American Mid-Century Modernism
Reclining Woman
Patinated Bronze
Circa 1960s
DIMENSIONS
Height (total): 9.5 inches Height (base): 2.25 inches Width: 14.5 inches Depth: 4.25 inches
ABOUT
This striking modernist sculpture, crafted from patinated bronze, captures the essence of introspection and grace. Set upon an original wooden base, the piece depicts a woman lying on her side in a pose of deep contemplation. With her cheek gently propped up by her hand, she exudes an air of thoughtful elegance. The flowing lines and smooth curves of the bronze create a harmonious balance between the stylized figure and the surrounding space, while the warm patina adds depth and texture, enhancing the emotional resonance of the piece. A true embodiment of expressive modernist artistry, this sculpture invites the viewer to pause and reflect alongside the figure, creating a timeless connection between thought and form.
$1,800
American Contemporary | Brutalism
Abstract Sculpture
Iron
ca. 1960s
DIMENSIONS
Height: 13.5 inches Width: 8.25 inches Depth: 4.25 inches
ABOUT
This striking iron table sculpture captures the bold spirit of artistic experimentation from its time. Every aspect of the piece is unconventional, from the choice of material to its unique shape and composition. The use of iron, usually seen as a strong industrial material, contrasts with the sculpture's frontal design, challenging traditional ideas about both the medium and its purpose. The shape is unexpected—hard to define, pushing the limits of what we think of as functional art. The way the frontal pieces are arranged creates a sense of tension and balance, as if the sculpture is frozen in a moment of change. This piece reflects the attitude of the 1960s, an era of dramatic shifts in culture and art. During this time, artists sought to break free from tradition, embracing the new and celebrating innovation. The sculpture, with its raw, rusted beauty, perfectly captures the spirit of the era, where art was more than just an object—it was an experience that challenged and expanded how we think about form and function.
$1,900
American Contemporary | Brutalism
Abstract Sculpture
Iron, Wood & Tin
c. 1970s
DIMENSIONS
Total height: 48 inches Sculpture height: 37.25 inches Base height: 10.75 inches Width: 21 inches Depth: 20 inches
ABOUT
This impressive sculpture stands as a striking contrast of scale and material. Its large size and intricate design draw the eye, yet it conveys a surprising sense of lightness and airiness, as if caught in mid-motion. The chaotic arrangement evokes the image of a flock of birds, their forms seemingly disordered, yet suspended effortlessly in the air. Despite the heaviness of the materials—iron, wood, and tin—each element is thoughtfully arranged, allowing the piece to transcend its raw, industrial nature. The result is a dynamic, almost ethereal structure that plays with the tension between heaviness and grace, capturing the fleeting essence of flight in a permanent form.
$9,500
American Mid-Century Modernism
Abstract Cubist Sculpture
Hand-Carved Wood
Ca. 1950s
DIMENSIONS
Height: 24.75 inches Width: 10.5 inches Depth: 5.75 inches
ABOUT
This abstract cubist sculpture, crafted in the 1950s, embodies elegance and grace through its dynamic, geometric forms. Despite its abstract nature, the piece exudes expressiveness, evoking vivid emotion and energy through its lines and structure. The sculptor's craftsmanship is evident in the flawless execution of the work with interplay of textured surfaces with smooth areas. The original condition of the sculpture is enhanced by a time-worn patina, adding a unique character and historical depth to the piece.
$3,800
American Mid-Century Modernism
Abstract Composition
Hand-Carved Wood
Ca. 1960s
DIMENSIONS
Height: 20 inches Width: 16 inches Depth: 16 inches
ABOUT
This captivating sculpture, crafted from meticulously hand-cut wood, boasts a striking and unconventional shape. Its smooth, endlessly intertwining lines weave together in an almost hypnotic pattern, drawing the viewer in with an aura of peculiar mystery. At the same time, this intricate design unmistakably reflects the unique style and aesthetics of American Mid-Century Modernism—an era renowned for its boldness, innovation, and elegance.
In a world where art constantly evolves, certain works stand out not only for their beauty but for the way they challenge and captivate the viewer. One such creation is a sculpture that seems to defy the traditional boundaries of form and structure. A work that speaks to the mind, and drawing the observer into its enigma. Its allure is not simply a matter of visual appeal but of mystery and intrigue—a mystery waiting to be uncovered, a riddle posed by the artist.
$3,800
Contemporary
Head Bust of Indian
Lapis Lazuli, Silvered Metal & Granite
Mexico, ca. 1980s
DIMENSIONS
Height: 13.75 inches Width: 4.5 inches Depth: 4.25 inches
ABOUT
This remarkable sculpture of an Indian head is a striking fusion of tradition and modernity, masterfully crafted from an array of unusual materials that give it a unique, textured presence. The piece blends a powerful, typically ancient Mexican national image—a symbol of deep cultural heritage—with the sleek, pared-back lines of contemporary design. The sculptor’s meticulous attention to detail brings the face to life, infusing it with a sense of timeless wisdom, while the minimalist form and choice of materials suggest a forward-thinking approach to artistry. The use of unconventional materials adds layers of depth and complexity to the work, elevating the iconic imagery of the Native figure into a sophisticated, modern aesthetic. This fusion of ancient symbolism and modern design principles creates a striking visual dialogue between past and present, celebrating both cultural heritage and the elegance of contemporary art. The sculpture stands not only as a tribute to Mexican indigenous heritage but also as an example of how traditional motifs can be reinterpreted through the lens of modern design, resulting in a piece that feels both timeless and entirely of its moment.
$2,500
Italian Mid-Century Modernism
Marcello Mascherini
'Corrida'
Patinated Bronze
Circa 1957
DIMENSIONS
Height: 16 inches (40.64 cm) Width: 13 inches (33.02 cm) Depth: 7 inches (17.78 cm)
DETAILS
Signed 'M.Mascherini' on the leg, and initialed 'M' on the posterior.
ABOUT SCULPTURE
This Italian Mid-Century bronze sculpture, titled Corrida and crafted by Marcello Mascherini (1906-1983) in 1957, captures the essence of dynamic movement through its abstract representation of a bullfighter. Set upon a sleek black marble base, this piece serves as a maquette for a larger sculpture that Mascherini later showcased at the 8th Rome Quadriennale (1959-1960) and which now resides in Japan. Renowned for his prolific output and bronze relief commissions for Italian ocean liners—secured with the endorsement of architects Gio Ponti and Gustavo Pulitzer Finali—Mascherini’s work is both celebrated and influential. This particular sculpture graces the cover of the artist's catalogue raisonné: Marcello Mascherini: Scultore, 1906-1983: catalogo generale dell'opera plastica (Archivi di scultura del XIX e del XX secolo).
ABOUT SCULPTOR
Marcello Mascherini (Italian, 1906-1983) was an influential Italian sculptor known for his distinctive contributions to modernist sculpture. Born in Italy, Mascherini studied at the Academy of Fine Arts in Rome and began his career during a time of great artistic experimentation. His work is often characterized by its innovative use of materials and abstract forms, blending classical techniques with modern sensibilities.
Mascherini's sculptures typically explore themes of movement and human emotion, frequently incorporating dynamic lines and forms that suggest fluidity and vitality. His approach often involved a fusion of traditional methods with contemporary techniques, resulting in pieces that are both evocative and forward-looking. Throughout his career, Mascherini participated in numerous exhibitions and received recognition for his unique style. His work contributed significantly to the development of modern sculpture in Italy, and his legacy continues to influence contemporary artists. He remained active in the art world until his death in 1983, leaving behind a body of work that reflects both the evolution of modern art and his personal artistic vision.
$22,000
Italian Modernism
Alessio Tasca
'Fusina'
Set of 4 Abstract Prism Sculptures
Lucite
ca. 1970s
DIMENSIONS
Height: 20.75 inches (52.71 cm) Width: 4.5 inches (11.43 cm) Depth: 4.5 inches (11.43 cm)
DETAILS
The set is signed 'Tasca' in the corner of the base.
Some age-related crackling on one of the prisms.
ABOUT SCULPTURE
Introducing a captivating Italian modern set of four 'Fusina' prism sculptures, masterfully designed by the acclaimed Alessio Tasca. These exquisite abstract geometric forms are crafted from high-quality Lucite, a material renowned for its clarity and brilliance. Each piece in this set showcases a distinct geometric shape, allowing for a versatile array of display arrangements to suit various aesthetic preferences and interior settings. Created in Italy during the dynamic and innovative 1970s, these sculptures reflect the era’s fascination with abstract art and geometric precision. The set offers not only a striking visual appeal but also the flexibility to be rearranged into countless configurations, enabling you to personalize your display and create a unique visual experience. These 'Fusina' sculptures are more than just decorative elements; they are a testament to Italian design excellence and the creative vision of Alessio Tasca. Elevate your space with this timeless ensemble that harmoniously blends form, function, and artistic expression.
ABOUT SCULPTOR ~ ALESSIO TASCA (Italian, 1930 – 2007) was a renowned Italian ceramist celebrated for his innovative contributions to modern ceramic art. Born in the vibrant artistic hub of Milan, Tasca's early exposure to Italy's rich tradition of craftsmanship and design profoundly influenced his work. Tasca’s career flourished in the mid-20th century, a period marked by bold experimentation and a departure from traditional forms. He was acclaimed for his abstract and geometric ceramic sculptures, which often featured striking color contrasts and dynamic shapes. His work was characterized by a meticulous attention to detail and a deep understanding of material properties, particularly ceramics and Lucite. Throughout his career, Tasca collaborated with leading design studios and exhibited his work in prominent galleries and international exhibitions. His pieces are celebrated for their aesthetic sophistication and inventive approach to form and texture. Tasca’s impact on modern ceramics remains influential, reflecting a blend of artistic innovation and classical craftsmanship. Despite his passing in 2007, Alessio Tasca's legacy endures through his distinctive and evocative works, which continue to inspire and captivate collectors and art enthusiasts worldwide.
$4,400
Italian Modernism
De Rosa
For San Paolo Ceramics
Distributed through Feika Imports
Female Nude
Hand-Painted & Glazed Ceramic
Circa 1950s
DIMENSIONS
Height: 21 in (53.34 cm) Width: 25 in (63.5 cm) Depth: 16 in (40.64 cm)
ABOUT
Italian Mid-Century Modern ceramic sculpture depicting a female nude adorned with drapery, hand painted and glazed. Manufactured by De Rosa for San Paolo Ceramics, distributed through Feika Imports. The sculpture features a motif of hand painted leaves throughout, originating from Italy circa 1950s. It bears the marking 'Made in Italy For Feika Imports' on the left leg. Presented in excellent vintage condition, displaying appropriate signs of age-related wear and use.
$3,300
Mid-Century Modernism
José de Creeft
Reclining Nude
Hand-Carved Green Serpentine
Circa 1950’s
DIMENSIONS
Height: 7 inches (17.78 cm) Width: 12 inches (30.48 cm) Depth: 6.5 inches (16.51 cm)
ABOUT SCULPTURE
This captivating Modern sculpture of a reclining female nude made in hand-carved green serpentine stone, was created by famous Spanish-born American sculptor, José Mariano de Creeft (1884-1982). As the widely celebrated artist was an early adopter of the direct stone-carving approach to sculpture, this particular sculpture bears obvious traces of the lead-chasing technique de Creeft had implemented in his work since 1940’s.
ABOUT ARTIST
José Mariano de Creeft (1884 –1982) was a Spanish-born American artist, sculptor, and teacher known for modern sculpture in stone, metal, and wood, particularly figural works of women. De Creeft was born in Guadalajara, Spain, the son of Catalans Mariano de Creeft y Masdeu, a military officer, and Rosa Champane y Ortiz. When he was four the family moved to Barcelona, where in 1890 his father died. As a youth, de Creeft helped support his family by modeling figurines for sale at the annual festival of Santa Lucia in 1895, and in 1898 he was an apprentice at the bronze foundry of Masriera and Campins. Two years later, he entered the Madrid workshop of Augustin Querol, the official government sculptor, and studied drawing and sculpture, the latter with Ignacio Zuloaga. In 1903, he first exhibited portrait sculptures at El Círculo de Bellas Artes. After his immigration to the United States, his creative life developed very successfully. Among his significant monumental works a 16-foot (4.9 m) bronze Alice in Wonderland sculpture, installed in Central Park must be mentioned separately for it is well-known to both adults and children in New York City. He was an early adopter, and prominent exponent of the direct stone-carving approach to sculpture. He also developed the technique of lead chasing, and was among the first to create modern sculpture from found objects. He taught at Black Mountain College, the Art Students League of New York, and the New School ofr Social Research. His works are in the Whitney Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Smithsonian Art Museum, and many other public and private collections.
$6,500
Soviet Social Realism
Evgeniy Vuchetich
‘Let's Beat Swords into Plowshares'
Bronze Sculpture
ca. 1959
DIMENSIONS
Height: 9.75 in (24.77 cm) Width: 7.5 in (19.05 cm) Depth: 4 in (10.16 cm)
MARKING
On the right side of the bronze base there is an engraved inscription: “I dedicate it to my dear contemporary” and the sculptor’s signature “E. Vuchetich." (in Russian).
On the left side of the base, “Made in the USSR”; and “SLG-502”.
ABOUT SCULPTURE
This is a famous bronze sculpture ‘Let's Beat Swords into Plowshares' by artist Yevgeny Vuchetich (1908 – 1974). He was a highly revered Soviet sculptor and artist, well known for his heroic monuments. In 1959, Vuchetich received the People's Artist of the USSR award.
The sculpture depicts the figure of a man holding a hammer high above his head in one hand and a sword in the other, hammering the sword into a plowshare, a tool for cultivating soil for crops. This action symbolizes man's desire to end war and transform destructive weapons into tools for the benefit of humanity.
The book of Isaiah contains the following paragraph: “They shall beat their swords into plowshares and their spears into pruning hooks; nation shall not lift up sword against nation, neither shall they learn war anymore.”
This sculpture was presented to the UN as a gift from the USSR on December 4, 1959. On behalf of the Soviet delegation, the sculpture was presented by Vasily V. Kuznetsov, First Deputy Minister of Foreign Affairs of the USSR, and received by Secretary General Dag Hammarskjöld on behalf of the UN.
ABOUT ARTIST
YEVGENY VIKTOROVICH VUCHETICH (Russian: Евгений Викторович Вучетич | 1908 - 1974) was a prominent Soviet sculptor and artist. He is known for his heroic monuments, often of allegoric style, including The Motherland Calls, the largest sculpture in the world at the time. Vuchetich was born in Yekaterinoslav in Russian Empire (now Ukraine), the son of Viktor Vuchetich (Vučetić), a Montenegrin immigrant from the clan of Grbalj, and Anna Andreevna Stewart, of Russian and French decent. He was a prominent representative of the Socialist Realism style and was awarded with the Lenin Prize in 1970, the Stalin Prize (1946, 1947, 1948, 1949, 1950), Order of Lenin, Order of the Patriotic War (twice), Order of the Patriotic War (2nd degree), Hero of Socialist Labor (1967) and People’s Artist of the USSR (1959).
$2,800
XX Century American Modern
Marvin Bell
Embrace
Bronze
1984
DIMENSIONS
Height: 11.5 inches (29.21 cm) Width: 5 inches (12.7 cm) Depth: 3 inches (7.62 cm)
DETAILS
Signed and dated on the base. Foundry stamp 'Roman Bronze Works' Limited edition number '1/21'
ABOUT
Sculpted by American artist Marvin Bell in 1984, this unusual Modern abstract bronze sculpture depicts male and pregnant female figures in intimate embrace.
$800
Mid-Century Modernism
Vasco Pereira da Conceição
Embrace
Patinated Bronze
Portugal, 1965
DIMENSIONS
Height: 24 inches (60.96 cm) Width: 6 inches (15.24 cm) Depth: 5 inches (12.7 cm)
DETAILS
Initialed V.P.C. and dated 1965 on the bronze base.
ABOUT
This graceful Modern Abstract sculpture of an embracing couple in dark-patinated bronze was created by renowned Portuguese sculptor, Vasco Pereira da Conceição in 1965.
ABOUT ARTIST
Vasco Pereira da Conceição (Portugese, 1914-1992) studied sculpture at the School of Fine Arts of Porto and the School of Fine Arts in Lisbon. In his formative years he collaborated with sculptors Leopoldo de Almeida and Canto da Maia for the 1940 Portuguese World Exhibition in Lisbon. His early work was strongly supportive of the Portuguese Neo Realist period. During the 1960's his work showed a strong influence of the works of Henry Moore.
$3,300
Abstract Brutalist Sculpture
D. Calvi
Cast & Partially Polished Aluminum, Marble
ca. 1970’s
DIMENSIONS
Height: 22 inches (w/ base) Width: 9.5 inches Depth: 4 inches Base: 11 x 6 x 3 inches
ABOUT
This very expressive (and very heavy) unusual sculpture signed D. Calvi, features an exceptionally interesting composition, as well as a rarely used technique of casting and partially polished Aluminum. Signed; original marble base.
$2,800
Surrealist Abstract Sculpture
In Manner of
Wifredo Lam
ca. 1950’s-60’s
DIMENSIONS
Height (w/ base): 11.25 inches Height of base: 5 inches Width: 5 inches Depth: 5 inches
ABOUT
Surrealist abstract patinated bronze sculpture in the manner of Wifredo Lam or Yves Tanguy. The sculpture depicts an abstract figure on one knee, atop a wooden cube base and is marked 'W' and numbered 1/13’ (Limited Edition) Created in the United States in the 1950's-1960's, the piece is in great vintage condition with age-appropriate patina to the sculpture as well as the base.
WILFREDO LAM was an Afro-Cuban artist best known for his unique Surrealist aesthetic that combined European artistic movements with the imagery of his native country. “I responded always to the presence of factors that emanated from our history and our geography, tropical flowers, and black culture,” Lam once said. In one of his most famous paintings, The Jungle (1943), these various influences are melded together, onto a single large-scale canvas. Born Wifredo Oscar de la Concepción Lam y Castilla on December 8, 1902 in Sagua la Grande, Cuba, the painter moved to Madrid, Spain in 1923 to study with Fernando Alvarez de Sotomayor, who had been the teacher of famed Surrealist Salvador Dali Lam moved to Paris after seeing an exhibition of Pablo Picasso’s work in Spain. Having arrived in Paris, he introduced himself to Picasso who subsequently showed Lam his collection of primitive artworks. The two artists' interaction figured heavily in Lam’s work throughout the remainder of his career. He died on September 11, 1982 in Paris, France at the age of 79. Today, the artist’s works are held in the collections of the Tate Gallery in London, the Reina Sofia Museum in Madrid, The Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C., among others.
$4,800
Modernism
Andrée Hochar Fattal
Forbidden Fruit
Patinated-Bronze Sculpture
XX Century
DIMENSIONS
Height: 4.75 inches Width: 8.25 inches Depth: 5.75 inches
ANDREE HOCHAR FATTAL is a sculptor who was born in Lebanon in 1942 and has been working with clay for 50 years. She currently lives and works in Beirut. Her work features curvy female bodies, often with rounded torsos, thighs, and legs. Fattal casts her sculptures in bronze and gives them a patina the color of the night. Currently, Fattal's work is displayed at the AUB Archaeological Museum. Her sculptures are said to resonate with the museum's famous Goddesses of Fertility.
SOLD
Vintage
Abstract Cubist Sculpture
Signed ‘DN’
Bronze | Granite
XX Century
DIMENSIONS
Height: 7 inches Width: 3-3/8 inches Depth: 3-3/8 inches
ABOUT
This is a brilliant example of a cubist sculpture, fully confirming the opinion that although in painting Cubism tends to flatten space; so at first glance perhaps the idea of Cubist sculpture may seem like a contradiction. But the theory behind Cubism isn’t about dimensionality so much as it’s about simultaneity, freedom from depicting a single vantage point at a specific moment in space and time. In practice, the theoretical aspects of Cubism present exciting challenges to sculptors. That’s why from the earliest stages of the movement’s development Cubist sculpture was actively explored both by devoted, full time sculptors as well as painters who were intellectually drawn to the medium by Cubism’s radical approach to depicting geometry, movement, perspective and time.
$2,400
Mid-Century Modern
In manner of Takao Kimura
Abstract COMPPOSITION
Carved Elmwood Sculpture
Japan, ca. 1960
DIMENSIONS
Height: 17.75 inches Width: 6.25 inches Depth: 6 inches
ABOUT
A very stylish and elegant mid-century carved wood sculpture in the manner of Japanese artist Takao Kimura (1908 - 1987), dating from around 1960. Mounted on complicated geometrical-form black wooden base, this tall hand-crafted sculptural composition stands raised; visually consisting of several segments of irregular streamlined shape piled on top of each other although carved from a single piece of elm wood of a beautiful rich grain and soft honey highlights. An outstanding work of art, executed by a real master!
$2,800
American Abstract Modernism
Ed Wiener
A Pair of Miniature Bronze Sculptures
New York City, ca. 1970’s
DIMENSIONS
Max. Height: 3.75 inches Base Height: 1.5 inches Width: 2 inches Depth: 2 inches
ED WIENER (American, 1918-1991) was a famous New York jewelry designer and an outstanding sculptor-miniaturist, who began his career in artists' circles in post-Bauhaus Provincetown and Greenwich Village, in the early days of the abstract expressionist movement of the late 1940s. The two movements were joined in his designs. As the jewelry designer, he worked largely in silver until the late 1950s, when he branched out into new settings in gold and jewels. Ed Wiener exemplifies the studio artist of the late 1940s and 50s. With a wry wit and an acute intellect, he interpreted an era, a philosophy, a movement, only now coming to be understood as the post-World War II American metalsmithing phenomenon, and expounded upon its unique connection to modern painting and sculpture.
Wiener’s verbal approach to the pieces focused on design elements and/or concepts, while his visual approach in handling a bracelet, rotating it, placing it on a wrist pointed out how the air, enclosed by a simple curve of wire, gave the piece its impact. Further, his comparison of the relationship of his ision – whether jewelry, or miniature sculpture - to the sculpture of Alexander Archipenko — how the negative space creates the "magic," allowed to view his modernist creations with a more clearly sharpened perception.
What began as a means "of supporting himself and his family with dignity" developed into a varied technical and stylistic evolution—an intensely intellectual approach to the creation of jewelry with the methods available to him. He wished to exhaust a particular mode and move on, not over craft a piece or combine too many images or techniques. A simple man, Wiener believed in reducing a design to its essentials, eliminating extraneous elements. He compared his designs to jazz improvisation, where chordal embellishments build up until they become more important than the harmony itself, after which the musician deletes, paring the passage down to the core—the most brilliant tonal statement being left—just as in exceptional visual design. He admired the integrity of jazz and how jazz musicians likes modernist jewelers found a technique to express their artistry.
He believed, as did his contemporaries in 1946, in a noncompetitive alliance among artists—in a new world, where one shouldn't regress. The American studio jeweler was unfeuered by tradition, unlike his European counterpart. He firmly believed that an artist must be involved in the basic problems of his time. He leaned towards non-objectivism, but with subliminal clues. i.e. using non-representational forms to suggest the recognizable. Ultimately, a bird is not a bird but a "feeling-off-light form." Like so many modernist studio jewelers, Wiener was essentially self-taught. Born in New York City in 1918, he worked in his father's butcher shop until the war. During WW II, while working on a radio assembly line, he realized he had an aptitude for manual skills. And after the war, in 1945, although he had no real interest or background in jewelry or art, he took a general craft course at Columbia University in order to accompany a friend who was getting her master’s degree in art education uptown on the subway. The craft class lasted for three months with only four sets of tools for 50 students. The kitchen stove, where he worked with his wife, Doris, became his first studio. There the Wieners fashioned pins with their friends' names and initials from twisted wire. They were instantly successful and the proceeds from their sale paid for tools.
Feeling that jewelry should be a contemporary expression, he first looked to Picasso for inspiration. Picasso's sculptural forms, especially, were very readily translatable into jewelry, especially silver, which was used primarily because of its impermeability. "Silver is a noble metal and it'll be beautiful in spite of most things you can do to it," Wiener later remarked. The logical conclusion of his love of silver was to use a lot of it, so the early pieces tend to be heavy, incorporating tool marks and, thereby, the idea of process, into the design.
He admired Calder's disregard for prevailing jewelry making conventions, for example, in creating earrings that were too long—mobiles, really, with the ends left unfinished, just hammered a little, and the surface dull instead of shiny, planished instead of smooth. This helped him break out of the two-dimensionality of his ‘Picassoesque’ period. Wiener was inspired by Calder's expansion of round wires by the occasional flattening of a section and, consequently, achieving disturbance of the uniform parallel quality and by the primitive technique of twisting wire to form connections rather than soldering.
In the summer of 1947, the Wieners opened their own shop in the western part of Provincetown, across from the Advocate Building, where they also sold painting and sculpture by other artists, and they occupied this gallery every summer until 1965.
Upon their return to New York in the fall of 1946, the Wieners rented a studio on Second Avenue and 2nd Street, in what is now the East Village. In the winter of 1947, Wiener opened his first retail store on 55th Street between Fifth and Sixth Avenues, in the ground floor of a brownstone, several steps below street level Architect Dick Stein designed a tight, "Mondrianish" space. The store, called "Arts and Ends" (with "Ed Wiener" printed below in small letters to avoid confusion with another jeweler Edward Weiner, who had already registered his business in that name), remained at that location until 1953. Wiener attributes the prevailing interest in post WW II studio jewelry and his clientele, made up, mostly, of artists, art teachers and art collectors, to the landmark modern jewelry exhibition at the Museum of Modern Art in 1946, because it was dominated by contemporary sculptors. It caused handcrafted jewelry to rise above the realm of occupational therapy.
From 1953 until 1966, "Arts and Ends" occupied a store at 46 West 53rd Street, a "high-traffic street" near the Museum of Modern Art and the Museum of Contemporary Crafts. A second store was located in Greenwich Village until 1958. The earliest wrought expressions eventually acceded to what Wiener terms the "ultimate sculptural context", which he admitted he resisted for a long time. Jewelry has two essential functions, according to Wiener, to adorn and to modify the human figure. His strong beliefs about the role of scale in jewelry and its relationship to the human form have kept him away from making purely sculptural work. While sculpture exists only for itself and is suspended in its own space, jewelry needs a person's anatomy to find its resolution”. An iconographic motif runs throughout all of his periods, in jewelry and sculpture, often obvious in ethnographic or figural associations, sometimes alluding to the beach, sometimes to primitive and/or tribal. These images were achieved in both wrought and cast techniques, the later being explored fully from about 1949 on.
Wiener's next move was to Madison Avenue at 69th Street in 1966. By now his textural applications were becoming more subtle. A visit to the stone room at the Cluny Museum in Paris and a trip to the gem cutting centers in Jaipur, India excited him and extended his imagination as to the use of stones mounted in gold. He became enthralled with Byzantine jewelry with its connecting link between Europe and Asia, a compromise between West and East.
From 1971 to 81, Wiener maintained a shop at 57th Street and Madison Avenue. During this period, he was heavily involved with textural effects on gold. However, the texture became subtle, volume was achieved through surface.
Ed Wiener was not competitive. He was not in the craft mainstream. He only wanted to make the best pieces of jewelry he could. He was surprised by his success and only later was able to evaluate this significance objectively. "Jewelry," he says, is a "gift of love." And if a piece is made to be such and is given in that context, it is cherished. To Ed Wiener, this is what jewelry is all about: the magic, the mystery, the spirit, the energy and the change. Through each period and style in which he worked, he always strove to be an artist for the current time. He found inspiration in sources as diverse as modern painting and sculpture, nature and primitive symbols and ancient techniques. "In the end," he says, "we never really broke from tradition." Ed Wiener has been a modernist, a retro-modernist and a post-modernist.
SOLD
Modernism
P. Costagli
Female Head Bust
Marble
Italy, XX Century
ABOUT
This enigmatic marble head bust of African female in an unusual headdress is signed by the elusive Midcentury artist P. Constagli (Italian, b. 1958)
DIMENSIONS
Height: 14.5 inches Width: 10.5 inches Depth: 9.5 inches
SOLD
MID-CENTURY MODERNISM
L. Shore
Standing Man
Patinated Brtonze Sculpture
1953
ABOUT
This wonderful Mid-Century Mordern sculpture of a standing man is clearly influenced by one of the most important sculptors of the 20th century, Alberto Giacometti - Swiss sculptor, painter, draftsman and printmaker, as well as some of his famous predecessors; such as Auguste Rodin, for example.
MARKINGS Signed and dated on the base: L. Shore ‘53
DIMENSIONS Max. Height (w/ base): 19.25 inches Width: 4.25 inches Depth: 3.25 inches Height of base: 4 inches
$1,400
MID-CENTURY MODERNISM
Humberto Peraza
Female Nude
Patinated Bronze Sculpture
Mexico, 1965
ABOUT SCULPTURE
This unique sculptural work by Humberto Peraza (Mexican, 1925–2016) in patinated bronze depicts a handless and footless female figure pierced throughout with railroad spikes.
MARKINGS
Inscribed on the bottom of the left leg ‘H. Peraza ‘65’
DIMENSIONS
Height: 18 inches Width: 17.5 inches Depth: 11 inches
sold
American Modernism
Linn Lovejoy Phelan
Head of a Woman
Ceramic Sculpture
1953
DIMENSIONS
Height: 10.75 inches Width: 8 inches Depth: 8.75 inches
MARKINGS
Signed on bas ‘Linn L. Phelan’, and dated ‘1953’
LINN LOVEJOY PHELAN, LINN PHELAN (American, 1906-1992), one of the most famous New York based artist-potter worked with earthenware clay that was coated with earthy-colored base glaze that was then decorated using sgraffito along with under and over glazes. His inventories indicate he produced nearly 39,000 ceramic pieces during his career.
EDUCATION
1928 Bevier School of Art of the Rochester Athenaeum and Mechanics Institute (now Rochester Institute of Technology), Rochester, New York
1932 BFA Ceramic Art, Ohio State University, Columbus, Ohio
1955 MS Art Education, New York State College of Ceramic Arts, Alfred University, Alfred, New York
PRIMARY WORK EXPERIENCE
1939-1942Linnwood Pottery, Saco, Maine
1950-1991Linnwood Pottery, Almond, New York
1950-1967Art Teacher, Alfred-Almond Central School, Almond, New York
1976-1972Instructor, New York State College of Ceramic Arts, Alfred University, Alfred, New York
BIBLIOGRAPHY
Phelan, A. L. Becoming the Village Potter: The Life of Linn L. Phelan. Norman, OK: Quail Creek Editions, 2012.
Phelan, L. L. ”Ceramics??? Two Pottery Technics.” Design 37 no.8 (February 1, 1936).
$3,500
Mid-Century Modernism
Female Bust
Carved Ebonized Wood
circa 1950
DIMENSIONS Height: 11 inches Width: 7.5 inches Depth: 4 inches
This remarkable modernist carved ebonized wood bust, c. 1950s with a proudly set head on an exaggeratedly elongated neck and hair flowing over the shoulders, immediately conjures up in the viewer's imagination the missing part of the complete image of a tall and slender young woman.
$3,200
American Mid-Century Modernism
Irving Amen
Male Nude
Gilt Bronze Sculpture
ca. 1960
DIMENSIONS Height: 8.25 inches Width: 15 inches Depth: 5 inches
MARKINGS Signed ‘AMEN’
IRVING AMEN (American, 1918-2011) was one of the most versatile American artists of any era, creating oil paintings, woodcuts, linocuts, etchings, engravings, lithographs, as well as sculpture, and stained glass. In his work, Amen blended several styles into his own, including Cubism, Abstract art, Expressionism, and Realism. His work often depicts themes of Judaism, chess, people, music, Italy and Don Quixote. His art is widely owned and loved.
Amen’s work is represented in the Albertina Museum, Vienna; Bezalel National Museum, Jerusalem; Bibliotheque Nationale, Paris; Bibliotheque Royale, Brussels; Museum of Fine Art Boston; Cincinnati Museum of Art; Fogg Art Museum, Harvard University; Library of Congress, Washington; Metropolitan Museum of Art and Museum of Modern Art, New York; New York Public Library; Philadelphia Museum of Art; Smithsonian American Art Museum; and Stadtische Museum, Wilberfeld, Germany.
An extremely prolific artist, Irving Amen left behind a large number of paintings and graphic works that covered an array of subjects, many on religious and family themes but always with a wide color palette, retaining harmonious tonality. However, he was also an even more remarkably talented sculptor, although he created his sculptures much less frequently. All of his outstanding sculptural compositions are distinguished by precise delineation of structure and form, with sharp linear angles.
A native New Yorker, he won a scholarship to the Pratt Institute at age 14, and was regarded as a prodigy artist. From 1942 to 1945 Irving Amen served with the Armed Forces. He headed a mural project and executed murals in the United States and Belgium. He exhibited at the Smithsonian shortly after his service in the Armed Forces in WW II.
His first exhibition of woodcut was held at the New School for Social Research and his second at the Smithsonian Institution in 1949. He also exhibited at the Artists House in Jerusalem, the Library of Congress, and the National Academy of Design. Amen studied in Paris in 1950. Upon his return to the United States, he had one man shows in New York and Washington DC. In 1953, Amen traveled throughout Italy. This resulted in a series of eleven woodcuts, eight etchings and a number of oil paintings. Travels to Israel, Greece and Turkey in 1960 led to a retrospective show at the Artist's House in Jerusalem. Irving Amen has also taught at Pratt Institute and at the University of Notre Dame in the 1960s.
Irwing Amen is listed in Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers and the Dictionary of Contemporary American Artists by Paul Cummings. Amen was also a member of the Society Of American Graphic Artists. He was elected member of Accademia Fiorentina Delle Arti Del Disegno, an organization to which Michelangelo, his idol, belonged.
SOLD
American Mid-Century Modernism
Frederic Weinberg
A Pair of Dancers
Gilt Brass Sculptures
ca. 1950s
This unusual pair of minimalist mid-century modern desk-size sculptures of two dancers is rendered in gilt brass, featuring an original noble patina.
DIMENSIONS Height: 9 inches Width: 5 inches Depth: 3 inches
MARKINGS Signed ‘F.W.’.
Frederick Weinberg (American, 1922 – 1970) was a Philadelphia based artist and industrial designer. Frederic Weinberg produced and sold a wide variety of functional and decorative items under a company bearing his name. Though he is probably best known for his figural wire and fiberglass wall sculptures, he also produced retail fixtures, clocks, lamps and furniture for homes, institutions and businesses.
Frederic Weinberg was the PAFA-trained Philadelphia artist whose 1950s oeuvre — mostly sculpture, clocks, lamps and decorative displays for dozens of restaurants and retail businesses, based on his semi-abstract paintings — has recently become the obsession of in-the-know modern art collectors.
$2,200
Brutalist Modernism
Raymond Rocklin
Abstract Composition
Patinated Bronze
1969
DIMENSIONS Height: 9 inches Width: 6 inches Depth: 7.5 inches
Raymond Rocklin (American, 1922 – 1914 )
Birth place: Moodus, CT, USA
Education: Educational Alliance, NYC, with Abbo Ostrovsky; Cooper Union Art Sch., with Milton Hebald & John Hovannes.
Exhibited: Young Am., WMAA, 1956; Oakland Art Mus., 1959; Galleria Tiberina, Rome, 1959; Univ. Calif., Berkeley, 1960; Claude Bernard Gal., Paris, 1960; WMAA, 1960-62; Sculptors Guild, NYC, 1970s.
Awards: Cooper Union Art Sch. scholar to Skowhegan Sch. Painting & Sculpture, 1951; Fulbright grant, Italy, 1952-53; Yaddo Found. fel., 1956.
Solo Exhibitions at the Whitney Museum of American Art
Annual Exhibition 1962: Contemporary Sculpture and Drawings > Dec 12, 1962–Feb 3, 1963
Annual Exhibition 1960: Contemporary Sculpture and Drawings > Dec 7, 1960–Jan 22, 1961
Member: Sculptors Guild; Am. Abstr. Artists; Fedn. Mod. P&S
Work: WMAA; Provincetown Mus. Art, Mass.; Temple Israel, Saint Louis; Skowhegan Sch. Painting & Sculpture. Commissions: wall brass, comn. by Mrs. Beskind, New York, 1962 & Mrs. Nina Waller, Baltimore, 1963.
Comments: Preferred media: bronze, steel, wood. Teaching: guest artist, Am. Univ., 1956; asst. prof. art, UC Berkeley, 1959-60; guest artist, Ball State Teachers Col., summer 1964.
Sources: WW73; M. Seuphor, Raymond Rocklin, The Sculpture of this Century (1961).
$3,600
MID-CENTURY American Modernism
Lu Duble
‘Pedro’
Ceramic Bust
ca. 1960s
DIMENSIONS Height: 15.5 inches Width: 5.5 inches Depth: 9 inches
Lu Duble (British-American, 1896 — 1970), born Lucinda Christine Davies, (a/k/a Lucinda Duble and Lu Duble Geiffert) was an English-born American artist. Lucinda Christine Davies was born in 1896, in Oxford, England, the daughter of John Walter Davies and Marianne Mogridge Davies. Her father was an author, editor, and journalist. Her mother's grandfather was author George Mogridge. She moved to the United States with her parents in 1903, as a young child. Davies trained at the Art Students League and Cooper Union in New York City. Her mentors included Alexander Archiupenko, Jode de Grefft and Hans Hoffmann.
From 1918 to 1937, Duble was head of the sculpture program at Bennett Junior College in Millbrook, New York. She also taught sculpture classes at Brearley School, Dalton School, Greenwich House and Montclair Art Museum. She was awarded a Guggenheim Fellowship in 1937 and 1938, to study art and sculpture in Haiti. Another travel fellowship, from the Institute of International Education, sent her to Mexico from 1942-1944, where she made sculptures and studied Mayan art.
Duble's best known works were human figures or heads, worked in stone, cement, and terracotta. Her sculpture, "Calling the Loa, Haiti" won the Anna Hyatt Huntington Prize in 1938, and "Last Migration" won the Speyer Prize in 1952. She had work in the fiftieth anniversary show of the National Association of Women Painters and Sculptors in 1939. In 1940, Duble showed her sculptures from Haiti at the Dayton Art Institute, local arts edito Merab Eberle found the show's "voodooistic" theme disturbing, but agreed that Duble had "rhythmic sense and no small degree of ability to impart power. She was part of a three-woman show, at Grand Central Art Galleries in 1947, with Cornelia Chapin and Marion Sanford. She "tackles themes that are deeply felt, in forms that are impressionistically modeled and full of dramatic tensions," wrote a Philadelphia reviewer in 1950, adding "Lu Duble's work must be respected but can't always be enjoyed.
She was a member of the National Association of Women Painters and Sculptors from 1937, a fellow of the National Sculpture Society, elected in 1937, and a member of the National Academy of Design from 1942. She was part of a group of women artists called informally "the Guild ladies", including Dorothy Dehner, Helen Wilson, Rhys Caparn and Helena Simkovitch. Among her students were artists Ray Eames and Mercedes Matter.
Davies married twice, first in 1917 to Jesse Clyde Duble, and second to Alfred Geiffert, Jr., a landscape architect. She was widowed when Geiffert died in 1957. She spent summers in Woodstock, New York in her later years. Lu Duble died in 1970, in Woodstock, aged 74 years. She was survived by her sister, Gwen, also an artist.
SOLD
French Abstract Modernism
Woman Carrying Vessel
Patnated Bronze Sculpture
ca. 1960s
IMENSIONS Height: 18.75 inches Width: 3.5 inches Depth: 4 inches
ABOUT SCULPTURE
This remarkable patinated-bronze sculpture attracts the viewer's eye with its outstanding graceful lines and special elegant proportions. The figure of a woman carrying a vessel on her shoulder, distinguished by a majestic tread, a slender figure in tight-fitting clothes and a proud posture, is an unusual symbiosis of African ritual tribal sculpture and French mid-century abstract modernism.
SOLD
Mid-Century Modern
Joahim Berthold
Lounging Couple
Patinated Bronze Sculpture ~ Limited Edition: 4/9
Germany, ca. 1960
DIMENSIONS Height: 4.3 inches Width: 5.75 inches Depth: 2.75 inches
ABOUT OBJECT Signed and numbered in back. Signed ‘J. Beithold’. Limited Edition: 4/9
JOACHIM BERTHOLD (German, 1917 – 1990), born 1917 in Eisenach, lived and worked until his death in 1990 in Oberaudorf am Inn. In 1936 he began his training at the renow ned Werkschule in Cologne. There he met his artist colleague and later wife Gisela BertholdSames and he continued his studies until 1941 at the Academy of Fine Arts in Munich. From 1945 he worked as a freelance sculptor. This was followed by hard artist years in which the execution of any commissioned work to secure a livelihood left little time for free work. Gradually, the situation improved until, from the 1960s, it gained international renown through more and more numerous and important exhibitions at home and abroad, large orders from industry and cities as well as museum acquisitions.
Berthold's appearance was striking. This corresponds to his figurative, mainly in bronze realized small to larger than life-sized sculptures. The topic of his work was the man. He was not concerned with the representation of individual, external manifestations. His sculptures are reduced to the essentials, re main in their economical movements, without facial expressions, anonymous and timeless. The essence of man and his development between becoming and decay were his concerns.
Through the mental processing of Greek metaphors, he concentrated on the depiction of the human forms involved in a matter or in their own body form and dissolving out of it, as well as cast their own shadow. Berthold's typical formal idiom lives from the antagonism of convex and concave, perfectly smoothed and rough, sometimes broken surfaces, exposing the underlying innermost amorphous layers.
$1,400
Vintage
Étagère-Mannequin
In Style of Salvatore Dali
Silvered & Gilt Wood
ca. 1980s
DIMENSIONS Height: 29.5 inches Width: 11.5 inches Depth: 7.5 inches
ABOUT THE OBJECT
This obviously privately commissioned (perhaps in a single number) object in the style of Salvador Dali, remarkable for its originality and unusualness, served, in all likelihood, as a display case in a jewelry store or similar.
$3,400
American Abstract Expressionism
Doug Rochelle
3 Faces
Ceramic (Clay) Sculpture
20th Century
DIMENSIONS
Height: 14.5 inches Width: 8 inches Depth: 6 inches
ABOUT ARTIST
Doug Rochelle came to New York in 2001 from Kansas City and got a job as a waiter, working nights. Doug joined the LaMano Pottery Studio in August 2001. After work, and inspired by what he calls “the madness and mayhem of working the graveyard shift… where fights, barf, homeless and drunks cyclone the edge” Doug would decompress at the studio by creating his haunting ceramic images until the wee hours of the morning. As he describes his process: “I smash two 25 pound blocks of clay together, then I draw, dig, scoop and poke. The sculptures take about one month to create and four to eight months to dry. The faces/heads are then bisque fired in the kiln, glazed and then high fired. Hopefully they survive…” His imagery, which began when he was 13, with doodles over the Yellow Pages while on the phone with his girlfriend, has continued to develop and grow. “I did try all the isms — Abstract Expressionism, Impressionism, Fauvism, and Surrealism, but I was always drawn back to the doodle figure/head. I like sculpting heads. They are made of abstract shapes yet easily recognizable. The masks also express my search for the truth which, in theory, can be better seen by looking at something from different points of view.”
“Where there is ego there is conflict” – Osho. I never heard that growing up, and every time I am about to react I take a step back. The truth is there is a rage inside me and I am afraid the uncontrollable Hulk will come out. I have been able to hold back my punch. I don’t want to burn any bridges. On one hand sharing such a thing makes me feel powerful on the other hand such a thing leads me to feel vulnerable. It was risky, in fact.
Through this body of work, multi-disciplinary artist Doug Rochelle has allowed himself to strike within his comfort-zone which is to express. Using these skills he is able to investigate what he feels is most difficult in life – learning to communicate sans subjugation. Inspired by the tragi-comedy of personal life experience in which the good and bad trauma of individual encounters expose themselves, he is able to create work in an attempt to exhibit the thought process within these relationships.
Doug Rochelle came to New York in 2001 from Kansas City and got a job as a waiter, working nights. Doug joined the LaMano Pottery Studio in August 2001. After work, and inspired by what he calls “the madness and mayhem of working the graveyard shift… where fights, barf, homeless and drunks cyclone the edge” Doug would decompress at the studio by creating his haunting ceramic images until the wee hours of the morning. As he describes his process: “I smash two 25 pound blocks of clay together, then I draw, dig, scoop and poke. The sculptures take about one month to create and four to eight months to dry. The faces/heads are then bisque fired in the kiln, glazed and then high fired. Hopefully they survive…” His imagery, which began when he was 13, with doodles over the Yellow Pages while on the phone with his girlfriend, has continued to develop and grow. “I did try all the isms — Abstract Expressionism, Impressionism, Fauvism, and Surrealism, but I was always drawn back to the doodle figure/head. I like sculpting heads. They are made of abstract shapes yet easily recognizable. The masks also express my search for the truth which, in theory, can be better seen by looking at something from different points of view.”
“Where there is ego there is conflict” – Osho. I never heard that growing up, and every time I am about to react I take a step back. The truth is there is a rage inside me and I am afraid the uncontrollable Hulk will come out. I have been able to hold back my punch. I don’t want to burn any bridges. On one hand sharing such a thing makes me feel powerful on the other hand such a thing leads me to feel vulnerable. It was risky, in fact.
Through this body of work, multi-disciplinary artist Doug Rochelle has allowed himself to strike within his comfort-zone which is to express. Using these skills he is able to investigate what he feels is most difficult in life – learning to communicate sans subjugation. Inspired by the tragi-comedy of personal life experience in which the good and bad trauma of individual encounters expose themselves, he is able to create work in an attempt to exhibit the thought process within these relationships.
$3,200
ON HOLD
Italian Modernism
Giorgio Amelio Roccamonte
Robot
Chromed Metal Sculpture
ca. 1960s
MARKINGS
Signed by the artist.
DIMENSIONS
Height: 14.5 inches Width: 4.5 inches Depth: 3.75 inches
ABOUT ARTIST
Giorgio Amelio Roccamonte a/k/a Elio Roccamonte (Argentine/Italian, Buenos Aires, 1927 - Rome, 1980) was a renown Italian sculptor. On arriving in Italy from native Argentina, he entered the Brera Academy, which he attended from 1948 to 1950. There, he was a pupil of Marino Marini then holder of the chair of sculpture. Arriving in Rome, in 1951 he held his first solo show in the Galleria dello Zodiaco. He was a teacher at the Primo Liceo Artistico in via Ripetta in the sixties and seventies of the twentieth century. Roccamonte is best known for his robot sculptures; later he devoted himself to sculptures in the shape of letters.
$4,200
Swedish Modernism
John Lundqvist
Head of a Woman
Patinated Bronze Sculpture on Marble Base
Ca. 1960s
MARKINGS
Signed by the artist.
DIMENSIONS
Height: 10.5 inches Width: 5.75 inches Depth: 4.5 inches
ABOUT ASRTIST
Johan (John) Anders Lundqvist (Swedish, 1882 –1972) was a famous Swedish sculptor. John Lundqvist first studied at Tekniska Skolan (today, Konstfack) and was thereafter an assistant to Christian Eriksson between 1907-1313. In 1913, he studied at Academie Colarossi in Paris, where Auguste Rodin made a great impression on him. In the years of 1919-1927, he lived in Paris, and had advanced his education in Copenhagen and Italy. His works were characterized by a deeply religious way of life. His inspiration is collected from French sculptor Auguste Rodin and gothic sculptures, but there are also clear similarities to Carl Milles. John Lundqvist had mainly devoted himself to church decorations, such as Uppståndelsemonumentet by Heliga Korsets kapell at Skoskyrkogarden in Stockholm, Sweden. Lundqvist have also created the crucifix’s gilded Christ figure. His other famous works include Uppståndelsen (at Nationalmuseum) and Orfeus, a pilot studies of Uppståndelsemonumentet, the crucifix at the Swedish church in Paris (1926), Job, Två människorI (1923), and the fountain composition Forskarlen (1933, for Laholm municipality. John Lundqvist is represented at, among others, Modena Museum, National Museum of Fune Arts and Kalmar art museum. His work was also part of th in the art competition at the 1932 Summer Olympics.
sold
American Cubist Modernism
Harlequin
Welded Metal on Stepped Ebonized Base
ca. 1970s
DIMENSIONS
Height: 25 inches Width: 12.5 inches Depth: 9 inches
ABOUT SCULPTURE
This figurative sculpture of a Harlequin standing in a relaxed pose is unusual not only in the choice of materials; but, most importantly, due to the unusual combination of the incomprehensible - a cheerful and usually hilarious character is depicted in a harsh cubist manner, giving his entire figure some kind of exciting uncertainty and even mystery. Unsigned.
$2,800
Dutch Modernism
Hugo Lisberg
Striding Giraffe
Patinated Bronze
ca. 1955
DIMENSIONS Height: 15.75 inches Width: 7 inches Depth: 20.5 inches
ABOUT SCULPTURE
An incredibly graceful depiction of an animal beloved by everyone in the interpretation of the famous Danish master of the last century, Hugo Liisberg attracts the viewer's eye with the amazingly natural dynamics of the pose and the unique elegance of the forms inherent to this particular artistr, because of which he gained fame as an outstanding animal sculptor.
ABOUT ARTIST
Hugo Liisberg (Dutch, 1896 – 1958) was a self-taught sculptor and completed his apprenticeship at the Royal Copenhagen Porcelain Manufactury in 1915. He followed by studying at the Bourdelles School in Paris in 1920. Inspired from his mother’s country, Sweden, from his numerous visits during childhood, his sculpture and design often take forms from nature. Often Liisberg would visit the zoo to study the animals for his sculptures, which show in his work's high level of realism. In 1930, he began working with Nathalie Krebs, founder of Saxbo, a company which focused on the stoneware that held his interest so much. In the 40's he designed four jewelry pieces for Georg Jensen, all brooches, which are similar to Arno Malnowski's works, however are easily differentiated by the greater detail present in Liisberg's work. He was awarded a gold medal by the Royal Danish Academy of Fine Arts and the Eckersberg Medal in 1942.
$5,800
Mid-Century American Modernism
Self-Embrace
Hand-Carved Wood Sculpture Signed by Needle
USA, circa 1960
ABOUT SCULPTURE
Crafted with great taste and skill by an unidentified sculptor (signed 'Needle'), this stunningly shaped and proportioned remarkable modernist sculpture looks exquisite and sophisticated from every angle, and leaves an indelible impression of the unexpected combination of female power with self-directed sensuality. At the same time, this work of art is so decorative that, of course, it will serve as a complimentary addition to the interior of almost any style.
DIMENSIONS Height: 28.5 inches Width: 11 inches Depth: 7.5 inches
FEATURES Original revolving base.
$5,800
American Modernism
Cannonball Thrower
Patinated Bronze Sculpture
Circa 1960
ABOUT SCULPTURE
Definitely created by a master sculptor, this small but very dynamic modernist sculpture depicts a cannonball thrower in the moment of forceful rotation before the actual throw of the projectile.
DIMENSIONS Height: 9.75 inches Width: 9.5 inches Depth: 6.5 inches
MARKINGS Signed on back of leg, signature is illegible
DETAILS Original black-veined marble base
CONDITION Excellent vintage condition, wear consistent with age and use.
$2,800
American Modernism
Stanley Stangren
The Abduction of EuroPA
Hand-Painted Terracotta Sculpture
Circa 1950
DIMENSIONS Total height: 12.5 inches Width: 19 inches Depth: 7.5 inches Base height: 1.5 inches
DETAILS Unsigned, original wood base.
CONDITION Excellent vintage condition, wear consistent with age and use.
Stanley R. Stangren (American, 1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry. Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham.
Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits. In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe.
Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950’s, Stangren opened and maintained a ceramic business in Trenton, New Jersey.
Very few pieces of his work remain from this period. When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions.
In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School. "I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said.
"What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren supported. He has established gift annuities at a number of other nonprofits, including the Metropolitan Museum, the American Civil Liberties Union, the Children's Aid Society and the New York City Opera.
$4,500
French Modernism
Head
Hand-Carved Wood Sculpture
Circa 1950
ABOUT SCULPTURE
Unusual in its conciseness and modernistic vision of a rather familiar subject - the human head - this very original elegant sculpture does not leave anyone indifferent and is imprinted in the memory of any spectator.
DIMENSIONS Total height: 9.5 inches Width: 7.5 inches Depth: 8.5 inches
CONDITION Excellent vintage condition, wear consistent with age and use.
$4,750
American Modernism
Enid Bell Palanchian
‘Tackle’
Carved Mahogany Sculpture
Circa 1953
DIMENSIONS Height: 23 inches Width; 12 inches Depth: 6 inches
MARKINGS Signed at the bottom in back.
DETAILS Original hand-crafted black-painted wood plinth.
REFERENCES Originally, sold to Papillon Gallery of Los Angeles.
CONDITION Excellent antique condition, wear consistent with age and use.
Enid Bell Palanchian (American, 1904 – 1994) a/k/a Mrs. E. B. Palanchian, Mrs. Enid Bell Palanchian and Mrs. Missak Palanchian was an important American sculptor, author, illustrator and professor who was primarily active in the New York/New Jersey area, but who established a respected body of work recognized throughout Europe and the United States as reflected by awards received in Paris, New Jersey, New York, New Mexico and Florida. Her achievements included numerous public works projects (e.g., the design of the Congressional Gold Medal) on display at public institutions and museums around the country, private commissions and sales throughout the world, group and solo exhibitions, generous donations of art and compilations, and the passing on of her knowledge and skills to 24 years of art students of the Newark School of Industrial and Fine Arts.
Enid Bell was born in London, England, and later studied at the Glasgow School of Art and then at the St. John’s Wood Art School; as well as studying with fellow Scot Sir William Reid Dick in London. Then, after moving to the United States, she taught at the Art Student League in New York City at Miss Chapen’s School. Essentially a figurative, direct carving in wood artist, she was based in New Jersey where she became the head of the sculpture program of the Fedral Art Project for that state and was herself the creator of several FAP commissions. In 1932, she married Armenian/American businessman and artist, Missalk Palanchian athough she retained her name “Bell” for professional purposes. Following the end of the Federal Art Project in 1944, she taught as instructor of sculpture and Head of the Sculpture Department of the Newark School of Fine and Industrial Art until 1968, and was active was a member of the National Sculpture Society. Enid Bell died in 1994 in Englewood, New Jersey.
WORK
· Birds, Leonia Public Library in Leonia New Jersey (installed 1981)
· Untitled, Boonton Post Office in Boonton, New Jersey (1938)
· Boonton Post Office, Boonton, New Jersey
· Colonizing America, Center for Youth Education, Newark, New Jersey, (1934)
· Little Indian Dancer, Englewood Public Library, Englewood, New Jersey
· Alexander Hamilton Troy Public Library in Troy, New York
· bird bath, Music, Science, Union City Library in Union City, New Jersey
· The Post Office 1790, United States Post Office in Mount Holly, New Jersey (1937)
· On the Range, Deaf Smith County Museum in Hereford, Texas (1941)
· On the Range, Smithsonian American Art Museum (1941)
· Untitled Sculptural Frieze, Heckscher Museum of Art in Huntington, New York
PUBLISHED WORKS (AUTHOR/ILLUSTRATOR):
· 5 Arts and Crafts "Filmstrips" Series, published by Encyclopedia Brittanica, 1954
· "Tin Craft as a Hobby", Harper Brother Publishers, 1934, favorably reviewed by the World Telegram and N.Y. Times in 1934
· "Practical Woodcarving Projects", Harper Brothers Publishers, 1940
· "Signs and Symbols in Christian Art", Oxford University Press (Illustrator only)
· "Christian Symbols in Italian Art", MacMillan Publishers (Illustrator only)
· "Forsaking All Others", Alice Duer Miller, Simon and Schuster Publishers, 1931, illustrations only, drawings of N.Y. scenes
· Various Articles in National Sculpture Review
· Various Articles in American Artist Magazine, including March 1965, "My Wood Sculpture" & June 1968, "Sculptors Hartwig & Glinsky"
AWARDS:
· Sculpture Medal, Newark Art Club, Newark, NJ, 1933
· Gold Medal, Paris International Exposition, Paris, France, 1937
· First Honor for Wood Sculpture, New Mexico State Fair, Santa Fe, NM, 1941
· Second Honor for Ceramics, New Mexico State Fair, Santa Fe, NM, 1941
· Honorary Membership of the Eugene Field Society National Association of Authors and Journalists, awarded March 19, 1941
· First-Place Award in Sculpture, Annual New Jersey State Exhibition, Montclair Museum, Montclair, NJ, 1948
· Nellie Wright Allen Award, Jersey City Museum Exposition
HONORABLE ACKNOWLEDGMENTS:
· "Who's Who in American Art"
· "Who's Who in American Women"
· "Who's Who in the East"
· "National Inventory of the Arts"
· "Directory of American Sculpture"
GALLERY REPRESENTATION:
· Ferargil Gallery, New York City, NY
· Roman Bronze Gallery, New York City, NY
· Kraushaar Gallery, New York City, NY
· Eugene Schoan Gallery, New York City, NY
· Delius Gallery, New York City, NY
· Collectors Gallery, New York City, NY
· Jean Bohne Gallery, New York City, NY
· Knopf Hunter Gallery, Santa Fe, NM
· Brooke Street Gallery, London, England
· Schoneman Gallery, New York City, NY
$4,750
American Mid-Century Modern
Rhys Caparn
‘Extraterrestial’
Cast Stone Sculpture
1969
Original black marble base.
Dimensions:
Height: 15.5 inches (38.75cm)
Base height: 2 inches(5cm)
Total height: 17.5 inches (43.75cm)
Width: 19.25 inches (48.12cm)
Depth: 6 inches (15cm)
This very unusual American Mid-Century Modern cast stone sculpture by Rhys Caparn, "Extraterrestial" on the original black marble base is one of the sculptor’s famous pieces. This work is on the cover of an exhibition catalog from the La Boetie Gallery exhibition of the work of Rhys Caparn in 1970. It is also photographed in the book "Rhys Caparn" by Robert Beverly Hale, Retrospective Press, Danbury, Connecticut, 1956.
RHYS CAPARN (American, 1909-1997) (From the NYTimes Obituary in 1997): "Rhys Steel Caparn, age 87, Danbury, CT, a noted sculptress, died Tuesday in Danbury, CT. She was formerly of Newtown, CT., and was the widow of H. Johannes Steel. Mrs. Steel was born in Onteora Park, NY, July 28, 1909, daughter of Harold and Clara Jones Caparn. From 1927 to 1929 she attended Bryn Mawr College; and from 1929 to 1930 studied at Ecole Artistique des Animaux in Paris, France; and from 1931 to 1933 studied at Archipenko School of Art in New York City. Rhys Caparn taught Sculpture at the Dalton School in New York for 21 years. Following her first exhibit in 1933, at the age of 24, Ms. Caparn received many awards, including the Medal of Honor for Sculpture from the National Association.
$18,000
French Cubism
Jacques Lipchitz
Two Figures
Patinated Bronze Sculpture
1973
Signed ‘Lipschitz’ and dated ‘23’
Foundry stamp ‘Fonderia Luigi Tomassi Pietrasanta’.
Original dark brown-black patina.
Dimensions: Height: 3.57 inches (8.9cm) Width: 5 inches (12.5cm) Depth: 3.13 inches (7.82cm)
This small but very powerful sculpture depicting the passionate interweaving of two bodies of lovers was completed in the year of the death of the master in his beloved Pietrasanta, Italy; and cast in bronze at the local foundry ‘Fonderia Luigi Tomassi Pietrasanta’.
JACQES LIPCHITZ (1891 – 1973) was a Cubist sculptor. Lipchitz retained highly figurative and legible components in his work leading up to 1915–16, after which naturalist and descriptive elements were muted, dominated by a synthetic style of Crystal Cubism In 1920, Lipchitz held his first solo exhibition, at Leonce Rosenberg’s Galerie L'Effort Moderne in Paris. Fleeing the Nazis he moved to the US and settled in New York City and eventually Hastings-on-Hudson.
Jacques Lipchitz was born Chaim Jacob Lipschitz, in a Litvak family, son of a building contractor in Druskinikai, Lithuania, then within the Russian Empire He studied at Vilnius grammar school and Vilnius Art School. Under the influence of his father he studied engineering in 1906–1909, but soon after, supported by his mother he moved to Paris (1909) to study at the Ecole-des-Beaux-Arts and the Academy Julian.
It was there, in the artistic communities of Monmartre and Montparnasse, that he joined a group of artists that included Juan Gris and Pblo Picasso, as well as where his friend, Amedeo Modigliani, painted Jacques and Berthe Lipschitz. Living in this environment, Lipchitz soon began to create Cubist sculpture. In 1912, he exhibited at the Salon de la Societe des Beaux-Arts and the Salon d’Automne with his first solo show held at Leonce Rosenberg’s's Galerie L'Effort Moderne in Paris in 1920. In 1922 he was commissioned by the Barnes Foundation in Merion, Pennsylvania to execute seven bas-reliefs and two sculptures.
With artistic innovation at its height, in the 1920s he experimented with abstract forms he called transparent sculptures. Later he developed a more dynamic style, which he applied with telling effect to bronze compositions of figures and animals. In 1924-25 Lipchitz became a French citizen through naturalization and married Berthe Kitrosser. With the German occupation of France during World War II, and the deportation of Jews to the Nazi death camps, Lipchitz had to flee France. With the assistance of the American journalist Varian Fry in Marceille, he escaped the Nazi regime and went to the United States. There, he eventually settled in Hastings-on-Hudson, New York.
He was one of 250 sculptors who exhibited in the Third Sculpture International Exhibition held at the Philadelphia Museum of Art in the summer of 1949. He has been identified among seventy of those sculptors in a photograph Life magazine published that was taken at the exhibition. In 1954 a Lipchitz retrospective traveled from The Museum of Modern Art in New York to the Walker Art Center in Minneapolis and The Cleveland Museum of Art. In 1959, his series of small bronzes To the Limit of the Possible was shown at Fine Arts Associates in New York.
In his later years Lipchitz became more involved in his Jewish faith, even referring to himself as a "religious Jew" in an interview in 1970. He began abstaining from work on Shabbat and put on Tefillin daily, at the urging of the Lubavitcher Rebbe, Rabbi Menachem Schneerson. Beginning in 1963, he returned to Europe for several months of each year and worked in Pietrasanta, Italy. He developed a close friendship with fellow sculptor, Fiore de Henriquez. In 1972, his autobiography, co-authored with H. Harvard Arnason, was published on the occasion of an exhibition of his sculpture at the Metropollitan Museum of Art in New York.
Jacques Lipchitz died in Capri, Italy. A contingent including Rabbi Gershon Mendel Garelik flew with his body to Jerusalem for the burial.His Tuscan Villa Bozio was donated to Chabad-Lubavitch in Italy and currently hosts an annual Jewish summer camp in its premises.
sold
Mexican
Contemporary Latin American Art
Jose Ines
A Nude Female Diver
Patinated Bronze Sculpture
Limited Edition: 3/10
XX Century
Signed ‘Ines’ and numbered 3/10
Inscribed in gallery metal tag ‘Jose Ines Esculptor’.
Original wooden base.
Dimensions: Height: 29 inches (72.5cm) Width: 17 inches (42.5cm) Depth: 18 inches (45cm)
Base: Height: 1.88nches (4.7cm) Width: 10.75 inches (26.87cm) Depth: 10.75 inches (26.87cm)
sold
American Contemporary
Karl Springer
Antelopes Head
Murano Glass & Brass Sculpture
ca. 1970s
Dimensions: Height: 29.5 inches (73.75cm) Width: 13.5 inches (33.75cm) Depth: 8 inches (20cm)
CARL SPRINGER (German/American, 1931-1991) was born in Berlin, and immigrated to the US in 1957, settling in New York with the hope of becoming a bookbinder. Given a job at Lord & Taylor, he applied his unique skill-set to the creation of small, decorative objects covered in fine leathers, skins, and other exotic materials.
By establishing a steady (and wealthy) clientele Springer was able to open his first workshop. Though his enterprise was small, the high quality of his work enabled him to move into furniture production. By 1965, his designs were so popular he was able to make furniture his primary focus. In later years he modestly attributed the rapidity of his development to the attentions and support of the Duchess of Windsor. The Duchess discovered his work early, and as his first serious collector, recommended him to friends and acquaintances alike.
Mr. Springer's quest for high quality imbued his work with an unrivaled sense of scale and proportion, and his attention to detail and devotion to uncompromising craftsmanship won him respect throughout the design industry. His work was sought out by the best designers of the two decades to follow, finding its way into the homes of, among others, Jackie Onassis, Diana Ross, and Frank Sinatra. By the 1970s he had opened a large showroom in New York City; galleries in Miami, Los Angeles and Tokyo were to follow. His business, Karl Springer Ltd., would, by the nineties, have outlets in Munich and Chicago.
Obsessed with craft, Springer recruited the best workers from around the world; when they wouldn’t come, he went to them, traveling far and wide to oversee the execution of his designs. His travels had the added benefit of providing inspiration for new forms and materials. His voracious appetite for design knowledge can be seen in his work, which is influenced by a wide variety of aesthetics, from the more contemporary Bauhaus, to those of ancient China and the Ashanti of Africa.
Springer’s primary aesthetic influence, however, was Art Deco, and his work is heavily indebted to its greats, like Émile-Jacques Ruhlmann and Jean-Michel Frank. His work possesses the beautiful simplicity of their simple forms, and incorporates, like theirs, exotic and luxurious materials. Springer was, for instance, responsible for reviving interest in shagreen, fallen out of favor since its popularity in the 20s, and was one of the first designers to bring back lacquered parchment, inlaid-wood veneers, & faux finishes.
Karl Springer died in 1991 at the age of 60 of an AIDS related illness.
sold
Bolivian Mid-Century Modernism
Marina Núñez del Prado
Bull
Patinated Bronze Sculpture
ca. 1960s
Signed on the plinth “M. NUNEZ DEL PRADO”
Original black patina.
Dimensions: Height: 9.5 inches (23.75cm) Width: 13 inches (32.5cm) Depth: 5.5 inches (13.75cm)
Marina Núñez del Prado (Bolivian, 1910 –1995) was a celebrated Bolivian sculptor and one of the most respected sculptors from Latin America. Núñez del Prado based many of her sculptures off of the female form as well as taking inspiration from animals and landscapes native to Bolivia. Her work is highly sensuous, with rolling curves. She carved from native Bolivian woods, as well as black granite, alabaster, basalt and white onyx. Perhaps one of her most famous works is "White Venus" (1960), a stylized female body in white onyx. Another celebrated work is "Mother and Child," sculpted in white onyx. Indigenous Bolivian cultures inspired much of her work.
sold
American Mid-Century Modernism
Nude Female Torso
Hand-Carved Wood Sculpture
ca. 1950s
Signed “Iosif C.”
Original painted wooden base.
Dimensions: Height: 36 inches (90cm) Base height: 6 inches (15cm)
Striking in form and perfect in its proportions, this graceful and elegant wooden sculpture is a shining example of American art of the mid-20th century - a kind of Venus in the perception of the 1950s. Having not lost its relevance today, it will complement a modern interior in any style.
SOLD
Italian Modernism
Franco Bargiggia
Mother with Children
Patinated Bronze Sculpture
Ca. 1950’s
SCULPTOR: Franco Bargiggia (Italian, 1889-1966) is the author of this seated bronze figure of a mother with a baby on her lap, and holding a young girl standing beside her. The sculpture has a dark brown patina with green highlights, signed "Franco Bargiggia", on a green marble base.
DIMENSIONS: Height: 13” Width: 10” Depth: 9.5”
WEIGHT: 20 lbs.
SOLD
Lilly M. Tussey
Centurion
Limestone & Paint Abstract Sculpture
Ca. 1990’s
Height: 11.75” Width: 7” Depth: 9.5”
Lilly M. Tussey (Bulgarian/American, b….. – d. 2005) was an outstanding sculptor, mainly working in marble and limestone.
Exhibits:
· Audubon Artists, New York City, from 1978 to 1990.
· Knickerbocker Artists, New York City, from 1976 to 1990.
· Salmagundi Club, New York City, from 1978, 1980, 1982.
· The New York Society of Women Artists, from 1979 to 1990.
· Stone Sculpture Society of New York, from 1982 to 1990.
· Art Studio Club, New York City, from 1982 to 1990.
SOLD
Mid-Century Modern
A Shout
Patinated Bronze Sculpture
Signed “Igor 67”
Signed “Igor ’67”, this beautifully cast patinated bronze sculpture depicts a woman on tiptoe, arms folded across hук chest, head up and screaming with all her might, mouth wide open. Original lacquered wood base.
Height: 22.75” Width: 6.5” Depth: 4”
$2,900
Italian Modernism
F. Mortini
Horse Head
Painted Terracotta Sculpture
Ca. 1950s
A vintage horse head sculpture by Italian designer F. Mortini is made of terracotta, painted to appear as patinated bronze.
Dimensions:
Height: 18-3/4 inches Width: 28-1/2 inches Depth: 4-15/16 inches
sold
Ossip Zadkine
The Destroyed City
Cubist Patinated Bronze Sculpture
Paris, France - Rotterdam, Netherlands
1948
Signed on the plinth: ‘O. Zadkine’
Original wood base.
Original label on the base: ‘De Verwoeste Stad – Rotterdam’
Dimensions (with base): 9-1/2” high x 3-3/8 wide x 2-1/2” deep
Dimensions (without base): 5-7/8” high x 4-1/2 wide x 3-1/8” deep
The Artwork
This is a small version (scale 1:60) of the famous sculpture by Ossip Zadkine, The Destroyed City (De Verwoeste Stad) that was established in the center of Rotterdam in 1953 and became one of the most important symbols of the city, attracting thousands of tourists and art lovers from around the world since.
According to Zadkine, the idea for The Destroyed City was born when he arrived by train in the devastated city of Rotterdam in 1946. It is, in his own words: ‘A cry of horror against the inhuman brutality of this act of tyranny.’ The sculpture represents a distressed figure with its head and arms lifted skywards. Zadkine has positioned the arms, legs and hands in various directions, giving the sculpture a great dynamism. The figure leans against a tree trunk, providing a balance for the six-meter high colossus. The hole in the figure’s torso symbolizes the destroyed heart of the city during the bombings of 14 May 1940.
Location
Zadkine initially made the sculpture as a general memorial for the war rather than as a specific sculpture for Rotterdam. The first model was made of terracotta and was exhibited in Berlin, but was badly damaged during transport. Zadkine then made a new version in plaster that was included in various exhibitions during 1948, including one in Amsterdam. The then director of the De Bijenkorf department store, Mr van der Wal, was impressed by the sculpture and wished to donate an enlarged bronze version to the city of Rotterdam to commemorate the destruction of the city centre.
To allow the citizens of Rotterdam to become accustomed to the sculpture, it was presented to the public on two occasions: in 1949, in Museum Boymans; and in 1950, at Rotterdam Ahoy. The sculpture was donated to the city on the condition that Zadkine was allowed to choose the location and that the donor would remain anonymous. The sculpture was unveiled on 15 May 1953 by the mayor, Mr van Walsum. The association between Rotterdam and Zadkine is so strong that in 1990, a Zadkine College (now ROC Zadkine) was inaugurated. There is also a bronze relief of Zadkine on the Müller Pier, made by the Rotterdam sculptor, Willem Verbon.
Ossip Zadkine (Russian/French, 1888-1967) was a relentless, unclassifiable and prolific artist. Today, we can count more than 612 sculptures and a large number of works on paper; 765 gouaches and drawings, as well as 200 lithographs and etchings. The exhibition of his works in his Parisian studio of the rue Rousselet on May 20th 1920, marks the beginning of a long series of shows, including more than 105 solo exhibitions during his lifetime - in Europe; but also in the United States and in Japan. Truly, a man of the world, Zadkine lived in Belarus (in Vitebsk, his birthplace), in England (Sunderland and London), and in France (Paris, Bruniquel, Les Arques).
During the First World War, he enlisted voluntarily and was posted to the Russian ambulance corps in Champagne in 1916.
During the Second World War, he fled to New York City and lived there from October, 1941 to September, 1945.
He also travelled to many places: Belgium, the Netherlands, Greece, Italy, Japan, America, amongst others. Zadkine collaborated with many people on diverse occasions - with architects (Adrien Blomme, Joseph André, Hugh Maaskant), decorators (Marc du Plantier, André Groult), poets (Claude Aveline, Robert Ganzo, Pierre Béarn …); and was close to such important individuals, as artists (Marc Chagall, Henry Moore, Tsuguharu Foujita, Amedeo Modigliani …); thinkers, founders, collectors, doctors, industrialists, businessmen… worldwide.
Ossip Zadkine gathered his memoirs in his book, ‘Le Maillet et le Ciseau’, which he started writing in 1962.
sold
Victor Salmones
Mermaid
Modernist Patinated Bronze Sculpture
Mexico, ca.1960s
Signed en verso.
Original wood base.
Dimensions (incl. base): 7-1/8” high x 6-1/4” wide x 5-5/8 deep
Victor Salmones (Mexican, 1937-1989) was the most widely known sculptor living and working in Mexico during his lifetime. His sculptures won him universal acclaim and are held in the collections of museums, corporations, cities, universities and private collectors in some 30 countries. During his career, he was highly sought after and increasingly involved in the execution of commissions for major public works around the world. Salmones developed his love and talent for creating sculpture by working with clay in high school. He attended the Instituto de Bellas Artes where he was an apprentice to the Bauhaus master, Hoffman. He was trained to use the exacting, age-old lost wax method of casting and worked principally in bronze. His work explores styles that are both abstract and figurative and the grace and spirit inherent in his work endows his bronzes with a transcendent vitality. The international acceptance of Salmones’ sculpture attests not only to his artistic mastery of the medium, but to the universal appeal of the themes that inspire his work: love, compassion and humanity. Victor Salmones’ sculptures are in the following collections:
· Altersheim Centre, Allschwil, Switzerland
· Donald M. Kendall Sculpture Gardens at Pepsico, Purchase,New York, USA
· Duke University, Durham, North Carolina, USA
· Federal Department of Tourism, Acapulco, Mexico
· Houston Fine Arts Foundation, Houston, Texas, USA
· Museum of Fine Arts, Odessa, Texas, USA
· Republic of Colombia
· The College of William and Mary, Williamsburg, Virginia, USA
· U.C.L.A. Sculpture Collection, Los Angeles, California, USA
· United Nations, New York, New York, USA
· Big Horn Institute, Palm Desert, California, USA
· R.A. Bloch Cancer Support Center, University of Missouri, Kansas City, Missouri, USA
· Atlanta Botanical Gardens, Atlanta, Georgia, USA
· Metromedia, Los Angeles, California, USA
· The University of Tulsa, Tulsa, Oklahoma, USA
· Household Finance Corporation, Chicago, Illinois, USA
· The Rodale Press, New York, New York, USA
sold
American Contemporary
Anodized & Gold Painted Iron
Sculpture
XXI Century
Dimensions: Height: 14.75” Width: 4.75” Thickness of iron: 0.5”
Illegibly signed by the artist on the base, this laconic in form anodized iron sculpture’s rough and brutal surface is further enhanced with only a few segments of circles painted with a real gold paint.
$975
Lynn Davis
Couple
Patinated Bronze
Mobile Sculptural Group
1961
Dimensions:
MALE --- H: 8.5” x W: 4” x D: 4” FEMALE --- H: 11.75” x W: 4.25” x D: 3.25”
A remarkable mobile double-figure sculptural group with both, male and female figures rotating freely around their own axis; and where both figures can be installed in any position relative to each other. With any new desirable position, it becomes apparent how their relationships change diametrically with each and any turn of the figures.
Both, male and female sculptures, forming a separable sculptural group, signed with ink on the bottom of each of the original wooden bases: Lynn Davis ‘61
There is also a collector’s hand-written label affixed to the bottom of one of the bases (please refer to photos).
Good vintage condition consistent with age and use. We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively, as they are an integral part of the item description. Send message to this seller to request more details or discuss price.
$2,500
Aurelio Teno
A Group of Four Animal Sculptures
Silver, Sea Shell & Coral
1950s
Dimensions:
FROG – H: 5” x W: 2.5” x D: 5” x Base height: 2”
BIRD – H: 6” x W: 5” x D: 3.5” x Base height: 2”
DOG – H: 4” x W: 2.33” x D: 3.5” x Base height: 0.75”
TURTLE – H: 2.75” x W: 3.75” x D: 4.75” x Base height: 0.75”
Aurelio Teno Teno a/k/a Aurelio Teno (Spanish, 1927 - 2013) was a Spanish sculptor and painter. He stood out for his interpretations of Don Quixote, as the one who imagines him - mounted on the horse named Clavileño - as the first cosmonaut in history.
Between 1936 and 1943, he lived in Córdoba where he trained artistically. First, as an apprentice in the workshop of the sculptor Amadeo Ruiz Olmos; later in a silverware workshop; and since 1939, in the School of Arts and Crafts of Cordoba, where he studied painting and drawing.
In 1950, he moved to Madrid to work as a goldsmith; and later to Paris, where he lived for ten years. There, he extended his studies of fine arts, and is strongly influenced by Giacometti and expressionism in whole. This period in Teno’s artistic life is celebrated by several exhibitions of his paintings in the Salón del Art Libre, Palais des Beaux Arts galleries and others. At the same time, he continued to dedicate a lot of time to the creation of his famous sculptures-jewels.
In 1965, he returned to Madrid although he installed his studio in the Molino del Cubo (Ávila), where he researched new plastic procedures and also exhibits his controversial polemical paintings at the Ateneo de Madrid. Begining that year, he starts a series of international exhibitions in Copenhagen, Paris, New York, Rabat and San Luis (Missouri, USA).
In 1976 he consolidated his international prestige as a monumental sculptor by winning the contest for Don Quixote sculpture creation, which would rise before the Kennedy Center in Washington D.C., competing with Salvador Dalí and José de Creeft.
Finally, he installed his workshop and a museum, dedicated to his work in the old monastery of Pedrique (near Villaharta) in the municipality of Pozoblanco. There is a park that bears the artist's name, as well. The City Council has created a foundation for the preservation of the artistic legacy of Teno. Aurelio Teno died in Cordoba, at age 84.
ON HOLD
Jacques Loutchansky
Femme Nue Assise
Patinated Bronze Sculpture
1940s
Signed and numbered on base.
Limited Edition: 6/7
Dimensions:
Width: 9 inches Height: 10 inches Depth: 5.5 inches
acques Loutchansky (French, 1876 – 1978) was born in Ukraine and studied at the Odessa drawing school. In 1903, he moved to Paris and took French citizenship. He continued his education at the French National School of Fine Arts (1910s), in the sculpture workshop of A. Mercier.
Young artist worked in the field of easel and monumental sculpture: creating heads, figures, genre scenes, as well as animalistic sculptures of wood, terracotta, bronze and marble. In his works, he adhered to strict classical forms; from time to time resorting to styling his creations in the spirit of Oriental plastics and the grotesque. Loutchansky regularly exhibited in the Paris Salons - Independent (from 1907), Tuileries (from 1923), Autumn (from 1936); and participated in exhibitions - Russian art in London (1921), the International Society of Sculptors, Painters and Engravers in London (1921, 1922), the group "Numbers" at the "LʻEpoque" gallery in Paris (1931). In 1928, four works ("My Shopkeeper", "Man's Head", "Head of a Young Girl" - 2 versions) were presented in the Russian section of the "Contemporary French Art" exhibition in Moscow. Jacques Loutchansky taught in his own workshop; among his students were M. Kellery, E. Frankel (Rothschild), E. Bernkopf and other renown artists. In 1931-1932, he lived in New York City and arranged a number of solo exhibitions in his workshop. In June 1938, Loutchansky held a retrospective exhibition in Paris’ Pierre Gallery. In 1945 and 1947, the sculptor’s works were featured at the exhibitions, organized by the France-USSR Committee of the 14th District of Paris. In 1949, he settled in Givat Brenner Kibbutz, Israel; and created a series of Israeli public figures portraits, such as Z. Shahar, B. Katsnelson, T. Herzl and others. Among the artist’s outstanding works of that period, there is an allegorical relief, ‘The Symphony of Life’, 1959. Jacques Loutchansky was the winner of the Dizengoff Prize for sculpture and painting (1976). In 1976, in honor of the artist’s 100th birthday anniversary, a retrospective exhibition was held in Jerusalem; and a commemorative album ‘Sculptures by J. Loutchansky’ was published by Givat-Brenner, with foreword by the leading art historians, E. Kolb and J. Kass. Jacques Loutchansky works are in many museum collections around the world - in Paris, Basel, Bremen, Jerusalem, Tel Aviv, and Moscow.
sold
Jacques Loutchansky
Man with Birds
Patinated Bronze Sculpture
1940s
Signed and numbered on base.
Limited Edition: 7/7
Dimensions:
Width: 12 inches Height: 6.75 inches Depth: 7 inches
Jacques Loutchansky (French, 1876 – 1978) was born in Ukraine and studied at the Odessa drawing school. In 1903, he moved to Paris and took French citizenship. He continued his education at the French National School of Fine Arts (1910s), in the sculpture workshop of A. Mercier.
Young artist worked in the field of easel and monumental sculpture: creating heads, figures, genre scenes, as well as animalistic sculptures of wood, terracotta, bronze and marble. In his works, he adhered to strict classical forms; from time to time resorting to styling his creations in the spirit of Oriental plastics and the grotesque. Loutchansky regularly exhibited in the Paris Salons - Independent (from 1907), Tuileries (from 1923), Autumn (from 1936); and participated in exhibitions - Russian art in London (1921), the International Society of Sculptors, Painters and Engravers in London (1921, 1922), the group "Numbers" at the "LʻEpoque" gallery in Paris (1931). In 1928, four works ("My Shopkeeper", "Man's Head", "Head of a Young Girl" - 2 versions) were presented in the Russian section of the "Contemporary French Art" exhibition in Moscow. Jacques Loutchansky taught in his own workshop; among his students were M. Kellery, E. Frankel (Rothschild), E. Bernkopf and other renown artists. In 1931-1932, he lived in New York City and arranged a number of solo exhibitions in his workshop. In June 1938, Loutchansky held a retrospective exhibition in Paris’ Pierre Gallery. In 1945 and 1947, the sculptor’s works were featured at the exhibitions, organized by the France-USSR Committee of the 14th District of Paris. In 1949, he settled in Givat Brenner Kibbutz, Israel; and created a series of Israeli public figures portraits, such as Z. Shahar, B. Katsnelson, T. Herzl and others. Among the artist’s outstanding works of that period, there is an allegorical relief, ‘The Symphony of Life’, 1959. Jacques Loutchansky was the winner of the Dizengoff Prize for sculpture and painting (1976). In 1976, in honor of the artist’s 100th birthday anniversary, a retrospective exhibition was held in Jerusalem; and a commemorative album ‘Sculptures by J. Loutchansky’ was published by Givat-Brenner, with foreword by the leading art historians, E. Kolb and J. Kass. Jacques Loutchansky works are in many museum collections around the world - in Paris, Basel, Bremen, Jerusalem, Tel Aviv, and Moscow.
sold
MAGALI
Rhinoceros
Modernistic Duralumin & Wood Sculpture
1990s
Materials: Duralumin aircraft parts, recycled wood, paint.
Dimensions:
Width: 31.5 inches Height: 11.25 inches Depth: 5.75 inches
MAGALI a/k/a Levan Magalashvili (b. 1953) is a renowned artist from the Republic of Georgia, widely known in Europe for his revolutionary Avant-Garde paintings & sculpture. His works are in many international private modern art collections; as well as included in Sotheby’s contemporary art sales.
$1,490
Chie Shimizu
A Woman with Offering
Detachable Sculpture
Limited Edition: 2/5 - Ca. 2009
Signed by the artist.
Limited Edition: 2/5.
Materials: Ultracal, plaster, pigments, gold, white gold leaf.
Dimensions: H – 15.5”, W – 7.25”, D – 8.5”
Chie Shimizu was born in Japan in 1971. She earned her BFA in metal crafts from Tokyo University of the Arts in 1993 and her MFA in sculpture from New York Academy of Art in 2001. She has had several shows of both metal works and oil paintings in Tokyo and Kanagawa, Japan. Her work has been exhibited in numerous venues in New York, including Island Weiss Gallery, Mark Miller Gallery, Dillon Gallery, Booth Gallery and Fresh Window Gallery. Shimizu’s work has also been included in private collections worldwide, from the United States to Germany, Turkey, Israel, Peru and Japan. She currently lives and works in Queens, New York.
sold
Alexander Ney
Perforated and Painted Terracotta
Abstract Sculptural Composition
2012
Signed & 2012-Copyrighted on the bottom.
Dimensions: Height: 15.25” Width: 9” Depth: 8”
Alexander Ney (Russian, born in 1939 in Leningrad, Russia) is an American sculptor and painter. He immigrated to the United States in 1974 and has since lived and worked in New York City. Developing several individualistic styles in modern art, he is most famous for his unique work in terracotta sculpture, involving heavily perforated surfaces and intriguing forms.
Good antique condition consistent with age and use. There is no damage or repairs.
We make our best effort to provide a fair and descriptive condition report.
Please examine the photos attentively. Send us a message to request more details or discuss price.
$5,500
Paul Rudin
Rhinoserus
Patinated Bronze Sculpture
1970s
PAUL RUDIN (1904-1992) was an American sculptor, mostly known for animal depictions.
Dimensions: Height: 9” Width: 14.5” Depth: 6”
$6,500
Benson A. Selzer
Woman IX
Patinated Bronze Sculpture
1980s
Benson A. Selzer (1921 - 1999) was an American artist, known for sculpture and painting.
Dimensions: Height: 20” Width: 12” Depth: 12”
$5,900
Scandinavian Modernism
Bull
Anodized Bronze Sculpture
1974
Signed with initials: “PH” or “Pt”, and dated: ’74.
Dimensions: Height: 33” Width: 14” Depth: 23”
SOLD
Ernest Neizvestny
Cross
Patinated Bronze Sculpture
1980s
Dimensions: Height: 9.25” Width: 12.75” Depth: 2.5”
ERNST NEIZVESTNY (Russian, 1926 – 2016)
Russia has a tradition of expelling it's greatest artistic talents, many of them Russian Jews. These ingenious individuals, such as Lipshitz and Chagall, have gone on to make brilliant contributions to world art, as well as jewish art.
Ernst Neizvestny is another artist in this long tradition. He achieved great success in the Soviet Union but controversy followed his career. For many years, he worked on the Jewish themes of the Holocaust and Yazkor but was unable to show or publish the work. He came to the attention of the west after a public conformation with ex-Premeier Krushchev at an art opening.
In 1971, he entered an international competition for a statue to be placed on the Aswon Dam. To the embarrassment of both Egypt & USSR, Neizvestny, a Jewish sculptor, won. Despite honors and privileges bestowed on him by the Soviet Government, Neizvestny preferred to have freedom to work openly on the themes of his choice. In 1976, he was finally allowed to leave the country. Now in the United States, he continues to devote much of his creative effort to Jewish history.
The Twelve Tribes of Israel is one of Neizvestny's major works. His breadth of vision and commitment to Jewry are uniquely suited to the awesome task of interpreting this ancient theme in terms of contemporary urban civilization.
The artist has chosen to work not only in monumental sculpture but in other media because he feels strongly that "the pulse of an idea beats in it's smallest fragment." In the art forms offered here, more people will be able to share in the idea of Neizvestny's work in the which the emblems of the Twelve Tribes are represented individually and integrated in compositions symbolizing the unity of the Jewish people.
sold
Ronald Edward Street
Spear Thrower
Oxidized Bronze Sculpture
1970s
Dimensions: Height: 59” Width: 26 Depth: 20
This is most unusual and one of a kind work of art from the sculpture garden of the Estate of Ron Street, ex-employee of the Metropolitan Museum of Art, and husband of Carmen Bambach, Curator of Drawings at the Metropolitan Museum of Art. Ron was a brilliant and valuable senior 3D imaging manager at the Museum for 30 years, and was an important figure in bringing the Met into the 21st century with computer imaging and 3D analysis, working closely with various departments in achieving their goals of educating the public and expanding the visual comprehension of the works of art on display.
RONALD EDWARD STREET (American, 1950-2016)
In his personal life, Ronald Street was a sculptor and painter, and for the landscape inside and around his country home in Walton, New York, Ron created one of a kind bronzes, marble and stone works of art, wood sculptures and folk art creations, for family and friends.To the best of our knowledge, all these works are one of a kind, and were never offered for sale..
$2,900
Louis Féron
Male Torso
Carved Wood Sculpture
1990
Dimensions: Height: 29.5” Width: 10.25” Depth: 8.5”
Louis Féron (French, 1901 –1998) was a sculptor, chaser, gold- and silversmith. He was born in Rouen, Normandy, and apprenticed in Paris in the Volk Bronze Figure Workshop as a figure and ornament ciseleur. In 1933, he won the title of “Best chaser, gold- and silversmith of France” for a goldsmith work called Head of Jean, now on permanent collection in the Museum of Fine Arts, Boston. He was named Commande de l’Ordre du Travail by the French government and decorated in the Sorbonne. He immigrated to Costa Rica during the Great Depression, living and working there from 1934 – 1945, where he ran his own workshop. In 1935 he was appointed professor at the Public Works School in Costa Rica. From 1939 – 1940, he created the Salón Dorado (Golden Room) in what was then La Sabana International Airport Diplomat Lounge, now part of the Costa Rican Museum of Art. This is a stucco-and-bas-relief mural covering 150 square meters and representing major events and periods in Costa Rican history from pre-Columbian times up to 1940. In 1987, he received a commendation from the Costa Rican government for his “great contribution to the artistic and cultural heritage of the nation.”
Feron left Costa Rica for New York City in 1945, and he became an American citizen in 1951. In the United States he designed and created sacred vessels, jewelry, and sculpture for private clients as well as for the firms Rubel, Van Cleef and Arpels, Verdura, Schlumberger, Bronzini, Cartier, David Web, Tiffany & Company[2] and Steuben Glass Works. His work has been accepted in the collections of Musee d’Art Moderne, Paris, Museum of Fine Arts, Boston; Currier Museum of Art, Manchester, NH; the Virginia Museum, Richmond, VA; and the Cathedral of Detroit, MI.
Feron married the dancer Leslie Snow in 1962 and established a workshop in New Hampshire. In 1977, he was awarded an honorary Doctor of Humane letter by Plymouth State College. In 1995, thirty-five of his pieces formed an exhibit at the Musée des Arts Décoratifs in Paris. Feron taught a number of prominent artists over the years, many of whom maintain their own workshops and carry on his traditions, including Pierre Etienne Lahaussois and Carvin French.
$6,800
Jean Cohen
Abstract Composition
Marble Granite & Aluminum Sculpture
1980s
Dimensions: Height: 21 1/2 “ Width: 28” Depth: 11 1/2 “
JEAN COHEN (1927 - 2013) was a New York-born American artist, known for painting, sculpting and teaching.
sold
Ellen Brenner-Sorensen
Female Head
Limited Edition Bronze Sculpture
1992
Signed and dated on the base: Ellen Brenner ‘92.
Marked: 4/8 - for Limited Edition.
Dimensions: Height: 39 ½” Width: 15” Depth: 8 ¼”
SOLD
American Mid-Century Modern
A Woman’s Head
Modern Terracotta Sculpture
1950s
Elegant in its simplicity, this bust depicts the head of a beautiful young woman with her hair spread out over her shoulders and her eyes closed.
Dimensions: Height: 16 inches Width: 8 inches Depth: 7.75 inches
$650
Japanese Mid-Century Modern
Standing Nude Boy
Patinated Bronze Sculpture
1960s
Original dark-brown patina, signed illegibly in Japanese hieroglyphs.
Dimensions: Height: 10 inches Diameter: 2 7/8 inches
$1,450
American Mid-Century Modern
An Alien
Polished Bronze Sculpture
1960s
This very unusual minimalistic, but extremely expressive, desk-size sculpture is unsigned, and has an original marble base.
Dimensions:
Height: 8 inches Width: 4 inches Depth: 3.5 inches
SOLD
Sébastien Tamari
Femme Nu
French Modernist Bronze Patinated Sculpture
1960s
Dimensions
Height: 18 ¾ inches Width: 3 ¾ inches Depth: 3 ¼ inches
Sébastien Tamari (French, 1900-1991)
1900 Birth in Baku of Sébastien Tamari (Russian Empire).
1920 He left his hometown due to political events. He traveled through the Caucasus, went to Constantinople and then to Palestine.
In 1922, He enrolled at the School of Fine Arts in Jerusalem. He arrived in Paris in 1924. Then he studied in 1926-1928 with Jean Boucher's sculpture course at the School of Fine Arts.
From 1928 he is also part of architecture over the Decorative Arts, it will follow until 1932.
1931 Marries his wife Lyuba.
1935 First exhibition (Salon des Cent).
1937 Exhibits at the Zak gallery.
1941-1944 He was introduced to woodworking in a furniture factory in Clermont-Ferrand and is dedicated to animal subjects.
1945 He participates in the first Montparnasse Salon where he exhibited a relief, the Chamois.
It has 1946 stone and bronze at the Tuileries living room and the gallery Bernier.
1947 He exhibits a carved wooden Deportees and the Round the Society of Independent Artists, where he will show his works regularly until 1972.
Until the retirement age, Sebastian Tamari worked for Valsuani foundry, located not far from his studio. He was introduced to the patina of which he became a skilled specialist.
1954 He discovered the magic of the assemblies, the first will be a portrait of a man.
1955 First solo exhibition at the gallery Breteau where he collects some success. Woman bronze jug was bought by the French state and deposited in 1956 in the town of Junies (Lot). Located on the town hall square, the statue was spirited away during the summer of 1995.
1961 It shows Don Quixote I at the Salon de la Jeune sculpture, in which he participated in 1958 and presents various works at the gallery of the University.
1963 Another group exhibition called in Zurich, during which a film will be shot by Swiss television. Don Quixote I is again exposed to the Rural Exhibition organized in the gardens of the American Artists's Center. On this occasion, his work is noticed and will be the subject of a solo exhibition in New York at the World House Galleries, who will present him with the siren for the Carnegie Prize (Pittsburg) in 1964.
1964 He participates in the exhibition Forms Human Rodin Museum and presents the Water Carrier.
It shows the Spanish in 1965 in which comparisons are held at Fair Museum of Modern Art of the City of Paris.
1967 He participates in the Salon d'Automne.
1968 He received the Silver Medal of the Société d'Encouragement au Progrès at the closing of the International Festival of painting and visual art graphico-Saint-Germain-des-Prés.
1969 He participates in a group exhibition at the Swedish Club in Paris.
1970 He presents motherhood for which he received the André prize of Switzerland.
1971 He graduated from the International Exhibition of Paris and exhibited at the Rimon gallery.
1974 He participates in the International Exhibition of Paris-Sud (Juvisy) where he obtained an honorable mention diploma in 1974.
He presents Don Quixote 1977 II in Montrouge Contemporary Art Show.
In 1979, he was appointed an associate in the Salon d'Automne.
1981 and 1985 to particpe The International Exhibition of Small Bronze.
1982-1989 He shows his works at the Salon of the XIV arrondissement. In 1982, Medal of the City of Paris, silver grade.
1988 Bronze Animal exhibition Medal of the City of Paris, silver grade.
1988 Bronze Animal exhibition at Nevers.
1991 Death of Sébastien Tamari
$2,250
Xavier Gonzalez
Spanish Maiden
Anodized Silver Statuette
1970s
Dimensions
Height: 18 ¾ inches Width: 3 ¾ inches Depth: 3 ¼ inches
Provenance
This wonderful work of art came from the collection of painting, sculpture and jewelry by Xavier Gonzalez and his artist wife, Ethel Edwards, that was given to the Arts Students League of New York by the Gonzalez family after Xavier’s passing. Both, Xavier Gonzalez and Ethel Edwards were at one time teachers at the Art Students League.
The sale of this object directly benefited the Xavier Gonzalez Memorial Fund in raising funds for future students’ scholarships. This work has been in storage for a number of years, and prior to that, in the personal collection of the Xavier Gonzalez and Ethel Edwards family.
Xavier Gonzalez (Spanish/American, 1898 – 1993) was an American artist, born in Almeria, Spain. He lived in Argentina and Mexico for some time, and was planning to become an engineer in a gold mine. However, in 1925, he immigrated to the United States and began his studies at the Art Institute of Chicago from 1921 to 1923. His uncle, José Arpa studied with him there. Gonzalez also studied at the San Carlos Academy in Mexico City, as well as in Paris and in the Far East. In 1931, he became a US citizen, and in 1935 married fellow artist Ethel Edwards (1915–1999), who was seventeen years his junior and his student at Newcomb College. Gonzalez often worked and studied with fellow artist Julius Woeltz, who was the best man at his wedding. Best known for his mural painting and sculpture, Gonzales commandeered the canteen wall at Newcomb for the use of his art students. His works have been displayed throughout the United States - at the Corcoran Gallery of Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, just to name a few. Gonzalez was also well-known in Paris, Venice, Brussels and Tokyo. He taught art at Tulane University, the Brooklyn Museum, Case Western Reserve University, and the Newcomb Memorial School of Art, and was the director of the art school at Sul Ross State Teachers College in Alpine, Texas. In 1953, he was elected to the National Academy of Design as an Associate member, and then became a full Academician in 1955. He illustrated a children's book called "He Who Saw Everything. The Epic of Gilgamesh" by Anita Feagles (1966). Xavier Gonzalez died of leukemia in 1993, at the age of 94, in New York City.
Murals
· Covington, Louisiana, Tung Oil Industry, 1939, oil on canvas
· Hammond, Louisiana, Strawberry Farming, 1937, oil on canvas
· Huntsville, Alabama, Tennessee Valley Authority, Federal Courthouse, oil on canvas
· Kilgore, Texas, Pioneer Saga, 1941, oil on canvas
· Kilgore, Texas, Drilling for Oil, 1941, oil on canvas
· Kilgore, Texas, Music of Plains, 1941. oil on canvas
· Kilgore, Texas, Contemporary Youth, 1941. oil on canvas
His wife, Ethel Edwards painted 2 murals; one titled Life on the Lake in 1942 at the Lake Providence, Louisiana post office and the other, titled Afternoon on a Texas Ranch, completed in 1941 at the Lampasas, Texas post office.
sold
American Streamlined Modern
The Prayer
Bronze Sculpture
Circa 1980s
Dimensions:
Height: 8 3/4 inches Width: 5 5/8 inches Depth: 8 1/3 inches
Unusual streamlined modern depiction of a praying kneeled man in polished bronze. Original marble base. Very heavy. Unsigned.
$1800
Jacques Lipchitz
Gilt Bronze Abstract Sculptural Composition
Circa 1950s
Signed en verso by the artist’s facsimile: ‘Lipchitz’, and his fingerprint.
Dimensions:
Height: 6.75 inches Width: 8.25 inches Depth: 2.25 inches
JACQUES LIPCHITZ (French, 1891 - 1973) Lithuanian and Jewish, the refugee artist Jacques Lipchitz arrived in Paris at precisely the right time: when the early-20th-century European avant-garde was shaking up the art world and Cubism was born. When we think of Cubist sculpture, the works of Lipchitz emerge as exemplars of the style translated into three dimensions. Later, the second time Lipchitz fled for his life at the beginning of WWII, he left behind a less abstract style and, in a major career-changing transformation, began producing larger-scale sculptures in bronze. Later still, the work of the ever-dynamic Lipchitz had become increasingly emotionally expressive, often incorporating themes from Judaism. At the end of his long lifetime and multinational trek, Lipchitz may be regarded as one of the foremost contributors to the Cubist style and to modern sculpture.
sold
Alexander Ney
HEAD
GILT TERRACOTTA ON MARBLE BASE
Circa 1990
Signed with artist's facsimile, and dated '90
Dimensions:
Height: 9 1/2 inches Width: 8 inches Depth: 6 inches
Alexander Ney (Russian, born in 1939 in Leningrad, Russia) is an American sculptor and painter. He immigrated to the United States in 1974 and has since lived and worked in New York City. Developing several individualistic styles in modern art, he is most famous for his unique work in terracotta sculpture, involving heavily perforated surfaces and intriguing forms.
$5,500
Modern American Abstract
Anodized Iron Sculpture by
T. Truitt, 1974
A unique abstract sculptural composition in anodized iron.
Signed on the base T. Truitt, and dated 1974.
Dimensions:
Height: 26” Width: 18” Depth: 5”
Good condition, wear consistent with age and use. We make our best effort to provide a fair and descriptive condition report.
Please examine the photos attentively, as they are an integral part of the item description.
$1,500
Javier Marín
"Hombre a Caballo"
A Contemporary Mexican Bronze Sculpture
Ca. 1998
Bronze sculpture of very fine quality casting, with light verdigris-type patina.
Inscribed twice: Javier Marin - on equestrian’s left shoulder and on horse's right rump.
Dimensions:
Height: 31 3/4” Length: 27” Width: 8 5/16”
Javier Marin (Mexican, b.1962), a world-famous Mexican artist was born in 1962 in Uruapan, Michoacán. He got his education through Academy of San Carlos and the National Autonomous University of Mexico. During his 30-year career, he had 270 exhibitions in Canada, Mexico, the United States and a few of South American countries. Most of his exhibitions were held in Mexico City’s museums, such as Museum of Modern Art and National Print Museum; and also the US museums, such as Museum of Fine Arts, Boston and the Santa Barbara Museum of Art. In 2008, he was awarded with the Prize of the Third International Beijing Biennial in Beijing, China.
Javier Marín’s artworks demonstrate remarkable knowledge of the human form garnered from years of drawing directly from the figure. Process is an obvious passion for Marín: spikes of bronze are often left exposed to show the paths of molten metal flowing into the cast figure. It is this deliberate coarseness combined with Marín’s elegant classical approach to the figure that give his sculptures such power and substance. He captures the mystery of Michelangelo, the drama of Rodinl, and the extraordinary dignity of Mayan and Aztec portraiture. The massive bronze nudes of Javier Marín offer a unique blend of Western European and Mexican perspectives while embracing the vitality of Renaissance sculpture.
Good condition, wear consistent with age and use. We make our best effort to provide a fair and descriptive condition report.
Please examine the photos attentively, as they are an integral part of the item description.
sold
Nude
Solid Silver Sculptural Paperweight by
Val Stern
MATERIALS:
Solid sterling silver
DIMENSIONS:
Height: 1 1/4 inches Length: 4 1/2 inches Width: 2 inches Weight: 15oz (426.4g)
PRICE:
$8,700
Nude
Sculptural Bronze Paperweight by
Val Stern
MATERIALS:
Patinated bronze
DIMENSIONS:
Height: 1 1/2 inches Length: 5 1/4inches Width: 2 1/2 inches Weight: 20.3oz (577.3g)
PRICE:
$6,500
- Racing Car -
A Futuristic Stainless Steel & Aluminum Sculpture by
Daniel Fiorda
Ca.1998
The sculpture is signed and dated on the front right wheel: "FIORDA" & "8" (for 1998).
Dimensions:
Length: 22 inches Width: 9 inches Height: 7 inches
A rare contemporary stainless steel & aluminum sculpture of a futuristic racing car by a known American artist, Daniel Fiorda; namely, from his series " Heavy Toys", where speed is reflected in the form of children’s toys that have been adapted to the adult psyche. This sculpture with the monochromatic metallic color stresses the power an intensity of the metal and supports the notion of movement. Horizontally or vertically signify the illusion of speed while simultaneously being aesthetically appealing, producing the image of sporty racing car. The materials used, primarily steel and aluminum, with some bronze and copper, are precise and crisp; giving an aura of the clean cut and hard edged. The luster and shine of the metal combined with its firmness and solid stability factors enhance the notion of cocksure forwardness. The easily recognizable pistons in the “Heavy Toys series”, are, in fact, taken from high speed racing boats. Heavy toys allow us to look at the work and reflect on today's speed. The swiftness, whether physical, mental or emotional, often causes a sense of confusion and perplexity that becomes difficult to untangle.
sold
Mid-Century, American
Abram Belskie
Chiron and Aesculapius
Original Plaster & Resin Sculpture
~ 1958 ~
Signed by the artist and dated 1958.
Dimensions: Height: 13 inches Length: 11 inches Depth: 3 1/2 inches
Asclepius was the ancient Greek god of medicine, son of the god Apollo and Coronis, the daughter of Phlegyas, King of the Lapiths. He was married to Epione, the goddess of soothing; together, they had a number of children; their daughters were Panacea (goddess of medicines), Hygeia (goddess of health), Iaso (goddess of recuperation), Aceso (goddess of the healing process), Aglaea or Aegle (goddess of magnificence and splendor). They also had four sons; Machaon and Podalirius were legendary healers who fought in the Trojan War; Telesphorus who accompanied his sister, Hygeia, and symbolised recuperation; and Aratus.
Asclepius was given to the Centaur Chiron, who raised him and taught him medicine and the healing arts. At some point, Asclepius healed a snake, which in return taught him secret knowledge - snakes were considered divine beings that were wise and could heal. This is how the symbol of Asclepius and later healing was a rod wreathed with a snake. Asclepius was so good at healing that he had managed to cheat death and bring people back from the underworld. As a result, Zeus killed him to maintain the balance and placed him on the night sky under the constellation of the Ophiuchus (the snake holder).
In Greek Mythology, Chiron was held to be the superlative centaur amongst his brethren since he was called the "wisest and justest of all the centaurs". Chiron was notable throughout Greek mythology for his youth-nurturing nature. His personal skills tend to match those of his foster father Apollo, who taught the young centaur the art of medicine, herbs, music, archery, hunting, gymnastics and prophecy, and made him rise above his beastly nature. Chiron was known for his knowledge and skill with medicine, and thus was credited with the discovery of botany and pharmacy, the science of herbs and medicine.
Abram Belskie (American, 1907 –1988) was born in London and grew up in Glasgow, Scotland. He graduated from the Glasgow School of Art in 1926. In 1929 he emigrated to New York, USA, to work for British sculptor John Gregory. In 1938, Belskie was introduced to physician Robert Latou Dickinson and subsequently applied his skills to create medical models, some of which were exhibited at the World's Fair of 1939. After Dickinson's death in 1950 Belskie instead created medallions (occasionally medicine-related). Belskie died in 1988 and, in 1993, the Belskie Museum of Arts and Science was opened in Closter, New Jersey. It was founded by the Closter Lions Club to preserve, house and exhibit the works of Abram Belskie. It was entirely funded by membership fees, donations, grants and local subsidies. In addition to numerous private collections around the world, Belskie's work exhibited at:
The American Museum of Natural, New York
The Field Museum, Chicago, Illinois
Mariner's Museum, Newport News, Virginia
Brookgreen Gardens, Pawley Island, South Carolina
Cleveland Health Museum, Cleveland, OH
Johnson & Johnson, New Brunswick, New Jersey
Jewish Theological Society, New York
Park Avenue Synagogue, New York
New York Academy of Medicine, New York
The Belskie Museum, Closter, New Jersey
sold
Pigeon
American Folk Sculpture by
Charles Lamb
Ca. 1980's
Dimensions:
Dove: 6 x 7 inches Base: 6 1/2 x 4 x 4 inches
Medium:
Hand-hammered copper, wood.
Charles P. Lamb(American, 1925 – 2013)
Although Charles P. Lamb enjoyed a successful career as a furniture designer, he created a personal oeuvre of metal sculptures, paintings, jewelry and wood carvings while working in a barn in Livingston Manor, New York. The impressive works of art were unknown to anyone except Lamb’s immediate family until an estate property auction was held to benefit Doctors Without Borders, which became a day of an important discovery for knowledgeable dealers and collectors. The artist was born in Iowa, served in World War II and was educated at Stanford University. While there he studied engineering and gained a degree in English and Theater Arts. Mr. Lamb went on to become an actor and then manager of the Dobbs Ferry Players. When the theater group folded, Mr. Lamb turned to making custom designed furniture. His clients included jazz great Stan Getz and many other important musicians, entertainers and socialites. As a sculptor and fine artist, Charles Lamb was untrained. Yet at some point he acquired a barn in Livingston Manor, NY and turned it into a metal-working studio, where he systematically improved on the rudiments of welding, metal casting [including lost wax bronze], and other technical/creative skill sets he had acquired as a young adult. Working in solitude, he passionately produced the works of art that are becoming famous now.. In the 1970s, Mr. Lamb - an outsider artist retired from the making of custom furniture. He turned full-time to the pursuit of his personal art endeavors, referring to his need to create as “My Curse.” For decades, Charles Lamb surrounded himself with the beauty he created. He worked in welded steel, bronze, and carved wood. He produced monumental figurative works, the sources of his inspiration are wildly divergent and based on his studies into multiple civilizations, cultures, and mythologies across time and space. His works are informed by nature, antiquities and history. In some pieces there are literal references morphing into stylized motifs that can only have sprung from the imagination.
SOLD
a Nude Femme Seated on a Bench
Contemporary American Bronze Sculpture by
Bernard Langlais
Ca. 1993
Signed: Langlais Limited Edition: 4 / 8 Dated: 1993
Dimensions:
17 1/2 in. H x 13 in. W x 8 in. D
Bernard Langlais (American, 1921-1977) was a sculptor and painter in Cushing, Maine. Langlais, a French-Canadian and Indian native of Maine, attended the Corcoran School of Art, moved to New York, and became a close friend of many of the rising New York artists. Tired of the New York competitive art scene, he returned to Maine, abandoned abstract painting, and achieved considerable success with monumental wooden and outdoor sculpture.
$3,750
- A Whimsical Unicycle Rider -
Surrealistic Bronze Sculpture
Ca. 1980's
Full of mystic significance and symbolism, this most unusual bronze sculpture is signed illegibly, the authorship is not established.
Dimensions:
Height : 17 1/2 inches Width : 9 inches Depth : 5 inches
SOLD
Balerina on Unicycle
Hand Carved Wood Sculpture by
Chaim Gross
Ca. 1940's
Dimensions: Height: 9 1/2 inches Width: 2 3/4 inches Depth: 2 3/4 inches
Provenance: Schrick private collection, Connecticut, USA.
A beautifully carved modernist wood sculpture by well known and highly collectible New York artist, Chaim Gross (1904-1991). It is one of ten small versions of a 29" sculpture in the collection of the Metropolitan Museum of Art. Signed CH.GROSS on the plinth with the artist's "fox stamp" below, and on the bottom of the base, as well. In excellent vintage condition with original patina. The sculpture is made of Lignum Vitae wood. The meaning of LIGNUM VITAE is the very hard heavy wood of any of several tropical American guaiacums. Guaiacum is of the caltrop family of tropical American evergreen trees and shrubs. Sometimes called guayacan or guaiacum, it is also known in parts of Europe as Pockholz or Pokhout. Due to its extreme hardness, the wood of such a tree is often used for making pulley blocks, mallet heads, bearings, etc.
Chaim Gross (American, 1904 - 1991) Chaim Gross was an Austrian born American sculptor. He was born in the then Austro-Hungarian village of Kolomyia (since 1991, in the Ukraine) and immigrated to the United States in 1921. His art studies began at the Kunstgewerbe Schule in Vienna shortly before he moved to the United States, where it continued at the Beaux-Arts Institute of Design where he studied with Elie Nadelman and at the Art Students League of New York, with Robert Laurent. Gross began exhibiting both his sculpture and graphic art in 1935, and was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in the summer of 1949. Primarily Gross was a practitioner of the direct carving method, with the majority of his work being carved from wood. Works by Chaim Gross can be found in major museums and private collections throughout the United States. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as a member of Artists Equity, the Federation of Modern Painters and Sculptors, and the National Institute of Arts and Letters. He served as President of the Sculptors Guild of America.
$3,050
abstract composition
This unusual sculpture is a bright example of the American figurative arts in the 1970's - 80's.
Date of manufacture : c.1970's - 80's
Period : Contemporary (1946 - Present)
Country : USA
Sculptor : Unidentified
Remarks: Not signed
Height : 15 inches
Width : 10 1/2 inches
Depth : 9 inches
Medium : Marble
Inventory number : S-1950-0002
$3,000
prayER
A powerful sculptural depiction of a human praying to God.
Date of manufacture : c.1980
Period : Contemporary (1946 - Present)
Country : Spain
Sculptor : Lluis Maria Saumelis (Spanish, 1915 - 1999)
Remarks: Signed "SAUMELIS"
Height : 24 1/4 inches
Width : 6 inches
Depth : 6 inches
Medium : Bronze / Marble
Inventory number : S-1950-0003