Humberto Peraza (Mexican, 1925-2016). Bronze sculpture titled "Media Corrida (Half Run)," 1973, depicting three bulls. Signed along the base of the bronze. Galeria Tasende label affixed along the underside of the wooden base.Height: 6 1/2 in x width: 11 3/4 in x depth: 8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 6 1/2 in x width: 11 3/4 in x depth: 8 in.
We found 17074 price guide item(s) matching your search
There are 17074 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
17074 item(s)/page
Tiefeng Jiang (Chinese, b. 1938). Bronze sculpture with a rich bluish-green patina depicting a herd of horses with a beautiful, emerald lady serenely riding one along the foreground. Gilt details throughout. With frosted acrylic base. Signed, dated 1986, editioned, and stamped Finger Hut Grp along the back along one of the horse's haunches.Height: 14 1/2 in x width: 27 1/2 in x depth: 9 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/2 in x width: 27 1/2 in x depth: 9 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Family," 1991, depicting a whimsical portrayal of a family - a mother, father, and three children - holding hands and swinging the smallest child up into the air. Signed, dated, and numbered 4/25 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.
Nic Jonk (Dutch, 1928-1994) bronze sculpture of a woman leaning down and touching her toes. The figure's features are smooth and rounded in Jonk's signature style. Signed, dated 1985, and editioned 6-7 along base and on sticker on the bottom.Height: 5 in x width: 2 1/2 in x depth: 3 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 5 in x width: 2 1/2 in x depth: 3 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Dawn," 1985, depicting a standing female nude figure with her right hand on her hip and her left arm reaching towards the sky and her hand full of her hair. Signed, dated '85, and numbered 4/10 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Half-Tryst," 1984, depicting a standing female nude figure with arm stretched upwards and bending slightly back. Signed, dated '84, and numbered 3/25 along the base. Label that reads "Paul Granlund Half Tryst 3/25 CGR26452" affixed along the underside.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Mothers Model," depicting two female figures holding hands above three children below. Signed, dated 78, and numbered 7/10 along the base.Provenance: Private collection, Minnesota.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.
Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Bronze sculpture of an abstract three-legged form, twisting upwards. Signed and editioned "E/A" along one of the legs. Set on a large black acrylic base.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Sculpture; height: 63 x 24 1/2 x 16 1/2 in. Pedestal; height: 22 3/4 in x width: 27 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sculpture; height: 63 x 24 1/2 x 16 1/2 in. Pedestal; height: 22 3/4 in x width: 27 in.
Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Abstract bronze sculpture of an amorphous form. Signed and numbered e/a 1 along the bronze.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Height: 24 1/2 in x width: 6 in x depth: 6 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 24 1/2 in x width: 6 in x depth: 6 in.
Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Bronze sculpture of an abstract form twisting inwards. Signed and numbered 4/6 along the bronze.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Height: 18 in x width: 15 in x depth: 6 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 18 in x width: 15 in x depth: 6 in.
Modernist abstract bronze sculpture of an amorphous form. Illegibly signed or marked "PW" and numbered "16" along the side. Attractive piece for collectors of Henry Moore, Kieff Antonio Grediaga, and Richard Erdman.Height: 3/4 in x diameter: 5 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 3/4 in x diameter: 5 1/4 in.
Bronze sculpture of a tall, slender figure with its right arm raised. Illegibly signed and marked 5/20 © along the right leg. The sculpture rests on a marble base.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.
Bronze sculpture depicting an abstracted human figure, with many bulges and twists. The artwork has a smooth, dark patina throughout.Height: 11 5/8 in x width: 3 in x depth: 2 5/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 11 5/8 in x width: 3 in x depth: 2 5/8 in.
Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com
*Dame Elisabeth Frink (1930-1993) bronze ‘Bird’, signed and dated ‘52 2/6, 20cm high x 24cm wide x 30cm deep, this sculpture was later cast with the assistance of the Frink Estate, taken from a plaster maquette formerly in the collection of Peter and Georgette Collins which was purchased directly from Frink whilst she was still a student. This sculpture featured in the 2008 Mumford Fine Art ‘Unknown Frink’ exhibition and although not included in the 1984 catalogue raisonné, relates closely to the 1952 ‘Bird’, purchased the following year by The Tate which ‘launched’ her career, one of a number of bird figures which Frink created at the start of her career, only a few known survivors from the period exist, other than the Tate bird, other owners included Benjamin Britten and The Arts Council of Great Britain, during this early period of Frink’s career she could rarely afford the bronze casting procedure so many maquettes remained un-cast and were subsequently lost, Peter and Georgette Collins played a significant role in preserving a number of these early works. Provenance: Peter & Georgette Collins, Stanley Studios, Chelsea, thence by descent
*Leon Underwood (1890-1975) limited edition late bronze sculpture - The Pursuit of Ideas, signed and dated ‘70, numbered I/VII, on hardwood base, 28cm high overall x 33cm long overall x 14cm wideCondition report: Good original conditionProvenance: purchased by a collector of Underwood's and someone who was acquainted with the artist. Thence by family descent. Height of sculpture minus base 25.5cm
*Sydney Harpley (1927-1992) bronze sculpture - Girl Combing Her Hair, signed and numbered A/P, on marble plinth, an artist's proof from an edition of 12. NB: This is the maquette for a life size sculpture, of an edition of 3, which Harpley exhibited at the Royal Academy Summer Exhibition on 1957, No. 1366Provenance: Chris Beetles Ltd., London, 26th May 2016Condition report: 15.3cm high. In good order with no damage.
DOUG HYDE (born 1972); a limited edition box set comprising a bronze sculpture, 'Box of Love', height 13cm, four prints, and a hardback book. (D)Additional InformationGood condition, minimal wear.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
JENNINE PARKER; a Continental limited edition bronze sculpture, 'Peace', 190/195, raised on marble plinth base, height 43cm, with certificate and original box. (D)Additional InformationMinor wear but good condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.
Georg Jensen: a Danish silver butterfly brooch, designed by Arno Malinowski, No. 283, the circular design incorporating two butterflies amidst flowers and foliage, post 1945 maker’s marks, numbered ‘283’, diameter 5.2cm. £150-£200 --- Arno Malinowski (1899-1976) was multi talented artist, being a successful silver designer, sculptor, ceramist, engraver and medalist. He trained at the Royal Danish Academy of Fine Arts and School of Sculpture in Copenhagen from 1919-1922 and worked for Georg Jensen between 1936-1944 and again from 1949-1965, creating designs for jewellery and hollowware. His pieces tend to be executed in low relief medallist form, his designs often including stylised animals; the Art Deco style Kneeling Deer being one of his most popular which he designed in 1937. He received several awards for his designs for objects made of silver, porcelain and bronze, including a silver medal at the Paris international exposition in 1925, the Eckersberg Medal (1933) and the Carlson Prize (1936).
* SELMA HORTENSE BURKE (AMERICAN 1900 - 1995), GIRL, PRONE bas-relief sculpture, signed and dated '75 46cm x 32cm Note: Dr Selma Burke was a world-renowned sculptor and painter whose relief plaque portrait of President Franklin D Roosevelt appears on the dime. One of ten children of an African Methodist Episcopal Zion minister in rural North Carolina, Burke first learned to sculpt using clay from a nearby river. Encouraged by her mother to pursue a practical career, Burke trained as a certified nurse. While working as a nurse in New York, she became involved in the Harlem Renaissance and served as a sculptor's model, all the while preparing to become an artist. In 1941, she received an M.F.A. at Columbia University and later studied art in Europe. Primarily a sculptor, Burke crafted figures of rugged beauty from wood, bronze, or stone, hewn in a style of almost classical realism. She sculpted several celebrities, including Dr Martin Luther King Jr. and Pearl S. Buck. The bronze statue of Buck, Uplift, was dedicated at the Pearl S. Buck House in 1991. She also painted in watercolour, oil, and acrylics. A committed educator, the bearer of two earned and eight honorary doctorates, Burke established two art schools while teaching at Haverford and Swarthmore Colleges. She also taught at the Solebury School and several other institutions. “One of the most notable sculptors of the twentieth century” according to the National Women’s History Museum, the celebrated artist, educator, and self-described “people’s sculptor.” Selma Burke is celebrated for her lifelong commitment to the art of sculpture, to art education and for her significance in the Harlem Renaissance. Burke achieved remarkable success as a Black woman sculptor at a time when few female or Black artists, and even fewer Black female artists, were able to achieve any success or recognition in the United States.
* SCOTT SUTHERLAND DA RSA FRBS (SCOTTISH 1910 - 1984), DIANA wood carving, signed, titled and dated 1979 verso 34cm high. Note: Sculptor Scott Sutherland was born at Wick, Caithness. He trained at Gray's School of Art, Edinburgh School of Art and Ecole des Beaux Arts (Paris), and briefly in Egypt, Germany, Greece and Italy. He taught sculpture at Dundee College of Art from 1947. Sutherland's most important work was The Commando Memorial at Achnacarry (about a mile from Spean Bridge). He won an open competition in 1949 to design the memorial which was unveiled by the HM The Queen Mother on 27 September 1952. Other large-scale works include The Black Watch Memorial (1966) at Powrie Brae, Dundee and The Hugh Dowding Memorial (1972) at Moffat, Annandale & Eskdale. Among his other sculptures are: statues of famous Scotsman for the Empire Exhibition in Glasgow 1936; the Coat of Arms (in sandstone) for the entrance to National Library, Edinburgh; a bronze capercaillie for the school at Kenmore; the Robert Burns statue at Arbroath; the carved slate memorial panel to the crew of Broughty Ferry Lifeboat Mona; the silver trophy of the Royal Observer Corps and the Leaping Salmon Fountain for the Norrie Miller Memorial Garden at Perth in Perthshire. Sutherland won the Guthrie award in 1940.
* DAVID SHRIGLEY, CHOCOLATE IS NOT THE PROBLEM lithograph on 150g silk paper image size 77cm x 57.5cm, overall size 83cm x 63cm Framed and under glass. Note: Original exhibition print made on the occasion of David Shrigley’s solo exhibition DON’T TOUCH THE WORMS at Copenhagen contemporary. Note 2: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi-faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shrigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including the National Galleries of Scotland and Tate.
Doreen Kern (British, 1931-2021): a bronze bust of Yael Sion-Dyan, signed and dated '72', 16 by 25 by 32cm high, with handwritten note by the sitter regarding the collection of a sculpture and four preparatory polaroids, together with a bronzed plaster/resin bust of Moshe Dayan, signed and dated '73', 20 by 22 by 42cm high, and a plaster bust of Golda Meir, a/f, signed and dated '74', 16 by 20m by 25cm high, (bust only), with assorted photographic prints and other ephemera. (4)Provenance - From Doreen Kern's collection and artist's studio (Artist and Sculptor 1931-2021)
Doreen Kern (British, 1931-2021): Woman at the window bronze sculpture, signed and numbered '1/12', raised upon a metallic plinth, 23 by 17 by 40cm high overall, together with plaster cast, 34 by 25 by 40cm high. (2) Provenance - From Doreen Kern's collection and artist's studio (Artist and Sculptor 1931-2021)

-
17074 item(s)/page