Maine - Abstract Sculptures

Bronze on polished stone base, signed and edition numbered. The sculpture stands 12" tall including the base. Edition 4/9 Medium: bronze Canadian, b. 1929 James Edward Ritchie (Jim Ritchie) born in Montreal, Canada, he is known for his pastel drawings and bronze sculptures. He is stylistically linked with Cubism, Abstract figurative work, and modernism, and the human figure is the subject of much of his work. Ritchie had several exhibitions in Montreal before moving to the small town of Vence in Provence, where he lived and worked for over thirty years. The Adelson Galleries in New York began representing him in 1980, where he had 2 solo exhibitions. Over the next twenty years, Warren Adelson arranged exhibitions of his work in Boston, Los Angeles, and the Miami Art Fair. He has had a sixty-year career in sculpting, and now shows his work locally and has a permanent collection of his sculptures at the Mas d L’Ormée in Vence. ARTIST NOTE: “When I first started casting my bronzes in Pietrasanta, I did editions of 6 with 2 artist’s proofs. I began at Fonderia Tomazzi, where I did only a few pieces. The same is true for Fonderia Tesconi. After moving to Fonderia Mariani and Ballfiore in 1972, my editions remained at 6 until approximately 1980 when I started to cast editions of 8 with 4 artist’s proofs, the intentionally recognized legal limit, after which the mould is destroyed. In the year 2000, I moved to Fonderia d’Arte del Chiaro and have stayed with them. All my bronzes have remained editions of 8 with 4 artist’s proofs. Since I stopped direct carving in marble in the 1980’s, I have worked with wax, making maquettes, which vary in size, but are about 30 centimeters in height. These are cast in bronze but are also used when I do them in larger sizes, in marble and other stones. As a general rule, I do an intermediate carving in stone that is three times the size of the original maquette, before doing a large carving, as the margin of error from 30 centimeters to 2 or 3 meters is too great. From these enlargements in stone, I make moulds which are used in the casting of bronzes the same size. The stone carvings are all unique pieces that I’ve signed and dated. The bronze castings are all done in numbered editions of 8 with 4 artit’s proofs. Normally, for a new edition, I cast only two or three of the edition. When these are sold, I cast two more, etc. Many of my bronze editions have not been cast in their entirety for obvious reasons, as I move on to new pieces. Therefore, they are not dated. I decided to omit all dimensions, since often, when a maquette is shown in a photo, it’s the same as the enlargement. The bronzes are all signed and numbered by me. I have never done an edition that exceeds the legal 8 with artist’s proofs. My marble carvings are all done at Studio Angeli, in Pietrasanta. I continue to work with Giorgio Angeli for my marble enlargements and have done so since 1972. SELECTED SOLO EXHIBITIONS: 1957, Galerie Libre, Montreal 1962, Grafton Gallery, London 1962, Broadway Gallery, Worcestershire 1963, Klinkhoff Gallery, Montreal 1964, Madden Gallery, London 1965, Galerie Minotaure, Vence 1966, Galerie Martal, Montreal 1966, Alwin Gallery, London 1968, Pollock Gallery, Toronto 1968-1970, Moos Gallery, Montreal 1972, Waddington Gallery, Montreal 1975,Galerie Bernard Desroches, Montreal 1987, Galerie L’Art Francais, Montreal 1988, Galerie Alphonse Chave, Vence 1988, Coe-Kerr Gallery, New York 1989, Feingarten Galleries, Los Angeles 1992, Pucker Gallery...

Bronze on polished stone base, signed and edition numbered. The base was most likely produced by the sculptor to allow the piece to smoothly rotate. The sculpture stands 80.5" tall i...

Polish sculptor 1910-2010 Bronze on stone base measuring 16" x 19.5" x 4.75", signed. Azriel Awret was born in Lodz, Poland, and moved to Belgium where h...

From the collection of Ruth Siegel owner for the Ruth Siegel Gallery in NYC on Madison Ave in the 1980s and 1990s. Katsuhisa Sakai was born in a bomb shelt...

Signed and dated 2007. Welded and painted steel David Hayes was born in Hartford, Connecticut and received an A.B. degree from the University of Notre Dame in 1953 and a M.F.A. degre...

The Sculpture in excellent condition sculpted from marble, some slight ware on the marble base, consistent with age. Signed on base and initialed on sculpture. With certificate of au...

ainted, welded steel. Signed and dated 1993. Over the course of six decades, American modern master David Hayes produced a body of sculptural work that concerned itself with geometrically abstracting organic forms. His monumental outdoor sculptures contemplate the relationship between a work of art and the environment it occupies, and demonstrate the influence of teacher David Smith and friend Alexander Calder. Born in 1931, Haye’s talent for aesthetics convinced his fifth grade teacher to push him towards a life of art. At 18, Hayes opted to attend college in order to expand his understanding of the creative process. He enrolled at Notre Dame, and upon graduation immediately pursued his masters in fine art from Indiana University. Indiana University had recently elected one of modernism's sculptural leaders, David Smith, as a visiting artist. A powerful figure in the sculpture movement of the 1950s and 1960s, Smith was well known for his unique utilization of industrial materials to construct large scale objects in place of the more historically oriented sculptural processes of casting and carving. This serendipitous appointment proved to be a defining event for Hayes in his artistic development. Welding Hayes studied attentively under Smith, whose iconic colored steel geometries held an evident influence over Hayes' later body of work. Like Smith, he mastered an appreciation for the permanence of steel. Following his formal studies, Hayes would continue to work with Smith, now his friend, in Bolton Landing, New York. While living in Indiana, both Smith and Hayes learned about forging from a local blacksmith. Smith began his Forging Series in 1955, while continuing to weld his larger forms and revered Tanktotems. Hayes also adopted the forge, leading to the production of his animal forms series, small- to mid-scale sculptures that harbored allusions to animal figures. A number of these works were exhibited in contemporaneous shows at New York’s Museum of Modern Art and the Guggenheim Museum’s inaugural exhibition in 1959. Hayes received his MFA in June 1955, and spent the next two years in the Navy. Following his term in the military, Hayes returned to Coventry, Connecticut to return to his forge and welding torch. Over the next few years, Hayes received numerous awards for his work, including the 1961 Logan Prize for Sculpture from the Art Institute of Chicago and an award from the National Institute of Arts and Letters. In 1961 Hayes was awarded both a Fulbright Scholarship for study in Paris and a Guggenheim Fellowship, which conferred an experience that greatly impacted the direction of his future body of work. Hayes packed his bags and left for Paris in 1961 with his wife, Julia, and their two children. While in Paris, Hayes regularly visited Alexander Calder, one of the most famous figures generated by the American sculptural scene of the mid-20th century, who was also living in central France during this time. Calder, similar to Hayes and Smith, also had begun to produce monumental sculptures out of industrial material in the mid-1950s. It would be remiss to say that Calder's playful shapes and colors affected no passing influence on Hayes' work. In fact, Hayes' combination of flattened shapes feel more in line with Calder's appreciation of the steel form than Smith's more dimensionally oriented geometric towers. More correctly, Hayes' work represents a merger between his two mentors' different interpretations of the physicality of industrial sculpture while still maintaining its own stylistic flair. In addition to Calder, Hayes also met with Henry Moore in England and Alberto Giacometti in Paris, all the while continuing to forge his own steel body of work, which lead to an aggressive show schedule in Paris and the US. On returning to the US a decade later, Hayes moved from forged steel to cut steel plate as it permitted him to construct larger objects, a move which resulted in his large outdoor painted sculpture...

Signed and dated 1981. Over the course of six decades, American modern master David Hayes produced a body of sculptural work that concerned itself with geometrically abstracting organic forms. His monumental outdoor sculptures contemplate the relationship between a work of art and the environment it occupies, and demonstrate the influence of teacher David Smith and friend Alexander Calder. Born in 1931, Haye’s talent for aesthetics convinced his fifth grade teacher to push him towards a life of art. At 18, Hayes opted to attend college in order to expand his understanding of the creative process. He enrolled at Notre Dame, and upon graduation immediately pursued his masters in fine art from Indiana University. Indiana University had recently elected one of modernism's sculptural leaders, David Smith, as a visiting artist. A powerful figure in the sculpture movement of the 1950s and 1960s, Smith was well known for his unique utilization of industrial materials to construct large scale objects in place of the more historically oriented sculptural processes of casting and carving. This serendipitous appointment proved to be a defining event for Hayes in his artistic development. Welding Hayes studied attentively under Smith, whose iconic colored steel geometries held an evident influence over Hayes' later body of work. Like Smith, he mastered an appreciation for the permanence of steel. Following his formal studies, Hayes would continue to work with Smith, now his friend, in Bolton Landing, New York. While living in Indiana, both Smith and Hayes learned about forging from a local blacksmith. Smith began his Forging Series in 1955, while continuing to weld his larger forms and revered Tanktotems. Hayes also adopted the forge, leading to the production of his animal forms series, small- to mid-scale sculptures that harbored allusions to animal figures. A number of these works were exhibited in contemporaneous shows at New York’s Museum of Modern Art and the Guggenheim Museum’s inaugural exhibition in 1959. Hayes received his MFA in June 1955, and spent the next two years in the Navy. Following his term in the military, Hayes returned to Coventry, Connecticut to return to his forge and welding torch. Over the next few years, Hayes received numerous awards for his work, including the 1961 Logan Prize for Sculpture from the Art Institute of Chicago and an award from the National Institute of Arts and Letters. In 1961 Hayes was awarded both a Fulbright Scholarship for study in Paris and a Guggenheim Fellowship, which conferred an experience that greatly impacted the direction of his future body of work. Hayes packed his bags and left for Paris in 1961 with his wife, Julia, and their two children. While in Paris, Hayes regularly visited Alexander Calder, one of the most famous figures generated by the American sculptural scene of the mid-20th century, who was also living in central France during this time. Calder, similar to Hayes and Smith, also had begun to produce monumental sculptures out of industrial material in the mid-1950s. It would be remiss to say that Calder's playful shapes and colors affected no passing influence on Hayes' work. In fact, Hayes' combination of flattened shapes feel more in line with Calder's appreciation of the steel form than Smith's more dimensionally oriented geometric towers. More correctly, Hayes' work represents a merger between his two mentors' different interpretations of the physicality of industrial sculpture while still maintaining its own stylistic flair. In addition to Calder, Hayes also met with Henry Moore in England and Alberto Giacometti in Paris, all the while continuing to forge his own steel body of work, which lead to an aggressive show schedule in Paris and the US. On returning to the US a decade later, Hayes moved from forged steel to cut steel plate as it permitted him to construct larger objects, a move which resulted in his large outdoor painted sculpture...

Born in Sayre, Pennsylvania in 1925, sculptor Cabot Lyford studied at the Skowhegan School of Painting and Sculpture and Cornell University. Lyford exhibited his work in galleries th...