De Vaulx Bronze Sculpture George Washington Inscribed "United States of America"

Large bronze figure of an American indian on horseback wielding an axe, defending himself from an attacking mountain lion or panther. Unsigned. Mounted on black marble base.

Female mandolin player, Joueuse de Mandoline, after the French sculptor, Couderc, active late 19th to early 20th century.

19 centuryb Italian Patinated bronze sculpture depicting the Kidnapping of the Sabine Women, after the model by Giambologna, aka Jean de Boulogne, and Giovanni da Bologna (1529-1608...

Indian Chief patinated bronze sculpture after Carl Kauba.

Finely sculpted and cast figure of a grizzly bear mounted to a black marble base. Apparently unsigned.

"The Bather" bronze sculpture after Etienne Falconnet.

Modernist patinated bronze Ballerina sculpture on ebonized wood plinth - decorative quality - tabletop placement - unsigned - United States - circa 1980's. Excellent vintage condi...

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 says, “all gentle grace and warmth” … [the sculptor] “engages with the stone as an equal—like wayfarers meeting on a path, Han and a stone spend time together and when they part, both are marked and changed forever.” Yongjin Han's career spanned decades and continents, and included several prestigious large-scale public commissions. In Seoul his work can be found at the National Museum of Contemporary Art, the IE Young Museum of Contemporary Art, the Whanki Museum, the Ewha Woman’s University Museum, Posong High School, and the 88 Olympics...

Sculpture Liberty Statue United States flag painted. Sculpture in melting. Unique and Exceptional Piece.

Although the first American President has been much portrayed in paint and bronze; I have not been successful in locating another bronze on which this is based. He is dressed as General Washington...

Signed: Mario Dal Fabbro, 1983 Marked: I. 8 Typical of the sculptural output of dal Fabbro, the lines of this piece shift rhythmically depending on the viewer's position. The art...

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...