Iron & Bronze sculpture by noted American artist Karl Fischer

A wonderful bronze abstract in the form of a female nude mounted on a terrazzo base. It is by the noted Mexican artist Jonas Gutierrez Castillo. It is signed Jonas 99 PA near the base. PA stands for Pruebas de Artista or Artist's Proof. The bronze has a beautiful warm brown gold patina. The base is a heavy terrazzo with lots of inclusions. The base has some losses to the edges which are pictured in detail. The bronze has some patina inclusions or spots, pictured as well. One of the artist's more notable works is a massive bronze title the The Stone Eater on Puerto Vallarta's Malecon. We've attached a biography of the artist courtesy of Galleria Dante of Puerto Vallarta, Mexico below: Born in Guadalajara, Jalisco in 1966. The artist began to sculpt at an early age. In 1980, he helped create the monumental public sculpture "La Estampida", which is located at a busy intersection in his hometown, near the emblematic building of the Hotel Riu. Jonás Gutiérrez is known in Puerto Vallarta for his monumental 2.4-meter-high bronze and obsidian sculpture...

A beautiful large glazed terracotta sculpture by the noted East Hampton based artist Phyllis Hammond. It is quite large and extremely well done. It is signed Hammond lower back and the artist has identified the piece as having been done in the late 1970s. It appears to have been made in two parts and then joined. Please be sure to visit her website as well. A brief biography from her website follows: Born in Elizabeth, New Jersey, Phyllis has a BS in Education (fifth year graduate certificate) Tufts University, School of the Museum of Fine Arts, Boston, MA. In 1960 she was awarded a Travelling Scholarship by the trustee’s of the Boston Museum. She was the first American woman to work study at Kyoto City College of Fine Arts, Japan. A studio at Scarborough, NY until 1998. Relocation in 1998 to East Hampton, New York where a custom built studio and sculpture garden recreate sculpture in public places. Public Arts Commissions: The Will Award "The Shakespeare Theatre at the Folgers will present this sculpture to the first recipient of the William Shakespeare Award for Classical Theatre. Designed by nationally-recognized artist Phyllis Hammond, the intricate 14” cast bronze piece pays homage to Shakespeare and his work. The award will be presented April 23 during a gala evening under written by Shearson Lehman Hutton, at the National Building Museum." New York Times, The Arts Section C15 on Tuesday March 15, 1988. The 2002 award marks the 14th year of presentations. The Shakespeare Theatre Company... Past Will Award recipients. Connecticut Commission For The Arts, Percentage for the Arts Program. Hartford CT Phoenix1 and 2. Memorial Hall Library, Andover, Ma Acquisition, 1989 Stoneware Sculpture. American Savings Bank, corporate headquarters, White Plains, NY. Schmeltzer, Aptaker, And Shepard. law offices, Washington, D.C. Centerpoint, office complex: Fair Oaks, VA Atrium: Cadillac Fairwell, Corp. headquarters White Plains, NY. Guest Quarters Hotel, Bethesda, MD: 2 bronze sculptures, Visions/Revisions. One Clay TOTEM. Unitarian Fellowship in Mt. Kisco NY: 1992 the sculpture commissioned by Henderson Cole. Connecticut State University, New Haven, CT: 2 Clay Wall Panels. Associations: Artist Alliance of East Hampton (President) PO Box2242 East Hampton, NY 11937. Friends Of Guild Hall (Director of the Artist Studio Visits) 158 Main Street East Hampton, NY 11937. East Hampton Arts And Culture Council (Member) POBox232 East Hampton NY 11937. International Sculpture Center (ISC Member) 19 Fairgrounds Road, Suite B Hamilton, NJ 08619. Clay Art Center (Member)40 Beech Street, Port Chester, NY 10573. Gallery and corporate representation Kiesendahl & Calhoun Contemporary 122 Great Oak Lane Pleasantville, NY 10570. Exhibitions selected group: 2007 Artist Alliance of East Hampton Members Exhibition and Studio Tour. 2007 Clay Art Center, Port Chester NY. Past member exhibition 1969-1975. 2006 Spring Invitational, Springs Improvement Society, Springs NY. 2006 Artist Alliance of East Hampton Members Exhibition and Studio Tour. 2004 Guild Hall East Hampton NY Group Exhibits. 2004 Artists Studio Tour, East Hampton Artists Alliance NY. 2002 Guild Hall Invitational East Hampton NY. 2002 Artists Woods Amagansett NY. 2001 Artists’ Woods, East Hampton NY six sculptures. 2001 Springs Invitational Springs Improvement Society, Springs NY. 2001 Ashawagh Hall, East Hampton, N.Y. 1999 New Studio Space & Sculpture Garden, East Hampton NY. 1993 The Gallery Briarcliff Manor NY. 1992 Ashawagh Hall, East Hampton, N.Y. 1992 Seraphim Gallery, Englewood, NJ. 1991 Benson gallery: East Hampton N.Y. 1990 Art Gallery, Montgomery College, MD: "Sculpture Public Art”. 1989 Rockland Center for the Arts, Nyack, NY: "Clay Transformations” Travelled. 1989 Atelier Gallery, Zug, Switzerland: "Icarus". 1989 Chesterwood, Stockbridge, MA: "Contemporary Sculpture". 1988 Franz Badar Gallery, Washington, DC: "Architectural Ceramics" 1987 Kendall Gallery, Wellfleet, MA 1985 Silvermine Guild of Artists, CT: 33rd New England Exhibit of Paint & Sculpture. 1983 Robertson Center, Binghamton, NY: "Ancient Inspiration/Contemporary Interpretation". 1983 Cummings Art Center, Connecticut College. New London, CT: w/Poster. 1982 Women's Interarts Center, NYC: "Architectural Ceramics". 1982 Brookfield Art Center, Brookfield, CT: "Centennial Exhibition of Sculpture". 1981 Summit Art Center, Summit, NJ: "Paper, Clay, Metal, & Glass". 1981 The Gallery at Hastings, NY "Collage/Assemblage". 1981 Katonah Art Gallery, Katonah, NY "Sculpture. Invitational". 1980 Ikebono School, Shinjuku, Japan: International invitational (Travelled). 1979 Mamaroneck Artist Guild Juried Exhibition White Plains NY. Solo exhibitions: 2002 Ashawagh Hall, EH, NY. 1998 Exhibitions at Studio & Sculpture Garden, Scarborough NY. 1990 112 Greene Street Gallery, NYC. New Sculpture. 1990 Pindar Gallery, New Works NY. 1989 Pindar Gallery, NY. Visions/Revisions. 1989 Benson Gallery, Bridgehampton, NY 1986 Pindar Gallery, NY: Excavations: Clay. 1986 Hudson River Gallery, Ossining, NY Retrospective exhibit. 1984 Noyes Museum, Ocean Ville, NJ: Curator Anne Fabbri, Retrospective. 1981 Mari Galleries, Mamaroneck, NY. 1981 Pindar Gallery, NY: Transitions, Clay. 1979 Pindar Gallery, NY Emerging Images. 1979 Silvermine Guild of Artists, CT: 30th New England Exhibition of Paint & Sculpture. 1977 Museum of Fine Arts, Boston MA: "Art in Transition". Awards: 1991 University of Florida at Pensacola. Finalist for a Sculpture Garden. 1990 Ragdale Artists Community Lake Forest, ILL. - Fellowship. 1986 Woman in Design International Compendium - Certificate of Outstanding Achievement 1985 State Legislative Office Building, Hartford - Finalist, Percent for the Arts Program. 1981 CT Commission: Portals for a school - Finalist. 1981 National Endowment for the Arts - Grant. 1979 Mamaroneck Artist Guild Award - Juried by Mr. Doty, Whitney Museum. 1978 Westchester Art Society: Sculpture Award - Juried by John Bauer...

A wonderful abstract sculpture by the noted Palm Springs artist Anwar Fonseca. Mr Fonseca’s art has been featured regionally and this evocative work is titled “Desert Owl.” It is la...

A great bronze wonderfully patinated and mounted on a slate base. It is signed Schumacher and dated 1989. We were lucky to acquire a number of this artist's works. From a 2012 article the following provides some insight into the artist: Gloucester TWP, Camden County College’s Marlin Gallery will present works by the late Cherry Hill sculptor Frederick Schumm in the show “Retrospective” starting March 21. Schumm was a native of Colorado Springs, Colo., who served in the United States Marine Corps during World War II. Driven by an interest in whittling and sculpture, he used G.I. Bill funds to develop his talents with study at the Colorado Institute of Fine Arts. In the early 1960s, he developed an original method for casting small bronzes at the same time that he was designing and helping to construct a sculptural playground for the Colorado Springs Parks Department. The playground pieces were featured in "Woman’s Day" magazine and can viewed online at you tube His bronze-casting innovations led to his receipt of a Fulbright Scholarship and two years of study in Florence, Italy. Upon his return to the United States, Schumm lived in New York...

Welded metal circle and semicircle sculpture by American artist Frank Cota, signed.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2007. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...