Quite a stunning pair of Italian standing cherub or Angel carvings from the 18th century. Standing at almost 4 feet tall, the pair are quite large and realistic. Very impressive. With original hand forged iron hooks to secure them to a wall. An impressive pair in what appears to be original finish.

A whimsical cute bronze with great patina and color by the noted San Francisco California artist Douglas Brett. It is mounted on what looks like black granite. it is signed and dated Brett SF 2008.
It is in good condition with only minor imperfections.

A set of fabulous aluminum two sided monumental sculptures by the renown British Sculptor Roy Rasmussen. They were identified for us by a relative of the artist as “Ida II and Maren”. They are mounted to bases by posts that can be easily set into the ground where they can be mounted outdoors. As aluminum they will not rust and can withstand the weather. Both are signed and dated 71. They are 77 inches tall as pictured. The actual rectangular pieces are 66.75 inches tall. They are 22.5 inches wide and approximately 8 inches deep. In good condition with minor imperfections and age appropriate wear and tear.
From the artist’s Website:
Born in London, England in 1919 of Anglo Danish parentage, he was the third generation of a family of craftsmen in metal. His grandfather had originally worked with metal in Denmark, but it was an uncle in the United States who had used aluminium to produce artistic sculptural forms attracting press coverage. This was the catalyst which led him to embark on studying the techniques of exploiting that medium. Early working life had exposed him to the crafting of sheet metal and different welding techniques
through the car industry at Rolls Royce and then working later in the production of artificial limbs. Initially pursuing art of a representational nature with great success, his first work was completed and exhibited in 1954. A year later he presented two new works, which were then exhibited at the Aluminium Centenary Exhibition in Britain run by the Aluminium Development Association at the Royal Festival Hall and visited by H.R.H Prince Philip. Roy
Rasmussen was to earn widespread recognition from this landmark beginning.
A chance spell in Egypt as a young man (due to military service during the War) had exposed him to ideas and inspirations which would be nurtured and regenerated some decades later. The mysteries and splendors of Egyptian art were enveloped and symbolized into shapes and emblematic forms, and were to remain a powerful influence in many of his works, as he turned away from purely
representational or figurative sculpture. From the early 196os his works were exhibited widely: from many London West End galleries to, internationally, exhibiting at shows such as the British Council at the German Industries Fair and the English Expressionists at the Galerie Creuze in Paris. He had in the late fifties joined the artist Lyall Watson who founded and opened the Woodstock Gallery, off of Bond Street in London, and worked closely with him as a director and artist of the gallery throughout its formative years. In 1967 he left the Woodstock Gallery and moved to the newly opened John Whibley Gallery on Cork Street in Mayfair where he remained as resident artist until it closed in 1977. His association with the Free Painters and Sculptors group, where he had been an early member since the 1950s, was further sealed in 1984 when he became director of their Loggia Gallery with its sculpture garden, in Buckingham Gate, Westminster. He exhibited there throughout the many years following. After his death in 2014 the Free Painters and Sculptors set up the Roy Rasmussen Award to be presented annually, ‘in recognition of one of our founding members Roy Rasmussen, a revered sculptor and historian, whose years of
dedication have inspired generations of FPS artists’.
SELECTED LIST OF MAJOR AND NOTABLE EXHIBITIONS
Aluminium Centenary Exhibition, Royal Festival Hall 1955
Society of Portrait Artists 1957
Drian Gallery Exhibition 1957
‘New Vision’ Denis Bowen New Vision Gallery 1957
‘Painter and Sculptor Collaborate’ Woodstock Gallery 1959
Inaugural Exhibition Woodstock Gallery 1959
‘Symposium’ Royal Institute of British Architects 1959
‘Expressionistes de Londres’ Galerie Raymond Creuze, Paris 1960
‘Art Alive’ International Collection, Northampton 1960
Maurice Jadot exhibition, John Whibley Gallery 1960
British Council Exhibition, Berlin 1961
‘Divergencies’, Quantas Gallery, Piccadilly 1961
‘Europe 1962’ New Vision Centre Gallery 1962
Summer Exhibition, John Whibley Gallery 1962
‘Group Solaire’, Woodstock Gallery 1962
One-Man Exhibition, Woodstock Gallery, 1963
Manchester City Art Gallery exhibition 1964
One-Man Exhibition, Woodstock Gallery 1965
‘Realities Nouvelles 1966’, Musee d’Art Moderne, Paris 1966
Hampstead Artists Exhibition 1966 One-Man Exhibition, John Whibley Gallery 1969 and
Resident Artist at Whibley 1968 – 1977
‘Trends’, Exhibition at Barbican Centre 1984
‘Trends’, Royal Birmingham Society of Artists 1999
‘New Directions’ Loggia Gallery 1999 and 2000
FPS Open Exhibition – ‘Conflict and Resolution’ La Galleria, Pall Mall 2011
60th Anniversary Exhibition ‘Then and Now’ Royal Opera Arcade Pall Mall 2012
Open Exhibition (Free Painters and Sculptors) Menier Gallery 2014 and 2016
Bargehouse Gallery, South Bank London 2018 and 2019
Although his sold works may be international, it is the UK where his art is maintained in many private collections: from a Regency courtyard in Brighton, to permanent public
collections such as the Towner Art Gallery in Eastbourne (right). Many of these works prevail through not only singular abstract interpretations, but the relationship to the times they were produced. For example, The Metapole 1959 (pictured below) suggests not only vague hints and reminiscences of knights of yore, armour and shields, but also, contrastingly, of strange plants or creatures from another world inspired by the
planetary and galaxy space fascinations of those times.
In their own small way, their existence today defines a token of cultural significance, relishing and preserving that movement and era of artists, and making a meaningful statement in the history of art in the mid and late 20thcentury. His work continues today to be respected and acclaimed by critics and connoisseurs
throughout the art world.

A wonderful bronze cat by the noted California artist Barbara Beretich. It is titled Tanko and is signed and dated underneath 9/21/96. It is numbered 6/24. It has developed a beautiful patina and is suitable for display indoors or outdoors. It is in good condition with some minor marks to the patina and bronze.
A brief bio from Askari follows:
Barbara Beretich, a force behind the Claremont art scene for more than 50 years, died in her sleep Friday, June 15, surrounded by her art and the animals she loved. She was 82 years old.

Considered by many to be the grande dame of Claremont’s illustrious art and culture community, Ms. Beretich made a significant impact by helping foster not only the appreciation of art but contributing substantially to a regional art movement that some now refer to as the “Claremont School.” She was a noted artist in her own right, creating an extensive body of work in multiple media, most notably sculpture.

Barbara Beretich was born on March 25, 1936 in Chicago. Her family moved often and she spent parts of her childhood in Chicago, San Diego, and Ohio. She attended the University of Illinois, majoring in art, graduating in 1958. She took a trip to Europe in 1960, where she was introduced to a number of influential artists of the time, including Francoise Gilot, who would become a lifelong friend.

From 1962 to 1965, Ms. Beretich attended Claremont Graduate School (now Claremont Graduate University), earning her MFA in sculpture. While attending CGS, she met Millard Sheets, who would become a mentor. In 1966, a grant enabled her to live in Paris for a year, studying sculpture and painting independently. In Paris she worked and created lithographs at the famous Mourlot Studios, an exclusive printing house frequented by Picasso, Leger, Matisse, Miro and other noted artists of the time.

She began to make a name for herself, painting and sculpting commissions for portrait or architectural studies. She also worked with the Millard Sheets Studio, designing sculptures for several of the studio’s architectural projects.

From 1973 to 1978, she served as the director of Gallery 8 (organized by Millard Sheets and named for the eight partners who financed the project). Gallery 8 showcased numerous significant and emerging Claremont artists as well as important international artists that Ms. Beretich often debuted. She then founded Galeria Beretich.

Under her direction, Galeria Beretich became an innovative space that personified Ms. Beretich’s desire to share her love and passion of art with others, often hosting art openings and salons that drew a broad cross-section of personalities comprised of not only the who’s who of Claremont’s burgeoning art scene, Claremont Colleges students (and their presidents), but the Hollywood elite as well. At these “happenings,” Ms. Beretich would hold court and her cats Otis and Coco would often welcome and escort guests as they arrived.

In the mid 1980’s, she traveled to India and Europe, where she studied sculpture in Italy. It was during this time that she enjoyed one of the most prolific periods of her career. She was extraordinarily active, acting as curator of the Edward G. Robinson Collection, as well as serving as an independent appraiser and curator.

Not necessarily one to promote her own work, Ms. Beretich focused her energies on creating groundbreaking exhibitions that drew art collectors from as far away as the East Coast and even Europe. Her own art was exhibited in several exhibitions and she created a number of sculptural commissions for institutional and civic entities.

In recent years, after a brief hiatus, she began to express her many gifts and talents with enthusiasm, appearing in several solo shows and curating an exhibition of women artists she admired.

To quote Millard Sheets, her teacher and mentor, “I believe that art has always existed at the very core of life, as necessary and as nourishing as food, as natural as love.” Ms. Beretich exemplified that thought and had the gift of inspiring others to share her passions, her friends shared, adding that she longed to see a lively center created to nourish the appreciation of art and serve as a resource for artists.

Magical and masterful, incredibly detailed creation by Luciano Bustamante, Mexico’s award-winning sculptor. This handmade piece gleams of a multitude of steel and brass piece of a process that requires hundreds of hours. It is a signed and numbered piece 38/150 dating from the early 1970s.

19th Century (Early) French Charles X Ormalu Lyre Decoration

Shlomi Haziza Acrylic Transparent Purple Horse Statue. Beautifully crafted this statue is in amazing condition, representing a horse running, it’s in a pretty transparent purple color. The statue is signed in the base.

Original Inuit caribou jawbone carved eagle sculpture with native thunderbird beadwork propped on wood base circa 1960s.

This is a vintage art glass bonsai tree sculpture. Glass quince flowers blossom atop the sculpture featuring a celadon pot base.

Jack Boyd bronze bronze figure mounted on solid walnut titled “Bowl.” This example was executed in the 1960’s and was recently restored by Jack’s son Ron Boyd.