Gerard Cambon Figurative Sculptures

To Chicago-based artist Patrick Fitzgerald, his sculptures are a means of traveling through time. Working from found materials, Fitzgerald constructs miniature soap box cars...

Nayla Saroufim’s contemporary sculptures translate optimism into form. Her works feel playful at first glance, then quietly persistent the longer you live with them. Working in metal...

C. Jeré ( or Curtis Jere) is a metalwork artist of wall sculptures and household accessories. C. Jeré works are made by Artisan House. Curtis Jer...

Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style...

SALE ONE WEEK ONLY “Santa Cruz de las Huertas Jalisco” is a whimsical, charming and colorfully ceramic rendition painted blue and red of a local bus that traversed the town where the artist Candelario Medrano...

A VERY rare Tigre (TIGER) Dance Mask Zitlala Guerrero, Mexico. Anonymous Deep Yellow Tigre Dance Mask. Early 20th C. Zitlala Guerrero, Mexico. Painted leather and fur. Museum-quality...

Unidentified/Unknown Artist, "19th/20th Century Wood Carved Bust & Head", Folk Art Wooden Sculpture, 10.50 x 6.50 x 2.50, 19/20th Century

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...

3 Carved Wood Plaques Outsider Modern Mid 20th Century Latin Gay Male LGBT Beefcake Each plaque is 16 x 10 x 1 1/4 inches. Two are vertical and one is horizo...

ALTERATION ART . . . is a collaboration process between Rick Wolfryd, fine artist and art dealer with over 40 years experience, and various Mexican Huichol artists and Mexican Huicho...

This work is hand signed. It is not dated. Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre was known for his recycling of surplus steel oil drum lids. Brierre worked as a brick mason, cabinetmaker, tile setter, and blacksmith. He was born in Mirebalais or Port-au-Prince, Haiti and was the younger of two brothers. His older brother, Edgar Brierre, was a painter and sculptor. The brother's signed their works with only their last name, creating some confusion within their professional circles about the authorship of their work. Brierre's sculptures typically ranged from three to six feet in length and reflected Christian, Haitian Vodou, and folklore themes. Brierre was also a painter, but ultimately chose to work with metal because he felt that the material was saturated with spiritual energy. It was a laborious process. The oil drum lids were hammered flat, drawn onto, then cut with a razor. The sheet was then cut with a chisel before finishing was completed with a file. By the mid1970s, Brierre's sculptures included pronounced areas of cut outs surrounding long curved lines of metal. Brierre's iron sculpture titled Chien de Mer overlays a dog head onto the body of a fish. Haiti has long celebrated a rich artistic and cultural heritage. Georges Liautaud (1899–1991) ignited the Haitian metal sculpture movement in the 1950s in Croix-des-Bouquets, Haiti. A blacksmith by trade, he fashioned crosses for public cemeteries before creating more elaborate cut-metal works. Liautaud disseminated the distinctly Haitian art form to emerging artists, such as Murat Brièrre (1938–88) and the Louisjuste brothers, Sérésier, Janvier, and Joseph (1940–89). They, in turn, taught others in Croix-des-Bouquets, including Gabriel Bien-Aimé (b. 1951) and Serge Jolimeau (b. 1952), Haiti’s two leading metal sculptors working today. Discarded steel oil drums have historically served as the base material for Haitian metal artists. The drums’ lids are cut open with a chisel and hammer and a long vertical split is made along the side of the drums. The interiors are filled with dried sugarcane or grass and lit on fire to remove any grime; once cool, the drums are flattened into sheets. Designs are chalked on; pieces are then cut and sculpted using only hand tools and further enhanced by hammering, embossing, cutting holes, and bending the metal. Sculptures reflect everyday life portraits, imaginative themes, and motifs of Haitian Vodou, an African Diasporic religion. Some of the many forms that appear include angels and winged creatures, mermaids and other aquatic figures, musical bands, animals, and earthly, paradisiacal scenes. Solo exhibitions 1967 – Haitian Art Gallery, New York 1968 – Centre d'Art, Port-au-Prince, Haiti; Bradley Galleries, Milwaukee, Wisconsin; Georgetown Graphics Gallery, Washington D.C.; Menschoff Gallery, Chicago; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Roko Gallery, New York 1969 – Centre d'Art, Port-au-Prince, Haiti; Showcase Gallery, Washington D.C.; Botolph Group, Boston 1970 – Centre d'Art, Port-au-Prince, Haiti 1972 – Centre d'Art, Port-au-Prince, Haiti; Roko Gallery, New York 1979 – Areta Contemporary Design, Boston Group exhibitions 1969 – Davenport Art Gallery, Iowa 1974 – Davenport Art Gallery, Iowa 1978 – Brooklyn Museum, New York (traveling) 1982 – Studio Museum in Harlem, New York 1983 – Chicago Public Library Cultural Center 1985 – Davenport Art Gallery, Iowa 1987 – Musée du Panthéon National, Port-au-Prince, Haiti 1988 – Galeries Nationales d'Exposition du Grand Palais, Paris 1989 – Museum of Art, Ft. Lauderdale, Florida 2006 – Phyllis Kind Gallery in conjunction with the Outsider Art Fair, New York 2024 Ayiti Toma II: Faith, Family, and Resistance, Luhring Augustine, Tribeca, New York 2023 Haitian Metal Sculpture, SFO Museum, California, USA 2015 Celebrating African American Art, Flomenhaft Gallery, Chelsea, New York, USA An important exhibition of works by outstanding African American artists. Included were: Emma Amos, Benny Andrews, Romare Bearden, Murat Brierre, Beverly Buchanan...

An original work by Noche Crist (1909- 2004). Titled "Femme Fatale" and signed on reverse. Wonderful work made with cut wood, paint and plaster. Noche Crist imbued her cutouts with...