Hans Van Eerd Plaster Sculpture, Holland, 1976

Intruiging and tall sculpture made by Dutch artist Hans van Eerd in 1974.  The sculpture is made of painted plaster and stands on a black ebonized wooden base. This piece looks great...

Very visually pleasing and appealing totum sculpture from the hand of Dutch artist Rob van 't Zelfde, made in the 1970's. The sculpture is made out of Elm wood and is slightly tapere...

Stunning sized symmetrical sculpture in stainless steel, designed and made by Rudolf Wolf in his own atelier in Amstelveen in 1975. The sculpture is made of 2 stainless steel tubes, cut, and welded perfectly into this abstract modern shape; it has a black painted wooden base which connects the 2 parts with each other. These sculptures were only made in very small numbers and are very hard to find. This sculpture is one of several we acquired from the former bookkeeper from Rudolf Wolf who bought these artworks in the 1980s. The sculpture has a nice size which you can easily put somewhere on a table/sideboard and look highly decorative. This work is unsigned, but we have several old pictures...

Very nice geometric wire sculpture designed by Rudolf Wolf and manufactured in his own atelier ca 1975. This sculpture is made of metal wire and were also used as studies for bigger sculptures he made later for outdoor. This sculpture is one of several we acquired from the former bookkeeper from Rudolf Wold who bought these artworks in the 1980s. The sculpture has a nice size which you can easily put somewhere and is in very good original condition. It is unsigned but we have several old pictures...

Very nice and large geometric sculpture designed by Rudolf Wolf and manufactured in his own atelier ca 1975. This sculpture is made of stainl...

Nice abstract plexiglass sculpture by Jan Verschoor (1943 -), Amstelveen Holland, 1970. This sculpture is an abstract composition of two birds. This ear...

A beautiful, stylized bust by Anne Van Kleeck, circa 1950s. Plaster, heavy, this unique sculpture has a real mid-century feel and timeless presence. From the artist's estate. A note about the artist: Anne Van Kleeck was primarily known for her works in cast bronze and ceramics. She attended Ohio Wesleyan University (B.A.) and Ohio State University (M.A.) and spent several years as a professor of art in Ohio and Florida. In 1957, Anne traveled to Venice, Italy to study bronze and lost wax casting, beaten iron and mosaic techniques. During that stay she employed an Italian foundry expert and together they established a small foundry on the island of Murano where they cast bronzes for her one woman show in Venice. Van Kleecks work has won multiple awards and is owned worldwide by private collectors and museums, including the Metropolitan Museum and MOMA in New York. She was contemporaries of and exhibited with Ruth Asawa, Gary Knox...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

Unique piece. Sculpted in 1976, this is a rare piece for the famed sculptor Yongjin Han, who usually worked in stone. Nonetheless, it is a quintessential example of his serene com...

Yongjin Han was born in Seoul, South Korea in 1934. After the Korean War—in which he fought, lying about his age in order to enlist—he was one of six students admitted to the sculpture program at the Seoul National University. At the time of his enrollment little of his native city remained intact; nonetheless, he had never felt more responsible to his work, firm in the conviction that artistic expression is every bit as essential to life and human nature as eating, drinking, or breathing. One of Han’s teachers was Kim Chong Yung, a pioneer of Korean abstract sculpture, and by the time of his graduation he had adopted the abstraction that had seized both Europe and the United States several years before. . In 1967 he relocated to the USA, where he studied at Dartmouth and Columbia. Over the course of his long career the artist returned to Korea with frequency and made extended stays in Japan and Europe. Trips to Korea signified something more than mere homesickness: Han’s work, though made largely in America, remained grounded in his rich cultural heritage. Korea rests on a bedrock of granite, and freestanding sculpture produced of the stone has for centuries demarcated sites of historical and religious significance. Han’s sculpture bridges this past with modernity. Richard A. Born, former Curator at the Smart Museum at the University of Chicago, has said that Han “brought Korea’s tradition of direct stone carving out of figuration into a refined, non-objective abstraction.” For his part, Han put very little stock in designations; his focus, instead, was on the stone itself. His pieces explore a certain harmonization with nature. Han, when describing his work, said, "As stone has been around since the beginning of time, it has much to teach us if we care to slow down and listen." He believed that each stone has its own history, character, and energy and that his task was to draw out these inherently spiritual qualities. He described his process as a “dialogue” with his material: "The stone tells me it has an itch in a certain spot, so I scratch it—and we both feel better!" Han worked alone and with manual tools, and the process is arduous. Carving stone this way takes time, and, what’s more, required great force—yet Han’s sculptures, even the monumental ones, are, as friend and fellow artist David Parker...

Made in Portugal Made of Plaster Measure: Height 20cm Original condition.    

Abstract Plaster Sculpture by an Unknown Dutch Artist. Holland, circa 1970.