Thin, double-side, H-shaped bronze sculpture. Each side is made up of a collection of rough rectangle shapes overlapping and butting up against one another. Two rectangle-shaped openings penetrate the piece.
The artist is interested in the synthesis between idea, material, and form in abstract sculpture.
A naturalistic rendering of a human face. Eyes carved in relief are convex and almond-shaped with narrow slits and are placed in round, concave eye sockets. Nose is slender at the bridge and rounded at the tip. The horizontal mouth is partially opened. Half rounded ears display metal loops. The "hair" is attached with a cloth headband high on forehead and is made from clay and red tukula powder. The face shows striated, scarifcation patters underneath and to the sides of the eyes; the forehead shows is a chingelyengelye cross motif. The patina is smooth and redish brown in color.
This mask represents pwo, the beautiful and poised female ancestor honored in the makishi masquerades performed by the Chokwe and neighboring peoples in Zambia, Angola and the Democratic Republic of the Congo. Pwo is the most popular of all makishi, or masked characters that embody spirits. Though danced on other occasions, pwo is most closely associated with the boys’ mukanda initiation. Among the female persona portrayed in the makishi repertoire, the pwo (ancestor) and mwana pwo (young woman) characters represent the ideals of “fulfilled” and “potential” womanhood. Masks are completed by full-body costumes made from woven fiber or cotton and a wraparound skirt made from imported fabrics.
A small polished bronze sculpture of a biomorphic form rising gracefully from a small base. Where it contacts the base, the form stands on two leg-like structures. The form rises from there, narrows, then opens up into a wider, more oblong shape at the top.
An early example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
A small, biomorphically abstract sculpture of bronze grows from a wooden base. Bulbous at the bottom, the shape stretches and narrows in the middle and then expands into a larger shape from which two rounded points rise.
An example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
Three large, rectangular blocks of translucent green glass hang in vertical succession on a newtwork of copper rods. The glass has bubbles embedded within it and shows evidence of the sandcasting process.
This abstract sculpture is dedicated to the artist's son, Benjamin, and represents hope for his future.
The dial of this elaborately decorated clock stands upon a two-tiered base. The lower tier consists of a hollow base made of ebony and adorned with a frieze of gilded bronze scrollwork and palmette motifs. The upper tier, made entirely of gilded bronze, features six fluted pilasters with a decorative panel centered on the front below the dial. This panel is composed of a pair of doves touching beaks before a crossed quiver of arrows and a flaming torch framed by leaves. A woman in long flowing robes stands to the right of the dial and empties a small cup onto a dove held by a winged putto who lies on a rocky projection. Behind the dove burns a fire on a small altar inscribed "Altar of Venus" [Autel à Venus].
This lavishly embellished mantel clock is surmounted by a scene of a priestess and Cupid anointing a dove as a sacrificial fire burns on an altar between them. The clock was a collaborative work produced by Joseph Buzot, who manufactured the movement and signed the dial, but who subcontracted work for the base and the figures, a practice typical for the period.