Florida - Sculptures

Shaped aluminum with yellow flocking 54 x 31 in (137.16 x 78.74 cm)

Hunt Slonem Delsin, 2022, (5/Edition of 20 ) Ceramic Sculpture 14 x 7.50 x 5.50 in (35.56 x 19.05 x 13.97 cm)

Sculpture of a woman in transparent and chalcedony glass by Dino Rosin, Murano, 2000s. Applied pad mark, signed. H. 13 x L. 7 x D. 5.25 in. Excellent Vintage Condition.

Kinetic sculpture by George Rickey. Incised with the artist's signature, date 1975 and number 1/3 (on the base). Dimensions: minimum: 79 by 21 ⅜ by 10 in. maximum: 79 by 80 by 10 in...

Artist Statement: I fully believe a certain "luck factor" exists when working with glass; sometimes a piece turns out and others crack or break. Glass can be solid/liquid, can be...

Santiago Medina (b. 1964) Taboo, 2023, (2/5) Italian Stainless Steel Sculpture26.50 x 6.50 x 4.75 in (67.31 x 16.51 x 12.06 cm)

Santiago Medina (b. 1964) Soul, 2023 Italian Stainless Steel Sculpture

Santiago Medina (b. 1964) Desire in Black, 2023, (/5) Italian Stainless Steel Sculpture72 x 8 x 6 in (182.88 x 20.32 x 15.24 cm)

American modern master David Hayes created graceful sculptures abstracted from organic forms over an artistic career that spanned six decades. His monumental outdoor sculptures conte...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation and the New Orleans Museum of Art. Since his first solo show at the Fischbach Gallery in 1977, Slonem’s work has been showcased internationally hundreds of times, most recently at the Moscow Museum of Modern Art and the State Russian Museum in St. Petersburg. In 2017 and 2018, he was featured by the National Museum of the Republic of Kazakhstan, the National Gallery in Bulgaria, and in countless galleries across the United States and around the world. His flair and admiration for far-flung destinations has been a staple of his life since childhood. Slonem was born in 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. Hunt Slonem tends to embrace the ephemeral beauty of nature, a characteristic that brings a nurturing, spiritual effect to his creations. Throughout his extensive career as a New York artist, Slonem has favored the subject of exotic birds, rabbits, and butterflies. Lately, his compositions have consisted of flat spaces with simple forms pushed to the front of the picture plane. The artist creates exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the German Expressionism movement such as Ernst Ludwig and Emil Nolde. Henry Geldzahler, a scholar of Hunt Slonem, notes that of contemporary artists, “he particularly admires the work of Malcolm Morely...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation and the New Orleans Museum of Art. Since his first solo show at the Fischbach Gallery in 1977, Slonem’s work has been showcased internationally hundreds of times, most recently at the Moscow Museum of Modern Art and the State Russian Museum in St. Petersburg. In 2017 and 2018, he was featured by the National Museum of the Republic of Kazakhstan, the National Gallery in Bulgaria, and in countless galleries across the United States and around the world. His flair and admiration for far-flung destinations has been a staple of his life since childhood. Slonem was born in 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. Hunt Slonem tends to embrace the ephemeral beauty of nature, a characteristic that brings a nurturing, spiritual effect to his creations. Throughout his extensive career as a New York artist, Slonem has favored the subject of exotic birds, rabbits, and butterflies. Lately, his compositions have consisted of flat spaces with simple forms pushed to the front of the picture plane. The artist creates exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the German Expressionism movement such as Ernst Ludwig and Emil Nolde. Henry Geldzahler, a scholar of Hunt Slonem, notes that of contemporary artists, “he particularly admires the work of Malcolm Morely...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds,...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds,...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds,...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds,...

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds,...

Artist Statement: I fully believe a certain "luck factor" exists when working with glass; sometimes a piece turns out and others crack or break. Glass can be solid/liquid, can be...

Danish, b. 1973 Bjorn Skaarup holds a MA in History and Art History from the University of Copenhagen, and a PHD in History from the European University Institute in Florence, Italy...

Original Murano glass vase with inclusions of avventurina, (a mixture of glass and copper), colorful glass rods and other patches, Angelo Rinaldi, Murano 1975. Etched surface. It wea...

Thick, transparent glass with immersed stripes of red, yellow, blue and green, Fulvio Bianconi for Venini S.p.a., Murano 1991. Signed, dated, original label and original box. H. 12.7...

Red Vase, 2023

Sunrise, 2023

Sunset, 2023

Aquamarine, 2020

Tim Berg & Rebekah Myers, 40 ceramic birds atop maple perch

Hunt Slonem Landric (9/55), 2023 Powder Coated Aluminum 14 x 12 x 3.50 in

Hunt Slonem Idris, 2022, (5/20) Ceramic Sculpture 14 x 7.50 x 5.50 in

Beverly Pepper is an American sculptor known for her monumental works, site specific and land art. She remains independent from any particular art movement. She was married to the writer Curtis Bill Pepper. Pepper was born Beverly Stoll on December 20, 1922, in Brooklyn, New York. At sixteen, she entered the Pratt Institute in Brooklyn, New York to study advertising design, photography, and industrial design. She then embarked on a career as a commercial art director. She studied at Art Students' League and attended night classes at Brooklyn College, including art theory with György Kepes, who introduced her to the work of Lasló Moholy-Nagy and Man Ray. It was also at this time, in her mid twenties, that she met the environmental artist Frederick Kiesler. Drawn to post-war Europe in 1949, she studied painting in Paris at the Académie de la Grande Chaumière. There she attended classes with cubist painter André L'Hôte, and with Fernand Léger at his atelier. She also visited the studios of Ossip Zadkine and Brâncuși. Pepper began her career as a painter, but after a trip to Angkor Wat, Cambodia in 1960, she was so awed by the temple ruins surviving beneath the jungle growth that she turned to sculpture. She made her debut in 1962 with an exhibit of carved tree trunks at a gallery in Rome. After several exhibitions in New York and Rome, she was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Pietro Consagra, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. Beverly Pepper has had a long and extraordinary career. Like her contemporaries Louise Bourgeois and Louise Nevelson, Pepper forged a unique path as a mid-century feminist artist. As the 1960s progressed, Pepper turned to polished stainless steel. In some of the first works, she used a torch to carve used one-inch thick elements of stainless steel. From there, her pieces evolved into highly polished stainless with painted interiors. She was, in fact, one of the first artists, if not the first, to incorporate Cor-Ten steel into sculpture. Beginning in the 1970s, and to the present day, she has lived a bi-continental life traveling between Europe and the United States. Western Washington University outdoor sculpture collection. The collection has some pieces which qualify as "land art" including Alice Aycock's 1987 "The Islands of the Rose Apple Tree Surrounded by the Oceans of the Word, for You, Oh My Darling," and Nancy Holt's 1977-1978 "Stone Enclosure: Rock Rings." Other artists in the collection include Beverly Pepper, Robert Morris, Richard Serra, Isamu Noguchi, Bruce Nauman, Tom Otterness, and Mark di Suvero. Pepper's works have been exhibited and collected by major museums and galleries throughout the world, including: deCordova Sculpture Park and Museum, Lincoln, Massachusetts The Metropolitan Museum of Art, New York The Whitney Museum of American Art, New York Brooklyn Museum of Art, Brooklyn, New York The Albright-Knox Art Gallery, Buffalo, New York The White House Sculpture Garden, Washington, D.C. The Hirshhorn Museum and Sculpture Garden The National Museum of American Art, Smithsonian Institution, Washington, D.C. The Walker Art Center, Minneapolis, Minnesota The San Francisco Museum of Modern Art, California Denver Art Museum, Colorado Columbus Museum of Art, Ohio The Georgia Museum of Art, Athens, Georgia Centre Georges Pompidou, Paris, France Les Jardins du Palais Royal, Paris, France Palazzo degli Uffizi, Florence, Italy Galleria Nazionale d’Arte Moderna, Rome, Italy Forte Belvedere, Florence, Italy The Albertina Museum, Vienna, Austria The Museum of Modern Art, Barcelona, Spain The Wohl Rose Garden, Jerusalem, Israel The Contemporary Sculpture Center, Tokyo, Japan The Museum of Modern Art, Sapporo, Japan Europarkas Sculpture Park, Vilnius, Lithuania The Bradley Foundation, Milwaukee, Wisconsin The Gori Collection, Pistoia, Italy Nasher Sculpture Center, Dallas, Texas The City of Todi, Italy Indianapolis Museum of Art, Indianapolis Museu d'Art Contemporani de Barcelona, Barcelona, Spain Casal Solleric, Majorca, Spain Laumeier Sculpture Park, St. Louis, Missouri The Seattle Art Museum, Olympic Sculpture...

VMA-012, 2015 Edition / Talla directa sobre marmol blanco de Carrara 36 x 16 x 10,5 cm 14.1 x 6.2 x 41.3 in. The "Tu y Yo" (You and Me) series is based on complementary opposites and contain revealing elements of male and female symbology. As a tribute to his teacher Jesús Soto he introduces direct references to the work of the kinetics in hatched backgrounds of lines to produce the optical vibrations characteristic of that movement. JORGE SALAS...

Volumen VPC-038, 1970 Unique Piece Direct carving on Cumarebo stone 40 x 32 x 20 cm 15.7 x 12.5 x 7.8 in ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Volumen VPC-062, 1972 Unique Piece Direct carving on Cumarebo stone 67 x 38 x 20 cm 26.3 x 14.9 x 7.8 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

Maqueta Armonía de Volúmenes y Espacios -La Hoyada- BMPC-002, 1980(1982) Edition /25 Bronze 48 x 37 x 26 cm 18.8 x 14.5 x 10.2 in. ABOUT THE ARTIST Narváez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narváez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narváez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narváez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narváez’s public output continued with works such as the statue of Fermín Toro, La Educación, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narváez, Maderas, Piedras y Bronces” (Francisco Narváez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narváez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narváez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narváez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narváez is a path: the path that Venezuelan sculpture...

05.enero.2013 41 Black, 2013 Unique Piece Aluminum, Enamel 105 x 85 x 25 cm 41.3 x 33.4 x 9.8 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based artist...

27 mayo 2011 48 Purple, 2011 Unique Piece Aluminium, Enamel 100 x 91 x 31 cm 39.3 x 35.8 x 12.2 in. About The Artist Born in 1970 in Pamplona, Spain. Madrid and New York-based art...

David Wight XXL Emerald Genesis glass 27 x 16 x 14 in

David Wight XL Turquoise Classic Wave Glass 15 x 14 x 13 in

David Wight Epiphany Glass 25 x 13 x 13 in

Salviati Marina, c. 1970's Sommerso Glass - Murano 13 x 5 x 3.12 in

Salviati Marina, c. 1970's Sommerso Glass - Murano 20 x 9 x 4 in

Ermanno Nason 4 Chinese Figures, circa 1960's Hand Sculpted Glass 8.62 x 0 in

Murano Glass Costolato Vase Light Green, circa 1930 Blown glass 13.25 x 6.25 x 6.25 in

Unique ceramic, wood perch

Latchezar Boydjiev Woman III In Amber, 2022 Glass 24 x 17 x 4 in

Latchezar Boydjiev Embrace in Red, 2023 Glass 21 x 13 x 4 in

Latchezar Boydjiev Torso XI in Gray, 2022 Glass 21 x 13 x 3 in

Latchezar Boydjiev Energy, 2023 Glass 28 x 13 x 4 in

David Hayes (1931 - 2013) Ventana, 1981 Painted, welded steel 22 x 11 x 4.25 in

David Hayes (1931 - 2013) Quatre, 2005 Polychrome welded steel 19 x 11 x 10 in

David Hayes (1931 - 2013) Sunset at the Farm, 1969 Glazed ceramic plate 8.50 x 8.50 x 0.75 in

David Hayes (1931 - 2013) Sea Bluff, 1969 Glazed ceramic plate 14.50 x 14.50 x 1.75 in

David Hayes (1931 - 2013) Raptor, 2006 Polychrome welded steel 16 x 19 x 16 in

David Hayes (1931 - 2013) Curves, 2009 Polychrome welded steel 15.50 x 14 x 12.50 in

David Hayes (1931 - 2013) Aviary, 2004 Welded steel with black paint 25 x 27 x 11 in

David Hayes (1931 - 2013) Torch, 1996 Painted, welded steel 21 x 12 x 6 in

David Hayes (1931 - 2013) Pas de Deux, 2007 Painted welded steel 16.50 x 13 x 12 in

David Hayes (1931 - 2013) Tanager, 2007 Painted welded steel 15.50 x 9 x 9.50 in

Alex Gabriel Bernstein (b. 1972) Large Blue Half Moon, 2023 Cast and cut glass, fused steel 22 x 42 x 5 in

Bronze sculpture 102 x 85 x 85 inches on 16 x 48 x 48 inch base

Jennifer JL Jones (b. 1971) Forget Me Not, 2022 Mixed Media on Baltic Birch Wood Panel 54 x 72 x 2.50 in

TECHNICAL INFORMATION: Larry Rivers Webster Cigar Box 1964-66 Multiple of wood, canvas, paper, and plexiglass, with screen print, paint, and collage additions 13 3/16 x 15 15/16 x 1...