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Selección de esculturas

23 de octubre de 2024 - 28 de febrero de 2025

Virtual

OBRA DE ARTE SOBRE CONSULTAR RECURSOS ADICIONALES ARTISTAS

OBRA DE ARTE

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

Preludio a la devoradora de hombres

59 x 42 x 18 pulg.

chapa, alambre, pintura

Círculo de Animales/Cabezas de Zodíaco: Oro

bronce dorado en 12 partes

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

CAMILLE CLAUDEL

La Vague (La Ola)

24 1/4 x 19 x 24 pulg.

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

Sin título (Totem Pole)

97 x 12 3/8 x 12 3/8 pulg.

óleo sobre lienzo estirado sobre cilindros de cartón

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

Caballo con manta de piel cortada

Dinastía Tang (618-

29 1/2 x 33 x 12 in.

cerámica vidriada

HERB ALPERT - Punta de flecha - bronce - 201 x 48 x 48 in.

Cabeza de flecha

201 x 48 x 48 pulg.

Edición: 3 + 2 AP

Francisco Zúñiga creó esculturas cuando era niño cuando ayudaba a su padre, un escultor local de santos de madera. Se dedicó decididamente a la escultura después de llegar a México desde su Costa Rica natal en 1936 y desarrolló un amplio cuerpo de trabajo basado en la figura que abarcó la talla directa en madera, el modelado en arcilla, la escultura directa sobre piedra dura y la fundición en bronce. "Desnundo Reclinado de Dolores" es un punto de partida en el sentido de que no refleja su interés por el arte precolombino ni su persistencia en representar a mujeres de aspecto indígena con caderas y estómagos exagerados. En cambio, es un tour de force modelado clásicamente de una mujer arrodillada con la cadera rotada y apoyada en el antebrazo que Rodin habría estado orgulloso de haber reclamado como suya.

FRANCISCO ZUNIGA

Desnudo reclinado de Dolores

21 x 43 1/4 x 21 1/2 pulgadas.

bronce con pátina verde

Edición: III/VI

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

Sin título (Escultura sonora)

103 x 16 x 16 pulg.

JOHN CHAMBERLAIN - ASARABACA - papel de aluminio de peso industrial con laca acrílica y resina de poliéster - 20 x 23 x 22 in.

JOHN CHAMBERLAIN

20 x 23 x 22 pulg.

papel de aluminio de peso industrial con laca acrílica y resina de poliéster

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

Mujer con paraguas cuadrado

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

5 7/8 x 41 3/8 x 5 7/8 pulg.

aluminio anodizado extruido

Edición: 12/12

JOAN MIRO - L'Oiseau - bronce y bloque de hormigón - 23 7/8 x 20 x 16 1/8 in.

23 7/8 x 20 x 16 1/8 in.

bronce y bloque de hormigón

Deborah Butterfield ocupa un lugar importante dentro del panteón de los escultores estadounidenses, reconocida por su espíritu pionero y su dominio de diversos medios. Fabricado en acero moldeado, "Beacon" es un testimonio de su audacia y dedicación a superar los límites artísticos. Butterfield aceptó los desafíos de este exigente medio, y es una fusión de innovación y tradición. Con su estética moderna caracterizada por líneas amplias y elegantes, esta escultura de caballo es una fuente de encanto, que invita a los espectadores a un reino donde el arte contemporáneo converge con la belleza atemporal. Beacon honra la gracia clásica de la forma equina y reafirma la posición de Butterfield como un visionario dentro del paisaje de la escultura moderna.

DEBORAH BUTTERFIELD

45 1/2 x 54 x 13 1/2 pulg.

acero conformado y soldado

Hija del escultor minimalista Tony Smith, el arte de Kiki no se limita a un único medio o técnica, y su obra invita a menudo a múltiples interpretaciones. Club encarna la forma y las dimensiones de una pierna humana, elemento esencial para el movimiento y la estabilidad. El título de Smith invita al espectador a reimaginar una pierna como arma y a considerar la fragilidad de la condición humana, la dinámica de poder de la autonomía corporal y la compleja interacción entre fuerza y vulnerabilidad. Esta transformación de una parte del cuerpo en objeto transmite tanto protección como agresión y reflexiona sobre cómo los cuerpos específicos de un género navegan por nuestro entorno social y personal. Club ejemplifica la capacidad de Smith para crear piezas ricas en simbolismo, abiertas a la interpretación y que provocan la reflexión sobre la experiencia humana.

33 x 8 x 6 pulg.

Manuel Neri fue una figura central del movimiento figurativo de la zona de la bahía en la década de 1960. En lugar de las formas abstractas, el grupo hacía hincapié en la emoción a través del poder de la forma humana. La presente obra, "Sin título" (1982), explora la forma femenina a escala real. Neri prefirió trabajar con una sola modelo a lo largo de sus 60 años de carrera, Maria Julia Klimenko. La ausencia de un rostro en muchas de las esculturas añade un elemento de misterio y ambigüedad. El centro de la composición en "Sin título" es la estructura y la forma de la figura. Manuel Neri está representado en numerosas colecciones de museos de todo el mundo, como la Addison Gallery/Phillips Academy; la Colección Anderson de la Universidad de Stanford; el Instituto de Arte de Chicago; el Centro de Arte Cantor de la Universidad de Stanford; el Museo de Arte de Cincinnati; el Museo de Arte Crocker de Sacramento (California); el Museo de Arte de Denver; el Museo de Arte de El Paso (Texas); los Museos de Bellas Artes de San Francisco; los Museos de Arte de la Universidad de Harvard; el Museo y Jardín de Esculturas Hirshhorn de Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, Nueva York y la National Gallery of Art, Washington, DC.

67 x 24 x 26 in.

Cuando un caballo se acuesta, es porque se siente seguro, lo cual, para Deborah Butterfield, es una forma de decir que está bien hacernos vulnerables. "Echo", construida de manera que respeta sus habilidades de búsqueda de alimento y su habilidad para soldar metales, no se adhiere a una representación tradicional de un caballo, sino que revela algo de su naturaleza esencial. Construida a partir de láminas de acero ensambladas, algunas onduladas, otras plegadas o engarzadas, es una pieza que lleva la marca del tiempo, envejecida hasta una pátina marrón óxido, imperfecciones celebradas en lugar de ocultas. La elección deliberada de los materiales y su tratamiento por parte de Butterfield añaden profundidad y carácter, transformando Untitled, Echo en algo más que una simple representación equina: refleja la belleza robusta y la resistencia del animal que representa.

DEBORAH BUTTERFIELD

26 x 107 x 76 pulg.

acero y estaño

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

Sin título (Escultura sonora)

77 x 11 x 11 pulg.

Las primeras obras de papel maché de Manuel Neri abrieron camino en la técnica escultórica, y su enfoque de la pintura de sus esculturas refleja su profundo compromiso con el potencial expresivo del color y la forma. La elección y colocación de los colores en Hombre Colorado II crea una respuesta particularmente visceral que refleja su comprensión matizada de la dimensión psicológica y emocional del color. Conceptualizado y producido en 1958, Hombre Colorado II refleja una época en la que Neri y su esposa Joan Brown estaban involucrados en un rico intercambio artístico de creatividad y contribuyeron significativamente a la evolución de sus respectivos estilos y al Movimiento Figurativo del Área de la Bahía, en el que desempeñaron un papel vital.

Hombre Colorado II

65 1/2 x 27 x 10 pulg.

Deborah Butterfield es una escultora estadounidense, mejor conocida por sus esculturas de caballos hechas de objetos que van desde madera, metal y otros objetos encontrados. La pieza de 1981, Sin título (Caballo), está compuesta por palos y papel sobre armadura de alambre. La impresionante escala de esta pieza crea un efecto notable en persona, presentando un ejemplo sorprendente de la célebre temática de Butterfield. Butterfield originalmente creó los caballos de madera y otros materiales encontrados en su propiedad en Bozeman, Montana y vio a los caballos como un autorretrato metafórico, minando la resonancia emocional de estas formas.

DEBORAH BUTTERFIELD

Sin título (Caballo)

100 x 157 x 36 pulg.

palos y papel sobre armadura de alambre

HERB ALPERT - Vibrato - bronce - 93 x 14 pulg.

A finales de la década de 1990, Manuel Neri comenzó a transformar numerosas esculturas de escayola en bronce, volviendo con frecuencia a obras anteriores para producir nuevas versiones imaginadas de cada pieza. Estas series, casi indistinguibles en forma y superficie, exploran el impacto de diferentes combinaciones de color y marcas que implican diversas acciones, como incisiones, cepillados, raspados o capas de materiales. Experimentando con distintas técnicas de marcado, Neri pudo explorar la interacción entre forma, color, textura y luz. En el contexto de la Figura de pie n.º 3, Neri limitó su paleta a un esquema cromático análogo, diluyendo la pintura para crear sutiles gradaciones que realzan el exterior elegante y refinado de la escultura.

Figura de pie nº 3 sin título

66 3/4 x 19 x 13 1/2 pulg.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Espíritu de la Tierra Sancai-Glásico

Dinastía Tang (618-

47 1/4 x 14 x 14 in.

cerámica vidriada

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

Caballo glaseado Sancai

Dinastía Tang (618-

25 x 26 x 9 pulg.

cerámica vidriada

CHINO - Figura de madera taoísta - madera lacada y pintada - 47 x 20 x 19 in.

Figura de madera taoísta

47 x 20 x 19 in.

madera lacada y pintada

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

Sin título (Escultura sonora)

48 x 15 3/4 x 8 pulg.

MARC QUINN - Lovebomb - foto laminado sobre aluminio - 108 1/4 x 71 3/4 x 37 3/4 in.

108 1/4 x 71 3/4 x 37 3/4 in.

laminado fotográfico sobre aluminio

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div><br><br><div><font size=3> </font></div><br><br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

Sin título (Escultura sonora)

40 1/2 x 8 x 8 pulg.

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

Ocho líneas II---Boceto para veinticuatro líneas

57 3/4 x 54 x 54 pulg.

acero inoxidable

La dinastía Liao, también conocida como Imperio Khitan, fue un imperio del norte de China que gobernó las regiones de Manchuria, Mongolia y partes del norte de China propiamente dicho. Fue fundada por la familia Yelü del pueblo Khitan en los últimos años de la dinastía Tang, aunque su primer gobernante, Yelü Abaoji, no declaró el nombre de la era hasta el año 916. El Imperio Liao fue destruido por los Jurchen de la Dinastía Jin en 1125. Sin embargo, los restos de su pueblo, liderados por Yelu Dashi, establecieron la dinastía Xi (occidental) de Liao 1125-1220, también conocida como Janato de Kara-Khitan, que sobrevivió hasta la llegada de la caballería mongola de Gengis Kan.

Adorno de procesión

Dinastía Liao, 907-

22 1/2 x 10 x 8 1/4 in.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Espíritu de la Tierra Sancai-Glásico

Altura: 44 pulg.

cerámica vidriada

SETH KAUFMAN - Lignum Spire - bronce con pátina verde - 103 1/2 x 22 x 17 in.

103 1/2 x 22 x 17 in.

bronce con pátina verde

KHMER - Torso masculino - arenisca - 24 x 9 x 5 in.

Torso masculino

24 x 9 x 5 pulg.

Piedra arenisca

Cylindrical offering posts, ai tos, are erected as offerings to distant ancestors. This post has two faces and represents the first ancestral pair. The people of Belu, also called Tetum, recognize three types of offering pole; ai tos, for distant progenitors, sometimes described as gods; foho, for intermediary beings; and lor, for the recently deported.<br><br>Many offerings are brought to the ai tos. When a carving is first finished, rice and a pig are sacrificed. Later, to inaugurate the post there are massive offerings from the village. At regular intervals the post is dressed in fine clothing, even an artificial beard, and food is brought to the ancestor, bei.

Oferta Post- Aitos

43 1/2 x 11 x 12 pulg.

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

SUDESTE ASIÁTICO

Campana tailandesa

Cultura Dongson (1

22 1/2 x 12 x 10 pulg.

ALERTA DE HIERBAS - Guerrero - bronce - 35 x 12 x 12 in.

35 x 12 x 12 pulg.

Edición: 6 + 2 AP

AI WEIWEI - Sillas "Fairytale" - madera - 49 x 45 x 17 1/2 in.

Sillas "Fairytale" (cuento de hadas)

49 x 45 x 17 1/2 in.

FELIPE CASTANEDA - Pensando - mármol - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

11 1/2 x 7 x 7 pulg.

Escena de una procesión real en un templo medieval de la India. El jinete central lleva un casco adornado, o corona, indicativo de su estatus real. Le acompañan a ambos lados dos compañeros, que se giran hacia él en señal de deferencia. En el friso, detrás de los jinetes, un grupo de seguidores observa la procesión. El escultor ha transmitido una sensación de profundidad al situar a los seguidores en un saliente detrás de las figuras principales y al reducir la escala de estas figuras secundarias. Aunque esta técnica carece de la sofisticación de, por ejemplo, los frisos grecorromanos clásicos, el artista consigue una sensación de profundidad y perspectiva, al tiempo que proporciona espacio para representar los caballos y las figuras centrales de forma voluminosa. Además, el escultor muestra una habilidad especial en el trabajo de detalle de las sillas de montar y los arneses de los caballos, así como en las botas y las polainas de los jinetes.

Procesión con caballos

Anchura: 23 pulg.

CHINO - Sancai-Oficial - cerámica vidriada - Altura: 34 in.

Sancai-Glazed Oficial

Tang Dyansty (618-

Altura: 34 pulg.

cerámica vidriada

Provenance: <br>Heather James, CA<br>Private collection, NV (acquired from above May, 2000)

Lingbi - Roca del erudito de un agujero

Finales de la dinastía Qing

41 1/4 x 14 x 13 pulg.

piedra sobre base de madera

CHINO - Camello - cerámica de barro pintado - 11 x 22 x 10 in.

Dinastía Tang (618-

11 x 22 x 10 pulg.

cerámica de barro pintada

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - arcilla pintada - 16 x 14 x 14 in.

NATIVO AMERICANO

Tarro Socorro Negro sobre Blanco

c. 1100-1250 D.C.

16 x 14 x 14 pulg.

arcilla pintada

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures. <br><br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues. <br><br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

PUERTA GRAINARIA

INDONESIO - Máscara Hudog - madera - 25 x 22 x 9 in.

Principios del siglo XX

25 x 22 x 9 pulg.

Los chamanes llevan la máscara Hudog para curar a los pacientes restaurando sus almas errantes o para repeler a los espíritus malignos. Las máscaras también se llevarían durante ceremonias agrícolas cuyos ritos aseguran la fecundidad de la tierra y de las mujeres.

Altura: 20 pulg.

madera y pigmento con rara piel de leopardo de las nubes encima

DAVID MORRIS - Horn Plenty 2 - polímero niquelado sobre una base de piedra fundida - 18 1/2 x 9 1/4 x 11 in.

Bocina Plenty 2

18 1/2 x 9 1/4 x 11 pulg.

polímero niquelado sobre una base de piedra artificial

DAVID MACH - Cabeza de cerilla (cabeza larga negra grande con engranaje de cabeza) - cerilla - 12 1/2 x 6 1/2 x 6 in.

Cabeza de cerilla (cabeza larga negra grande con tocado)

12 1/2 x 6 1/2 x 6 in.

CHINO - Figura "Palo" - cerámica pintada - Altura: 23 1/2 in.

"Figura de palo

Dinastía Han (206 a.C.)

Altura: 23 1/2 in.

cerámica pintada

CHINO - Figura "Palo" - cerámica pintada - Altura: 24 1/2 in.

"Figura de palo

Dinastía Han (206 a.C.)

Altura: 24 1/2 pulg.

cerámica pintada

La estatuaria kulango es poco común y a menudo se presenta como derivada del arte lobi y fuertemente influenciada por él. Las figuras, asociadas a los muertos, son seres a medio camino entre los espíritus y las personas, y pueden representar a los muertos, los fantasmas o los espíritus de los arbustos. Las figuras presiden los ritos de fundación, esenciales para obtener protección para los nuevos hogares. También las utilizaban los adivinos y los líderes del culto familiar.

Figura femenina

17 x 2 1/2 x 3 pulg.

AFRICANO - Máscara facial con pelo - madera, pelo, pigmentos

Mascarilla facial con pelo

madera, pelo, pigmentos

ACERCA DE

Bienvenido a un extraordinario viaje a través del tiempo y la cultura, tal y como se presenta en esta exposición de esculturas comisariada en línea. Abarcando siglos y continentes, esta colección celebra la creatividad sin límites de artistas y artesanos. Desde las exploraciones modernistas de Alexander Calder en formas cinéticas, las provocaciones contemporáneas de Al Weiwei y la elegancia orgánica de las esculturas sonoras de Bertoia, cada pieza invita a detenerse y reflexionar. Descubra tesoros antiguos como un caballo esmaltado Sancai de la dinastía Tang, figuras taoístas intemporales y máscaras ceremoniales africanas. Maestros de renombre, como Camille Claudel, Robert Indiana y John Chamberlain, dan vida a sus visiones únicas a través de diversos materiales y estilos. Esta colección combina lo antiguo con lo moderno, mostrando el perdurable poder del arte para dar forma, inspirar y cautivar. Tanto si es un avezado amante del arte como un curioso explorador, le invitamos a descubrir las historias esculpidas en cada obra.

"El Primer Ministro británico Winston Churchill habla con el Presidente Franklin D. Roosevelt tras su llegada para asistir a la Conferencia de Yalta", Archivos Nacionales, Colección HST-PHC: Colección de fotografías, NAID 350297201

"El Primer Ministro británico Winston Churchill habla con el Presidente Franklin D. Roosevelt tras su llegada para asistir a la Conferencia de Yalta", Archivos Nacionales, Colección HST-PHC: Colección de fotografías, NAID 350297201

"Sir Winston Leonard Spencer Churchill, 1874-1965", Biblioteca del Congreso, Impresiones

"Sir Winston Leonard Spencer Churchill, 1874-1965", Biblioteca del Congreso, División de Impresiones y Fotografías, LC-USZ62-49656

"Winston Churchill", Archivos Nacionales, NAID 213259596

"Winston Churchill", Archivos Nacionales, NAID 213259596

CONSULTAR

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ARTISTAS

AFRICANO - Máscara facial con pelo - madera, pelo, pigmentos

AI WEIWEI - Sillas "Fairytale" - madera - 49 x 45 x 17 1/2 in.

HERB ALPERT - Punta de flecha - bronce - 201 x 48 x 48 in.

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

Deborah Butterfield ocupa un lugar importante dentro del panteón de los escultores estadounidenses, reconocida por su espíritu pionero y su dominio de diversos medios. Fabricado en acero moldeado, "Beacon" es un testimonio de su audacia y dedicación a superar los límites artísticos. Butterfield aceptó los desafíos de este exigente medio, y es una fusión de innovación y tradición. Con su estética moderna caracterizada por líneas amplias y elegantes, esta escultura de caballo es una fuente de encanto, que invita a los espectadores a un reino donde el arte contemporáneo converge con la belleza atemporal. Beacon honra la gracia clásica de la forma equina y reafirma la posición de Butterfield como un visionario dentro del paisaje de la escultura moderna.

deborah butterfield

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

alexander calder

FELIPE CASTANEDA - Mujer en Reposo - bronce - 14 x 9 x 15 3/4 in.

FELIPE CASTANEDA

JOHN CHAMBERLAIN - ASARABACA - papel de aluminio de peso industrial con laca acrílica y resina de poliéster - 20 x 23 x 22 in.

john chamberlain

CHINO - Figura "Palo" - cerámica pintada - Altura: 24 1/2 in.

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

camille claudel

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

elaine de kooning

Escena de una procesión real en un templo medieval de la India. El jinete central lleva un casco adornado, o corona, indicativo de su estatus real. Le acompañan a ambos lados dos compañeros, que se giran hacia él en señal de deferencia. En el friso, detrás de los jinetes, un grupo de seguidores observa la procesión. El escultor ha transmitido una sensación de profundidad al situar a los seguidores en un saliente detrás de las figuras principales y al reducir la escala de estas figuras secundarias. Aunque esta técnica carece de la sofisticación de, por ejemplo, los frisos grecorromanos clásicos, el artista consigue una sensación de profundidad y perspectiva, al tiempo que proporciona espacio para representar los caballos y las figuras centrales de forma voluminosa. Además, el escultor muestra una habilidad especial en el trabajo de detalle de las sillas de montar y los arneses de los caballos, así como en las botas y las polainas de los jinetes.

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures. <br><br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues. <br><br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

SETH KAUFMAN - Lignum Spire - bronce con pátina verde - 103 1/2 x 22 x 17 in.

KHMER - Cabeza de Avalokiteshvara - arenisca gris - 13 x 7 x 7 in.

DAVID MACH - Cabeza de cerilla (cabeza larga negra grande con engranaje de cabeza) - cerilla - 12 1/2 x 6 1/2 x 6 in.

DAVID MACH

JOAN MIRO - L'Oiseau - bronce y bloque de hormigón - 23 7/8 x 20 x 16 1/8 in.

DAVID MORRIS - Horn Plenty 2 - polímero niquelado sobre una base de piedra fundida - 18 1/2 x 9 1/4 x 11 in.

DAVID MORRIS

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - arcilla pintada - 16 x 14 x 14 in.

nativo americano

Las primeras obras de papel maché de Manuel Neri abrieron camino en la técnica escultórica, y su enfoque de la pintura de sus esculturas refleja su profundo compromiso con el potencial expresivo del color y la forma. La elección y colocación de los colores en Hombre Colorado II crea una respuesta particularmente visceral que refleja su comprensión matizada de la dimensión psicológica y emocional del color. Conceptualizado y producido en 1958, Hombre Colorado II refleja una época en la que Neri y su esposa Joan Brown estaban involucrados en un rico intercambio artístico de creatividad y contribuyeron significativamente a la evolución de sus respectivos estilos y al Movimiento Figurativo del Área de la Bahía, en el que desempeñaron un papel vital.

MARC QUINN - Lovebomb - foto laminado sobre aluminio - 108 1/4 x 71 3/4 x 37 3/4 in.

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

Hija del escultor minimalista Tony Smith, el arte de Kiki no se limita a un único medio o técnica, y su obra invita a menudo a múltiples interpretaciones. Club encarna la forma y las dimensiones de una pierna humana, elemento esencial para el movimiento y la estabilidad. El título de Smith invita al espectador a reimaginar una pierna como arma y a considerar la fragilidad de la condición humana, la dinámica de poder de la autonomía corporal y la compleja interacción entre fuerza y vulnerabilidad. Esta transformación de una parte del cuerpo en objeto transmite tanto protección como agresión y reflexiona sobre cómo los cuerpos específicos de un género navegan por nuestro entorno social y personal. Club ejemplifica la capacidad de Smith para crear piezas ricas en simbolismo, abiertas a la interpretación y que provocan la reflexión sobre la experiencia humana.

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

sureste asiático

Francisco Zúñiga creó esculturas cuando era niño cuando ayudaba a su padre, un escultor local de santos de madera. Se dedicó decididamente a la escultura después de llegar a México desde su Costa Rica natal en 1936 y desarrolló un amplio cuerpo de trabajo basado en la figura que abarcó la talla directa en madera, el modelado en arcilla, la escultura directa sobre piedra dura y la fundición en bronce. "Desnundo Reclinado de Dolores" es un punto de partida en el sentido de que no refleja su interés por el arte precolombino ni su persistencia en representar a mujeres de aspecto indígena con caderas y estómagos exagerados. En cambio, es un tour de force modelado clásicamente de una mujer arrodillada con la cadera rotada y apoyada en el antebrazo que Rodin habría estado orgulloso de haber reclamado como suya.

francisco zúñiga

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Educación

La educación es de suma importancia en Heather James Art Advisory. Tanto si eres un coleccionista experimentado como si acabas de empezar, nuestro objetivo es crecer con nuestros clientes y creemos plenamente en proporcionar información y conocimientos para ayudar a nuestros clientes a aprender y cultivar sus intereses artísticos.

Curación

Heather James Art Advisory aporta décadas de experiencia curatorial con la orientación de nuestro personal curatorial senior que ha organizado exposiciones a nivel mundial en museos, galerías y residencias privadas. Aunando elementos estéticos e históricos del arte, ayudaremos a que su colección y su hogar reflejen sus intereses artísticos.

Logística

HJ Art Advisory proporciona una logística completa a la hora de manipular, transportar y supervisar las obras de arte de nuestros clientes. Nuestra supervisión abarca todos los aspectos del cuidado de las obras de arte. Supervisamos cada paso del proceso de transporte, instalación y almacenamiento de las obras de arte. Asesoramos y facilitamos el diseño del marco, la iluminación, los requisitos de seguridad, la conservación y la evaluación del estado.

Documentación

A la hora de comprar obras de arte, HJ Art Advisory investiga la procedencia de la obra y solicita declaraciones y garantías al vendedor de que éste posee un título válido y de que el objeto está libre de cargas, reclamaciones y gravámenes.
HJ Art Advisory solicitará una indemnización por el reembolso íntegro de la obra de arte en caso de incumplimiento de la garantía (¿es posible incluir esta línea?).
Ventas privadas y proceso de subasta: La información crítica a capturar incluye: Artista, Título de la obra, Fecha, Medio, Dimensiones, Precio, Imagen, Entidad oferente, Procedencia, Certificados, Factura (cuando sea posible), Informe de estado, Gravámenes, Litigios, Título de propiedad.

Préstamos para museos

Heather James ha tenido el honor de facilitar préstamos a los mejores museos de todo el mundo, como el MoMA o el Centro Pompidou, entre otros. HJ Art Advisory se encarga de todo el papeleo y la logística necesarios para nuestros coleccionistas que deciden prestar una obra de arte para una exposición en un museo.

Autenticación

HJ Art Advisory mantiene los más altos estándares de diligencia debida a través de la indagación, la investigación y la procedencia de los objetos antes de la adquisición para determinar que se puede obtener un título claro. Dicha investigación incluye, pero no se limita a, determinar:

Historial de propiedad del objeto
Países en los que se ha localizado el objeto y cuándo.
Historia de la exposición del objeto
Historial de publicación del objeto
Cualquier reclamación objeto de propiedad si se han hecho
Bases de datos de objetos robados relevantes para el objeto
Las circunstancias en las que se ofrece el objeto
Fuentes de investigación pertinentes, entre ellas El Registro ArtLoss u otras bases de datos.
Declaraciones de garantía e indemnización del vendedor, asegurando que el vendedor tiene un título válido y que el objeto está libre de cargas, reclamaciones y gravámenes.
Investigación y documentación sobre la época nazi y la Segunda Guerra Mundial siguiendo las directrices relativas a la adquisición de objetos que puedan haber estado en la Europa ocupada por Alemania entre 1933 y 1945.

Finanzas

HJ Art Advisory ayuda a sus clientes con préstamos respaldados por activos, adquisición de obras de arte para fideicomisos y planificación patrimonial. Ofrecemos nuestra experiencia en el mercado del arte para posicionar mejor a nuestros clientes a la hora de tomar decisiones para su colección. Trabajamos con patrimonios, equipos jurídicos y asesores financieros para apoyar mejor a nuestros clientes y sus objetivos.
Heather James Fine Art no es un asesor registrado de inversiones, legal o fiscal. Todas las opiniones financieras y de inversión expresadas por Heather James Fine Art son opiniones basadas en investigaciones personales. Rentabilidades pasadas no garantizan rentabilidades futuras, ni son necesariamente indicativas de rentabilidades futuras.

Ventas y adquisiciones

HJ Art Advisory se centra en la búsqueda de obras de arte para posibles adquisiciones en ventas privadas, casas de subastas y encargos de artistas. HJ Art Advisory supervisa continuamente el mercado privado y público en busca de obras de arte significativas que pertenezcan a los intereses de nuestros clientes y que puedan enriquecer sus colecciones. Negociamos la venta o el precio de venta en nombre de un coleccionista con el fin de lograr el mejor acuerdo posible para nuestros clientes.

Valor y seguro

El grupo HJ Art Advisory evalúa y valora colecciones de arte para su tasación en seguros, adquisición y cesión. Esto implica una investigación en profundidad del análisis del mercado del arte privado y público para determinar el valor.

Conocimientos

HJ Art Advisory trabaja con, y en nombre de, clientes que están desarrollando nuevas colecciones o con colecciones bien establecidas, proporcionándoles asesoramiento y una oferta de servicios en profundidad. Nuestros amplios conocimientos y experiencia, junto con muchos años en el negocio del arte, sitúan a nuestro personal altamente cualificado y experimentado para proporcionar orientación y dirección en múltiples niveles.

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