30 different crafts. Workshops included the "Menorah" workshop where they designed relief and souvenirs made of terra-Cotta, and the Sharar, Stanetsky and Alfred Salzmann workshops where Menorah lamps...

This is an abstract Flora based hand made, cast sculpture done by Seena Donneson an acclaimed woman artist. A textured abstract bronze with deep, rich patina; The sculpture is signed...

This is an abstract Flora based hand made, cast sculpture done by Seena Donneson an acclaimed woman artist. A textured abstract bronze with deep, rich patina; The sculpture is signed with the artist initials and dated. It is unique. Seena Donneson (1924 - 2020) was an artist, sculptor and printmaker She studied at the Pratt Institute, NYC Pratt Graphic Art Center, NYC, with Michael Ponce de Leon and the Art Students League with Morris Kantor. Collections Smithsonian American Art Museum Museum of Modern Art, New York Brooklyn Museum Portland Art Museum Amon Carter Museum of American Art Select Individual Exhibitions Danville Museum of Art, Virginia; Galerie #836, Santa Fe, New Mexico; Greenville Museum of Art, North Carolina, 1987; Benson Gallery, Bridgehampton, NY. Group Exhibitions NY Upper East Side Outdoor Sculpture exhibition, 78; Fort Lauderdale Museum of Art, Florida; CAPS Travelling Exhibition; Ben Shahn Gallery, New Jersey; "The Collograph", NY State Council on the Arts/Pratt Institute. She was included in Group Shows Conceived and Curated by Dorothy Gillespie at the Women's Interart Center, New York, NY 1974. Artists included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

This is an abstract Flora based hand made, cast sculpture done by Seena Donneson an acclaimed woman artist. A textured abstract bronze with deep, rich patina; The sculpture is signed with the artist initials and dated. It is unique. Seena Donneson (1924 - 2020) was an artist, sculptor and printmaker She studied at the Pratt Institute, NYC Pratt Graphic Art Center, NYC, with Michael Ponce de Leon and the Art Students League with Morris Kantor. Collections Smithsonian American Art Museum Museum of Modern Art, New York Brooklyn Museum Portland Art Museum Amon Carter Museum of American Art Select Individual Exhibitions Danville Museum of Art, Virginia; Galerie #836, Santa Fe, New Mexico; Greenville Museum of Art, North Carolina, 1987; Benson Gallery, Bridgehampton, NY. Group Exhibitions NY Upper East Side Outdoor Sculpture exhibition, 78; Fort Lauderdale Museum of Art, Florida; CAPS Travelling Exhibition; Ben Shahn Gallery, New Jersey; "The Collograph", NY State Council on the Arts/Pratt Institute. She was included in Group Shows Conceived and Curated by Dorothy Gillespie at the Women's Interart Center, New York, NY 1974. Artists included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

This is an abstract Flora based hand made, cast sculpture done by Seena Donneson an acclaimed woman artist. A textured abstract bronze with deep, rich patina; The sculpture is signed...

This is an abstract Flora based hand made, cast sculpture done by Seena Donneson an acclaimed woman artist. A textured abstract bronze with deep, rich patina; The sculpture is signed...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Three Acrobats, signed mounted on black marble plinth 24.5"h x 14"w x 7"d (bronze alone) Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

Size includes wood mounting. George Aarons (born Gregory Podubisky, in St. Petersburg, Russia, 1896 - died in Gloucester, Massachusetts 1980) was a distinguished sculptor who lived and taught in Gloucester, Massachusetts, for many years until his death in 1980. He had, many students in the area and he designed Gloucester's 350th Anniversary Commemorative Medal. Aarons moved from Russia to the United States when he was ten. His father was a merchant. He began taking drawing classes during evenings at Dearborn Public School in Boston as a teenager and went on to study at the Boston Museum of Fine Arts in 1916. Aarons later moved to New York City to study with Jo Davidson, and other Paris-trained masters at the Beaux-Arts Institute. He eventually returned to the Boston area and established studios in Brookline and Gloucester, Massachusetts. During his lifetime, he was recognized internationally and won several prestigious awards. Aarons had studios in Brookline, Massachusetts and Gloucester, Massachusetts where he produced large bronze and marble figures and wood carvings. He produced several projects for the Works Progress Administration including a group of three figures for the Public Garden (Boston), a longshoreman, fisherman and foundry worker, as well as a large relief (1938) for the South Boston Housing Project and façade of the Baltimore Hebrew Congregational Building (1956). His works are at the Museum of Art in Ein Harod, Israel; Fitchburg Art Museum in Massachusetts, Musée de St. Denis in France; Hilles Library at Radcliffe College in Cambridge, Massachusetts; and Hillel House at Boston University in Massachusetts. He did reliefs for Siefer Hall at Brandeis University in Waltham, Massachusetts (1950); Edward Filene (the founder of Filene's Department Store and a philanthropist) on the Boston Common; Fireman's Memorial in Beverly, Massachusetts; a memorial to Mitchell Frieman in Boston; the U.S. Post Office in Ripley, Mississippi; and at the Cincinnati Telephone Building; the Combined Jewish Philanthropies building in Boston (1965); and a commemorative medal for the 350th Anniversary of the City of Gloucester, Massachusetts (1972). Characteristic of his era, George Aarons was among the foreign-born American sculptors of the early 20th century who started their careers as academicians and evolved into modernists and increasingly abstract artists. Over thirty pieces spanning the length of this sculptor's career were featured in this exhibition, including work in various medium bronze, wood and original plasters. Like his contemporaries, Aarons experimented with direct carving in wood, and he was one of the few academically trained sculptors who consistently cut his own works in marble. His early work was classically inspired figurative work, along with sensitive portraits. Some of his most powerful sculpture comes from his middle period, when he worked through his emotional pain following the global realization of the Jewish Holocaust. He depicted humanity deep anxiety over this tragedy with figures that are at once symbolically charged and movingly beautiful. Aarons late work consists of radically simplified forms that continue to reference the human form and often are carved directly in wood and stone. Aarons summered and taught classes on Cape Ann for many years before moving to Gloucester full-time with his wife about 1950. While Aarons is best known locally for his domestic-scale works, he also executed numerous monumental, public commissions that can be found throughout the United States in cities such as Washington, D.C.; Baltimore, Maryland; and Cincinnati, Ohio; as well as in France and Israel. As noted in a Gloucester Daily Times Article, Aarons wanted his sculptures to honor the struggles and nobility of people and rail against the evil done against them. And that was why, even as his work grew more and more abstract, stylized and simplified, he never left behind the form of the human figure that had been his focus from his earliest works. Aarons told the Gloucester Daily Times in September 1954 that he found it hard to remember at just what age he started studying art, but he recalled that the nude model had to partially dress when he was in class because he was so young. He initially studied painting and drawing at the museum school, but he once said he became fascinated by sculpture when he met an established sculptor at the Copley Society in Boston who invited Aarons to his studio and offered him some clay to "play around" with. After he graduated, he apprenticed under sculptors Richard Brooks, Robert Baker and Solon Borglum. He worked as a carpenter, shipbuilder, dishwasher and chimney sweep. He fashioned architectural decorations, including figures for fountains and now and then a few commissioned portraits. He returned to Boston by the early 1920s and began to exhibit his own works and get commissions for portraits, fountains and reliefs. His sculptures from this time are dreamy and romantic in the realistic, academic style of the time. A painted portrait of the young Aarons that is included in the North Shore Arts Association exhibit shows a determined fellow with dark brown hair, a suit and bow tie. However, in 1922, this determined young artist was living with his parents on Calder Street in Dorchester. In the 1930s, Aarons adopted the streamlined, monumental style of the socialist works of the time. Aarons made money, as he would all his life, from commissions, selling his personal work and teaching sculpture, but the Depression of the 1930s was tough for everyone. So Aarons found work though the federal Works Progress Administration, one of Franklin Roosevelt's New Deal programs. He received his first major commission when he was asked to create a public sculpture for the South Boston Harbor Village public housing project around 1937. He was elevated to the position of supervisor for the project and received a corresponding $5 pay increase to make his weekly salary $32. The raise convinced him he was fit to marry and he proposed to Gertrude Band, an attractive brunette dancer whom he had been dating for more than a year. They were married before the Harbor Village project was dedicated on Labor Day 1938. Aarons' design featured a brawny, larger-than-lifesize fisherman, longshoreman and a laborer flanked by a boy and girl at either end to portray the children who would live in the apartments. Aarons elected to do the piece in cast stone to employ carpenters and laborers as well as craftsman for a total of 10 men. In his sculpture, Aarons focused more and more on the theme of oppressed people as he worried about the spread of fascism and Nazism during the 1930s, World War II and after. He had done pieces during the mid-1930s about the oppression of African-Americans, including "Negro Head," which is in the North Shore Art Association retrospective. After the war, he also delved into Jewish themes and became increasingly known as an important Jewish artist, leading to commissions from Jewish organizations across the country and abroad. "He gets into raw emotion. Some people describe him as an expressionist because of the emotion (in his work)," Reynolds says. But Aarons, also sculpted sensual sexual nudes...

Large painted metal wall hanging sculpture by Yuval Mahler (Israeli, b. 1951). Hand signed "Y. Mahler" recto. (it is not numbered or editioned and might be unique). it is done in a glossy enamel paint on metal. The Big Apple, NYC, with gangsters, jazz musicians, Statue of Liberty, architectural skyscrapers, dancing couples, taxi drivers, bicycle riders...