Maine - Sculptures

Bertil Vallien Rörstrand Sweden, c. 1965 A pair of bird sculptures glazed porcelain. 8.25 h × 11 w × 4 d in 5.25 h × 7 w × 2.25 d in Bertil Vallien is by far the most internationall...

Bronze sculpture of a runner signed Joe Brown and titled "Sprinter" presented on a marble base. This piece measures 11"W x 9"H x 6"D. Joe Brown is considered a most proficient scul...

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

Bronze sculpture of a woman in repose by Turkish Israeli sculpture Haim Azuz, b. 1932 This piece is signed and numbered 2 out of an edition of 10...

Stunning antique 4 foot tall Immaculata (Bestows Good Fortune) Santos figure with glass eyes from Pamplona, Spain. Missing one hand and beautifully done! #5730

Bronze on polished stone base, signed and edition numbered. The base was most likely produced by the sculptor to allow the piece to smoothly rotate. The sculpture stands 80.5" tall including the base. Edition 2/4 Medium: Patinated bronze Canadian, b. 1929 James Edward Ritchie (Jim Ritchie...

Bronze sculpture of two boys fishing presented on a stone plinth base, signed and dated. One box has caught a fish and the other is just about to cast.

Bought in France, this is a lovely Roman bust of a young boy with curled long hair. The plaster stone bust has been mounted on a stone base.

Wire and metal sculpture of a woman walking her dog. In the style of Alberto Giacometti, this piece is signed Sarala on the base.

As found in Maine, this full of character metal rooster weathervane has been mounted on an antique board. This folk art American rooster weathervane is a charming and iconic symbol of traditional craftsmanship. Showcasing a dimensionally sculpted hollow body, complete with intricate details that bring the rooster to life, its large tail feathers are spread proudly, catching the wind in a whimsical dance. The rooster stands atop a former directional arrow...

Fantastic skiing award presented by Director Erik Falk for Blötberget's public school departments in Sweden for the years 1910 to 1914. The wood base features hallmarked silver plaques detailing the champion for each year. There are 6 in total, with 2 remaining blank. The bronze sculpture of the skier on top is by Gerda Sprinchorn...

Wood fired ceramic sculpture on wooden plinth stand. Joy Brown on her work: "My figures speak to me of that peaceful place in myself - calm, open, aware." Joy Brown was born in Japan and spent the first 18 years of her life there. After completing her fine arts degree in the United States, she returned to Japan to complete a rigorous apprenticeship in traditional Japanese ceramics with a 13th generation master potter, Ichino Toshio, further defining her aesthetic. Brown works with high-fire stoneware clay that is fired in a 30-foot long Japanese style wood-firing tunnel kiln (anagama). For the past 20 years Joy has also worked in bronze, making figures from small to larger-than-life size. Currently, Joy has been completing various commissions in China for public spaces. Joy Brown’s work is in the public collections of many museums in the United States, Europe and Asia. Selected Public Collections Mattatuck Museum, Waterbury, CT Canadian Academy, Kobe, Japan Jing’An International Sculpture Park, Shanghai, China University of North Carolina...