French Art Deco

Semi-Nude Erotic Female Dancer

Bronze Sculpture by Josselin

1920s

Dimensions:         H – 15.25”   W – 11.5”   D – 2.75”

Lovely large French silvered bronze sculpture of a semi-nude erotic dancer, signed in the bronze: Josselin.

Original portorro marble base.

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.

$2,400


Marina Núñez del Prado

Head

Patinated Bronze Sculpture

1930s

Dimensions:         Height: 15”         Width: 9”          Depth: 11”

Original wood base: 7.5” x 6” x 6"

Marina Núñez del Prado (1910 – 1995) was a celebrated Bolivian sculptor and one of the most respected sculptors from Latin America. 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.[2]

Marina Núñez Del Prado was born in La Paz, Bolivia on October 17, 1910. Del Prado first discovered her love of art in her youth while studying sculptural modeling techniques in La Paz. Her passion for sculpture was inspired by the work of Michelangelo, and she went on to study fine art at the Academy of Fine Arts in La Paz, graduating in 1930. She continued on at her alma mater as an instructor of artistic anatomy and sculpture. She became the first woman to achieve a position as the chair of the Academy.

While she was working at the Academy of Fine Arts, La Paz, Del Prado began exhibiting locally. She was very artistically active, and collaborated with various artists, such as Cecilio Guzmán de Rojas, a Bolivian painter who led the indigenous art movement at that time. Similarly Del Prado primarily focused her work on the rights of indigenous peoples and indigenismo, a political ideology centering the relationship of the indigenous population with the government.

Del Prado left her job at the university and her home city of La Paz to travel in 1938. She spent the next several years traveling through Peru, Uruguay, and Argentina. She then traveled to other countries outside of South America, including Egypt, parts of Europe, and the United States, where she studied for 8 years in New York on a fellowship awarded by the America Association of University Women.

While in New York, Del Prado won a Gold Medal for her exhibition “Miners in Rebellion.” This work was centered around the workers of the Bolivian region of Potosi. Shortly after this, in 1948, Del Prado moved back to La Paz, where she continued to make work inspired by the indigenous peoples of South America, as well as the landscape and culture of her homeland. She later moved to Peru in 1972, where she lived with her husband, Jorge Falcón, a writer native to Peru. With her four siblings, Del Prado donated the Casa Museo Marina Nuñez del Prado to the people of Bolivia in memory of her parents. The museum houses over a thousand works of art, mostly done by Del Prado and some by her sister, Nilda. Del Prado passed away in Lima, Peru in 1995.

In 1938 she left her post and traveled through Bolivia, Peru, Argentina, Uruguay, the United States, Europe, and Egypt. From 1940 to 1948, she worked and organized exhibitions of her work in the United States while on a scholarship. In 1946 "Miners in Revolt," inspired by the miners in Bolivia's Potosí Department, won a gold medal in a New York exhibition. In 1948 she returned to Bolivia, finally settling down in La Paz in 1958. By 1972 she moved to Peru where she lived with her husband, a Peruvian writer.

Along her successful career she met outstanding artists such as Pablo Picasso, Constantin Brâncuși, poets Gabriela Mistral, Alfonsina Storni and Juana de Ibarbourou. She was also a friend of the Bolivian writer Franz Tamayo. Her work has been the subject of international and national critique. Botelho Gozalvez (1961) argues that her work is marked by two main characteristics: grace and strength. The strength is seen through her Andean landscapes and her grace is recognizable in the harmonious geometry of her works. Botelho claims that Nunez del Prado has a “genius loci” and distinguishes four periods in her work. The first period is characterized by the musical thematic of her work.The second period is characterized by the use of bidimensional sculpture and a social tematic. The third period is characterized by the tridimensional stone sculpture. It is also known as the ‘maternal’ period because of her aymara Madonnas and other depictions of indigenous women. Finally, the fourth period is the neo-abstract which has been influenced by Picasso, Archipenko and Milles. In similar fashion Hector Herazo Rojas (1962) argues that her works is characterized by strength, grace and monumentality He also points out that her works revolve around the thematic of race, myth and tradition. Her sculptures of indigenous motherly figures and mythic animals can attest to this. Pedro Querejazu (1996) coincides with Herazo Rojas on her race thematic and suggest that her sculptures originated within the movement of ‘native’ realism. According to him, her later her work adopted a modern and international expression which achieved a final stage immersed in the abstractism. This later work focused on the female figure and creatures of the Andes. On this later stage she worked with Amazonian tropical woods, bronze, and stones such as granite, andesite, basalt, onyx and marble. Other critics like Eduardo Mendoza Varela (1961), who reviewed her sculptures exhibition shown in the Luis Angel Arango library at the bank of the Republic of Colombia in Bogota Colombia, argues that her work is ‘miraculous’ and ‘mysterious’. His critique employs poetic metaphors to emphasize her skills and mastery of the materials in her sculptures. He considers the abstracted and reduced forms as possessing the ability to go beyond just physical representation but capture the spirit of the artist herself. The critic Guillermo Nino de Guzman also refers to her work as ‘genius’ and a constant force of creative energy in regards to her series “Mujeres al Viento”(Página 7, 2014). Finally, her work has inspired poetry verses. The Spanish poet Rafael Alberti has dedicated an homage to her work.

Núñez Del Prado Museum

In the 1970s Marina Núñez del Prado established her residence and art studio in what would become the Museum Hose, located in 300 Ántero Aspillaga Street, right at the center of the El Olivar Forest. This neocolonial style building was conceived in 1926 by the engineer Luis Alayza and Paz Soldán and raised by the master builder Enrique Rodrigo, being one of the first buildings in the area. It became the first house in the whole of El Olivar to be declared National Cultural Heritage and in 1984 the house-museum of the Núñez del Prado Foundation was officially inaugurated in La Paz in honor of Marina Núñez del Prado's parents.

The House Museum governed by the FOUNDATION NUÑEZ DEL PRADO, is a Private Museum that enriches the Bolivian heritage. For decades it was a home and studio to Marina Nunez del Prado, and now it has become the Casa Museo and a treasured place of history and talent to those of Bolivia. The museum contains 1,014 works by del Prado, which constitute the greater repository of her work including sculptures, drawings and sketches by Marina, thus making it the largest existing collection of her works. But within the museum you will not only find the work of Marina, but also that of her sister Nilda, who was a great goldsmith and painter. The museum is filled with their family environment, works of her father, and the collections of Bolivian Silver, Colonial Art, Contemporary Painting, and Handicrafts.

The house is surrounded by a garden of sculptures that had changing results affected by the urban modifications of its surroundings. It is composed of two levels being the first one of adobe and the second one of quincha brava. On the first floor there is a small central courtyard with a fused iron fountain. Its façade is colorful and on the right hand side, it reproduces, on a smaller scale, the front of the famous Palace of the Admiral of the city of Cusco. The workshop of the sculptor Marina Núñez, located on the second level, has been considered as the heart of the house and the intervention revolves around it.

For a large period of time the situation of the home museum of Marina Nunez del Prado was one of complication. At the time the museum had been closed and forgotten for almost 10 years due to lack of management and support. The closing was due to a break in its infrastructure during the initial construction of the American Tunnel and had remained closed to the public while many people claim the national or municipal government never took care of the situation. There exist many personal accounts of neighbors who had watched the museum remain neglected for years and described its importance to their community and art history. They speak highly of the museum and the work included as well as speak fondly of del Prado as an artist. In 2012 they published a note that restoration of the house would begin and that work was being done to solve the many architectural issues. It was reopened in April 2015 by the San Isidro District Council and the curatorial work made for the selection of the pieces being shown was made by Gustavo Buntinx.

 

$2,800


Munich Secession

Centerpiece with Pumas

Patinated Bronze

1920s

Dimensions:         Height: 6.5”         Width: 16.5”         Depth: 16.5”

The Munich Secession was an association of visual artists who broke away from the mainstream Munich Artists' Association in 1892, to promote and defend their art in the face of what they considered official paternalism and its conservative policies. They acted as a form of cooperative, using their influence to assure their economic survival and obtain commissions. In 1901, the association split again when some dissatisfied members formed the group Phalanx. Another split occurred in 1913, with the founding of the "New Munich Secession".

By the end of the Nineteenth Century, more artists lived in Munich than lived in Vienna and Berlin put together. However, the art community there was dominated by the conservative attitudes of the Munich Artists' Association and its supporters in the government. These attitudes found expression in the official "mission statements", written by the so-called "Prince of Painters" (Malerfürst) Franz von Lenbach. Matters came to a head in 1891 when the Prince-Regent Luitpold of Bavaria founded the Prinzregent-Luitpold-Stiftung zur Förderung der Kunst, des Kunstgewerbes und des Handwerks in München, an art foundation devoted to promoting traditional history painting in the service of the state. This foundation created and maintained a high level of artistic quality and brought world attention to the Academy of Fine Arts, but was firmly opposed to impressionism, expressionism, symbolism and other contemporary trends in the art world.

At first, the Secession had some difficulty finding a building for their exhibitions. The city of Frankfurt offered to provide the necessary space and 500,000 Gold Marks, if the group would move there permanently.[3] Their first exhibition actually took place at Berlin's "National Exhibition Building" (now known as "ULAP") early in 1893.

Baurat (city construction supervisor) Franz von Brandl provided the Secession with some free land at the corner of Prinzregentenstraße and Pilotystraße. Construction began immediately and their debut exhibition took place on July 16, 1893, in the first portion of the building to be completed. Over 4,000 visitors came to see 876 works by 297 artists.

The success of this effort eventually allowed them to come to an agreement with Franz von Lenbach and the Artists' Association. As a result, the art exhibition building on the Königsplatz (now the Staatliche Antikensammlungen) was transferred to the Secession in 1897.

In 1933, the National Socialist party began their crusade to bring all forms of artistic expression under their control: a process known as Gleichschaltung (bringing into line). Artists were eventually required to obtain state endorsement for all of their works. Those who were considered "degenerate" were not allowed to paint.[4] In 1938, the Munich Secession was dissolved as part of the "Kulturellen Säuberung" (cultural cleansing) process.

Following the end of World War II in 1946, the Neue Gruppe (de) and the Neue Münchner Künstlergenossenschaft (New Munich Artists' Association) were founded and led to the establishment of the Bundesverband Bildender Künstlerinnen und Künstler (Federal Association of Visual Artists).

In 1992, the Secession celebrated its centennial and, in March of the following year, the Society of Friends and Sponsors of the Munich Secession was created to support the Secession's continuing goals, maintain the "Secessionsgalerie" and promote exhibitions.

 

$4,800


Black Forest Art Deco

Dancing Boys

Hand-Carved Wood Sculpture

1920s

Dimensions:         Height: 17.5”         Width: 12”         Depth: 8”

 

$3,800


Italian Art Deco

Equestrian Groom

Patinated Bronze Sculpture

1920s

Signed on the base: “DITA”, and foundry stamp.

Dimensions:         Height: 11.5”         Width: 2.75”         Depth: 2.75”

 

$2,800


Raymond Jacques Adrien Sabouraud

Valsuani Paris Foundry

Femme Nu

Patinated Bronze Sculptural Paperweight

1924

The present work was cast in 1924 at the Valsuani Paris Foundry, used by the likes of Rodin, Degas, Renoir, Modigliani, and Matisse.

 Dimensions:       Height: 10 inches         Width: 9.5 inches         Depth: 2.94 inches

 Raymond Jacques Adrien Sabouraud (French 1864-1938)

 Raymond Sabouraud was a French physician specializing in dermatology and mycology, as well as an acclaimed painter and sculptor, best known for his bronze nudes. While successfully working in the field of microbiology and creating the internationally renowned Sabouraud agar in 1892, he also made his debut as a sculptor in 1889.

 After Raymond Jacques Adrien in 1905 had befriended the painter, Odilon Redon, he soon became a regular member of the Societe du Salon d`automne, and had also participated in the Salon des Tuileries along with such artists, as Raoul Dufy, Alberto Giacometti, Marc Chagall, and Georges Rouault.

 The same year, the book “Raymond Sabouraud, sculpteur” was published with a preface by French art historian, Elie Faure, detailing Sabouraud`s work as a sculptor.

 

$1,200


Hungarian Art Deco

Erwin Kormendi-Frim

female Head

Hand-Carved Ebonized Wood Sculpture

Circa 1930s

Dimensions:

Height: 13.5 inches         Width: 6.75 inches         Depth: 4.88 inches

 

ERWIN KORMENDI-FRIM (Hungarian, 1885 – 1939) was famous Hungarian painter, graphic and sculptor. He began his studies at Simon Hollósy, then was a student of Jean-Paul Laurens in Paris. He also worked on the Nagybánya artists colony. After his return, he regularly had exhibitions at the Műcsarnok (Palace of Art) and showed his pictures in the National Salon. He was a member of the KUT. He also spent several years in Nuremberg, Germany.

 

 $8,500


German Art Deco

Discobolus

Patinated Bronze Sculpture

Circa 1925

Dimensions:

Height: 11 7/8 inches         Width: 8 inches         Depth: 3 5/8 inches

 

Probably, German. Created in Europe, in the 1920s or 30s, this beautifully founded black and green patinated bronze sculpture on its original wooden base is an Art Deco version of Discobolus (after Discobolus of Myron, a famous Greek sculpture, depicting a youthful ancient Greek athlete throwing discus, circa 460–450 BC).

 

$1350


American Art Deco

Robert Aitken

Forest God

Bronze Sculpture

Circa 1920

Dimensions:

Height: 20 inches           Width (top): 11 inches           Base: 8 x 7 inches

The patina and the bronze are in good condition. The marble base has been tastefully replaced.

Robert Ingersoll Aitken (1878-1949)

A noted American sculptor, Robert Ingersoll Aitken was born in San Francisco and was active/lived in California, New York City and France. He is a well-known for classical figure and portrait sculpture. He spent most of his career teaching at the National Academy of Design in New York City. He has done numerous portraits, full size and bust, of well-known figures, and his work is in many collections and museums including the Smithsonian Institution and the Museum of Fine Arts in Boston. Aitken studied there at the Mark Hopkins Institute of Art [also called the California School of Design - now the San Francisco Art Institute] with Douglas Tilden. From 1901-1904 he was an instructor at the Institute. In 1904, he moved to Paris where he continued his studies. He returned to New York City after his sojourn in Paris and got employed as an instructor at the Art Students League. His works include the Science fountain and Great Rivers statues at the Missouri State Capitol, the "Iron Mike" statue at Parris Island, South Carolina, several military sculptures at West Point, the Temple of Music and the Dewey Monument in San Francisco, California, and sculptural works for the Liberty Memorial in Kansas City, Missouri. Aitken also produced the "Fountain of Earth" for San Francisco's Panama Pacific Exposition. Perhaps his most famous work is the West Pediment of the United States Supreme Court building, which bears the inscription "Equal Justice Under Law". The sculpture, above the entrance to the Supreme Court Building, is of nine figures—Lady Liberty surrounded by figures representing Order, Authority, Council, and Research. These allegorical figures were in fact sculptures of real people who had a role in the creation of the building. Aitken himself is depicted in the pediment, seated to the proper left of Liberty with Chief Justice Charles Evans Hughes. Many of his works were carved by the Piccirilli Brothers, including the pieces for the National Archives Building. Aitken created a stir when he criticized the display and placement of the Venus de Milo. Aitken also enjoyed success as a designer of coins and medals. He sculpted the $50 gold commemorative (round and octagonal) for the Panama-Pacific Exposition of 1915, as well as the official medal of the event. He also created the Missouri Centennial commemorative half-dollar of 1921, following it a decade and a half later with the California Pacific International Exposition commemorative half-dollar of 1935-1936. In the medallic arena, Aitken sculpted the American Numismatic Society’s 1921 medal commemorating Marshal Foch’s visit to the United States; the 15th issue of the Society of Medalists Omnia Vincit Amor, 1937; the medal of the National Academy of Design; and the Medal of the National Sculpture Society.

 

$4,500.00


Marcel-André Bouraine

French Art Deco

Bronze Sculpture of a

Semi-Nude Woman

Circa 1920’s

Dimensions

14.5 in.H x 14 in.W x 7.75 in.D         37 cm H x 36 cm W x 20 cm D

 An outstanding Art Deco bronze sculpture of a seated semi-nude woman by Marcel-André Bouraine (French, 1886-1948)

 

Price: $6,500


French Art Deco

Charles Raphaël Peyre

Silvered Bronze Sculptural Group

Circa 1925

Dimensions:

Height: 13 inches       Width: 26 inches       Depth: 6.5 inches       Weight: 51 pounds *

Art Deco silvered bronze sculptural group with 2 female putti figures reclining together in an embrace, surrounded by flowers and filigree. Sculpture has a beautiful silver finish, and rests on the original rouge marble base. Signed on the right front “Raphael Peyre”; and foundry mark “B.L. Paris” with “Cire Perdue” (lost wax) in an oval cartouche in the back of the sculpture.

Charles Raphaël Peyre (French, 1872 – 1949),

This impressivesculptural group was carved by the fashionable French sculptor Charles Raphaël Peyre, who trained under Alexandre Falguière and Antonin Mercié, two of the leading sculptors of the 19th century. Peyre exhibited regularly at the Paris Salon, of which he was a member from 1900, winning numerous awards (Bénézit, op. cit., vol. 10, p. 828). The dazzling combination of rouge marble and silvered bronze in the present group, reflect the taste for polychrome sculpture at the time Peyre was working, and recall aspects of the Art Nouveau movement.

RELATED LITERATURE
E. Bénézit, Dictionnaire critique et documentaire des peintures sculptures dessinateurs et graveurs de tous les temps et de tous les pays par un group d'écrivains spécialistes français et étrangers, Paris, 1999.

*The piece is very heavy, crating recommended for shipment.

$7,500


Swedish Art Deco

- Scarred by a Mouse -

Bronze Sculpture by

Carin Nilsson

Ca. 1933

               

Made with great artistic skill in the unmistakably North European Art Deco esthetics, and exhibiting excellent casting quality, this very elegant sculpture also draws attention of the viewer to the originality and absolute none-triviality and humor of the composition - a splendid nude young woman froze in complete immobility, frightened to death by the little mouse in front of her on the floor, also frozen startled. Signed by the artist on the base, and dated 1933.

Measurements:

Height: 10 3/4 inches            Width: 5 inches            Depth: 3 7/8 inches

                         Carin Johanna Nilsson (Swedish, 1884 - 1973) was a famous Swedish sculptor and visual artist. Born on September 13, 1884 in Styra, Östergötland, she was the daughter of the inspector Sigfrid Nilson and Hanna Seidlitz. Nilson studied in New York in 1922-1923; and in 1925-1927 at the Gottfrid Larsson's art school, as well as an extra student at the Art Academy in Stockholm. In 1928-1930, she was a student at the Académie Colarossi and at the Académie de la Grande Chaumiere in Paris, where her teachers were Charles Despiau, Henry Arnold and Antoine Bourdelle. During the studie, the artist made extensive trips to the Netherlands, England and Belgium. Karin Nilsson participated in group exhibitions with Östgöta Art Association, the Swedish Public Art Association and the Association of Swedish Konstnärinnor. Her public works include the famous Berga figure at the Normlösa church and chapel at the Uppsala hospital. She was awarded with Östgöta Art Association scholarship in 1928. Karin Nilsson's art consists of a wide variety of works - fountains, birdbaths, busts, athletes, religious figures and stressed decorative reliefs and frescoes. Among the portraits, there are of Alice Trolle at Children's Hospital in Linköping, Nathan Söderblom's in Vaksala and Haile Selassie's in Addis Ababa. Nilsson's works are represented in Sweden at the National Museum and the New Museum (featuring a self-portrait in marble), as well as at the American Swedish Historical Museum in Philadelphia, USA. Carin Johanna Nilson died in Stockholm, in 1973.

 

$2,200


Italian Art Deco

- Orientale -

Carved Wood Sculpture by

F. Falcone

Ca. 1925

Dimensions:

Height: 22 1/2 inches            Width: 11 inches

                This remarkable carved and dark-patinated wood sculpture, depicting a head of an Oriental man, wearing a turban is an absolutely unique piece of art that attracts an immediate attention of a viewer by its large scale, unusual composition, expressive face of the model and an original foreshortening turn of the head. On the sides of the base, it is signed "F. Flacone" and dated "1925", and "Orientale 1800". On the bottom of the base, there is a carved out inscription "Chiavari" (Chiavari is a small town in the Province of Genoa, Italy. It has about 28,000 inhabitants. It is situated near the Entella River.

$4,500


American Art Deco

- Child Feeding a Squirel -

Bronze Sculptureby

Rudolph Henn

Ca. 1920's

               

This desk-size sculpture of a naked child feeding a squirrel, was created by the sculptor mostly known for his depictions of children, Rudolph Henn.  In this small sculpture, the artist uses an unusual idea of combining typical Art Deco forms with the bright green patina that gives the work an element of ancient mysticism...

Dimensions:

Height: 5 inches            Width: 2 inches            Depth: 2 inches

                Rudolph Henn (German/American 1880-1955)

                Rudolph Henn  was born in Olsbrücken, Germany. In 1901. Henn studied figural sculpture at the Academy of Applied Arts in Munich, counting Syrius Eberle and Heinrich Waderé among many other famous classmates. In 1907, he worked as a model maker for an ethnographic expedition to the Dutch East Indies. In 1908. after his studies he was freelancing in Munich until 191, when he was drafted as a soldier. After the World War I, Henn moved his workshop to Kaiserslautern and, after his marriage, two of his daughters were born. In 1929, during the Great Depression, the family immigrated to the United States and settled in New York City. Since 1936, Henn was actively involved in the artistic design of the Harlem River Houses residential complex that was developed under the Treasury Relief Art Project. There, he collaborated with Heinz Warnecke with Theodore Barbarossa, Erwin Springweiler and Richmond Barthé. In addition to large-scale monuments in public spaces, Henn continued to create a smaller-scale bronze pieces. Many of his bronze works are of children, including fountain sculptures.

 

$750


American Art Deco

Female Nude

Bronze Sculpture/Paperweight by

Opus Cellini Bronze Works

Ca. 1930

MEASUREMENTS:

Height (with base): 3 3/4 inches     Base thickness: 3/4 inches       Base length: 8 1/4 inches     Base width: 3 15/16 inches

                 This remarkable Art Deco desk-size gild & dark-patinated bronze and marble sculpture/paperweight depicts a comfortably resting beautiful nude female. It is made around 1930 by the famous American founder, Opus Cellini Bronze Works, still active in New York. Many of Cellini works can be found in the collection of Smithsonian American Art Museum. The bronze is marked: "Opus-Cellini", the black marble base is original.

$1,200


American Art Deco

Mother & Child

Bronze Sculpture by

Robert Aitken

Ca. 1920's

The nurturing young mother depicted in the nude, resting on the ground and cradling her infant.

The sculpture is signed by the artist on the plinth of a stepped square base.

 Domensions:

Height: 3 inches          Base: 23/16 x 2 3/16 inches

                Robert Ingersoll Aitken (1878 - 1949)

                A noted American sculptor, Robert Ingersoll Aitken was born in San Francisco and was active/lived in California, New YorkCity and France. He is very well known for classical figure and portrait sculpture. He spent most of his career teaching at the National Academy of Design in New York City. He has done numerous portraits, full size and bust, of well known figures, and his work is in many collections and museums including the Smithsonian Institution and the Museum of Fine Arts in Boston. Aitken studied there at the Mark Hopkins Institute of Art [also called the California School of Design - now the San Francisco Art Institute] with Douglas Tilden. From 1901 until 1904 he was an instructor at the Institute. In 1904 he moved to Paris where he continued his studies. He returned to New York City after his sojourn in Paris and was employed as an instructor at the Art Students League. His works include the Science fountain and Great Rivers statues at the Missouri State Capitol, the "Iron Mike" statue at Parris Island, South Carolina, several military sculptures at West Point, the Temple of Music and the Dewey Monument in San Francisco, California, and sculptural works for the Liberty Memorial in Kansas City, Missouri. Aitken also produced the "Fountain of Earth" for San Francisco's Panama Pacific Exposition. Perhaps his most famous work is the West Pediment of the United States Supreme Court building, which bears the inscription "Equal Justice Under Law". The sculpture, above the entrance to the Supreme Court Building, is of nine figures—Lady Liberty surrounded by figures representing Order, Authority, Council, and Research. These allegorical figures were in fact sculptures of real people who had a role in the creation of the building. Aitken himself is depicted in the pediment, seated to the proper left of Liberty with Chief Justice Charles Evans Hughes. Many of his works were carved by the Piccirilli Brothers, including the pieces for the National Archives Building. Aitken created a stir when he criticized the display and placement of the Venus de Milo. Aitken also enjoyed success as a designer of coins and medals. He sculpted the $50 gold commemorative (round and octagonal) for the Panama-Pacific Exposition of 1915, as well as the official medal of the event. He also created the Missouri Centennial commemorative half dollar of 1921, following it a decade and a half later with the California Pacific International Exposition commemorative half dollar of 1935-1936. In the medallic arena, Aitken sculpted the American Numismatic Society’s 1921 medal commemorating Marshal Foch’s visit to the United States; the 15th issue of the Society of Medalists Omnia Vincit Amor, 1937; the Medal of the National Academy of Design; and the Medal of the National Sculpture Society.

 

$1,500


 

 

Dimensions:

Media:    Patinated bronze, white Carrara marble

Height:   22 3/4 inches

Width:     28 1/2 inches

Depth:    6 3/4 inches

Weight: approximately 150 lbs.

 

 

Artists of the Novecento Italiano art movement:

Giacomo Balla            Anselmo Bucci             Pompeo Borra             Aldo Carpi

Carlo Carrà                 Felice Casorati              Giorgio de Chirico      Raffaele De Grada

Fortunato Depero      Antonio Donghi             Ercole Drei                 Leonardo Dudreville

Achille Funi                  Virgilio Guidi                 Achille Lega               Gian Emilio Malerba

Arturo Martini             Pietro Marussig            Francesco Messina    Giorgio Morandi

Ubaldo Oppi                Renato Paresce           Siro Penagini               Gino Severini

Mario Sironi                Mario Tozzi                   Francesco Trombadori       Adolfo Wildt

 

Novecento Italiano    

Reclining Male Nude

Bronze Sculpture/Paperweight

Ca. 1930

 This rare Novecento Italiano Bronze Sculpture of a Reclining Male Nude is a true masterpiece of Art Deco sculpture, created in 1930's Italy. Monumental in its dimensions and weight yet light in perception and elegant, the strong and muscular figure of a reclining nude half-man - half-god is rendered and founderedof bronze with amazing subtlety, and covered with a black and green patina. The fact that the sculptor's name is unknown, gives this extraordinary work of art an even more mystical significance. Created in the best traditions of one of the strongest Italian art movements of the period, Novecento Italiano, this outstanding work of art is following the formal canons of the Art Deco externally, their art is definitely different from the rest because of a certain spiritual content; glorifying the human spirit and the body to the divine ideal; thus creating a new standard of superman - perfect enough not to need any clothes, to decorate or improve himself. On the contrary, his nakedness exalts him above all. Kenneth McKenzie Clark, Baron Clark (1903 –1983), a world-famous British author, museum director, broadcaster, and one of the best-known art historians and aesthetes of his generation, in his book The Nude, published in 1956, puts it with perfection: "To be naked is to be deprived of our clothes and the word implies some of the embarrassment which most of us feel in that condition. The word nude, on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous and confident body: the body re-formed."

Novecento Italiano art movement was founded by Lino Pesaro, a gallery owner interested in modern art, and Margherita Sarfatti, a writer and art critic who worked on Italian dictator Benito Mussolini’s newspaper, The People of Italy (Il Popolo d'Italia). Margherita Sarfatti was also Mussolini’s mistress. Motivated by a post-war "call to order", they brought a group of artists together, and the new art movement was officially launched in 1923 at an exhibition in Milan; with Mussolini as one of the speakers.  The group in the original lineup was also represented at the Venice Biennale of 1924 in a gallery of its own. After the group finally formed, the new Novecento Italiano staged its first group exhibition in Milan in 1926. Several of the artists were WWI veterans; Sarfatti had lost a son in the war. The group wished to take on the Italian establishment and create an art associated with the rhetoric of Fascism. The artists supported the Fascist regime and their work became associated with the state propaganda department, although Mussolini reprimanded Sarfatti for using his name and the name of Fascism to promote Novecento movement. The name of the movement (which means 1900s) was a deliberate reference to great periods of Italian art in the past, the Quattrocento and Cinquecento (1400s and 1500s).  The group rejected European Avant-garde art and wished to revive the tradition of large format history painting and sculpture in the classical manner. It lacked a precise artistic program and included artists of different styles and temperament, aiming to promote a renewed yet traditional Italian art. The artists of Novecento Italiano would not imitate the world created by God but would be inspired by it. Despite official patronage, Novecento art did not always have an easy ride in Fascist Italy. Mussolini was personally uninterested in art and divided official support among various groups so as to keep artists on the side of the regime. Opening the exhibition of Novecento art in 1923 he declared that “it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view."  The movement was in competition with other pro-Fascist movements, especially Futurism and the regionalist Strapaese movement. Novecento Italiano also met outright opposition. Achille Starace, the General Secretary of the Fascist Party, attacked it in the Fascist daily press and there was virulent criticism of its “un-Italian" qualities by artists and critics. The unity of the group depended much on Sarfatti and it weakened in her absence from Milan. When she lost her influence with Mussolini, the group fell apart and was formally disbanded in 1943.

$35,000


pomona

Massive Art Déco sculpture of Pomona, the ancient Roman goddess of fruit trees, garden and orchards, who watches over, protectsand cares for their cultivation. Associated with the flourishing of the fruit trees, in artistic depictions she is generally shown with a platter of fruit or a cornucopia. A statue of Pomona is set atop the Pulitzer Fountain in Manhattan's Grand Army Plaza in New York City.

  • Date of manufacture : c.1930

  • Period : Art Déco (1920-1939)

  • Country : France

  • Sculptor : Gustave Gillot (1888-1965)

  • Remarks: Stamped: EDITION POMONE

  • Height : 21 inches

  • Width : 6 inches

  • Depth : 4 inches

  • Medium : Bronze

  • Inventory number : S-1930-0005

$5,500


archer

A dynamic depiction of a sportsman, stringing his bow.

  • Date of manufacture : c.1930

  • Period : Art Déco (1920-1939)

  • Country : Western Europe

  • Sculptor : Signed illegibly

  • Height : 13 1/2 inches

  • Width : 8 1/4 inches

  • Depth : 2 3/4 inches

  • Medium : Bronze / Marble

  • Inventory number : S-1930-009

 

 

 

$1,400


relay runner

Relay runner at the starting line of the race.

  • Date of manufacture : c.1930

  • Period : Art Déco (1920-1939)

  • Country : Western Europe

  • Sculptor : Signed illegibly

  • Height : 15 inches

  • Width : 12 inches

  • Depth : 5 3/4 inches

  • Medium : Bronze / Wood

  • Inventory number : S-1930-0010

 

 

 

$1,750


cherub playing a flute

Allegorical figure of cherub playing a flute.

  • Date of manufacture : c.1930

  • Period : Art Déco (1920-1939)

  • Country : Austria

  • Sculptor : Unsigned

  • Remarks: Stamped: AUSTRIA

  • Height : 11 inches

  • Width : 4 3/4 inches

  • Depth : 3 1/2 inches

  • Medium : Bronze / Marble

  • Inventory number : S-1930-0011

 

 

 

 

 

$950

 


This very artistic desk-size sculpture of a naked child, holding a bowl with food, with a crow sitting on his shoulder, who is trying to still it from him, was created by Rudolph Henn (German-American, 1880-1955), the sculptor mostly known for his depictions of children. Bronze and patina are in excellent condition.  In this small sculpture, the artist uses an unusual idea of combining typical Art Deco forms with the bright green patina that gives the work an element of ancient mysticism...

a child fending off a crow

Rudolph Henn  (German/American 1880-1955) was born in Olsbrucken, Germany. In 1901, Henn studied figural sculpture at the Academy of Applied Arts in Munich, counting Syrius Eberle and Heinrich Waderé among many other famous classmates. In 1907, he worked as a model maker for an ethnographic expedition to the Dutch East Indies. In 1908. after his studies he was freelancing in Munich until 191, when he was drafted as a soldier. After the World War I, Henn moved his workshop to Kaiserslautern and, after his marriage, two of his daughters were born. In 1929, during the Great Depression, the family immigrated to the United States and settled in New York City. Since 1936, Henn was actively involved in the artistic design of the Harlem River Houses residential complex that was developed under the Treasury Relief Art Project. There, he collaborated with Heinz Warnecke with Theodore Barbarossa, Erwin Springweiler and Richmond Barthé. In addition to large-scale monuments in public spaces, Henn continued to create a smaller-scale bronze pieces. Many of his bronze works are of children, including fountain sculptures.

  • Date of manufacture : c.1930

  • Period : Art Déco (1920-1939)

  • Country : United States of America

  • Sculptor : Rudolph Henn (German/American 1880-1955)

  • Remarks: Signed by the artist

  • Height : 5 3/8 inches

  • Width : 2 3/8 inches

  • Depth : 1 1/2 inches

  • Medium : Green patinated bronze

  • Inventory number : S-1930-0014

 

 

$950