Alfred Van Loen

Liberty vs Slavery Van Loen Bronze Abstract Chess Set Modernist Museum Sculpture

c.1960's

Aharon Bezalel (Afghani-Israeli, 1925-2012) 1984 Edition 4/9 Family Grouping Hand signed in Hebrew with initials and in English Movable figures that fit together like puzzle pieces in solid cast bronze with original patina on a lucite bench base. 23 X 19 X 6 base is 24 X 6 X 6 Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

Aharon Bezalel (Afghani-Israeli, 1925-2012) Family Grouping Hand signed in with initials in English Figures fit together like puzzle pieces in solid cast bronze with original patina. Aharon Bezalel (born Afghanistan 1926) Born in Herat, Afghanistan in 1926 and immigrated to Israel at an early age. His father, Reuven Bezalel, was a rabbi and kabbalist. As a youth Aharon studied gold and silver casting as well as applied arts and worked in these fields as a silversmith and judaica craftsman, and was a student of the sculptor Zev Ben-Zvi at the Bezalel Academy for Art & Design where he also studied with Isidor Ascheim and Mordecai Ardon. There he absorbed the basic concepts of classic and modernist art and interpreted, according to them, ideas based on ancient Hebrew sources. He also studied miniature carving with the artists Martin and Helga Rost applying himself at their workshop. Aharon Bezalel worked and resided in Jerusalem, he taught art for many years. His sculptures - works of wood, bronze, aluminum, Plexiglas - were shown at his studio in Ein Kerem. “I saw myself as part of this region. I wanted to find the contact between my art and my surroundings. Those were the first years of Jean Piro’s excavations at the Beer-Sheba mound. They found there, for example, the Canaanite figurines that I especially liked and that were an element that connected me with the past and with this place.” “…a seed and sperm or male and female. These continue life. The singular, the individual alone, cannot exist; I learned this from my father who dabbled with the Kabbalah.” (Aharon Bezalel, excerpt from an interview with David Gerstein) “The singular in Aharon Bezalel’s work is always potentially a couple if not a threesome, the one is also the many: when the individual is revealed within the group he will always seek a huddling, a clinging together. The principle of modular construction is required by this perception of unity and multiplicity, as modular construction in his work is an act of conception or defense. His work bears a similarity to Berrocal as well as affinities to Henry Moore, Lynne Chadwick and Kenneth Armitage. Two poles of unity, potentially alone, exist in A. Bezalel’s world: From a formal, sculptural sense these are the sphere and pillar, metaphorically these are the female in the final stages of pregnancy and the solitary male individual. Sphere-seed-woman; Pillar-strand-man. The disproportional, small heads in A. Bezalel figures leave humankind in it’s primal physical capacity. The woman as a pregnancy or hips, the man as an aggressive or defensive force, the elongated chest serves as a phallus and weapon simultaneously. (Gideon Ofrat) EIN HAROD About the Museum's Holdings: Israeli art is represented by the works of Reuven Rubin, Zaritzky, Nahum Gutman...

Miriam Sommerburg (American female artist, born Germany, Hamburg, 1900–1980 New York) Modernist Wood Carved Sculpture, Carving depictin...

Mathias Goeritz (German Mexican, 1915-1990) Bronze sculpture Signed and numbered Dimensions: (approximate) Height: 10 inches, Width: 4 inches, Depth: 2 inches. This is a cast bronze sculpture in an amorphous figure shape, quite heavy. Reminiscent of the biomorphic sculpture of Hans Jean Arp. This came from an estate and bears his signature It is not dated. there is no accompanying documentation. it is priced accordingly. Werner Mathias Goeritz Brunner (Danzig, Germany, April 4th, 1915/ now Gdansk, Poland – Mexico City, Mexico; August 4th, 1990). Mathias Goeritz has had several gallery and museum exhibitions, including at the Museo Nacional Centro de Arte Reina Sofía and at the Museo Experimental El Eco. Numerous works by the artist have been sold at auction, including 'MENSAJE' sold at Sotheby's New York 'Latin American Modern Art' in 2015 for $466,000. There have been Several articles about Mathias Goeritz, including 'LACMA remaps Latin America' written by Suzanne Muchnic for the Los Angeles Times. Painter, sculptor and Mexican architect associated with the trend of constructive abstraction. He studied medicine at the University of Berlin, but this only lasted a year. The concerns of the young student were aesthetic in nature so he he studied figurative drawing at the Berlin Charlottenburg School of Art. Some of his friends and colleagues were the sculptor Ernst Barlach, painter George Grosz and draughtsman Kaethe Kollwitz. Goeritz studied philosophy and history of art, discipline in which earned a doctorate. He travelled in France, Switzerland, Czechoslovakia, Poland, Austria and Italy, among other countries. It is known that he left Germany to live in Tetuan, Morocco in 1941 and then Granada, Spain in 1945. In 1946 he had a large exhibition in the Sala Clan in Madrid under the pseudonym "Mago". Two years later, living in Santilla del Mar, Spain he was a founder of the Escuela de Altamira. The following year he married Marianne Gast, writer and his companion for more than fifteen years. In Spain followed his artistic work by important artists of the avant-garde. Of Jewish descent, he found refuge from the Second World War in Mexico where in 1949 he was invited by Ignacio Diaz Morales to be a part of the faculty of the School of Architecture at the Universidad de Jalisco. In 1953 he wrote the "Manifiesto de la Arquitectura Emocional" (The Emotional Architecture Manifesto), where he points out that only achieving true emotions from architecture can it then be considered an art form. In Mexico he entered controversy with the artistic stablishment of that country; in an open letter, Diego Rivera and David Alfaro Siqueiros described him as "an impostor without the most insignificant talent and preparation" to be an artist. Despite this, in 1957 he was elected director of visual design of the National School of architecture This same year he founded the Museo del Eco in Mexico City. In 1961 Goeritz participated at the Galería Antonio Souza in a group exhibition, Los hartos, for which he published another manifesto. Other participants included Jose Luis Cuevas and Pedro Friedeberg, with whom he was instrumental in establishing abstraction and other modern trends in Mexico.His work is included in the Gelman Collection of modern and contemporary Mexican art based in Cuernavaca, Mexico. Established by Jacques and Natasha Gelman in 1943 as a private collection. it includes many iconic works by major Mexican Modernists including Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, Leonora Carrington, Rufino Tamayo and Francisco Toledo, Lola Alvarez...

Arman, French American (1928-2005) Gambit (Chess pieces) Cast Bronze Sculpture with patina Incised signature near lower edge, 48/70 with impressed "Bronze Romain & Fils" foundry ma...

Benedict Tatti (1917-1993) worked in New York city as a sculptor, painter, educator, and video artist. He studied stone and wood carving under Louis Slobodkin at the Roerich Museum. He later attended the Leonardo da Vinci School of Art studying under Attilio Piccirelli. In l939 he taught adult classes with the Teachers Project of the WPA and attended the Art Students League for three and a half years on full scholarship. He studied under William Zorach and Ossip Zadkine and later became Zorach’s assistant. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City. Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage architecture sculptures, using bronze metal and other industrial materials. He was included in the important show "Aspects de la Sculpture Americaine", at Galerie Claude Bernard Paris, France, in October 1960 along with Ibram Lassaw, Theodore Roszak, David Smith, Louise Bourgeois, Danese Corey, Dorothy Dehner, Lin Emery...

Inspired by the writings of historian Yuval Noah Harari, Homo Deus creates a vision of the future: of Man physically transformed by new technologies to the point of attaining a statu...

Zulu Warrior in Bronze with traditional patina. Limited edition of 24 (signed & numbered), Sculpture in Bronze Verdigris on Sandstone base. Height 70 cm including base. My art is ins...

Maasai Warrior in Bronze Verdigris on Sandstone base, limited edition of 24 (signed and numbered); H 76 cm including base. Having been a professional safari guide, my art is influenc...

My interpretation of a Samburu herdsman stands as a sentinel of tradition, his life a tapestry woven with the threads of pastoral wisdom and the enduring spirit of the African savannah. The Samburu people of Kenya possess a deeply symbiotic relationship with elephants, observing and understanding them in remarkable ways that mirror their own societal structures. They share a common matriarchal social system with elephants, where both Samburu and elephant herds are led by a female elder who holds the knowledge and responsibility for the group's survival. This unique parallel has fostered a profound respect and protection for these majestic creatures within the Samburu culture. Samburu Herdsman, Limited edition of 24, Bronze sculpture on sandstone base in Bronze Verdigris, Height 65 cm including Sandstone base. Bronze sculpture using the lost was method. My art is inspired by Africa and it’s magnificent wildlife and people. My figurative East African tribal sculpture...

Zulu Warrior in Bronze Verdigris, limited edition of 24 (signed & numbered), Sculpture in Bronze Verdigris on Sandstone base. Height 70 cm including base. My art is inspired by Afric...

Evocative figurative abstract sculpture of the head of a tribal creature by Nathaniel Sirles (American, b. 1954). Signed and dated "N. Sirles 1970" on the bottom. Sirles completed th...