Ted Gall Art

Fantastic pair of gilt bronze leopard sculptures . The item will be well-suited to either an indoor or outdoor setting.

Signed bronze from small edition of 8. plus 4 artists proofs Dominic Albinski, was born in South Africa, in 1975. He started sculpting, at a young age, at the Art Classes of Mercia Desmond, in Johannesburg. From the start, his talent for capturing movement, and character in his human, and animal figures was remarkable. Dominic had a happy childhood, spending his time in the studio, where he studied art and anatomy, which was later to become one of the major themes of his sculptures. He also spent a lot of time on the South African coast; Durban, North Coast and Cape, Plettenburg Bay and in the bush Kruger Park, Okovango Swamps, Chobe and Pilansberg game reserves. He was a good student, but preferred sculpting in his studio, among his artworks, than studying. After finishing High School (St John’s College), he left for Paris, to start a life of independence, in the French capital, famous for artists like Rodin, Bugatti, Carpeaux, Daumier, Giacometti, and Picasso, who inspired him. He was excepted into the prestigious Institute of Political Science. However, his passion for sculpture, made him choose sculpture as a career. He started studying sculpture at the Academy of Fine Arts in Warsaw, and with the British Sculptor, James Butler in England. Here, he learnt observation and techniques that would stand him in good stead later, when he came back to France, as a Professor of Communication at the renowned Ecole Francaise D’Attache de Presse near the Champs Elysees. He had his first major exhibition at the Arnaud Gallery in Verneuil sur Avre in Normandy. A collector, found interest in his work, and created a vast collection of his bronzes, as well as promoting Dominic in various galleries in the region of Normandy, and Touraine, such as Galerie 21 and Club de Arche de Noe, in Tours and Galerie des Remparts, and Eclat de Verre, in Le Mans. He also exhibited in La Rochelle in the Galerie Hourdin, and Bordeaux at the Galerie des Remparts. During this period he studied Literature at the Sorbonne. In Paris, several galleries took Dominic’s work, including Galerie Arcima, on Rue St Jaques, Galerie Herouet, in the Marais, Galerie Etienne de Causans on rue de Seine, or Galerie Mouvances, on Place des Vosges. Dominic participated in a wildlife exhibition in Trocadero Center, and at the Hotel de Ville of Puteux. His sculpture Madness, was chosen to be exhibited as a finalist at the Brain-Up competition, in the Palais de Congres. This impressive sculpture, measuring 1m 60 is in the collection of the Hospital in Lille, and the Mandela Collection in Sandton South Africa, among other collections. In Poland, he had an exhibition in the Canadian Embassy Residence, in the South African Embassy, and in the French Embassy. His work “Man with Pipe” is in the collection of the Canadian Ambassador. His work “Portrait of Agnes” was acquired by the South African Ambassador who, opened Dominic’s exhibition in the Jagellonian University in Krakow, Holiday Inn, and in Galeria Mokotow, in Warsaw. He had an exhibiton in the Warsaw Financial Center on Emili Platter Street, and in the Sculpture Gallery on Jana Pawla street. Later, he exhibited in the Gallery of the Polish War Museum on Krakowskie Przedmiescie, on Nowy Swiat 44, in the Center of Promotion of Culture, Mazowieckie Center of Culture and in the Jan Nowak Jezorianski Center. His work was showcased in the Napiorkowska Gallery, Zapiecek Gallery on the square of the Old Town in Warsaw, Hunters Gallery, and Warsaw Art Gallery in the Marriot Hotel, and sold on various Auctions, such as Rempex, Agra Art, and Polswiss. Back in South Africa, Dominic had much success among his native art galleries, having his first major exhibition at the Mandela Square Gallery, in Sandton. Art Galleries, hearing of his exhibitions in France, took his work, such as the Cherie de Villiers Gallery, in the Mall, in Rosebank, and the Van den Berg Gallery, in Potchefstroom. Dominic also took his work to the USA, where he exhibited at the Modern Show in New York, and at the Dauphin Descours Gallery on Madison Avenue, and the Yew Tree House Antiques Gallery in New York, as well as the Geary Gallery, in Darion, and the Lions Gallery...

American sculptor Hana Geber (1910 - 1990) She was born in Prague of Czechoslovakian heritage and eventually settled in New York. Her sculptures deal with Jewish themes...

A Surrealist bronze sculpture by Italian artist Lorenzo Quinn depicting a male figure with hands reaching into his chest. Published to benefit the World ...

Apres Pablo Picasso (bears a pseudo signature recto) Hand signed David Stein, dated 1979 verso. Figural painted porcelain or ceramic serving dish, oval form. Dimensions: 18" X 14 David Stein (born Henri Haddad, 1935, Alexandria, Egypt – died 1999, Bordeaux, France) was an artist (notorious art forger) who, until 1966, had been frequently sentenced for theft by the French courts before becoming an art forger and art dealer with 15 aliases. Stein often copied paintings in the style of the masters. For example, he studied Marc Chagall, Matisse, Braque, Paul Klee, Joan Miró, Pablo Picasso, Jean Cocteau and Rouault, in order to copy their color scheme and inspirations. In 1967 Marc Chagall notified authorities of forgeries of his work hanging in a New York gallery, and Stein was arrested. Art dealers refused to cooperate with the prosecution because it would have incriminated them and made their expertise in the art field questionable. Some art collectors refused to give up their paintings as evidence. Stein was convicted of six counts of art forgery and grand larceny. During his prison term, Joseph Stone, the judge who arrested him, brought him to his office to paint. He remained a good friend of the Stein family long after Stein completed his jail sentence. In 1989 he discovered that Stein never stopped making forgeries. After Stein had served his prison term in the United States, he was deported to France where he served another term. Prison authorities allowed him to make further paintings, although now using his own name. In 1969 a London gallery sold some of these paintings. After Stein was released, he returned to painting, this time selling his paintings under his own name to put a mask on his real activities. The book Three Picasso's Before Breakfast (Mémoirs of an Art Forger's Wife) by Anne Marie Stein as told to Georges Carpozi Jr (Hawthorn Book Inc) was written by David's life partner Anne-Marie about their experiences in the art world. In the mid 1980s director Gil Cates gave his agent Arthur Axelman at William Morris a copy of the book which had been written without Stein's involvement. Axelman set out to find Stein and after several years he located him in Manhattan. Stein became an Axelman client and friend. While deals at HBO and ABC did not lead to production of a film, Axelman introduced Stein to Keith Carradine and Alan Rudolph, director of the movie "The Moderns" with ultimately starred John Lone, Géraldine Chaplin, Keith Carradine and Linda Fiorentino. The film was set in the Paris of the '20s although filmed in Montreal. Stein appeared in the film as an art critic and provided all of the art. A minor concern was a scene where a painting in the style of Matisse and Modigliani was to be burned on camera and a Modigliani destroyed by knife. No one cared to destroy any of Stein's copies, "Just good for the camera" say Stein. but a William Morris assistant for agent Axelman suggested making large format copies of the works to be destroyed. Stein refused and during the scene actor John Lone destroyed the Paintings. Stein was living in France after his troubles with the US immigration who had told him to leave US territory in 1988. He met the French photo...

Facile 59 x 30 x 30 cm bronze Facile is a bronze sculpture by Italian contemporary artist Eva Steiner. In her work she focuses on the gracefulness of women. Her sculptures of bronz...

I first realized my love for visual storytelling when I began producing and directing television shows. Starting with the writer’s script, my palette was everything seen through the ...

Bronze on a composite base Series of unique variations Stamped with monogram signature and uniquely numbered 766A Natural bronze is exposed on some highlights of the hand-cut apertur...

Artist: Lee Stoliar, American (1956 - ) Title: Untitled Medium: Bronze Sculpture, signature inscribed Size: 6.5 in. x 7 in. x 9 in. (16.51 cm x 17.78 cm x 22.86 cm)

Silver cast metal sculpture of an American buffalo created by American artist Arnold Goldstein. This artwork has the signature inscribed on the belly.

3 bronze parts on a Cedar of Lebanon base Unique Stamped with monogram signature and uniquely numbered 837 The exposed edges in natural bronze are fin...

"The Test," 1970 Aluminum sculpture in 5 parts. Artist's cipher and AP stamped into male figure, front, 20 5/16" x 12 1/2" x 6 5/7" (approx.) American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. William Dickey King was born in Jacksonville, Florida. As a boy, William made model airplanes and helped his father and older brother build furniture and boats. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacomettis conceived by John Cheever.”