Items Similar to Cockerel (Rooster) Marble Sculpture

Marble Sculpture by Babinski

Organic Modern Marble Sculpture on Lucite Base, 1990s

Abstract Marble Sculpture by Emile Gilioli

Joaquim Ingravidesa - Mistique, 21st Century, Contemporary, Abstract Sculpture, Marble

1970's carrara marble Belgian sculpture

Want more images or videos?

Request additional images or videos from the seller

1 of 20

Mark Morrison
Cockerel (Rooster) Marble Sculpture
ca. 1950

Name: Cockerel (Rooster) Marble Sculpture
Brand: Mark Morrison
Rating: 4.9 (51 reviews)

$3,200

$8,00060% Off

£2,426.54

£6,066.3460% Off

€2,835

€7,087.5160% Off

CA$4,575.82

CA$11,439.5460% Off

A$4,646.02

A$11,615.0460% Off

CHF 2,633.73

CHF 6,584.3260% Off

MX$56,598.21

MX$141,495.5360% Off

NOK 31,149.95

NOK 77,874.8960% Off

SEK 31,159.01

SEK 77,897.5260% Off

DKK 21,191.16

DKK 52,977.9060% Off

About the Item

Mark Morrison (1895-1964) Cockerel, ca. 1950 Carved and polished red Verona marble 4.25" wide, 8" deep, height is 22.25" Provenance: Estate of Mrs. Mark Morrison. Born: Kingfisher, OK Education: University of Missouri John Flannagan, mentoring and private instruction ca. 1940 Art Students League with William Zorach and Jose de Creeft Exhibited: Sculpture Guild Annuals Audubon Artists Annuals National Academy of Design Annuals Pennsylvania Academy Annuals Metropolitan Museum Artists for Victory, 1942. Newark Fine Arts Museum Whitney Annuals International Exhibition, Fairmount Park, Phila. 1950 Nebraska Fine Arts Metropolitan Museum Exhibition, 1951 Boston Arts Festival National Sculpture Society Annuals Memberships: Sculpture Guild, Inc. Audubon Artists Awards: Ellen Prince Speyer Award, N.A. 1950 Architects League of New York, Avery Award, 1958, 1959. Museum Collections: Metropolitan Museum of Art National Academy of Design Pennsylvania Academy of Fine Arts Whitney Museum of American Art. Museum of Fine Arts, University of Arizona Mark Morrison began his life as a sculptor while nearing his professional retirement. In the late 1930s and into the 1940s, he like many of the younger artists in New York City availed himself to the great many academies, museums, teachers and mentors it offered. He studied with John Flannagan before his death, and then Jose de Creeft and Williams Zorach at the Art Students League. Having an attraction and aptitude for the ideas of the direct carving movement and good thorough craft, he took advantage of the growing public interest in a new American sculpture, and worked quickly to become a contemporary of his teachers. Through the 1950s, he exhibited with them, sold, entered competitions, and won awards. He was a sculptor with a sure hand, a head for academy, patience, and promise. Morrison died suddenly in October 1964 having had just married his second wife earlier the same year. Mrs. Mark Morrison would offer a small piece for one more exhibition with a Sculptors Guild in 1965. The work was never seen again until 2025. Morrison was born on New Year’s Day in 1895 in Kingfisher, Oklahoma, a small rural city not yet a part of the Union. The only child of a Protestant minister, and one of only 16 that in 1913 would graduate from his high school in Higginsville, Missouri. He studied agriculture at the University of Missouri, at some point leaving to enlist in the army. He would reach the rank of Major. After the war, he married his first wife, moved to New York and began work for Tidewater Oil. He worked with them until 1954, retiring as a vice president. At the time he was living at 8 W. 13th St., his studio already set up in a corner of the basement in his apartment building. The earliest exhibition on record for a work by Morrison was the Artists for Victory show at the Metropolitan Museum, 1942. Earlier the same year, John Flanagan committed suicide. The death was a terrible blow. Flannagan had been a profound influence, sharing both technical instruction and philosophical guidance. The importance of their friendship during the 1930's cannot be overemphasized. Morrison is part of Flannagan's artistic legacy, his only known pupil during the mythical sculptor's short life. Born in the same year of 1895, both artists came to NYC from rural regions of the US: Oklahoma and North Dakota respectively. In contrast to Morrison's stable life, Flannagan was a deeply troubled, difficult, impatient and unpredictable man. To have considered mentoring Morrison, his teacher must have seen a kindred spirit and artist of extraordinary potential. In turn, Morrison must have been a sympathetic and patient pupil who recognized the importance of overlooking personal shortcomings for the invaluable instruction of an artistic genius. Morrison did not show regularly for almost 10 years spending this time educating himself, exhibiting here and there. He continued his sculpture studies at the Art Student League with Zorach and de Creeft, spending most nights working stones in his studio. His mature style would become clearly realized by 1950, a synthesis of the naïve and the sophisticated, what Flanagan called "the image in the rock", and the polished fluid marbles of Zorach. Black Swan was featured in the Sculptors Guild exhibition "In Time and Place" at the Museum of Natural History in March 1952. And exhibit pushing those points in their mission to assist the public to fuller appreciation of sculpture, and that the sculpture and the architecture of buildings may again be planned simultaneous and homogeneously. Morrison's swan was the centerpiece of the modern living room designed by Earnshaw, Inc. In the same hall of the museum one year earlier Morrison and other members of the group demonstrated process at work in seven makeshift studios. He would continue to exhibit in Guild annuals and Audubon Artist annuals. His sculpture "Gosling" was given a special honorable mention from the Architects League in the Avery Competition of 1958, runner up to Zorach. In 1959, when he showed "Grasshopper" he won outright. He had moved his studio to a larger more private space a few blocks away in Greenwich Village. By 1964 his work had become larger in scale, his groupings more challenging and lively, more considerate of light and the nature of the stone itself. He had lost weight and for a man of nearly 70 years old was in very good health. His death was unexpected and unfortunate, probably of a stroke . His legacy has survived, largely unknown until now in a small ranch in upstate New York.

Creator:
Mark Morrison (1895 - 1964, American)
Creation Year:
ca. 1950
Dimensions:
Height: 22.25 in (56.52 cm)Width: 8 in (20.32 cm)Depth: 4.25 in (10.8 cm)
Medium:
Marble
Movement & Style:
Cubist
Period:
Mid-20th Century
Condition:
Gallery Location:
Wilton Manors, FL
Reference Number:
1stDibs: LU245216317592

Materials

Granite

1970's carrara marble Belgian sculpture

Located in BE

This exceptional marble sculpture was created in Belgium in the 1980s and comes directly from the artist’s family. Carved from a single block of premium Carrara marble, it represents...

Category

Vintage 1970s Belgian Abstract Sculptures

Materials

Marble

Bob Ragan"Fowl Ball" Ducks Birds Psychedelic Sculpture White Stone Carving Abstract

"Fowl Ball" Ducks Birds Psychedelic Sculpture White Stone Carving Abstract

By Bob Ragan

Located in Austin, TX

By Bob Ragan Indiana Limestone 36" x 12" x 9.5" 319 lbs

Category

21st Century and Contemporary Figurative Sculptures

Materials

Limestone

Pan Hand Carved Marble Sculpture by Tom Von Kaenel

By Tom von Kaenel

Located in Guaynabo, PR

This is a 20th century Marble Sculpture. It depicts a black marble abstract sculpture supported by a rectangular wood base. It was made by a Puerto Rican sculptor named G.Nunez.

Category