Bronze Sculpture Nude Lady THE VINE


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Product Description

Sculpture of a lady with a grapevine in her hands.
The original was created by Harriet Whitney Frishmuth.
Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her.
The lady is shown stretching upward and outward in imitation of a living vine, grapevine suspended in her hands.
Bunches of grapes lie at the figure’s feet.

Reproduction of the original by the artist Harriet Whitney Frishmuth (American, 1880–1980)

Height: 41.8 cm
Width: 14.2 cm
Depth: 19.2 cm

100% Bronze

Weight: 4.2 Kg

Artis Info

Frishmuth Harriet Whitney

Her parents divorced when she was in her teens, and she lived in Europe with her mother and sisters for eight years. She studied briefly with Auguste Rodin at the École des Beaux-Arts in Paris, and for two years with Cuno von Uechtritz-Steinkirch in Berlin. She returned to the United States, and studied at the Art Students League of New York under Gutzon Borglum and Hermon Atkins MacNeil. While in New York, she worked as an assistant to the sculptor Karl Bitter, and performed dissections at the College of Physicians and Surgeons.

Sniffen Court, New York City
Her first commissioned piece was a bas-relief for the New York County Medical Society in 1910. She also modeled ashtrays, bookends, and small figures for the Gorham Manufacturing Company. Her career grew steadily and she became well known for her beautiful renderings of females in bronze, particularly dancers (Desha Delteil frequently modeled for her). Her small bronzes were sought after by private collectors and by museums, and her large bronzes often were placed in elaborate garden settings or as the centerpieces of fountains.

Her work was exhibited at the National Academy of Design, the Pennsylvania Academy of the Fine Arts in Philadelphia, the Salon in Paris, the Golden Gate International Exposition (1939–1940) and the National Association of Women Painters and Sculptors. She also exhibited with a group of women artists known as the Philadelphia Ten. She had a studio at Sniffen Court in New York City.[4] One of her last exhibitions was in 1929; although she remained active in the art world for decades afterwards. The Great Depression affected her livelihood; she closed her New York studio in the 1930s, and returned to Philadelphia.

Frishmuth scorned modern art and was quite outspoken on the subject, calling it “spiritless” (she was equally outspoken in her dislike of the word “sculptress”). She received a number of recognitions and honors over the course of her career: the St. Gaudens Medal from the Art Students League of New York (while still a student), several awards from the National Academy of Design, a prize from the Grand Central Art Galleries, an honorable mention from the Golden Gate International Exposition, and the Joan of Arc Silver Medal from the National Association of Women Painters and Sculptors. She was elected into the National Academy of Design in 1925 as an Associate member, and became a full Academician in 1929.

Her papers are held at Syracuse University.

She is buried at Laurel Hill Cemetery, Philadelphia.