Recognized Dealers Sculptures

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina cast by Susse Frères - stamped with the founder's seal France created around 1890 and cast after his death height 12,5 cm A similar model reproduced inJules Dalou, le sculpteur de la République, Exhibition held at the Musée du Petit Palais, Paris, 2013, page 288, n°220. Biography : Aimé-Jules Dalou, said Jules Dalou (1838-1902) was a French sculptor, born from Protestants glovers craftsmen who raised in secularism and love of the Republic. Jules Dalou was very young talented for modeling and drawing, which earned him the attention of Jean-Baptiste Carpeaux, who made him entered in 1852 in the Little School, the future National School of Decorative Arts in Paris. In 1854, he was admitted to the School of Fine Arts in Paris, where he studied painting in the workshop of Abel de Pujol and sculpture in the workshop of Francisque Duret...

Jessica Carroll Title: "Coalescence" - Bronze Sculpture Capturing the Power of Unity in Nature Description: This exquisite bronze sculpture is a rare and striking example of conte...

On the Avenue was created originally as a gouache and presents a female figure wearing a typical 1920's flapper outfit. During the 1920s, fashion for young women focused less on the ...

Adriana Marmorek RENDEZVOUS SPLASH, 2020 porcelain, blown glass 4.33 x 13.78 x 5.91 in. 11 x 35 x 15 cm.

Impressed with artist's seal Porcelain, with manganese glaze and sgraffito decoration, and pitted white glaze 3 x 6.25 inches

CARLO RAMPAZZI (b. 1949) Chair (Collection Etruska) Wood, fur 110 x 50 x 50 cm 43.31 x 19.69 x 19.69 inches

Impressed with the artist's seal Glazed stoneware 2 3/4 x 7 inches

AP 2 Ernest Trova was an artist whose signature creation, a gleaming humanoid known as “Falling Man,” appeared in a series of sculptures and paintings and became a symbol of an imperfect humanity hurtling into the future. Mr. Trova was largely known as a sculptor, but his “Falling Man,” a standard of Pop Art, began life as a painted figure, taking shape on his easel in the early 1960s. Faceless, armless, with a hint of a belly and, its name notwithstanding, of indeterminate sex, the figure struck a variety of poses, sometimes juxtaposed with other like figures, sometimes with mechanical appendages. In October 1963 his one-man show, “Falling Man Paintings,” was the inaugural exhibition of the Pace Gallery on West 57th Street in Manhattan; it sold out, with the works purchased by the Museum of Modern Art, the Whitney Museum, the architect Philip Johnson and others. In three dimensions, the “Falling Man” figure was made from different materials over the years — nickel and chrome-plated bronze, enamel on aluminum, stainless steel — and often, like the Oscar statuette, was polished to an industrial sheen. It was clearly a space age creation, a forerunner of C3PO, the golden robot in “Star Wars.” “He found the space age both inspiring and dehumanizing,” Arne Glimcher, who founded the Pace Gallery, now PaceWildenstein, said in an interview on Friday. By the end of the 1960s, “Falling Man” had become Mr. Trova’s trademark, provoking Hilton Kramer, the art critic of The New York Times, to write that Mr. Trova had subjected his favorite figure “to almost as many variations as the Kama Sutra describes for the act of love.” Ernest Tino Trova Jr. was born in St. Louis on Feb. 19, 1927. Shortly after his high school graduation his father, an industrial tool designer and inventor, died, and young Ernie, as he was known, went to work, most significantly as a window dresser for a department store. His early paintings were in the Abstract Expressionist mode, but his attentiveness to the mannequins had an influence on his art. Through the 1970s and 1980s he continued with “Falling Man,” though he also became interested in formalized, almost mechanical-seeming landscapes, and the figures began to appear, reduced in size, within the context of abstractly rendered gardens. A self-taught artist with an impish wit and an eccentric turn of mind, Mr. Trova craved the recognition that was available to artists only in New York City, but he never visited for more than a week at a time and made almost no friends among New York artists. He did befriend Ezra Pound. As a fevered fan of Julio Iglesias...

Cormorant by Auguste TREMONT (1892-1980) Rare bronze with a black patina signed at the bottom of the base "A. Tremont" old cast by "C. Valsuani, cire perdue" (with the foundry stamp...

Description: Six tulips in a row hand-forged in wrought iron at different stages of their bloom. The sequence of tulips is animated by the landing of a butterfly that revitalizes and...

Copacabana presents Erté's vision of fantasy, splendor, and femininity in a statuesque model wearing a cabaret costume. The gown is noted for its luxuriant richness and design. Softe...

ROBERT KLIPPEL (1920-2001) Opus 800 1989 Painted wood assemblage 146 x 334.5 x 85 cm 57.48 x 131.69 x 33.46 inches Cat. rais. no. 800 Regarded as Australia’s leading sculptor, Rober...

Concorde Cap Shelter Serra 5.5”x7”x9” Electroplated Copper 2017 The Concorde Cap is one of an ongoing series of copper electroplated hats. Ranging from Superman to Nascar, the artist chooses hats from all walks of life before distilling through the electroplating process, transforming the once functional hat into an object of contemplation and beauty. Shelter Serra’s sculptures and drawings explore notions of mass consumption and cultural identity. He juxtaposes objects that are both mundane and immediately recognizable: a 40 ounce bottle of malt liquor cast in plaster, a Best Buy cap plated in copper, and a designer handbag cast in resin, to name a few. Casting and plating these objects in unlikely materials—resin, plaster, platinum silicone, and copper—Serra strips them of their intended functionality, thereby highlighting their underlying cultural symbolism and transforming branded products into objects of aesthetic contemplation. “Refining an aesthetic and making beautiful objects, whether that be a dress, bag, or sculpture," says Serra, "is a celebration of pure creativity and personal vision.” His Fake Gun...

Details: Dandelion and bee hand-forged in iron with gold leaf Features: indoor or outdoor sculpture, perfect as a centerpiece Origin: Italy Material: Wrought iron Condition: New A...

This unique sculpture from artist Mario Zoots is a die-cut UV collage print on alupanel. Situated on a shelf, the sculpture is meant to lean back onto the wall, adding depth to its f...

Finding inspiration from the Ruba Rombic line of Art Moderne glassware retailed by Kaufmann's Department Store in the late 1920s, artist Charles Lutz creates a striking sculptural vase featuring a complex geometry of angles and trapezoidal planes. Titled "Large Vase" (after Ruba Rombic), each piece has a matte unglazed exterior...

Presented is a one-of-a-kind single edition sculpture by female sculptor artist Sherry Rossini. Hand carved by the artist while studying in Pietrastanta...

An exquisite and highly tasteful sculpture, The Cat is one of the most recent artworks by the Italian master blacksmith Ivan Zanoni who has recently been put on display at MART, Museum of Modern Art in Rovereto (the most prominent in Italy), which has dedicated a significant exhibition to him. Ivan Zanoni has learned this rare activity from his father, Luciano, who, among other artworks, has sculpted a four-meter olive tree for Melinda and Bill Gates...

Admiral Byrd by Shelter Serra 2004 13”x9”x7.5” inches Cast plaster This plaster sculpture is an homage to classical sculpture and the legacy of Admiral Richard E. Byrd. Overshadowe...

"The Song" by Félix Charpentier (1858-1924) A very fine bronze sculpture with nuanced dark brown patina Signed "Fx. Charpentier" Cast by "E. Colin & Cie Paris" France around 1900 he...

Impressed with the artist's seal Glazed porcelain with sgrafitto decoration 6 3/4 x 3 inches

LESLEY DILL WHITE HINGED POEM DRESS, 1994 patinated bronze 55 x 37 x 30 in. 139.7 x 94 x 76.2 cm. Edition of 4

Fennec seated by Edouard-Marcel SANDOZ (1881-1971) Bronze with a nuanced brownish green patina signed on the tail "Ed. M. Sandoz" cast by "Susse Fres Edts Paris" (with the foundry m...

Adriana Marmorek RENDEZVOUS BLOWN, 2020 blown glass, bronze 1.97 x 9.45 x 6.5 in. 5 x 24 x 16.5 cm.

ADRIANA MARMOREK CAUSIS PLANTARUM PETAL, 2019 porcelain, blown glass 14.57 x 7.09 x 4.72 in. 37 x 18 x 12 cm. flower

Porcelain casts of actual specimen sheets of species which have become extirpated or extinct in the upper midwest due to habitat loss and climate change. Set of 6 available or each ...

ceramic vessel with semi-matte silver plated brass and matte acrylic crown

Tropical Totem is a vibrant sculptural homage to the totem pole, brought to life through layers of handworked fabric and embellishment. Block-printed with lush florals and detailed w...

Ivan Zanoni's expert craftsmanship shows us this composition of 5 handmade and unique sculptures that provide the effect of watching crabs emerge from the sea. The measure written a...

Porcelain egg inspired abstract sculpture. From FLOWER TO BEE exhibition, Winter 2019. Included in Catalogue.

BETH LIPMAN CLUSTER #17, 2020 black and clear glass, adhesive 8 x 15 x 13 in. 20.3 x 38.1 x 33 cm.

BETH LIPMAN CLUSTER #21, 2021 black glass, adhesive 6 x 12 x 10 in. 15.2 x 30.5 x 25.4 cm.

Porcelain casts of actual specimen sheets of species which have become extirpated or extinct in the upper midwest due to habitat loss and climate change. Set of 6 available or each ...

Scott Campbell is known throughout the world as being one of the most talented hands in the world of tattooing. He owns and operates the legendary Saved Tattoo in Williamsburg, Brooklyn, whose client list includes New York's art and design elite, fashion designers such as Marc Jacobs, and a long roster of celebrities including Heath Ledger...

ADRIANA MARMOREK CONJUNCTION, 2020 porcelain, blown glass 11 x 7 x 7 in. 27.9 x 17.8 x 17.8 cm. flower

Bedouin Mother with Child by Céline LEPAGE (1882-1928) Bronze with a dark greenish brown patina signed on the base "Lepage" cast by "Alexis Rudier, fondeur, Paris" (with the foundry...

copper, wire and organza on metal armature "In Mee the Flame" - John Donne

BETH LIPMAN WILD MADDER (plate), 2021 glass, permanent photographic transfer 1 x 6 7/8 in. etched "BL 2021" on back

BETH LIPMAN WILD MADDER (plate), 2021 glass, permanent photographic transfer 1 x 6 7/8 in. etched "BL 2021" on back

Hindu Sculpture is a deeply collaborative work featuring hand-painted imagery by Balinese egg painter I Made Muliana, known for illustrating epic Hindu tales like the Mahabharata and...

ADRIANA MARMOREK LUSH, 2020 porcelain, blown glass 9.84 x 16.93 x 10.24 in. 25 x 43 x 26 cm. flower

ADRIANA MARMOREK COSMOGONY #38, 2020 silver, 90 5 1/8 x 3 3/4 x 3 3/4 in. 13 x 9.5 x 9.5 cm. egg

ADRIANA MARMOREK FLOWER TO BEE, 2019 porcelain, magnet 13.19 x 7.09 x 10.63 in. 33.5 x 18 x 27 cm.

ADRIANA MARMOREK GRISAILLE FLOWER BUD, 2019 porcelain 7.87 x 5.51 x 5.71 in. 20 x 14 x 14.5 cm.

Anodized aluminum (gold)

cast iron sculpture with custom made pedestal currently on exhibit and not available to ship until February 2021

Motherhood by Baltasar Lobo (1910-1993) A bronze group with a nuanced greenish dark brown patina Signed at the lower backside " Lobo " Cast by " Susse Fondeur Paris " (with the foun...

Le Berceau (The Cradle) by Baltasar LOBO (1910-1993) A bronze group with a brownish green patina Signed at the lower backside " Lobo " Cast by " Susse Fondeur Paris " (with the foun...

Earthenware with colored slips. Epoxy. Cone 04 textured and satin glazes. Signed, titled, and dated in ink on bottom. Milnes served as Dean of the College of Visuals Arts and Design at the University of North Texas from January 2006 to his retirement in August 2014, when he moved to Asheville, NC with his wife Karen, re-establishing Arbitrary Forms Studio there. A sculptor and ceramist, he served previously as Director of the School of Art and Design at San Jose State University in California, Director of the School of Art at Louisiana State University, and as Chair of the Art Department at Edinboro University of Pennsylvania. He taught at the Penland School of Crafts in 1972 and 1979. Milnes is the past president of the National Council of Art Administrators and the National Association of Schools of Art and Design. He has served as a consultant or evaluator for more than sixty universities, colleges, and independent schools of art in the US and abroad and served in Dallas on the Board of Directors of the Business Council for the Arts and as Chair of the Community Advisory Board for KERA, the NPR station for North Texas. He was recently named a Fellow and Lifetime Member of NASAD and served on the Board of Directors of the Center for Craft in Asheville, NC and as co-chair of the Blue Ridge Public Radio Strategic Planning Committee. He is a member of the Southern Highland Crafts Guild.

Hermann Rastorfer was a draftsman, painter, sculptor, illustrator, ceramist, designer, poster artist, developer of advertising concepts and communication campaigns, inventor, and architect. He began as a typesetter in Salzburg. In the mid-1950s, he moved to Germany, where he soon founded his own studio for graphic design and advertising. His goal was always to give each product a distinctive, highly recognizable appearance. He designed his own design line for the German pharmaceutical company Boehringer Ingelheim, artistic cover images for numerous paperbacks from renowned publishers, and packaging for well-known products such as Ferrero Küsschen, Mon Chéri, Martell cognac...

Bronze with Platinum Leaf From Boky Hackel-Ward’s Figurative Poetry Collection, this bronze was directly inspired by a poem entitled Mea Culpa taken from Paul Géraldy’s book Toi et ...

rnest Trova was an artist whose signature creation, a gleaming humanoid known as “Falling Man,” appeared in a series of sculptures and paintings and became a symbol of an imperfect humanity hurtling into the future. Mr. Trova was largely known as a sculptor, but his “Falling Man,” a standard of Pop Art, began life as a painted figure, taking shape on his easel in the early 1960s. Faceless, armless, with a hint of a belly and, its name notwithstanding, of indeterminate sex, the figure struck a variety of poses, sometimes juxtaposed with other like figures, sometimes with mechanical appendages. In October 1963 his one-man show, “Falling Man Paintings,” was the inaugural exhibition of the Pace Gallery on West 57th Street in Manhattan; it sold out, with the works purchased by the Museum of Modern Art, the Whitney Museum, the architect Philip Johnson and others. In three dimensions, the “Falling Man” figure was made from different materials over the years — nickel and chrome-plated bronze, enamel on aluminum, stainless steel — and often, like the Oscar statuette, was polished to an industrial sheen. It was clearly a space age creation, a forerunner of C3PO, the golden robot in “Star Wars.” “He found the space age both inspiring and dehumanizing,” Arne Glimcher, who founded the Pace Gallery, now PaceWildenstein, said in an interview on Friday. By the end of the 1960s, “Falling Man” had become Mr. Trova’s trademark, provoking Hilton Kramer, the art critic of The New York Times, to write that Mr. Trova had subjected his favorite figure “to almost as many variations as the Kama Sutra describes for the act of love.” Ernest Tino Trova Jr. was born in St. Louis on Feb. 19, 1927. Shortly after his high school graduation his father, an industrial tool designer and inventor, died, and young Ernie, as he was known, went to work, most significantly as a window dresser for a department store. His early paintings were in the Abstract Expressionist mode, but his attentiveness to the mannequins had an influence on his art. Through the 1970s and 1980s he continued with “Falling Man,” though he also became interested in formalized, almost mechanical-seeming landscapes, and the figures began to appear, reduced in size, within the context of abstractly rendered gardens. A self-taught artist with an impish wit and an eccentric turn of mind, Mr. Trova craved the recognition that was available to artists only in New York City, but he never visited for more than a week at a time and made almost no friends among New York artists. He did befriend Ezra Pound. As a fevered fan of Julio Iglesias, he went to the singer’s concerts all over the United States. “Ernie had a fabulous fantasy life,” Richard Solomon, the president of Pace Prints, the publishing arm of PaceWildenstein, said in an interview. “He had a persona he used to hide behind that he called ‘Junior Person.’ He was a wonderful man, but an oddball to beat the band.” Mr. Trova left the Pace Gallery in the mid-1980s and signed with an inexperienced dealer in St. Louis. His profile went into decline, except in his hometown, where his donation of many of his works helped create the Laumeier Sculpture Park. He continued to work until shortly before his death. Most recently he was making collages using magazine...

Jumping Horse Unique Wrought Iron Sculpture by Ivan Zanoni This one-of-a-kind sculpture, Jumping Horse, is a powerful and expressive work by Italian sculptor Ivan Zanoni, a rising s...

Pair of Bronze sculptures 7 x 9.5 x 2 in 18 x 24 x 5 cm Available in RED & BLACK painted patinas Born in Thessaloniki, Greece, Kostis Georgiou studied stage scenery in Floren...

Singing by Hubert YENCESSE (1900-1987) A bronze sculpture with a nuanced brown patina signed on the base " H. Yencesse " cast by " A. Rudier fondeur Paris " (with the foundry mark) ...

Edition 20/99 Arman (born Armand Pierre Fernandez) was an early proponent of accumulation and scatter art. In 1959, he began displaying collections of objects in Plexiglas cases and creating installations of strewn garbage, which he called “Poubelles,” or “trash bins.” He also welded identical objects together to create larger sculptural pieces. In 1961, along with Yves Klein, Jean Tinguely, Jacques Villeglé, art critic Pierre Restany, and others, Arman founded Nouveau Réalisme, a group interested in new approaches to the concept of “reality.” Spending time in New York in the 1960s, Arman adopted destruction as a strategy for creating something new—slicing, burning, and smashing objects such as bronze statues and musical instruments to mount on canvas. Andy Warhol owned two of Arman’s Poubelles, and Arman appears in the Warhol’s 1964...

Promised Land- Bronze Sculpture with an ingenious method for inserting a miniature into the eye of a fish, evoking the Vision of a Magical Destination Description:u2028With poetic ...

Portrait of Albert Dubarry by Léon-Ernest DRIVIER (1878-1951) Bronze with a nuanced greenish dark brown patina signed "Drivier" cast by "Montagutelli, Paris, cire perdue" (with the ...

Earthenware with colored slips. Epoxy, acrylic paint. Cone 04 textured and satin glazes. Signed, titled, and dated in ink on bottom by Robert Milnes Milnes served as Dean of the Col...

Stoneware with colored slips. Cone 04 textured and satin glazes. Signed, titled, and dated in ink on bottom by Robert Milnes Milnes served as Dean of the College of Visuals Arts and...