{"id":81250,"date":"2021-10-02T13:51:51","date_gmt":"2021-10-02T13:51:51","guid":{"rendered":"https:\/\/www.nationalgallery.gr\/themata-technis\/froso-efthymiadi\/"},"modified":"2024-04-24T12:45:13","modified_gmt":"2024-04-24T09:45:13","slug":"froso-efthymiadi","status":"publish","type":"dokimia","link":"https:\/\/www.nationalgallery.gr\/en\/art-topics\/froso-efthymiadi\/","title":{"rendered":"Frosso Eythimiadi – Menegaki"},"content":{"rendered":"\n
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On May 11, 1989, in her will, the sculptor Frosso Efthymiadi-Menegaki bequeathed her movable and immovable property to the National Gallery. On November 8, 1995, the National Gallery Board accepted the bequest, whereby her entire body of work became part of the museum\u2019s collections \u2013 sculptures, models, moulds, a large number of preliminary sketches for sculptures, studies for everyday decorative or functional objects, studies for other works, as well as paintings, prints and drawings by other artists; furthermore, a collection of various objects from her travels around the world and her personal archive. This treasure trove of material helps to provide a complete overview of the oeuvre, life and personality of one of the most pre-eminent Greek sculptors \u2013 from her youth until her death.<\/p>\n

 <\/p>\n

Tonia Giannoudaki,\u00a0Curator of the Sculpture Collection<\/em>
\nwith Maria Kliafa,\u00a0Head of The Sculpture Conservation Studio<\/em><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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The bequest<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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On May 11, 1989, in her handwritten will, Frosso Efthymiadi-Menegaki bequeathed her movable and immovable property to the National Gallery. On November 8, 1995, the National Gallery Board accepted the bequest, through which her sculptures, models, moulds and many preliminary sketches for sculptures joined the museum\u2019s collections; moreover, studies of everyday decorative objects and various other studies. These works provide a complete overview of the artistic creation of one of the most prominent Greek sculptresses, from her student years in Vienna in 1930, to 1971, the date of her last work.<\/p>\n

The museum also received paintings, prints and drawings by Yannoulis Chalepas, Mimis Vitsoris, Yannis Tsarouchis, Dimitris Yannoukakis, Takis Marthas, Aristomenis Provelengios, Antonis Polykandriotis, Yanna Persaki, Ira Economidou, Michael O\u2019Connell, Henri Matisse, engravings by Japanese artists, as well as a collection of various objects from her travels around the globe. Furthermore, the artist\u2019s personal archive, including her extensive correspondence in Greek, English, French, German and Spanish, with family, friends, organisations, artists and important personalities with whom she maintained friendly relations. Among them, the writer Nikos Kazantzakis; minister and mayor of Athens Konstantinos Kotzias; her close friend, photographer Voula Papaioannou, who photographed some works; the art critic Tonis Spiteris and his wife, sculptress Ioanna Spiteris; sculptors Michael Lekakis and Costas Coulentianos; the painter Ira Economidou, the director of the New York Museum of Modern Art, Alfred Barr; and artist Vance Kirkland, director of the School of Fine Arts of the University of Denver. Her archive also includes laws and articles of association of entities such as the Hellenic Artists\u2019 Chamber, the Cultural Association of Greek Women, the National Council of Greek Women, the Greek Sculptors\u2019 Association, the Women`s International Art Club. Furthermore, personal photos, as well as photos and slides of almost all of her work, exhibition catalogues, books, newspaper clippings, personal documents, notes and a variety of other items, which help to form a complete picture of the artist\u2019s work, life and personality.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n<\/div><\/div>\n\n\n\r\n

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Biography<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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1911<\/strong>
\nFrosso Efthymiadi was born on November 11 in\u00a0Istanbul<\/a>. She was the daughter of Angelos Efthymiadis and Despina Nicolaides, and had three siblings, Elli, Efi and Mimis.<\/p>\n

1922<\/strong>
\nHer family sought refuge in Athens. Frosso attended the American College for Girls and the French School. She also studied the piano.<\/p>\n

1930-1933<\/strong>
\nBetween October 1, 1930 and June 30, 1933,\u00a0she studied pottery and clay sculpture<\/a>\u00a0at the School of Applied Arts of the Austrian Art and Industry Museum (Kunstgewerbeschule des \u00d6sterreichischen Museums f\u00fcr Kunst und Industrie), later the University of Applied Arts (Universit\u00e4t f\u00fcr Angewandte Kunst), under professors Michael Powolny and Robert Obsieger.<\/p>\n

1933<\/strong>
\nIn July, she returned to Greece and established a\u00a0pottery workshop<\/a>. She began travelling around Greece, looking for raw material for her work, gathering information and clay samples in many shades and grades.\u00a0Small plates of many such samples<\/a>\u00a0were found in her studio.<\/p>\n

1939<\/strong>
\nKostas Kotzias, then minister of Capital City Administration, commissioned her to produce glazed or patinated terracotta animals to be installed in public gardens in Athens: the Kifissia, Pangrati, Evangelismos and Paleo Faliro parks, and the squares Eleftherias, Agiou Ioannou (Vouliagmenis), Messolongiou, Ioannou Metaxa (Lenorman), Kyriakou and the corner of Alexandras & Patission streets. Also, squares in Filothei, Psychiko and Glyfada, Pan\u2019s Cave, the Fokionos Negri and Konstantinoupoleos streets. The outbreak of war prevented completion of the project; several\u00a0pencil drawings<\/a>\u00a0for these works were found in the artist\u2019s archive, including mention of their intended location, as well as the draft and copies of the\u00a0commission contract<\/a>, signed on June 5, 1939.<\/p>\n

1940<\/strong>
\nShe had sculptures installed in the courtyard of the Kifissia Gardening Fair and was awarded a\u00a0certificate<\/a>.<\/p>\n

1945<\/strong>
\nIn December, she left for Paris with the first group of post-war fellows of the French government.<\/p>\n

1946<\/strong>
\nShe studied under Marcel Gimond.<\/p>\n

1947<\/strong>
\nIn August, she left for South America, where she had family, in the hope of a career. She brought along more than 80 works and her electric kiln. She first settled in Montevideo and then in Buenos Aires.
\nDuring her sojourn, her brother Mimis, who had remained in Vienna after they had completed their studies, and worked as a set designer and cartoonist, drowned in the Danube. Frosso found out of his death much later.<\/p>\n

1948<\/strong>
\nThe Greek expatriate Nikos Konialidis acquired her\u00a0Couple of Roe-Deer<\/em>\u00a0and, through the Greek ambassador, Kimon Kollas,\u00a0donated it to the Museo Nacional de Bellas Artes in Buenos Aires<\/a>. Similarly, the Museo de Bellas Artes de la Boca acquired a\u00a0Seated Deer<\/em>. Furthermore, mounting her first solo exhibition and participating in group shows gave her the opportunity to receive private commissions. Her correspondence with her later husband, Manolis Menegakis, indicates that she was eager to make a bust of Eva Per\u00f3n, but the plan fell through.<\/p>\n

She visited Bolivia and Peru to study the Inca civilization and traditional Indian art.<\/p>\n

1949<\/strong>
\nIn June, she returned to Greece, since living conditions in South America had proved difficult and possibilities for professional success limited.<\/p>\n

She married\u00a0Manolis Menegakis<\/a>, a lawyer, who, during her absence had arranged for the construction of\u00a0their home<\/a>, designed by Dimitris Pikionis, on 10, Grypari Street in Kypriadou, an area in Athens.<\/p>\n

1950<\/strong>
\nIn October, she enrolled at Marcel Gimond\u2019s studio in\u00a0Acad\u00e9mie Julian\u00a0<\/a>to pursue further studies in the school year 1950-1951.<\/p>\n

1951-1953<\/strong>
\nShe often travelled to Rome, Milan and Paris, mainly to cast works.<\/p>\n

1953<\/strong>
\nShe travelled to Morocco.<\/p>\n

1954<\/strong>
\nShe became founding member of Greek Women Artists\u2019 Association.<\/p>\n

1955<\/strong>
\nShe was elected as vice president of the Greek Women Artists\u2019 Association.<\/p>\n

1955, 1956<\/strong>
\nTravelled to Egypt.<\/p>\n

1957<\/strong>
\nUnder an international educational exchange programme, she travelled to the United States as a fellow of the US government to visit museums, art centres and universities, meet with preeminent artists and study contemporary art. During her visit, she also visited Mexico and studied the Mayan culture. When she returned to Greece, she published\u00a0articles\u00a0<\/a>on American museums and sculpture.<\/p>\n

1959<\/strong>
\nA large-scale\u00a0Ibex<\/em>\u00a0was installed in the Emporiki Bank pavilion at the Thessaloniki International Fair.<\/p>\n

She travelled to Sao Paulo to participate in the Biennale and visited Peru and Colombia.<\/p>\n

1960-1970<\/strong>
\nShe travelled to Japan, India, Thailand, Cambodia, Java, Bali, New York, China, Iraq, Persia, Nepal and India. She also frequently visited Rome and Paris, while she had earlier on visited London, Switzerland, Germany, Austria, Spain and Portugal.<\/p>\n

1970<\/strong>
\nIn November, as part of the\u00a0Rhythm and Movement in Art<\/em>\u00a0programme at the Hellenic American Union, the choreographer Karen Kanner presented choreographic pieces inspired by the \u201cmovement\u201d of Frosso Efthymiadi\u2019s sculpture.<\/p>\n

On November 21, her husband, Manolis Menegakis, passed away. His death had a devastating effect on her personally and artistically, putting an end to a remarkable career extending from figuration to abstraction. Since then, her activity as an artist was limited to contributing earlier work to exhibitions.<\/p>\n

1973<\/strong>
\nThe large-format book\u00a0Froso Eftimiadi<\/em>\u00a0was published, originally instigated by Manolis Menegakis.<\/p>\n

1974<\/strong>
\nOn the occasion of the book publication, on December 28 she was\u00a0awarded by the Athens Academy<\/a>\u00a0for her overall body of work.<\/p>\n

1976<\/strong>
\nShe completed a large-scale marble\u00a0Lot\u2019s Wife<\/em>,\u00a0and had it installed on her husband\u2019s grave.<\/p>\n

1977<\/strong>
\nThe monograph\u00a0Froso Eftimiadi<\/em>\u00a0was released in Paris, with an essay by Ionel Jianou.<\/p>\n

1980<\/strong>
\nFrosso Efthymiadi was the first woman\u00a0nominated for Academy of Athens\u00a0<\/a>membership for Sculpture. The position was ultimately taken by Yannis Pappas.<\/p>\n

1995<\/strong>
\nDied in Athens on July 22.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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Solo exhibitions<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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1947<\/strong>
\nExposition de escultura. Froso Efthymiadi<\/a>, Galeria M\u00fcller, Buenos Aires
\nSee\u00a0works on display<\/a>\u00a0and\u00a0newspaper clippings<\/a>.<\/p>\n

1948<\/strong>
\nCalle Florida 846<\/a>, Buenos Aires<\/p>\n

1954<\/strong>
\nTerracottas. Frosso Efthymiadi-Menegaki<\/a>, To Vima newspaper exhibition space, Athens
\nSee\u00a0works on display<\/a>,\u00a0newspaper clippings<\/a>\u00a0and\u00a0exhibition photographs<\/a>.<\/p>\n

1955<\/strong>
\nFrosso Efthymiadi. Sculpture<\/a>, The Hanover Gallery, London
\nSee\u00a0works on display<\/a>\u00a0and\u00a0a BBC programme<\/a>.<\/a><\/p>\n

1961<\/strong>
\n<\/a>Domi S.A. Headquarters<\/a>, Athens
\nSee\u00a0works on display<\/a>,\u00a0newspaper clippings<\/a>\u00a0and\u00a0exhibition video.<\/a><\/p>\n

1962<\/strong>
\nAthens Technological Institute, Athens
\nSee\u00a0works on display<\/a>,\u00a0newspaper clippings<\/a>\u00a0and\u00a0exhibition photographs<\/a>.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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Group Exhibitions<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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1938<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nFrosso Efthymiadi\u00a0won\u00a0<\/a>a bronze medal and a cash prize.
\nSee\u00a0works on display<\/a>\u00a0and\u00a0newspaper clippings<\/a>.<\/p>\n

1939<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

New York World\u2019s Fair, Flushing Meadows<\/p>\n

International Women. Painters, Sculptors, Gravers<\/em>,\u00a0Riverside Museum, New York
\nThe exhibition was organised by the National Council of Women of the United States of America.
\nSee newspaper clippings<\/a>.<\/p>\n

1940<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1941-1944<\/strong>
\nProfessional Art Exhibition, National Archaeological Museum, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1946<\/strong>
\nGreek-French Youth Association. Paintings, Sculpture, Engraving, French Institute, Athens<\/p>\n

1947<\/strong>
\nInternational Contemporary Art Fai<\/em>r (Exposition internationale d`art contemporain<\/em>), Palais de Gh\u00e9zireh, Cairo
\nSee\u00a0works on display.<\/a><\/p>\n

Women`s International Art Club. Contemporary European Women Painters. 45th Annual Exhibition of the Women`s International Art Club<\/em>, RBA Galleries, London<\/p>\n

Greek Art: Painting, Sculpture, Printmaking, Crafts<\/a><\/em>, Royal Academy of Fine Arts, Stockholm (Grekisk konst: m\u00e5leri, skulptur, grafik, konsthantverk<\/em>, Kungliga Akademien f\u00f6r de fria konsterna Stockholm)<\/p>\n

1948<\/strong>
\nCasino, Mar del Plata<\/a>, Argentina
\nSee\u00a0works on display<\/a>.<\/p>\n

14th International Fair of Livestock, Art exhibition on themes from the countryside<\/em>\u00a0(XIVa Exposicion Internacional de Ganaderia, Salon de arte con temas de la campa\u00f1a<\/a><\/em>), Calle Florida 458, Buenos Aires
\nThe exhibition was organised by the Argentinean Agricultural Union; Frosso Efthymiadi won the\u00a0prize Adolfo Bullrich y Cia Ltda S.A<\/a>. for her work\u00a0Calf<\/em>.
\nSee\u00a0works on display.<\/a><\/p>\n

1951<\/strong>
\nGreek Women\u2019s Art Exhibition, Efthymiadi-Menegaki\u2019s studio, Athens.
\nThe exhibition was organised during the International Women\u2019s Council Conference.<\/p>\n

1952<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1953<\/strong>
\nGreek Women Artists\u2019 Exhibition,<\/a>\u00a0Knossos Art Gallery, Athens<\/p>\n

1954<\/strong>
\nInternational Architecture Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display<\/a>\u00a0and\u00a0newspaper clippings<\/a>.<\/p>\n

1955<\/strong>
\nInternational Ceramics Fair, Cannes
\nThe exhibition was organised in the context of the First International Ceramics Festival. Frosso Efthymiadi garnered a silver award.
\nSee\u00a0works on display<\/a>,\u00a0newspaper articles<\/a>\u00a0and\u00a0photographs from the exhibition<\/a>.<\/p>\n

Greek Women Artists\u2019 Exhibition, Museum of Contemporary Art, Cairo
\nSee\u00a0works on display<\/a>.<\/p>\n

1956<\/strong>
\nInternational Exhibition of Contemporary Sculpture<\/em>\u00a0(Exposition Internationale de Sculpture Contemporaine<\/em>), Rodin Museum, Paris
\nSee\u00a0works on display<\/a>\u00a0and\u00a0press clippings<\/a>.<\/p>\n

1957<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Exhibition of Painting, Sculpture, Printmaking by the Greek Women Artists\u2019 Association<\/a><\/em>, Zygos Art Gallery, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1958<\/strong>
\nModern-Art Exhibition<\/a><\/em>, Kouros Art Gallery, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1959<\/strong>
\nSao Paulo Biennale
\nFrosso Efthymiadi received\u00a0honours<\/a>. Before the Biennale, from May 9 to 13, she had shown her recent work in her studio.
\nSee\u00a0works on display<\/a>\u00a0and\u00a0newspaper clippings<\/a>.<\/p>\n

1960<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1961<\/strong>
\n2nd International Exhibition of Contemporary Sculpture<\/em>\u00a0(2e<\/em>\u00a0Exposition Internationale de Sculpture Contemporaine)<\/em>, Rodin Museum, Paris
\nSee\u00a0works on display.<\/a><\/p>\n

1962<\/strong>
\nPeace-Life<\/em>, Zygos Art Gallery, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Colorado Collects<\/em>, Denver Art Museum, Denver, U.S.A.
\nSee\u00a0works on display<\/a>.<\/p>\n

1963<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

Greek Women\u2019s Art Association Exhibition<\/em>, Parnassos
\nSee\u00a0works on display<\/a>.<\/p>\n

5th Alexandria Biennale
\nSee\u00a0works on display<\/a>.<\/p>\n

1964-1965<\/strong>
\nNew York World\u2019s Fair, Flushing Meadows
\nSee\u00a0works on display<\/a>,\u00a0newspaper articles\u00a0<\/a>and\u00a0photographs from the exhibition<\/a>.<\/p>\n

1965<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

Froso Eftimiadi, Greek Sculptress<\/a><\/em>, Galerie des Deux Mondes, John F. Kennedy International Airport, New York
\nSee\u00a0works on display<\/a>.<\/p>\n

First International Sculpture Exhibition. \u201cPanathenaea of Contemporary Sculpture\u201d<\/em>, Hill of the Muses \u2013 Filopappou, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1966<\/strong>
\nGreek Artists\u2019 Exhibition, Hellenic-American Union<\/a><\/em>, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1967<\/strong>
\nGreek Women\u2019s Art Association, Techni Macedonian Art Society, Thessaloniki
\nSee\u00a0works on display.<\/a><\/p>\n

Panhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1968<\/strong>
\nXXe Salon de la Jeune Sculpture<\/em>, Palais Royal, Paris
\nSee\u00a0works on display<\/a>.<\/p>\n

1969<\/strong>
\nGreek Women\u2019s Art Association Exhibition, Kennedy Hall, Hellenic-American Union, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

XXIe Salon de la Jeune Sculpture<\/em>, Palais Royal, Paris
\nSee\u00a0works on display.<\/a><\/p>\n

1972<\/strong>
\nOutdoor Sculpture Exhibition, Apollonio Community, Porto Rafti
\nSee\u00a0works on display<\/a>.<\/p>\n

1975<\/strong>
\nPanhellenic Art Exhibition, Zappeion Megaron, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1979<\/strong>
\nContemporary Sculpture. First Greek Sculptors\u2019 Association Exhibition<\/em>, Athens Conservatory, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1980<\/strong>
\nRelief Exhibition<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens<\/p>\n

1981<\/strong>
\nMiniature Sculpture Exhibition<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Sculpture \u201881<\/em>. 3rd Outdoor Exhibition, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1982<\/strong>
\n4th Outdoor Sculpture Exhibition<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1983<\/strong>
\n5th Outdoor Sculpture Exhibition<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Sculpture Exhibition<\/em>, Greek Sculptors\u2019 Association, Larissa
\nSee\u00a0works on display<\/a>.<\/p>\n

1984<\/strong>
\nThe Nude. Sculpture-Drawings<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display.<\/a><\/p>\n

1985<\/strong>
\n6th Outdoor Sculpture Exhibition<\/em>, Greek Sculptors\u2019 Association, Athens Conservatory, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Reminiscences, Transformations, Quests. Painting, Sculpture, Engraving<\/em>, Athens Conservatory, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

Sculpture \u201885<\/em>, Greek Sculptors\u2019 Association, Municipality of Paleo Faliro, Plateia Iroou, Floisvos, Paleo Faliro
\nSee\u00a0works on display<\/a>.<\/p>\n

1987<\/strong>
\nPanhellenic Art Exhibition, Piraeus Port Authority Exhibition Centre, Piraeus
\nSee\u00a0works on display<\/a>.<\/p>\n

Sculpture in the Attic Light<\/em>, Korai pedestrian street, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

1988<\/strong>
\nInstitut Fran\u00e7ais d\u2019Ath\u00e8nes. 50 Years 1938-1988. 22 Greek Artists Former Fellows of the French Government<\/em>, Kostis Palamas Building, Athens
\nSee\u00a0works on display<\/a>.<\/p>\n

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Works<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Navigate to the topics and discover the works of Frosso Efthymiadi.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic Works<\/strong><\/p>\n

Frosso Efthymiadi studied pottery in Vienna and worked exclusively with terracotta until the mid-1950s. In this context, she became extensively involved with producing various\u00a0decorative or functional objects<\/a>, such as garden pottery, hanging and portable flower vases with relief decoration, plates for wall hanging and vases, lampshades, candlesticks, lamps, cups, teapots, as well as statuettes for home and office decoration. Of these items, the oldest of which date back to the artist\u2019s student years (1930-1933), the National Gallery collection received plates, but mostly vases, painted with stylised images, or geometric patterns, sometimes adorned with embossed or engraved designs. In an interview to Dimis Apostolopoulos for \u00ab\u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2\u00bb (Art and Science Hour) radio show on December 16, 1954, the sculptress explained her reasons for choosing these kinds of objects: \u00abII love the subject of Water-Jars, both because even now they have not disappeared from everyday use in our country and because they have a functional shape that offers endless possibilities for producing many different forms \u2013 human figures, birds, animals<\/em>\u00bb. An interesting elaboration of this early work is the inventive\u00a0Water-Jar Figures<\/em>, made in the early 1950s, which aptly combine the female body with the form of the jug.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Cock (Wall Lamp)<\/h3>

terracotta, height 50 cm.<\/p>

inv.no. 11704<\/p> <\/div>\r\n

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Decorative plate with Cock, c. 1932<\/h3>

painted terracotta, diam. 15 cm.<\/p>

inv.no 11698<\/p> <\/div>\r\n

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Decorative plate with Mermaid, c. 1932<\/h3>

painted terracotta, diam. 20 cm.<\/p>

inv.no 1169<\/p> <\/div>\r\n

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Plate, c. 1932<\/h3>

painted terracotta, diam 20 cm.<\/p>

inv.no 11700<\/p> <\/div>\r\n

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Decorative plate, after 1949<\/h3>

terracotta, diam. 34 cm.<\/p>

inv.no 9127<\/p> <\/div>\r\n

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Vase with Horses in Relief, 1930-1933<\/h3>

glazed terracotta, 30X27X27 cm.<\/p>

inv.no 11695<\/p> <\/div>\r\n

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Vase with Horses in Relief, 1930-1933<\/h3>

glazed terracotta, 30X27X27 cm.<\/p>

inv.no 11695<\/p> <\/div>\r\n

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Jug Decorated with Fish, before 1954<\/h3>

terracotta, 29\u03a721\u03a718,5 cm.<\/p>

inv.no. 9231<\/p> <\/div>\r\n

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Jug Decorated with Fish, before 1954<\/h3>

terracotta, 29\u03a721\u03a718,5 cm.<\/p>

inv.no. 9231<\/p> <\/div>\r\n

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Wall Vase, before 1937<\/h3>

terracotta, height 35 cm., diam. 13,5 cm.<\/p>

inv.no. 9206
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Vase, before 1948<\/h3>

terracotta, height 65 cm., diam. 36,5 cm.<\/p>

inv.no. 9112<\/p> <\/div>\r\n

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Vase, 1949<\/h3>

painted terracotta, 39\u03a727,5\u03a720,5 cm.<\/p>

inv.no. 9062<\/p> <\/div>\r\n

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Vase, 1949<\/h3>

painted terracotta, 39\u03a727,5\u03a720,5 cm.<\/p>

inv.no. 9062<\/p> <\/div>\r\n

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Vase, 1949<\/h3>

painted terracotta, 39\u03a727,5\u03a720,5 cm.<\/p>

inv.no. 9062<\/p> <\/div>\r\n

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Vase<\/h3>

terracotta, height 12 cm., diam. 23,5 cm.<\/p>

inv.no. 9128<\/p> <\/div>\r\n

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Vase with 18 handles, before 1948<\/h3>

terracotta, 16\u03a725\u03a725 cm.<\/p>

inv.no. 9180
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Vase, after 1949<\/h3>

terracotta, height 16 cm., diam. 16 cm.<\/p>

inv.no. 9124
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Jug, 1952<\/h3>

terracotta, 21\u03a718\u03a716,5 cm.<\/p>

inv.no. 9123<\/p> <\/div>\r\n

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Jug, 1952<\/h3>

terracotta, 21\u03a718\u03a716,5 cm.<\/p>

inv.no. 9123<\/p> <\/div>\r\n

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Jug, after 1949<\/h3>

painted terracotta, 26\u03a722,5\u03a725,5 cm.<\/p>

inv.no. 9182<\/p> <\/div>\r\n

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Jug, after 1949<\/h3>

painted terracotta, 26\u03a722,5\u03a725,5 cm.<\/p>

inv.no. 9182<\/p> <\/div>\r\n

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Jug, after 1949<\/h3>

painted terracotta, 26\u03a722,5\u03a725,5 cm.<\/p>

inv.no. 9182<\/p> <\/div>\r\n

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Jug, after 1949<\/h3>

terracotta, 27\u03a720\u03a718,5 cm.<\/p>

inv.no. 9122<\/p> <\/div>\r\n

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Jug, after 1949<\/h3>

terracotta, 27\u03a720\u03a718,5 cm.<\/p>

inv.no. 9122<\/p> <\/div>\r\n

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Churn, after 1949<\/h3>

terracotta, 22\u03a717,5\u03a75 cm.<\/p>

inv.no. 9121<\/p> <\/div>\r\n

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Jug, 1952 or 1953<\/h3>

terracotta, 34,5\u03a722\u03a722,5 cm.<\/p>

inv.no. 9181<\/p> <\/div>\r\n

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Jug, 1952 or 1953<\/h3>

terracotta, 34,5\u03a722\u03a722,5 cm.<\/p>

inv.no. 9181<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 31\u03a720\u03a716 cm.<\/p>

inv.no. 9061<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 31\u03a720\u03a716 cm.<\/p>

inv.no. 9061<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 31\u03a720\u03a716 cm.<\/p>

inv.no. 9061<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 62\u03a732\u03a724,5 cm.<\/p>

inv.no 9063<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 62\u03a732\u03a724,5 cm.<\/p>

inv.no 9063<\/p> <\/div>\r\n

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Water-Jar Figure, 1954<\/h3>

terracotta, 62\u03a732\u03a724,5 cm.<\/p>

inv.no 9063<\/p> <\/div>\r\n

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Water-Jar Figure, after 1951<\/h3>

terracotta, 67,5\u03a734,5\u03a717,5 \u03b5\u03ba.<\/p>

inv.no. 9120<\/p> <\/div>\r\n

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Water-Jar Figure, after 1951<\/h3>

terracotta, 67,5\u03a734,5\u03a717,5 \u03b5\u03ba.<\/p>

inv.no. 9120<\/p> <\/div>\r\n

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Figure<\/h3>

terracotta, 27\u03a715\u03a76,5 cm.<\/p>

inv.no 9095<\/p> <\/div>\r\n

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Animals<\/strong><\/p>\n

Alongside ceramics, since her student years Frosso Efthymiadi also pursued sculpture, working on specific topics, such as animals, birds, figures and busts. A special place among these topics is held by animals and birds, small- or large-scale, which makes her unique among Greek sculptors in working so extensively with animal forms. Her love for these subjects, as well as her use of terracotta until the mid-1950s, stems from her perception of the intention and function of sculpture, which she describes in an interview to Dimis Apostolopoulos for \u00ab\u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2\u00bb (Art and Science Hour) radio show on December 16, 1954: \u00ab\u2026\u00a0My aim is not monumental sculpture but art that accompanies people in their everyday life \u2013 something I think is missing in Greece.<\/em>\u00bb. This is why she renders animals realistically, in casual poses, stressing their light-hearted, cute nature by soft modelling. Small-scale works were intended for\u00a0interior decoration<\/a>, as she felt that, \u00abTerracotta sculpture is particularly suitable to the current perceptions of home decoration<\/em>\u00bb. Large-scale works were mainly intended for\u00a0private gardens, or public spaces<\/a>: \u00abI do love themes suitable for garden decoration, and think that animals are most suitable for this. As you can see, all my animals \u2013 goat, donkey, calf, deer and horse \u2013 are realistically modelled, as dictated by their intended use. I sought to capture each animal\u2019s characteristic movement and expression. In fact, I had to bring a live model to my studio each time. I let it run in my garden<\/em>.\u00a0\u2026\u00bb. For instance, for\u00a0Pan and Baby Lamb<\/em>, she borrowed a lamb from the neighbourhood; the model for Pan was Greek architect Pikionis\u2019 son Tassos. Photos of animals that she\u00a0used as models<\/a>, such as the donkey employed for\u00a0Baby Donkey<\/em>\u00a0were found in her photographic archive.<\/p>\n

In 1939, Kostas Kotzias, then minister of Capital Administration, commissioned her to produce glazed or patinated terracotta animals to be installed in public gardens in Athens: Kifissia, Pangrati, Evangelismos and Paleo Faliro parks; Eleftherias, Agiou Ioannou (Vouliagmenis), Messolongiou, Ioannou Metaxa (Lenorman), Kyriakou squares and Alexandras & Patission street corner. Also, squares in Filothei, Psychiko and Glyfada, Pan\u2019s Cave, and the Fokionos Negri and Konstantinoupoleos streets. The outbreak of war prevented the project from materialising; however, several\u00a0pencil drawings<\/a>\u00a0were found in her archive. Other works planned for these locations were also\u00a0Kid<\/a><\/em>,\u00a0Seated Donkey<\/a><\/em>\u00a0and\u00a0Boy on a Dolphin<\/a><\/em>, which was designed as a fountain. In 1940, she decorated with sculptures the Kifissia Gardening Fair and was awarded a certificate; she installed\u00a0Pan with Lamb<\/em>,\u00a0Kid<\/em>\u00a0and\u00a0Seated Donkey<\/em>\u00a0in her home garden.<\/p>\n

Her interest in animals, however, faded in the mid-1950s. Having made in 1951 the small-scale terracottas\u00a0Animals of the Andes<\/a><\/em>\u00a0\u2013 stylised evocations of llamas of South America, which she transferred, three years later, to large-scale casts and\u00a0forged iron\u00a0<\/a>\u2013 in 1955 she completed the series with\u00a0Ibex<\/a><\/em>, a stylised , abstract and quite decorative version of a wild goat, which was but a nearly identical version of an early work in terracotta.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Kid, c. 1937<\/h3>

glazed terracotta , 38,5\u03a729,5\u03a715 cm.<\/p>

inv.no. 9089<\/p> <\/div>\r\n

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Kid, c. 1937<\/h3>

glazed terracotta , 38,5\u03a729,5\u03a715 cm.<\/p>

inv.no. 9089<\/p> <\/div>\r\n

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Kid, c. 1937<\/h3>

glazed terracotta , 38,5\u03a729,5\u03a715 cm.<\/p>

inv.no. 9089<\/p> <\/div>\r\n

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Kid, c. 1938<\/h3>

terracotta, 36\u03a728\u03a712 cm.<\/p>

inv.no. 9107<\/p> <\/div>\r\n

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Kid, c. 1938<\/h3>

terracotta, 36\u03a728\u03a712 cm.<\/p>

inv.no. 9107<\/p> <\/div>\r\n

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Kid, c. 1938<\/h3>

terracotta, 36\u03a728\u03a712 cm.<\/p>

inv.no. 9107<\/p> <\/div>\r\n

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Kid, c.1938<\/h3>

bronze, 88\u03a726\u03a766 cm.<\/p>

inv.no 9044<\/p> <\/div>\r\n

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Kid, c.1938<\/h3>

bronze, 88\u03a726\u03a766 cm.<\/p>

inv.no 9044<\/p> <\/div>\r\n

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Kid, c.1938<\/h3>

bronze, 88\u03a726\u03a766 cm.<\/p>

inv.no 9044<\/p> <\/div>\r\n

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Seated donkey, 1939<\/h3>

terracotta, 59,5\u03a785\u03a742 cm.<\/p>

inv.no. 9043<\/p> <\/div>\r\n

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Seated donkey, 1939<\/h3>

terracotta, 59,5\u03a785\u03a742 cm.<\/p>

inv.no. 9043<\/p> <\/div>\r\n

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Seated donkey, 1939<\/h3>

terracotta, 59,5\u03a785\u03a742 cm.<\/p>

inv.no. 9043<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

terracotta, 40\u03a733,5\u03a712,5 cm.<\/p>

inv.no. 9136\/b<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

terracotta, 40\u03a733,5\u03a712,5 cm.<\/p>

inv.no. 9136\/b<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

terracotta, 40\u03a733,5\u03a712,5 cm.<\/p>

inv.no. 9136\/b<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

bronze, 35\u03a726\u03a78,5 cm.<\/p>

inv.no. 9136<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

bronze, 35\u03a726\u03a78,5 cm.<\/p>

inv.no. 9136<\/p> <\/div>\r\n

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Baby Donkey, after 1937<\/h3>

bronze, 35\u03a726\u03a78,5 cm.<\/p>

inv.no. 9136<\/p> <\/div>\r\n

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Baby Donkey, after 1940<\/h3>

bronze, 107\u03a781\u03a722 cm.<\/p>

inv.no. 9135<\/p> <\/div>\r\n

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Foal, after 1940<\/h3>

bronze, 82\u03a7100\u03a740 cm.<\/p>

inv.no 9111<\/p> <\/div>\r\n

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Calf, c. 1939<\/h3>

terracotta, 11\u03a723\u03a710,5 cm.<\/p>

inv.no 9105<\/p> <\/div>\r\n

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Calf, c. 1939<\/h3>

terracotta, 11\u03a723\u03a710,5 cm.<\/p>

inv.no 9105<\/p> <\/div>\r\n

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Calf, c. 1939<\/h3>

terracotta, 11\u03a723\u03a710,5 cm.<\/p>

inv.no 9105<\/p> <\/div>\r\n

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Calf, after 1948<\/h3>

bronze, 75,5\u03a790\u03a735 cm.<\/p>

inv.no 9047<\/p> <\/div>\r\n

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Sea Lion, 1940 or 1941<\/h3>

glazed terracotta, 14\u03a715,5\u03a720 cm.<\/p>

inv.no. 11702<\/p> <\/div>\r\n

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Baby Deer, 1930-1933<\/h3>

glazed terracotta , 16,5\u03a721\u03a712 cm.<\/p>

inv.no. 11701<\/p> <\/div>\r\n

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Roe with her Young, 1939-1940<\/h3>

terracotta, 36\u03a725\u03a712 cm.<\/p>

inv.no. 9073<\/p> <\/div>\r\n

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Roe with her Young, 1939-1940<\/h3>

terracotta, 36\u03a725\u03a712 cm.<\/p>

inv.no. 9073<\/p> <\/div>\r\n

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Roe with her Young, 1939-1940<\/h3>

terracotta, 36\u03a725\u03a712 cm.<\/p>

inv.no. 9073<\/p> <\/div>\r\n

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Couple of Roe-Deer, c. 1940<\/h3>

terracotta, 49\u03a787\u03a750 cm.<\/p>

inv.no. 9046\/\u03b1<\/p> <\/div>\r\n

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Couple of Roe-Deer, c. 1940<\/h3>

terracotta, 49\u03a787\u03a750 cm.<\/p>

inv.no. 9046\/\u03b1<\/p> <\/div>\r\n

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Couple of Roe-Deer, c. 1940<\/h3>

terracotta, 49\u03a787\u03a750 cm.<\/p>

inv.no. 9046\/\u03b1<\/p> <\/div>\r\n

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Couple of Roe-Deer, c. 1940<\/h3>

terracotta, 49\u03a787\u03a750 cm.<\/p>

inv.no. 9046\/\u03b1<\/p> <\/div>\r\n

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Couple of Roe-Deer, c. 1940<\/h3>

terracotta, 49\u03a787\u03a750 cm.<\/p>

inv.no. 9046\/\u03b1<\/p> <\/div>\r\n

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Animals of the Andes, 1951<\/h3>

terracotta, 30,5\u03a724\u03a78,5 cm.<\/p>

inv.no. 9072<\/p> <\/div>\r\n

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Animals of the Andes, 1951<\/h3>

terracotta, 30,5\u03a724\u03a78,5 cm.<\/p>

inv.no. 9072<\/p> <\/div>\r\n

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\r\n \"Animals\r\n
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Animals of the Andes, 1951<\/h3>

terracotta, 30,5\u03a724\u03a78,5 cm.<\/p>

inv.no. 9072<\/p> <\/div>\r\n

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\r\n \"Animals\r\n
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Animals of the Andes, 1954<\/h3>

hammered iron, 120\u03a798\u03a734 cm.<\/p>

inv.no 9053<\/p> <\/div>\r\n

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\r\n \"Animals\r\n
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Animals of the Andes, 1954<\/h3>

hammered iron, 120\u03a798\u03a734 cm.<\/p>

inv.no 9053<\/p> <\/div>\r\n

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\r\n \"Animals\r\n
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Ibex, 1955<\/h3>

bronze, 74\u03a741\u03a724 cm.<\/p>

inv.no 9148<\/p> <\/div>\r\n

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\r\n \"Ibex,\r\n
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Ibex, after 1955<\/h3>

iron, 151,5\u03a741,5\u03a780,5 cm.<\/p>

inv.no 9195<\/p> <\/div>\r\n

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\r\n \"Ibex,\r\n
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Ibex, after 1955<\/h3>

iron, 151,5\u03a741,5\u03a780,5 cm.<\/p>

inv.no 9195<\/p> <\/div>\r\n

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\r\n \"Ibex,\r\n
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Ibex, after 1955<\/h3>

iron, 151,5\u03a741,5\u03a780,5 cm.<\/p>

inv.no 9195<\/p> <\/div>\r\n

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\r\n \"Ibex,\r\n
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Ibex, after 1955<\/h3>

iron, 151,5\u03a741,5\u03a780,5 cm.<\/p>

inv.no 9195<\/p> <\/div>\r\n

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\r\n \"Ibex,\r\n
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Birds<\/strong><\/p>\n

Frosso Efthymiadi studied pottery and sculpture and since her student years worked on specific topics, such as animals, birds, figures and busts. Among them, birds enjoy prime of place, having kept her undiminished interest from her early years to the late 1960s, when her creative career came to a close. The choice of these subjects, as well as of the medium of terracotta until the mid-1950s, reflects her perception of the purpose and function of sculpture, which she describes in an interview to Dimis Apostolopoulos for \u00ab\u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2\u00bb (Art and Science Hour) radio show on December 16, 1954: \u00ab\u2026My aim is not monumental sculpture but art that accompanies people in their everyday life \u2013 something I think is missing in Greece\u00bb.<\/em>\u00a0Small-scale works were intended for\u00a0interior decoration<\/a>, as the artist felt that,\u00a0\u00abterracotta (…) lends itself very nicely to current interior decoration trends\u00bb.<\/em><\/p>\n

Unlike other thematic series, Birds are primarily characterised by abstraction and stylisation inspired by a variety of models; they are determined, however, also by their ornamental character. This is most evident in her earliest terracottas, as well as in the series of\u00a0Cocks<\/em>\u00a0and\u00a0Owls<\/em>, also characteristically static. After the mid-1950s, abstraction and stylisation intensified, while terracotta is replaced by metal. A characteristic series is\u00a0Eagles<\/em>, which elaborates, in compositions of latent movement, on the dynamic, majestic effect of opened wings, the artist working with either solid surfaces or hammered sheets and rods that combine full and empty parts. From 1960 on, moreover, she produced solid, seemingly static compositions, such as\u00a0Winged\u00a0Chief<\/a><\/em>,\u00a0Angry Owl<\/a><\/em>,\u00a0Night Bird<\/em>,\u00a0Minerva<\/a><\/em>, inspired by the technique of golden jewellery with densely collated rods that she had seen in her travels in Peru and Colombia in 1959; starting with\u00a0Bird<\/a><\/em>, with its distinctively dynamic movement in space, in the 1960s, reduction verged on abstraction in works such as\u00a0Pheasant<\/a><\/em>,\u00a0Wounded Bird<\/a><\/em>,\u00a0Rising<\/a><\/em>,\u00a0First Flight<\/a>.<\/em>
\nOn the other hand, the\u00a0preliminary sketches\u00a0<\/a>for several art works made of thin iron rods, the finished works being in forged bronze, iron or brass, provide a more complete understanding of the creative process.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Pigeon, 1930-1933<\/h3>

terracotta, 9\u03a713,5\u03a78,5 cm.<\/p>

inv.no. 9060<\/p> <\/div>\r\n

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Birds, 1943<\/h3>

terracotta, 15,5\u03a712,5\u03a710 cm.<\/p>

inv. no. 9097<\/p> <\/div>\r\n

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Birds, 1943<\/h3>

terracotta, 15,5\u03a712,5\u03a710 cm.<\/p>

inv. no. 9097<\/p> <\/div>\r\n

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Cock, before 1947<\/h3>

terracotta, 14,5\u03a77\u03a711,5 cm.<\/p>

inv.no. 9210<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1947<\/h3>

terracotta, 14,5\u03a77\u03a711,5 cm.<\/p>

inv.no. 9210<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Owl (bookend), before 1947<\/h3>

terracotta, 13\u03a712\u03a79,2 cm.<\/p>

inv.no. 9058<\/p> <\/div>\r\n

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Owl (bookend), before 1947<\/h3>

terracotta, 13\u03a712\u03a79,2 cm.<\/p>

inv.no. 9058<\/p> <\/div>\r\n

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Pheasant, before 1954<\/h3>

painted terracotta, 20\u03a759\u03a713 cm.<\/p>

inv.no. 9185<\/p> <\/div>\r\n

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\r\n \"Pheasant,\r\n
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Cock (Wall decoration), 1954<\/h3>

painted terracotta, 59,5\u03a755,5\u03a72 cm.<\/p>

inv.no. 9184<\/p> <\/div>\r\n

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\r\n \"Cock\r\n
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Cock, before 1954<\/h3>

terracotta, 45,5\u03a741\u03a710 cm.<\/p>

inv.no. 9069<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 45,5\u03a741\u03a710 cm.<\/p>

inv.no. 9069<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 45,5\u03a741\u03a710 cm.<\/p>

inv.no. 9069<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, 1953<\/h3>

terracotta, 50\u03a734,5\u03a79 cm.<\/p>

inv.no. 9064<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, 1953<\/h3>

terracotta, 50\u03a734,5\u03a79 cm.<\/p>

inv.no. 9064<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, 1953<\/h3>

terracotta, 50\u03a734,5\u03a79 cm.<\/p>

inv.no. 9064<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 41,5\u03a746,5\u03a712 cm.<\/p>

inv.no. 9065
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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 41,5\u03a746,5\u03a712 cm.<\/p>

inv.no. 9065
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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 41,5\u03a746,5\u03a712 cm.<\/p>

inv.no. 9065<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 43\u03a751,5\u03a712,5 cm.<\/p>

inv.no. 9196<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 43\u03a751,5\u03a712,5 cm.<\/p>

inv.no. 9196<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 43\u03a735\u03a710 cm.<\/p>

inv.no. 9068<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 43\u03a735\u03a710 cm.<\/p>

inv.no. 9068<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 45\u03a742,5\u03a713 cm.<\/p>

inv.no. 9066<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, before 1954<\/h3>

terracotta, 45\u03a742,5\u03a713 cm.<\/p>

inv.no. 9066<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, after 1954<\/h3>

hammered iron, 43\u03a744\u03a79 cm.<\/p>

inv.no. 9188<\/p> <\/div>\r\n

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\r\n \"Cock,\r\n
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Cock, after 1954<\/h3>

hammered iron, 43\u03a744\u03a79 cm.<\/p>

inv.no. 9188<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, after 1954<\/h3>

hammered iron, 43\u03a744\u03a79 cm.<\/p>

inv.no. 9188<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, after 1954<\/h3>

hammered iron, 43\u03a744\u03a79 cm.<\/p>

inv.no. 9188<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, before 1954<\/h3>

terracotta, 37,5\u03a744\u03a711 cm.<\/p>

inv.no. 9067
\r\n<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, before 1954<\/h3>

terracotta, 37,5\u03a744\u03a711 cm.<\/p>

inv.no. 9067
\r\n<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, after 1954<\/h3>

hammered iron, 38\u03a743\u03a79 cm.<\/p>

inv.no. 9189<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, after 1954<\/h3>

hammered iron, 38\u03a743\u03a79 cm.<\/p>

inv.no. 9189<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, after 1954<\/h3>

hammered iron, 38\u03a743\u03a79 cm.<\/p>

inv.no. 9189<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, before 1954<\/h3>

terracotta, 53\u03a741,5\u03a713 cm.<\/p>

inv.no. 9207<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Cock, before 1954<\/h3>

terracotta, 53\u03a741,5\u03a713 cm.<\/p>

inv.no. 9207<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Cock,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

hammered iron and welded brass, 33\u03a719\u03a715 cm.<\/p>

inv.no. 9141<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

hammered iron and welded brass, 33\u03a719\u03a715 cm.<\/p>

inv.no. 9141<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

iron, 26\u03a738\u03a724,5 cm.<\/p>

inv.no. 9082\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

hammered iron and welded copper, 26\u03a740,5\u03a727 cm.<\/p>

inv.no 9082<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

hammered iron and welded copper, 26\u03a740,5\u03a727 cm.<\/p>

inv.no 9082<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, before 1959<\/h3>

hammered iron and welded copper, 26\u03a740,5\u03a727 cm.<\/p>

inv.no 9082<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, 1960<\/h3>

iron, 18,5\u03a739\u03a724 cm.<\/p>

inv.no. 9142\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, 1960<\/h3>

hammered iron and welded copper, 17\u03a739\u03a725 cm.<\/p>

inv.no. 9142<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, 1960<\/h3>

hammered iron and welded copper, 17\u03a739\u03a725 cm.<\/p>

inv.no. 9142<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, 1960<\/h3>

hammered iron and welded copper, 17\u03a739\u03a725 cm.<\/p>

inv.no. 9142<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl, 1960<\/h3>

hammered iron and welded copper, 17\u03a739\u03a725 cm.<\/p>

inv.no. 9142<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Angry Owl, after 1959<\/h3>

iron, 18\u03a741,5\u03a720 cm.<\/p>

inv.no 9083\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Angry\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Angry Owl, after 1959<\/h3>

hammered copper, 18\u03a742\u03a725 cm.<\/p>

inv.no. 9083<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Angry\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Angry Owl, after 1959<\/h3>

hammered copper, 18\u03a742\u03a725 cm.<\/p>

inv.no. 9083<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Angry\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Angry Owl, after 1959<\/h3>

hammered copper, 18\u03a742\u03a725 cm.<\/p>

inv.no. 9083<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Angry\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nightbird, 1961<\/h3>

iron, 28,5\u03a786\u03a725 cm.<\/p>

inv.no 9084\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nightbird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nightbird, 1961<\/h3>

hammered brass, 28\u03a786\u03a722 cm.<\/p>

inv.no 9084<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nightbird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nightbird, 1961<\/h3>

hammered brass, 28\u03a786\u03a722 cm.<\/p>

inv.no 9084<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nightbird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nightbird, 1961<\/h3>

hammered brass, 28\u03a786\u03a722 cm.<\/p>

inv.no 9084<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nightbird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

hammered copper, 36\u03a733\u03a716 cm.<\/p>

inv. no 9143<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

hammered copper, 36\u03a733\u03a716 cm.<\/p>

inv. no 9143<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

hammered copper, 36\u03a733\u03a716 cm.<\/p>

inv. no 9143<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

bronze, 36,5\u03a735,5\u03a717,5 cm.<\/p>

inv. no 9144<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

bronze, 36,5\u03a735,5\u03a717,5 cm.<\/p>

inv. no 9144<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Minerva, 1961<\/h3>

bronze, 36,5\u03a735,5\u03a717,5 cm.<\/p>

inv. no 9144<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Minerva,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl`s Head<\/h3>

copper, 9\u03a712,5\u03a74 cm.<\/p>

inv.no. 9088<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl`s\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Owl`s Head, before 1963<\/h3>

hammered iron, 58\u03a764\u03a726 cm.<\/p>

inv.no. 9140<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Owl`s\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle<\/h3>

hammered iron, 46\u03a741\u03a718 cm.<\/p>

inv.no. 9172<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle<\/h3>

hammered iron, 46\u03a741\u03a718 cm.<\/p>

inv.no. 9172<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle<\/h3>

hammered iron, 46\u03a741\u03a718 cm.<\/p>

inv.no. 9172<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle, 1956-1957<\/h3>

hammered iron, 100\u03a795\u03a759 cm.<\/p>

inv. no. 9049<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle, 1956-1957<\/h3>

hammered iron, 100\u03a795\u03a759 cm.<\/p>

inv. no. 9049<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle, 1956-1957<\/h3>

hammered iron, 100\u03a795\u03a759 cm.<\/p>

inv. no. 9049<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Eagle, 1956-1957<\/h3>

hammered iron, 100\u03a795\u03a759 cm.<\/p>

inv. no. 9049<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Eagle II, 1960<\/h3>

iron, 127\u03a791\u03a733,5 cm.<\/p>

inv. no. 9154\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Eagle \u0399\u0399, 1960<\/h3>

hammered brass, 125\u03a789\u03a733 cm.<\/p>

inv. no. 9154<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Eagle\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird<\/h3>

iron, 47\u03a746\u03a720 cm<\/p>

inv.no 9173<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Bird\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird<\/h3>

iron, 47\u03a746\u03a720 cm<\/p>

inv.no 9173<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird<\/h3>

iron, 47\u03a746\u03a720 cm<\/p>

inv.no 9173<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Winged Chief, 1960<\/h3>

hammered brass, 116\u03a775\u03a723 cm.<\/p>

inv.no. 9145
\r\n<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Winged\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Winged Chief, 1960<\/h3>

hammered brass, 116\u03a775\u03a723 cm.<\/p>

inv.no. 9145
\r\n<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Winged\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Winged Chief, 1960<\/h3>

iron, 109\u03a794\u03a723 cm.<\/p>

inv.no. 9145\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Winged\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Birds, 1955<\/h3>

bronze, 39,5\u03a723,5\u03a714 cm.<\/p>

inv. no. 9081\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Birds,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Birds, 1955<\/h3>

bronze, 39,5\u03a723,5\u03a714 cm.<\/p>

inv. no. 9081\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Birds,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Birds, 1955<\/h3>

bronze, 39,5\u03a723,5\u03a714 cm.<\/p>

inv. no. 9081\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Birds,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Birds (Dialogue), before 1972<\/h3>

hammered brass, 118\u03a767\u03a734 cm.<\/p>

inv.no 9050<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Birds\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird, c. 1959<\/h3>

hammered brass, 64,5\u03a760,5\u03a726 cm.<\/p>

inv.no 9191<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Bird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Bird, c. 1959<\/h3>

iron, 115\u03a7113,5\u03a731 cm.<\/p>

inv.no 9153\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird, c. 1959<\/h3>

iron, 115\u03a7113,5\u03a731 cm.<\/p>

inv.no 9153\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird, c. 1959<\/h3>

hammered brass, 126,5\u03a7113,5\u03a738 cm.<\/p>

inv.no 9153<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Bird, c. 1959<\/h3>

hammered brass, 126,5\u03a7113,5\u03a738 cm.<\/p>

inv.no 9153<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bird,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
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Wounded Bird, 1962<\/h3>

iron, 24\u03a756\u03a730 cm.<\/p>

inv.no 9164\/\u03b1<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Wounded\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Wounded Bird, 1962<\/h3>

hammered brass, 24\u03a756\u03a725 cm.<\/p>

inv.no 9164<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Wounded\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Wounded Bird, 1962<\/h3>

hammered brass, 24\u03a756\u03a725 cm.<\/p>

inv.no 9164<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Wounded\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
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Wounded Bird, 1962<\/h3>

hammered brass, 24\u03a756\u03a725 cm.<\/p>

inv.no 9164<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Wounded\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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\r\n
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Rising, 1968<\/h3>

iron, 59\u03a735\u03a715 cm.<\/p>

inv no. 9163\/\u03b1<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Rising,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Rising, 1968<\/h3>

hammered brass, 58\u03a737\u03a716 cm.<\/p>

inv no.9163<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Rising,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Rising, 1968<\/h3>

hammered brass, 58\u03a737\u03a716 cm.<\/p>

inv no.9163<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Rising,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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First Flight<\/h3>

hammered brass, 57\u03a735\u03a714 cm.<\/p>

inv.no 9093<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"First\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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\r\n
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Pheasant, after 1960<\/h3>

hammered brass, 34\u03a790\u03a722 cm.<\/p>

inv no. 9146<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Pheasant,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
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Pheasant, after 1960<\/h3>

iron, 18,5\u03a745\u03a710 cm.<\/p>

inv.no. 11709<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Pheasant,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n
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Busts<\/strong><\/p>\n

Since her student years and until around 1955, Frosso Efthymiadi produced busts, some in terracotta and some cast in bronze. The sitters are usually her friends, or persons from the artist\u2019s inner or outer social circle. Modelled in a realistic vein, these busts reflect an interest in psychological insights, acknowledged by the artist in an interview to Dimis Apostolopoulos for \u00ab\u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2\u00bb (Art and Science Hour) radio show on December 16, 1954: \u00ab\u2026\u00a0In addition to the sitter\u2019s characteristic features, the artist must capture and convey the person\u2019s inner world. It is not always easy, you know, because, in this case, the, usually complex, personality requires individuality of expression. That is why in busts I avoid a lot of abstraction, and in some busts I think we need to maintain a certain documentation<\/em>\u00bb.<\/p>\n

In the collection of the National Gallery there are two busts of the writer Nikos Kazantzakis, the older of which was made on Aegina in 1937; busts of the archaeologist Gabriel Welter, who carried out excavations on Aegina, of the architect Dimitris Pikionis, of the writer Stratis Myrivilis, of the mayor of Athens\u00a0Kostas Kotzias<\/a>\u00a0and Dimitris Galanis\u2019 grand-daughter, Catherine; the Japanese Girl is\u00a0Kazuko Watanabe,<\/a>\u00a0daughter of \u039dobuo Watanabe, the Japanese ambassador, with whose family the artist was on friendly terms and corresponded until 1989.<\/p>\n

Some of the busts exist in more than one copy. Some belong to the sitters\u2019 families, such as\u00a0Japanese Girl<\/em>\u00a0and Kostas Kotzias\u2019 bust; others have been installed in outdoor or indoor sites, for instance Gabriel Welter\u2019s bust, which was installed on Aegina in 1938, or one of the Nikos Kazantzakis\u2019 busts, in the eponymous museum on Crete.<\/p>\n

In the sculptress\u2019s studio were also found one copy each of the\u00a0Japanese Girl<\/a>\u00a0and\u00a0Girl from Mykonos\u00a0<\/a>on terracotta, with hand-painted features, as, after 1950, Frosso Efthymiadi experimented with hand-painting certain works, most of which had been made in previous years.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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The Archaeologist Gabriel Welter, c. 1938<\/h3>

terracotta, 34,5\u03a720\u03a726 cm.<\/p>

inv. no. 9234<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"The\r\n
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The Archaeologist Gabriel Welter, c. 1938<\/h3>

terracotta, 34,5\u03a720\u03a726 cm.<\/p>

inv. no. 9234<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"The\r\n
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The Archaeologist Gabriel Welter, c. 1938<\/h3>

terracotta, 34,5\u03a720\u03a726 cm.<\/p>

inv. no. 9234<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"The\r\n
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Lord Byron<\/h3>

terracotta, 36\u03a722,5\u03a728,5 cm.<\/p>

inv.no. 9235<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Lord\r\n
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Lord Byron<\/h3>

terracotta, 36\u03a722,5\u03a728,5 cm.<\/p>

inv.no. 9235<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Lord\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Lord Byron<\/h3>

terracotta, 36\u03a722,5\u03a728,5 cm.<\/p>

inv.no. 9235<\/p> <\/div>\r\n

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The Architect Dimitris Pikionis, 1941<\/h3>

terracotta, 31\u03a722\u03a727 cm.<\/p>

inv.no 9101<\/p> <\/div>\r\n

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The Architect Dimitris Pikionis, 1941<\/h3>

terracotta, 31\u03a722\u03a727 cm.<\/p>

inv.no 9101<\/p> <\/div>\r\n

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The Architect Dimitris Pikionis, 1941<\/h3>

terracotta, 31\u03a722\u03a727 cm.<\/p>

inv.no 9101<\/p> <\/div>\r\n

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The Writer Nikos Kazantzakis, 1947<\/h3>

terracotta, 31\u03a720,5\u03a725 cm<\/p>

inv.no 9102<\/p> <\/div>\r\n

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The Writer Nikos Kazantzakis, 1947<\/h3>

terracotta, 31\u03a720,5\u03a725 cm<\/p>

inv.no 9102<\/p> <\/div>\r\n

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The Writer Nikos Kazantzakis, 1947<\/h3>

terracotta, 31\u03a720,5\u03a725 cm<\/p>

inv.no 9102<\/p> <\/div>\r\n

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The Writer Nikos Kazantzakis, 1947<\/h3>

terracotta, 31\u03a720,5\u03a725 cm<\/p>

inv.no 9102<\/p> <\/div>\r\n

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The Writer Stratis Myrivilis, c. 1943<\/h3>

terracotta, 35\u03a718\u03a727 cm.<\/p>

inv.no 9209<\/p> <\/div>\r\n

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The Writer Stratis Myrivilis, c. 1943<\/h3>

terracotta, 35\u03a718\u03a727 cm.<\/p>

inv.no 9209<\/p> <\/div>\r\n

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The Writer Stratis Myrivilis, c. 1943<\/h3>

terracotta, 35\u03a718\u03a727 cm.<\/p>

inv.no 9209<\/p> <\/div>\r\n

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The Mayor of Athens Kostas Kotzias, before 1952<\/h3>

terracotta, 35,5\u03a724\u03a724,5 cm.<\/p>

inv.no 9236<\/p> <\/div>\r\n

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The Mayor of Athens Kostas Kotzias, before 1952<\/h3>

terracotta, 35,5\u03a724\u03a724,5 cm.<\/p>

inv.no 9236<\/p> <\/div>\r\n

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The Mayor of Athens Kostas Kotzias, before 1952<\/h3>

terracotta, 35,5\u03a724\u03a724,5 cm<\/p>

inv.no 9236<\/p> <\/div>\r\n

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Man`s head<\/h3>

terracotta, 36,5\u03a719\u03a726,5 cm.<\/p>

inv.no. 9238<\/p> <\/div>\r\n

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Man`s head<\/h3>

terracotta, 36,5\u03a719\u03a726,5 cm.<\/p>

inv.no. 9238<\/p> <\/div>\r\n

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Man`s head<\/h3>

terracotta, 36,5\u03a719\u03a726,5 cm.<\/p>

inv.no. 9238<\/p> <\/div>\r\n

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Man`s head<\/h3>

terracotta, 36,5\u03a719\u03a726,5 cm.<\/p>

inv.no. 9238<\/p> <\/div>\r\n

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Aliki R. c. 1943<\/h3>

terracotta, 28\u03a722,5\u03a724,5 cm.<\/p>

inv. no. 9079<\/p> <\/div>\r\n

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Aliki R., c. 1943<\/h3>

terracotta, 28\u03a722,5\u03a724,5 cm.<\/p>

inv. no. 9079<\/p> <\/div>\r\n

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Aliki R., c. 1943<\/h3>

terracotta, 28\u03a722,5\u03a724,5 cm.<\/p>

inv. no. 9079<\/p> <\/div>\r\n

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Catherine (granddaughter of the Greek artist Dimitrios Galanis), 1946<\/h3>

terracotta, 26\u03a716\u03a720 cm.<\/p>

inv.no. 9103<\/p> <\/div>\r\n

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Catherine (granddaughter of the Greek artist Dimitrios Galanis), 1946<\/h3>

terracotta, 26\u03a716\u03a720 cm.<\/p>

inv.no. 9103<\/p> <\/div>\r\n

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Catherine (granddaughter of the Greek artist Dimitrios Galanis), 1946<\/h3>

terracotta, 26\u03a716\u03a720 cm.<\/p>

inv.no. 9103<\/p> <\/div>\r\n

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Catherine (granddaughter of the Greek artist Dimitrios Galanis), 1946<\/h3>

terracotta, 26\u03a716\u03a720 cm.<\/p>

inv.no. 9103<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), c. 1938<\/h3>

terracotta, 24\u03a716\u03a718 cm.<\/p>

inv.no. 9104<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), c. 1938<\/h3>

terracotta, 24\u03a716\u03a718 cm.<\/p>

inv.no. 9104<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), c. 1938<\/h3>

terracotta, 24\u03a716\u03a718 cm.<\/p>

inv.no. 9104<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), c. 1938<\/h3>

terracotta, 24\u03a716\u03a718 cm.<\/p>

inv.no. 9104<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), after 1938<\/h3>

painted terracotta, 23\u03a716\u03a716 cm.<\/p>

inv.no. 9104\/\u03b1<\/p> <\/div>\r\n

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Japanese Girl (Kazuko Watanabe), after 1938<\/h3>

painted terracotta, 23\u03a716\u03a716 cm.<\/p>

inv.no. 9104\/\u03b1<\/p> <\/div>\r\n

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Girl from Mykonos, after 1939<\/h3>

painted terracotta 29\u03a720\u03a721,5 cm.<\/p>

inv.no 9239<\/p> <\/div>\r\n

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Girl from Mykonos, after 1939<\/h3>

painted terracotta 29\u03a720\u03a721,5 cm.<\/p>

inv.no 9239<\/p> <\/div>\r\n

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Girl from Mykonos, after 1939<\/h3>

painted terracotta 29\u03a720\u03a721,5 cm.<\/p>

inv.no 9239<\/p> <\/div>\r\n

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Mermaids and Sea Themes<\/b><\/p>\n

The most frequently encountered mythological theme in Frosso Efthymiadi\u2019s works is the mermaid. The earliest example is\u00a0Mermaid with Fish<\/em>, a realistic terracotta intended for outdoor use, which can be\u00a0seen on the patio<\/a>\u00a0in photographs of the house.\u00a0Boy on a Dolphin<\/em>, respectively, which was designed as a fountain, was intended for public installation in Athens, as in 1939\u00a0Kostas Kotzias had commissioned from the artist works to be installed in public gardens and squares of the capital city.<\/a><\/p>\n

Smaller-scale mermaids were intended for\u00a0indoor placement<\/a>. Similarly to other small-scale terracottas, they express the sculptress\u2019s desire for \u00aban art that accompanies people in their daily lives\u00bb and reflect her belief that \u00abterracotta sculpture is particularly well-suited to the current perceptions about home decoration<\/em>\u00bb.\u00a0Characterised by bold simplification and stylisation, they echo folk pictorial models. They are sculpted in the round, or almost flat, often fully frontal, with a single or double tail, either bent back or to the side of the suspended body, or even curved, extending gracefully, long and lithe; on other occasions, flanking the body in a more rigid, stylised, static rendering.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Boy on a Dolphin, c. 1938<\/h3>

terracotta, 22\u03a720\u03a710,5 cm.<\/p>

inv.no 9227<\/p> <\/div>\r\n

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Boy on a Dolphin, c. 1938<\/h3>

terracotta, 22\u03a720\u03a710,5 cm.<\/p>

inv.no 9227<\/p> <\/div>\r\n

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Boy on a Dolphin, c. 1938<\/h3>

terracotta, 22\u03a720\u03a710,5 cm.<\/p>

inv.no 9227<\/p> <\/div>\r\n

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Boy on a Dolphin, c. 1938<\/h3>

terracotta, 22\u03a720\u03a710,5 cm.<\/p>

inv.no 9227<\/p> <\/div>\r\n

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Boy on a Dolphin, 1941<\/h3>

terracotta, 95\u03a730\u03a783 cm.<\/p>

inv.no 9100<\/p> <\/div>\r\n

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Mermaid, early 1940`s<\/h3>

terracotta, 55,5\u03a737\u03a73 cm.<\/p>

inv. no. 9114<\/p> <\/div>\r\n

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Mermaid, early 1940`s<\/h3>

terracotta, 18,5\u03a733\u03a713 cm.<\/p>

inv. no. 9094<\/p> <\/div>\r\n

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Mermaid, early 1940`s<\/h3>

terracotta, 18,5\u03a733\u03a713 cm.<\/p>

inv. no. 9094<\/p> <\/div>\r\n

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Mermaid, early 1940`s<\/h3>

terracotta, 58\u03a754,5\u03a713 cm.<\/p>

inv. no. 9113<\/p> <\/div>\r\n

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Mermaid, 1950`s<\/h3>

bronze, 30\u03a713\u03a78,5 cm.<\/p>

inv.no. 9212\/\u03b1<\/p> <\/div>\r\n

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Mermaid, 1955<\/h3>

bronze, 41\u03a733\u03a714 cm.<\/p>

inv.no. 9080<\/p> <\/div>\r\n

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Mermaid, 1955<\/h3>

bronze, 41\u03a733\u03a714 cm.<\/p>

inv.no. 9080<\/p> <\/div>\r\n

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Mermaid, 1955<\/h3>

bronze, 41\u03a733\u03a714 cm.<\/p>

inv.no. 9080<\/p> <\/div>\r\n

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Hippocampus, c. 1942<\/h3>

terracotta, 41,5\u03a711\u03a718,5 cm.<\/p>

inv.no. 9248<\/p> <\/div>\r\n

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Figures<\/strong><\/p>\n

Alongside pottery, since her student years Frosso Efthymiadi also pursued sculpture, working on specific themes, such as animals, birds, figures and busts. Her choice of subjects and use of terracotta until the mid-1950s reflects her perception of the intended role and function of sculpture, which she describes in an interview to Dimis Apostolopoulos for \u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2 (Art and Science Hour) radio show on December 16, 1954: \u2026\u00a0My\u00a0aim is not monumental sculpture but art that accompanies people in their everyday life \u2013 something I think is missing in Greece<\/em>. Furthermore,\u00a0terracotta sculpture is particularly well-suited to the current perceptions of home decoration<\/a>.<\/em><\/p>\n

Figures, female in their majority, are among her most characteristic themes. They started from small-scale, decorative compositions and a series of\u00a0Girls<\/em>\u00a0(Kores)<\/em>, simple everyday presences, often in a contemplative posture, which seeks to convey a romantic mood and emphasise feminine grace and finesse; moreover, stark presences that echo ancient models, such as\u00a0Girl with Dove\u00a0<\/a><\/em>and\u00a0Girl with Water Jar<\/em>. During the same period, she also did nudes, some of which echo\u00a0Aristide Maillol\u2019s small-scale terracottas<\/a>, as well as female dancers. After 1950, moreover, seeking to achieve a different effect, she began experimenting with hand-painting of sculptures, most of which had been produced in previous years. This experimentation did not last long; in her interview to Dimis Apostolopoulos in 1954, she remarked on the challenges:\u00a0It was very common for the ancient Greeks, of course; for us, however, it presents a very complex challenge. My painted figure you see here is very elaborate, so as to be suitable for painting, as it is extremely risky to paint a realistically modelled figure<\/em>.<\/p>\n

Efthymiadi\u2019s involvement with Girls and Nudes lasted from her student years in 1930-1933 to the early 1950s. In the early 1950s, she made a dramatic stylistic shift towards a very abstract direction. This shift first manifested itself in everyday women`s evocations in terracotta inspired by her travels in North Africa. Thus, realism was succeeded by a simplified, highly stylised, or suggestive rendering of the figures, in compositions such as the two\u00a0Moroccan Figures<\/a><\/em>,\u00a0Mother and Child<\/em>,\u00a0Moroccan Figures<\/a>\u00a0<\/em>and\u00a0Women of Luxor<\/a><\/em>, where the stylised djellabas envelop the void that evokes the body. Similar in style,\u00a0Greek Shepherds<\/a><\/em>\u00a0are three totally sketchy yet still recognisable figures with crooks, in which the diamond-shaped capes envelop the void that, here too, evokes the body.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Three Figures (Music, Song, Dance), 1940<\/h3>

terracotta, 16\u03a710\u03a710 cm, 18\u03a79,5\u03a79,5 cm, 14,5\u03a79,5\u03a79,5 cm.<\/p>

inv.no 9055, 9056, 9057<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 19\u03a720,5\u03a711 cm.<\/p>

inv.no. 9106<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 19\u03a720,5\u03a711 cm.<\/p>

inv.no. 9106<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 19\u03a720,5\u03a711 cm.<\/p>

inv.no. 9106<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 19\u03a720,5\u03a711 cm.<\/p>

inv.no. 9106<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 17\u03a719,5\u03a79,5 cm.<\/p>

inv.no. 9109<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 17\u03a719,5\u03a79,5 cm.<\/p>

inv.no. 9109<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 17\u03a719,5\u03a79,5 cm.<\/p>

inv.no. 9109<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 17\u03a719,5\u03a79,5 cm.<\/p>

inv.no. 9109<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 17\u03a719,5\u03a79,5 cm.<\/p>

inv.no. 9109<\/p> <\/div>\r\n

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Seated Girl (or Thoughtful Girl), before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9108<\/p> <\/div>\r\n

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Seated Girl (or Thoughtful Girl), before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9108<\/p> <\/div>\r\n

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Seated Girl (or Thoughtful Girl), before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9108<\/p> <\/div>\r\n

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Seated Girl (or Thoughtful Girl), before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9108<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 21\u03a715\u03a78,5 cm.<\/p>

inv.no. 9228<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9228<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9228<\/p> <\/div>\r\n

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Seated Girl, before 1947<\/h3>

terracotta, 20,5\u03a78,5\u03a713 cm.<\/p>

inv.no. 9228<\/p> <\/div>\r\n

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Girl with Water-Jar, ca. 1951<\/h3>

plaster, 147\u03a753,5\u03a732 cm.<\/p>

inv. no. 9137<\/p> <\/div>\r\n

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Girl with Water-Jar, ca. 1951<\/h3>

plaster, 147\u03a753,5\u03a732 cm.<\/p>

inv. no. 9137<\/p> <\/div>\r\n

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Girl with Water-Jar, ca. 1951<\/h3>

plaster, 147\u03a753,5\u03a732 cm.<\/p>

inv. no. 9137<\/p> <\/div>\r\n

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Girl with Water-Jar, ca. 1951<\/h3>

plaster, 147\u03a753,5\u03a732 cm.<\/p>

inv. no. 9137<\/p> <\/div>\r\n

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Girl with Dove, 1951<\/h3>

painted terracotta, 82\u03a723,5\u03a717,5 cm.<\/p>

inv.no. 9119<\/p> <\/div>\r\n

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Girl with Dove, 1951<\/h3>

painted terracotta, 82\u03a723,5\u03a717,5 cm.<\/p>

inv.no. 9119<\/p> <\/div>\r\n

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Girl with Dove, 1951<\/h3>

painted terracotta, 82\u03a723,5\u03a717,5 cm.<\/p>

inv.no. 9119<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Girl\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, after 1950<\/h3>

painted terracotta, 21,5\u03a711\u03a713 cm.<\/p>

inv. no. 9211<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, after 1950<\/h3>

painted terracotta, 21,5\u03a711\u03a713 cm.<\/p>

inv. no. 9211<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, after 1950<\/h3>

painted terracotta, 21,5\u03a711\u03a713 cm.<\/p>

inv. no. 9211<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, 1952<\/h3>

terracotta, 42,5\u03a730\u03a719,5 cm.<\/p>

inv.no. 9187<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, 1952<\/h3>

terracotta, 42,5\u03a730\u03a719,5 cm.<\/p>

inv.no. 9187<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Mother and Child, 1952<\/h3>

terracotta, 42,5\u03a730\u03a719,5 cm.<\/p>

inv.no. 9187<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Mother\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figure, 1952<\/h3>

terracotta, 18\u03a717,5\u03a79 cm.<\/p>

inv.no. 9071<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figure, 1952<\/h3>

terracotta, 18\u03a717,5\u03a79 cm.<\/p>

inv.no. 9071<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figure, 1952<\/h3>

terracotta, 17,5\u03a714,5\u03a79,5 cm. <\/p>

inv.no. 9070<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figure, 1952<\/h3>

terracotta, 17,5\u03a714,5\u03a79,5 cm. <\/p>

inv.no. 9070
\r\n<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figures, 1954<\/h3>

terracotta, 51\u03a730\u03a714 cm.<\/p>

inv.no 9208<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figures, 1954<\/h3>

terracotta, 51\u03a730\u03a714 cm.<\/p>

inv.no 9208<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Moroccan Figures, 1954<\/h3>

terracotta, 51\u03a730\u03a714 cm.<\/p>

inv.no 9208<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Moroccan\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Women of Luxor, 1955<\/h3>

bronze, 33\u03a718\u03a712 cm.<\/p>

inv.no. 9090<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Women\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Women of Luxor, 1955<\/h3>

bronze, 33\u03a718\u03a712 cm.<\/p>

inv.no. 9090<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Women\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Women of Egypt, 1955<\/h3>

bronze, 19X9,5X4 cm.<\/p>

inv.no. 9087<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Women\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Greek Shepherds, 1955<\/h3>

hammered iron, 53\u03a730\u03a720,5 cm.<\/p>

inv.no. 9152<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Greek\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Standing Nude (Kaiti), 1930-1933<\/h3>

terracotta, 78\u03a721,5\u03a717 cm.<\/p>

inv.no. 9246<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Standing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Standing Nude (Kaiti), 1930-1933<\/h3>

terracotta, 78\u03a721,5\u03a717 cm.<\/p>

inv.no. 9246<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Standing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Standing Nude<\/h3>

terracotta, 28,5\u03a723,5\u03a716 cm.<\/p>

inv.no. 9247<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Standing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Standing Nude<\/h3>

terracotta, 28,5\u03a723,5\u03a716 cm.<\/p>

inv.no. 9247<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Standing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Bathing Woman, after 1945<\/h3>

terracotta, 21\u03a79\u03a711,5 cm.<\/p>

inv.no 9076<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bathing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Bathing Woman, after 1945<\/h3>

terracotta, 21\u03a79\u03a711,5 cm.<\/p>

inv.no 9076<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bathing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Bathing Woman, after 1945<\/h3>

terracotta, 21\u03a79\u03a711,5 cm.<\/p>

inv.no 9076<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bathing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Bathing Woman, after 1945<\/h3>

terracotta, 21\u03a79\u03a711,5 cm.<\/p>

inv.no 9076<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bathing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Bathing Woman, after 1945<\/h3>

terracotta, 21\u03a79\u03a711,5 cm.<\/p>

inv.no 9076<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Bathing\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Seated Nude, before 1947<\/h3>

terracotta, 22\u03a713\u03a711 cm.<\/p>

inv.no. 9115<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Seated\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Seated Nude, before 1947<\/h3>

terracotta, 22\u03a713\u03a711 cm.<\/p>

inv.no. 9115<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Seated\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Seated Nude, before 1947<\/h3>

terracotta, 22\u03a713\u03a711 cm.<\/p>

inv.no. 9115<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Seated\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Seated Nude, before 1947<\/h3>

terracotta, 22\u03a713\u03a711 cm.<\/p>

inv.no. 9115<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Seated\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude Seated, after 1940<\/h3>

terracotta, 52\u03a761\u03a732 cm.<\/p>

inv.no. 9200<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, before 1947<\/h3>

terracotta, 24,5\u03a716\u03a716 cm.<\/p>

inv.no. 9075<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, before 1947<\/h3>

terracotta, 24,5\u03a716\u03a716 cm.<\/p>

inv.no. 9075<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, before 1947<\/h3>

terracotta, 24,5\u03a716\u03a716 cm.<\/p>

inv.no. 9075<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, before 1947<\/h3>

terracotta, 24,5\u03a716\u03a716 cm.<\/p>

inv.no. 9075<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, before 1947<\/h3>

terracotta, 24,5\u03a716\u03a716 cm.<\/p>

inv.no. 9075<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, after 1945<\/h3>

terracotta, 17,5\u03a711,5\u03a716 cm.<\/p>

inv.no. 9117<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, after 1945<\/h3>

terracotta, 17,5\u03a711,5\u03a716 cm.<\/p>

inv.no. 9117<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nude, after 1945<\/h3>

terracotta, 17,5\u03a711,5\u03a716 cm.<\/p>

inv.no. 9117<\/p> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"Nude,\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

Nud,e after 1945<\/h3>

terracotta, 17,5\u03a711,5\u03a716 cm.<\/p>

inv.no. 9117<\/p> <\/div>\r\n

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Nude, after 1945<\/h3>

terracotta, 17,5\u03a711,5\u03a716 cm.<\/p>

inv.no. 9117<\/p> <\/div>\r\n

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\r\n \"Nude,\r\n
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Nude, after 1945<\/h3>

terracotta, 15\u03a711\u03a78 cm.<\/p>

inv.no. 9116<\/p> <\/div>\r\n

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\r\n \"Nude,\r\n
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Nude, after 1945<\/h3>

terracotta, 15\u03a711\u03a78 cm.<\/p>

inv.no. 9116
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\r\n \"Nude,\r\n
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Nude, after 1945<\/h3>

terracotta, 15\u03a711\u03a78 cm.<\/p>

inv.no. 9116<\/p> <\/div>\r\n

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\r\n \"Nude,\r\n
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Nude, after 1945<\/h3>

terracotta, 15\u03a711\u03a78 cm.<\/p>

inv.no. 9116<\/p> <\/div>\r\n

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\r\n \"Nude,\r\n
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Prostrate Nude, after 1947<\/h3>

bronze, 8\u03a722\u03a711 cm.<\/p>

inv.no. 9074<\/p> <\/div>\r\n

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\r\n \"Prostrate\r\n
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Prostrate Nude, after 1947<\/h3>

bronze, 8\u03a722\u03a711 cm.<\/p>

inv.no. 9074<\/p> <\/div>\r\n

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\r\n \"Prostrate\r\n
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Prostrate Nude, after 1947<\/h3>

bronze, 8\u03a722\u03a711 cm.<\/p>

inv.no. 9074<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Prostrate\r\n
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Mythological, Religious, Allegorical Themes<\/strong><\/p>\n

Alongside pottery, since her student years Frosso Efthymiadi also pursued sculpture, working on specific themes, such as animals, birds, figures and busts. Her choice of subjects and use of terracotta until the mid-1950s reflects her perception of the intended role and function of sculpture, which she describes in an interview to Dimis Apostolopoulosfor \u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2 (Art and Science Hour) radio show on December 16, 1954: \u00ab\u2026 My aim is not monumental sculpture but art that accompanies people in their everyday life \u2013 something I think is missing in Greece\u00bb. Furthermore, terracotta sculpture is particularly well suited to the current perceptions about home decoration\u00bb. Since the mid-1950s, she abandoned terracotta in favour of metal, forging by herself sheets or rods of brass and iron<\/a>, which she then joined by welding or soldering. This technique she now used for all her works, including female figures, which developed from simple everyday presences and nudes into mythological, allegorical, or religious figures. Furthermore, the earlier realism was succeeded by a totally sketchy, suggestive rendering verging on abstraction; solid surfaces were penetrated by the void, which gradually became a key element in the compositions.<\/p>\n

This thematic and stylistic evolution can be traced in works such as Sibylla<\/a>, Sprite<\/a>, Nymph<\/a>, Lot\u2019s Wife<\/a>, Supplicants<\/a>, Nikes<\/a>. With the exceptions of Sibylla, with its balance of solid and void forms, of Suppliants and of Lot\u2019s Wife, which is a magnification of a tiny shell into a solid marble volume to convey the static standing figure of the woman who became a pillar of salt, the rest of Efthymiadi\u2019s works are composed of forged metal rods evoking the body by means of vacuum and are characterised by a strong rotational or impulsive forward motion. On the other hand, the sketches of Sibyl and Lot\u2019s Wife, made of thin iron rods, which are the preliminary studies in space<\/a> for the definitive works, provide a fuller picture of the creative process.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Pan with Baby Lamb, 1941<\/h3>

terracotta, 96\u03a754\u03a739 cm<\/p>

inv. no. 9045<\/p> <\/div>\r\n

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Charioteer, 1955<\/h3>

hammered brass , 23,5\u03a727,5\u03a78,5 cm.<\/p>

inv.no. 9170<\/p> <\/div>\r\n

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Charioteer, 1955<\/h3>

hammered brass , 23,5\u03a727,5\u03a78,5 cm.<\/p>

inv.no. 9170<\/p> <\/div>\r\n

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\r\n \"Charioteer,\r\n
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Centaur, after 1955<\/h3>

brass, 26\u03a731\u03a714 cm.<\/p>

inv.no. 9174<\/p> <\/div>\r\n

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Centaur, after 1955<\/h3>

brass, 26\u03a731\u03a714 cm.<\/p>

inv.no. 9174<\/p> <\/div>\r\n

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Female Centaur, 1955<\/h3>

brass, 11,5\u03a78,5\u03a73,5 cm.<\/p>

inv.no. 9086<\/p> <\/div>\r\n

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Supplicants, 1958<\/h3>

hammered iron, 92\u03a742\u03a716 cm.<\/p>

inv.no. 9150<\/p> <\/div>\r\n

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\r\n \"Supplicants,\r\n
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Supplicants, 1958<\/h3>

hammered iron, 92\u03a742\u03a716 cm.<\/p>

inv.no. 9150<\/p> <\/div>\r\n

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\r\n \"Supplicants,\r\n
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Sibylla, 1958<\/h3>

hammered iron and copper, 98\u03a754\u03a737 cm.<\/p>

inv.no 9091<\/p> <\/div>\r\n

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\r\n \"Sibylla,\r\n
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Sibylla, 1958<\/h3>

hammered iron and copper, 98\u03a754\u03a737 cm.<\/p>

inv.no 9091<\/p> <\/div>\r\n

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\r\n \"Sibylla,\r\n
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Sibylla, 1958<\/h3>

hammered iron and copper, 98\u03a754\u03a737 cm.<\/p>

inv.no 9091<\/p> <\/div>\r\n

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\r\n \"Sibylla,\r\n
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Sibylla, 1958<\/h3>

iron, 94\u03a756\u03a735 cm.<\/p>

inv.no 9091\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Sibylla,\r\n
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Sprite, 1960<\/h3>

hammered brass, 140\u03a782\u03a758 cm.<\/p>

inv.no 9158<\/p> <\/div>\r\n

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\r\n \"Sprite,\r\n
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Sprite, 1960<\/h3>

hammered brass, 140\u03a782\u03a758 cm.<\/p>

inv.no 9158<\/p> <\/div>\r\n

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\r\n \"Sprite,\r\n
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Sprite, 1960<\/h3>

hammered brass, 140\u03a782\u03a758 cm.<\/p>

inv.no 9158<\/p> <\/div>\r\n

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\r\n \"Sprite,\r\n
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Sprite, 1960<\/h3>

hammered brass, 140\u03a782\u03a758 cm.<\/p>

inv.no 9158<\/p> <\/div>\r\n

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\r\n \"Sprite,\r\n
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Nymph, 1960<\/h3>

hammered brass, 138\u03a767\u03a743,6 cm.<\/p>

inv.no 9051<\/p> <\/div>\r\n

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\r\n \"Nymph,\r\n
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Nymph, 1960<\/h3>

hammered brass, 138\u03a767\u03a743,6 cm.<\/p>

inv.no 9051<\/p> <\/div>\r\n

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\r\n \"Nymph,\r\n
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Nymph, 1960<\/h3>

hammered brass, 138\u03a767\u03a743,6 cm.<\/p>

inv.no 9051<\/p> <\/div>\r\n

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\r\n \"Nymph,\r\n
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Nymph, 1960<\/h3>

hammered brass, 138\u03a767\u03a743,6 cm.<\/p>

inv.no 9051<\/p> <\/div>\r\n

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\r\n \"Nymph,\r\n
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Icarus, before 1965<\/h3>

iron, 66\u03a785,5\u03a734 cm.<\/p>

inv.no. 9147\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Icarus,\r\n
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Icarus, before 1965<\/h3>

hammered brass, 62\u03a782,5\u03a736 cm.<\/p>

inv.no. 9147<\/p> <\/div>\r\n

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\r\n \"Icarus,\r\n
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Minoan, before 1964<\/h3>

iron, copper, brass (hammered), 139\u03a794\u03a72,5cm.<\/p>

inv.no 9183<\/p> <\/div>\r\n

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\r\n \"Minoan,\r\n
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Nike, 1960<\/h3>

hammered brass, 103,5\u03a784\u03a735,5 cm.<\/p>

inv.no 9157<\/p> <\/div>\r\n

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\r\n \"Nike,\r\n
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Nike, 1960<\/h3>

hammered brass, 103,5\u03a784\u03a735,5 cm.<\/p>

inv.no 9157<\/p> <\/div>\r\n

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\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"Nike,\r\n
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Nike, 1960<\/h3>

hammered brass, 103,5\u03a784\u03a735,5 cm.<\/p>

inv.no 9157<\/p> <\/div>\r\n

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\r\n \"Nike,\r\n
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Nike, 1962<\/h3>

plaster, 107\u03a780\u03a725 cm.<\/p>

inv.no 9156<\/p> <\/div>\r\n

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\r\n \"Nike,\r\n
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Nike II, 1969<\/h3>

hammered brass, 170\u03a790\u03a757 cm.<\/p>

inv.no 9165<\/p> <\/div>\r\n

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\r\n \"Nike\r\n
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Adam and Eve, 1955<\/h3>

bronze, 64,5\u03a718,5\u03a710 cm.<\/p>

inv. no. 9139
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Adam and Eve, 1955<\/h3>

bronze, 64,5\u03a718,5\u03a710 cm.<\/p>

inv. no. 9139
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Salome, 1958 or 1959<\/h3>

welded iron 130\u03a789,5\u03a755,5 cm.<\/p>

inv.no 9149<\/p> <\/div>\r\n

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Salome, 1958 or 1959<\/h3>

welded iron 130\u03a789,5\u03a755,5 cm.<\/p>

inv.no 9149<\/p> <\/div>\r\n

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Salome, 1958 or 1959<\/h3>

welded iron 130\u03a789,5\u03a755,5 cm.<\/p>

inv.no 9149<\/p> <\/div>\r\n

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Lot\u2019s Wife, after 1962<\/h3>

iron, 167,5\u03a733\u03a727,5 cm.<\/p>

inv.no. 9151\/\u03b3<\/p> <\/div>\r\n

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Lot\u2019s Wife, after 1962<\/h3>

iron, 167,5\u03a733\u03a727,5 cm.<\/p>

inv.no. 9151\/\u03b3<\/p> <\/div>\r\n

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Lot\u2019s Wife, after 1962<\/h3>

iron, 167,5\u03a733\u03a727,5 cm.<\/p>

inv.no. 9151\/\u03b3<\/p> <\/div>\r\n

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Lot\u2019s Wife, 1962<\/h3>

marble, 85\u03a721\u03a719 cm.<\/p>

inv.no. 9151<\/p> <\/div>\r\n

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Lot\u2019s Wife, 1962<\/h3>

marble, 85\u03a721\u03a719 cm.<\/p>

inv.no. 9151<\/p> <\/div>\r\n

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Lot\u2019s Wife, 1962<\/h3>

marble, 85\u03a721\u03a719 cm.<\/p>

inv.no. 9151<\/p> <\/div>\r\n

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Lot\u2019s Wife, 1962<\/h3>

marble, 85\u03a721\u03a719 cm.<\/p>

inv.no. 9151<\/p> <\/div>\r\n

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Dance<\/strong><\/p>\n

Alongside pottery, since her student years Frosso Efthymiadi also pursued sculpture, working on specific themes, such as animals, birds, figures and busts. Her choice of subjects and use of terracotta until the mid-1950s reflects her perception of the intended role and function of sculpture, which she describes in an interview to Dimis Apostolopoulos for \u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2 (Art and Science Hour) radio show on December 16, 1954: \u00ab\u2026\u00a0My\u00a0aim is not monumental sculpture but art that accompanies people in their everyday life \u2013 something I think is missing in Greece<\/em>\u00bb.<\/em>\u00a0Furthermore,\u00abterracotta sculpture is particularly well-suited to the current perceptions about home decoration<\/em>\u00bb.<\/p>\n

Female figures are among her most characteristic subjects, including compositions on the theme of dance, which preoccupied the artist from the 1940s to the 1960s, and in which we can follow her development from the realistic style of the early terracottas to abstract treatment by the mid-1950s. Thus,\u00a0Dancer\u00a0<\/a><\/em>in hammered brass, dating from the 1960s, is a very abstract version of the terracotta\u00a0Dancer\u00a0<\/a><\/em>from the 1940s. On the other hand, the hammered bronze\u00a0Ballerina\u00a0<\/a><\/em>(1959) on display at the Panathenaea of Contemporary Sculpture exhibition on Filopappou \u00a0in 1965, swirling balanced on one leg, brilliantly combines solid and void forms, verging on abstraction. Moreover, it is the culmination of the evocation of fleeting whirling motion, which began around 1956, with a small-scale\u00a0Dancer\u00a0<\/a><\/em>in bronze and continued with the small-scale\u00a0Ballerina<\/em>\u00a0almost a year later.<\/p>\n

In addition to the individual figure, dance preoccupied Frosso Efthymiadi also in terms of a team endeavour. Inspired by a Minoan composition of the New Palace period on Crete, she produced in 1955 two very stylised and abstract small-scale compositions titled\u00a0Dance\u00a0<\/a><\/em>and\u00a0Greek Dance<\/a><\/em>, before arriving at a similar, though flat,\u00a0large-scale composition.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Dancer, before 1947<\/h3>

terracotta, 27\u03a713\u03a79,5 cm.<\/p>

inv.no. 9096<\/p> <\/div>\r\n

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Dancer, before 1947<\/h3>

terracotta, 27\u03a713\u03a79,5 cm.<\/p>

inv.no. 9096<\/p> <\/div>\r\n

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Dancer, before 1947<\/h3>

terracotta, 27\u03a713\u03a79,5 cm.<\/p>

inv.no. 9096<\/p> <\/div>\r\n

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Dancer, c. 1956<\/h3>

bronze, 40,5\u03a724\u03a719 cm.<\/p>

inv. no. 9092<\/p> <\/div>\r\n

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Dancer, c. 1956<\/h3>

bronze, 40,5\u03a724\u03a719 cm.<\/p>

inv. no. 9092<\/p> <\/div>\r\n

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Dancer, c. 1956<\/h3>

bronze, 40,5\u03a724\u03a719 cm.<\/p>

inv. no. 9092<\/p> <\/div>\r\n

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Dancer, before 1965<\/h3>

hammered brass , 46,5\u03a729,5\u03a718 cm.<\/p>

inv.no. 9160<\/p> <\/div>\r\n

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Ballerina, 1959<\/h3>

iron, 129\u03a770,5\u03a775 cm.<\/p>

inv.no 9155\/\u03b1<\/p> <\/div>\r\n

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Ballerina, 1959<\/h3>

iron, 129\u03a770,5\u03a775 cm.<\/p>

inv.no 9155\/\u03b1<\/p> <\/div>\r\n

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Ballerina, 1959<\/h3>

hammered bronze, 150\u03a772\u03a750 cm.<\/p>

inv.no 9155<\/p> <\/div>\r\n

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Ballerina, 1959<\/h3>

hammered bronze, 150\u03a772\u03a750 cm.<\/p>

inv.no 9155<\/p> <\/div>\r\n

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Ballerina, 1959<\/h3>

hammered bronze, 150\u03a772\u03a750 cm.<\/p>

inv.no 9155<\/p> <\/div>\r\n

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Greek Dance, 1955<\/h3>

bronze, 35,5\u03a730\u03a727 cm.<\/p>

inv.no. 9138<\/p> <\/div>\r\n

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Dance, 1955<\/h3>

brass, 16\u03a716\u03a715,5 cm.<\/p>

inv. no 9085<\/p> <\/div>\r\n

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Dance, 1955<\/h3>

brass, 16\u03a716\u03a715,5 cm.<\/p>

inv. no 9085<\/p> <\/div>\r\n

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Dance, 1955<\/h3>

hammered brass, 109\u03a7149\u03a7104 cm.<\/p>

inv. no 9048<\/p> <\/div>\r\n

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Abstraction<\/strong><\/p>\n

Since her student years, Frosso Efthymiadi also pursued sculpture alongside ceramics, working on specific topics, such as animals, birds, figures and busts. Until her compositions of the early 1950s, she had been a realist, but then made a dramatic shift towards a very abstract direction, which, since 1958, led to the production of abstract compositions, too. Furthermore, since 1955 she had shifted her focus from working on terracotta to working almost exclusively with\u00a0forging metal<\/a>. Using mainly brass and iron, or metal rods, she created abstract compositions, often resembling linear drawings in space, drawing on biomorphic shapes, or constructivist models, as well as from life. Accordingly,\u00a0Chinatown\u00a0<\/a><\/em>is apparently inspired by Chinese ideograms,\u00a0Totem of the Depths<\/a><\/em>\u00a0evokes vegetal patterns and\u00a0Endless Spiral<\/a><\/em>\u00a0is reminiscent of Vladimir Tatlin\u2019s\u00a0Monument for the Third International<\/em>. Her\u00a0Study in Space<\/a><\/em>, one of only two works she made in marble, is\u00a0an abstract version of sails full of wind<\/a>, which she then transferred using forged brass rods as a linear drawing in space in\u00a0Movement into Space<\/a><\/em>. Frosso Efthymiadi\u2019s series of abstract compositions ended around 1971, when she created\u00a0Labyrinth<\/a><\/em>, a two-dimensional geometric construction resulting from the combination of repeating patterns of small brass plates, which was to be her last work.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Chinatown, 1958<\/h3>

copper, 49\u03a730\u03a717 cm.<\/p>

inv.no 9175<\/p> <\/div>\r\n

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Chinatown, 1958<\/h3>

copper, 49\u03a730\u03a717 cm.<\/p>

inv.no 9175<\/p> <\/div>\r\n

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Geometric Study, after 1960<\/h3>

hammered iron, 46\u03a717\u03a716,5 cm.<\/p>

inv. no. 9159<\/p> <\/div>\r\n

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Geometric Study, after 1960<\/h3>

hammered iron, 46\u03a717\u03a716,5 cm.<\/p>

inv. no. 9159<\/p> <\/div>\r\n

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Geometric Study, after 1960<\/h3>

hammered iron, 46\u03a717\u03a716,5 cm.<\/p>

inv. no. 9159<\/p> <\/div>\r\n

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\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
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Geometric Study, after 1960<\/h3>

hammered iron, 46\u03a717\u03a716,5 cm.<\/p>

inv. no. 9159<\/p> <\/div>\r\n

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\r\n \"Geometric\r\n
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Geometric Study, after 1960<\/h3>

hammered iron, 39\u03a726\u03a714 cm.<\/p>

inv. no. 9166<\/p> <\/div>\r\n

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\r\n \"Geometric\r\n
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Movement into Space, 1960<\/h3>

hammered brass, 90\u03a770\u03a728 cm.<\/p>

inv.no. 9161<\/p> <\/div>\r\n

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\r\n \"Movement\r\n
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Study in Space, 1964<\/h3>

marble, height 46 cm.<\/p>

inv.no. 9162<\/p> <\/div>\r\n

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\r\n \"Study\r\n
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Endless Spiral, after 1960<\/h3>

hammered brass, 132X19X18 cm.<\/p>

inv. no. 9186<\/p> <\/div>\r\n

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\r\n \"Endless\r\n
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Endless Spiral, after 1960<\/h3>

hammered brass, 132X19X18 cm.<\/p>

inv. no. 9186<\/p> <\/div>\r\n

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\r\n \"Endless\r\n
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Totem of the Depths, 1962<\/h3>

hammered brass, 330\u03a756,5\u03a755,5 cm.<\/p>

inv.no 9052<\/p> <\/div>\r\n

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\r\n \"Totem\r\n
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Dialogue, 1963<\/h3>

iron, 35\u03a730\u03a717,5 cm., 29\u03a723,5\u03a711 cm.<\/p>

inv.no. 9167\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Dialogue,\r\n
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Dialogue (study for stage scenery), 1963<\/h3>

iron, copper, brass , 35,5\u03a741,5\u03a718,5 cm.<\/p>

inv.no. 9167<\/p> <\/div>\r\n

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\r\n \"Dialogue\r\n
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Dialogue (study for stage scenery), 1963<\/h3>

iron, copper, brass , 35,5\u03a741,5\u03a718,5 cm.<\/p>

inv.no. 9167<\/p> <\/div>\r\n

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\r\n \"Dialogue\r\n
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Sound or Musical Instrument, after 1960<\/h3>

hammered brass , 79\u03a749\u03a712 cm.<\/p>

inv.no. 9171<\/p> <\/div>\r\n

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\r\n \"Sound\r\n
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Sound or Musical Instrument, after 1960<\/h3>

hammered brass , 79\u03a749\u03a712 cm.<\/p>

inv.no. 9171<\/p> <\/div>\r\n

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\r\n \"Sound\r\n
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Labyrinth, before 1971<\/h3>

brass and Plexiglass, 150 \u03a768\u03a71 cm.<\/p>

inv.no. 9134<\/p> <\/div>\r\n

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\r\n \"Labyrinth,\r\n
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Medals<\/strong><\/p>\n

Frosso Efthymiadi\u2019s studio also contained some medal models for the City of Athens. It is likely that they were commissioned by Kostas Kotzias, who had served as mayor of Athens in 1934-1936 and again in 1951, as he had also commissioned some works in terracotta for outdoor installation in Athens. These medals come in different shapes, yet carry similar images: the cross on one side and the head of the city\u2019s patron, the goddess Athena, on the other; in other words, a version of the\u00a0emblem of the municipality\u00a0<\/a>to date.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Athena (medal for the Municipality of Athens)<\/h3>

terracotta, diam. 25 cm., depth 3 cm.<\/p>

inv. no. 9229<\/p> <\/div>\r\n

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\r\n \"Athena\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 29\u03a727\u03a73 cm.<\/p>

inv.no 9242\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 29\u03a727\u03a72,5 cm.<\/p>

inv.no 9242\/\u03b2<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 26\u03a723,5\u03a72,5 cm.<\/p>

inv.no 9240\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 29\u03a723,5\u03a72,5 cm.<\/p>

inv.no 9240\/\u03b2<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 28\u03a725,5\u03a73,5 cm.<\/p>

inv.no 9241\/\u03b1<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted plaster, 27,5\u03a725\u03a73 cm.<\/p>

inv.no 9241\/\u03b2<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Medal for the Municipality of Athens<\/h3>

painted paster, 27,5\u03a726\u03a73 cm.<\/p>

inv.no 9244<\/p> <\/div>\r\n

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\r\n \"Medal\r\n
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Timeline<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Navigate to the thumbnails and see the evolution of the project Frosso Efthymiadi per decade.<\/p>\n

View the development of her work by clicking\u00a0here<\/a>.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\n

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1930 – 1940<\/h3> <\/div>\r\n
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\r\n \"1930\r\n
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1930-1940<\/h3>

Vase with Horses in Relief, <\/em>1930-1933
\nglazed terracotta, 30\u03a727\u03a727 cm.
\ninv. no. 11695<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Baby Deer,<\/em>\u00a01930-1933
\nglazed terracotta 16,5\u03a721\u03a712 cm.
\ninv. no. 11701<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Pigeon<\/em>, 1930-1933
\nterracotta, 9\u03a713,5\u03a78,5 cm.
\ninv. no. 9060<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Standing Nude (Kaiti), <\/em>1930-1933
\nterracotta, 78\u03a721,5\u03a717 cm.
\ninv. no. 9246<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Decorative plate with Cock<\/em>, c. 1932
\npainted terracotta, diam. 15 cm
\ninv. no. 11698<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Decorative plate with Mermaid<\/em>, c. 1932
\npainted terracotta, diam. 20 cm
\ninv. no. 11699<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Wall Vase<\/em>, before 1937
\nterracotta, 35\u03a713,5\u03a713,5 cm.
\ninv. no. 9206<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Baby Donkey<\/em>, before 1937
\nterracotta, 40\u03a733,5\u03a712,5 cm.
\ninv. no. 9136\/\u03b2<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Kid<\/em>, c. 1937
\nglazed terracotta, 38,5\u03a729,5\u03a715 cm.
\ninv. no. 9089<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Baby Donkey<\/em>, after 1937
\nbronze, 35\u03a726\u03a78,5 cm.
\ninv. no. 9136<\/p>\n<\/div> <\/div>\r\n

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\r\n \"1930-1940\"\r\n
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1930-1940<\/h3>

Kid<\/em>, c. 1938
\nterracotta, 36\u03a728\u03a712 cm.
\ninv. no. 9107<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Kid<\/em>, c. 1938
\nbronze, 88\u03a726\u03a766 cm
\ninv. no. 9044<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

Boy on a Dolphin<\/em>, c. 1938
\nterracotta, 22\u03a720\u03a710,5 cm.
\ninv. no. 9227<\/p>\n<\/div> <\/div>\r\n

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1930-1940<\/h3>

The Archeologist <\/em>G. Welter, c. 1938
\nterracotta, 34,5\u03a720\u03a726 cm.
\ninv. no. 9234<\/p>\n<\/div> <\/div>\r\n

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\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Japanese Girl <\/em>(Kazuko Watanabe), c. 1938
\nterracotta, 24\u03a716\u03a718 cm.
\ninv. no. 9104<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Japanese Girl <\/em>(Kazuko Watanabe), after 1938
\npainted terracotta, 23\u03a716\u03a716 cm
\ninv. no. 9104\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Girl with Horse, <\/em>before 1939
\npainted terracotta, 30\u03a740,5\u03a74 cm.
\ninv. no. 9226<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Calf<\/em>, c. 1939
\nterracotta, 11\u03a723\u03a710,5 cm.
\ninv. no. 9105<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Seated Donkey<\/em>, 1939
\nterracotta, 59,5\u03a785\u03a742 cm.
\ninv. no. 9043<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Girl from Mykonos, <\/em>after 1939
\npainted terracotta, 29\u03a720\u03a721,5 cm.
\ninv. no. 9239<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Roe with her Young, <\/em>1939-1940
\nterracotta, 36\u03a725\u03a712 cm.
\ninv. no. 9073<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

The Refugees<\/em>, before 1940
\nterracotta, 30\u03a743,5\u03a75 cm.
\ninv. no. 9230<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930-1940<\/h3>

Couple of Roe-Deer, <\/em>c. 1940
\nterracotta, 49\u03a787\u03a750 cm.
\ninv. no. 9046\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930-1940\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1930 – 1940<\/h3>

Three Figures <\/em>(Music, Song, Dance), 1940
\nterracotta, 16\u03a710\u03a710 cm 18\u03a79,5\u03a79,5 cm 14,5\u03a79,5\u03a79,5 cm.
\ninv. no. 9055, 9056, 9057<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1930\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940 – 1950<\/h3> <\/div>\r\n
\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Baby Donkey<\/em>, after 1940
\nbronze, 107\u03a781\u03a722 cm.
\ninv. no. 9135<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Foal<\/em>, after 1940
\nbronze, 82\u03a7100\u03a740 cm.
\ninv. no. 9111<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Nude Seated, <\/em>after 1940
\nterracotta, 52\u03a761\u03a732 cm.
\ninv. no. 9200<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Sea Lion, <\/em>1940 or 1941
\nglazed terracotta, 14\u03a715,5\u03a720 cm.
\ninv. no. 11702<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Mermaid<\/em>, early 1940s
\nterracotta, 58\u03a754,5\u03a713 cm.
\ninv. no. 9113<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Mermaid, <\/em>early 1940s
\nterracotta, 55,5\u03a737\u03a73 cm.
\ninv. no. 9114<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Mermaid<\/em>, early 1940s
\nterracotta, 18,5\u03a733\u03a713 cm.
\ninv. no. 9094<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Pan with Baby Lamb<\/em>, 1941
\nterracotta, 96\u03a754\u03a739 cm.
\ninv. no. 9045<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Boy on a Dolphin<\/em>, 1941
\nterracotta, 95\u03a730\u03a783 cm.
\ninv. no. 9100<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

The Architect <\/em>Dimitris Pikionis, 1941
\nterracotta, 31\u03a722\u03a727 cm.
\ninv. no. 9101<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Hippocampus<\/em>, c. 1942
\nterracotta, 41,5\u03a711\u03a718,5 cm.
\ninv. no. 9248<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Aliki R<\/em>., c. 1943
\nterracotta, 28\u03a722,5\u03a724,5 cm.
\ninv. no. 9079<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

The Writer\u00a0<\/em>\u00a0Stratis Myrivilis<\/em>, c. 1943
\nterracotta, 35\u03a718\u03a727 cm.
\ninv. no. 9209<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Birds<\/em>, 1943
\nterracotta, 15,5\u03a712,5\u03a710 cm.
\ninv. no. 9097<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Nude<\/em>, after 1945
\nterracotta 17,5\u03a711,5\u03a716 cm.
\ninv. no. 9117<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Bathing Woman, <\/em>after 1945
\nterracotta, 21\u03a79\u03a711,5 cm.
\ninv. no. 9076<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Nude<\/em>, after 1945
\nterracotta, 15\u03a711\u03a78 cm.
\ninv. no. 9116<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Catherine <\/em>(granddaughter of the Greek artist Dimitrios Galanis), 1946
\nterracotta, 26\u03a716\u03a720 cm.
\ninv. no. 9103<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Cock<\/em>, before 1947
\nterracotta, 14,5\u03a77\u03a711,5 cm.
\ninv. no. 9210<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Owl<\/em>, before 1947
\nterracotta, 13\u03a712\u03a79,2 cm.
\ninv. no. 9058<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Owl<\/em>, before 1947
\nterracotta, 13\u03a712\u03a79,2 cm.
\ninv. no. 9059<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Seated Girl,<\/em>\u00a0before 1947
\nterracotta, 19\u03a720,5\u03a711 cm.
\ninv. no. 9106<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Seated Girl<\/em>, before 1947
\nterracotta, 17\u03a719,5\u03a79,5 cm.
\ninv. no. 9109<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Seated Girl <\/em>(or\u00a0Thoughtful Girl<\/em>), before 1947
\nterracotta, 20,5\u03a78,5\u03a713 cm.
\ninv. no. 9108<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Seated Girl,<\/em>\u00a0before 1947
\nterracotta, 21\u03a715\u03a78,5 cm.
\ninv. no. 9228<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Dancer<\/em>, before 1947
\nterracotta, 27\u03a713\u03a79,5 cm.
\ninv. no. 9096<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Nude<\/em>, before 1947
\nterracotta, 24,5\u03a716\u03a716 cm.
\ninv. no. 9075<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Seated Nude<\/em>, before 1947
\nterracotta, 22\u03a713\u03a711 cm.
\ninv. no. 9115<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

The Writer Nikos Kazantzakis<\/em>, 1947
\nterracotta, 31\u03a720,5\u03a725 cm.
\ninv. no. 9102<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Prostrate Nude<\/em>, after 1947
\nbronze, 8\u03a722\u03a711 cm.
\ninv. no. 9074<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Vase with 18 handles<\/em>\u00a0before 1948
\nterracotta, 16\u03a725\u03a725 cm.
\ninv. no. 9180<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Vase<\/em>, before 1948
\nterracotta, 65\u03a736,5\u03a736,5 cm.
\ninv. no. 9112<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Calf<\/em>, after 1948
\nbronze, 75,5\u03a790\u03a735 cm.
\ninv. no. 9047<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1940-1950<\/h3>

Vase<\/em>, 1949
\nterracotta, 39\u03a727,5\u03a720,5 cm.
\ninv. no. 9062<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1940-1950\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950 – 1960<\/h3> <\/div>\r\n
\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Jug<\/em>, after 1949
\nterracotta, 27\u03a720\u03a718,5 cm.
\ninv. no. 9122<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Jug<\/em>, after 1949
\nterracotta 26\u03a722,5\u03a725,5 cm.
\ninv. no. 9182<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Decorative plate, <\/em>after 1949
\nterracotta, diam. 34 cm.
\ninv. no. 9127<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Churn<\/em>, after 1949
\nterracotta, 22\u03a717,5\u03a75 cm.
\ninv. no. 9121<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Mermaid,<\/em>\u00a01950s
\nbronze, 30\u03a713\u03a78,5 cm.
\ninv. no. 9212\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Mother and Child, <\/em>after 1950
\npainted terracotta, 21,5\u03a711\u03a713 cm.
\ninv. no. 9211<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Girl with Water-Jar, <\/em>c. 1951
\nplaster, 147\u03a753,5\u03a732 cm.
\ninv. no. 9137<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Girl with Dove,<\/em>\u00a01951
\nterracotta, 82\u03a723,5\u03a717,5 cm.
\ninv. no. 9119<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Animals of the Andes,<\/em>\u00a01951
\nterracotta, 30,5\u03a724\u03a78,5 cm.
\ninv. no. 9072<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

The Mayor of Athens Kostas Kotzias<\/em>, before 1951
\nterracotta, 35,5\u03a724\u03a724,5 cm.
\ninv. no. 9236<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Water-Jar Figure, <\/em>after 1951
\nterracotta, 67,5\u03a734,5\u03a717,5 cm.
\ninv. no. 9120<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Jug<\/em>, 1952
\nterracotta, 21\u03a718\u03a716,5 cm.
\ninv. no. 9123<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Jug<\/em>, 1952 or 1953
\nterracotta, 34,5\u03a722\u03a722,5 cm.
\ninv. no. 9181<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Moroccan Figure<\/em>, 1952
\nterracotta, 18\u03a717,5\u03a79 cm.
\ninv. no. 9071<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Moroccan Figure<\/em>, 1952
\nterracotta, 17,5\u03a714,5\u03a79,5 cm.
\ninv. no. 9070<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Mother and Child,<\/em>\u00a01952
\nterracotta, 42,5\u03a730\u03a719,5 cm.
\ninv. no. 9187<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, 1953
\nterracotta, 50\u03a734,5\u03a79 cm.
\ninv. no. 9064<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 41,5\u03a746,5\u03a712 cm.
\ninv. no. 9065<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 43\u03a751,5\u03a712,5 cm.
\ninv. no. 9196<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 43\u03a735\u03a710 cm.
\ninv. no. 9068<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 45\u03a742,5\u03a713 cm.
\ninv. no. 9066<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 37,5\u03a744\u03a711 cm.
\ninv. no. 9067<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 53\u03a741,5\u03a713 cm.
\ninv. no. 9207<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, before 1954
\nterracotta, 45,5\u03a741\u03a710 cm.
\ninv. no. 9069<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Pheasant<\/em>, before 1954
\nterracotta, 20\u03a759\u03a713 cm.
\ninv. no. 9185<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Jug Decorated with Fish<\/em>\u00a0before 1954
\nterracotta, 29\u03a721\u03a718,5 cm.
\ninv. no. 9231<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, 1954
\npainted terracotta, 59,5\u03a755,5\u03a72 cm.
\ninv. no. 9184<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Water-Jar Figure<\/em>, 1954
\nterracotta, 62\u03a732\u03a724,5 cm.
\ninv. no. 9063<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Water-Jar Figure<\/em>, 1954
\nterracotta, 31\u03a720\u03a716 cm.
\ninv. no. 9061<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Moroccan Figures <\/em>(or\u00a0Women of Egypt<\/em>), 1954
\nterracotta, 51\u03a730\u03a714 cm.
\ninv. no. 9208<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Animals of the Andes, <\/em>1954
\nhammered iron, 120\u03a798\u03a734 cm.
\ninv. no. 9053<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, after 1954
\nhammered iron, 43\u03a744\u03a79 cm.
\ninv. no. 9188<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Cock<\/em>, after 1954
\nhammered iron, 38\u03a743\u03a79 cm.
\ninv. no. 9189<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Mermaid<\/em>, 1955
\nbronze, 41\u03a733\u03a714 cm.
\ninv. no. 9080<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Female Centaur,<\/em>\u00a01955
\nbrass, 11,5\u03a78,5\u03a73,5 cm.
\ninv. no. 9086<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Charioteer<\/em>, 1955
\nhammered brass 23,5\u03a727,5\u03a78,5 cm.
\ninv. no. 9170<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Adam and Eve<\/em>, 1955
\nbronze, 64,5\u03a718,5\u03a710 cm.
\ninv. no. 9139<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Greek Dance<\/em>, 1955
\nbronze, 35,5\u03a730\u03a727 cm.
\ninv. no. 9138<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Dance<\/em>, 1955
\nbrass, 16\u03a716\u03a715,5 cm.
\ninv. no. 9085<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Dance<\/em>, 1955
\nhammered brass, 109\u03a7149\u03a7104 cm.
\ninv. no. 9048<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Women of Egypt<\/em>, 1955
\nbronze, 19X9,5X4 cm.
\ninv. no. 9087<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Greek Shepherds<\/em>, 1955
\nhammered iron, 53\u03a730\u03a720,5 cm.
\ninv. no. 9152<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1969<\/h3>

Women of Luxor<\/em>, 1955
\nbronze, 33\u03a718\u03a712 cm.
\ninv. no. 9090<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1969\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Birds<\/em>, 1955
\nbronze, 39,5\u03a723,5\u03a714 cm.
\ninv. no. 9081\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Ibex<\/em>, 1955
\nhammered brass, 74\u03a741\u03a724 cm.
\ninv. no. 9148<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Ibex<\/em>, after 1955
\niron, 151,5\u03a741,5\u03a780,5 cm.
\ninv. no. 9195<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Centaur<\/em>, after 1955
\nbrass, 26\u03a731\u03a714 cm.
\ninv. no. 9174<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Dancer<\/em>, c. 1956
\nbronze, 40,5\u03a724\u03a719 cm.
\ninv. no. 9092<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Eagle<\/em>, 1956-1957
\nhammered iron, 100\u03a795\u03a759 cm.
\ninv. no. 9049<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Supplicants<\/em>, 1958
\nhammered iron, 92\u03a742\u03a716 cm.
\ninv. no. 9150<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Sibylla<\/em>, 1958
\niron, 94\u03a756\u03a735 cm.
\ninv. no. 9091\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Sibylla<\/em>, 1958
\nhammered iron and copper, 98\u03a754\u03a737 cm.
\ninv. no. 9091<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Chinatown<\/em>, 1958
\nbronze, 49\u03a730\u03a717 cm.
\ninv. no. 9175<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Salome<\/em>, 1958 or 1959
\nwelded iron, 130\u03a789,5\u03a755,5 cm.
\ninv. no. 9149<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Lot\u2019s Wife,<\/em>\u00a01958-1960
\nplaster, 83\u03a720\u03a716,5 cm.
\ninv. no. 9151\/\u03b2<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Owl<\/em>, before 1959
\niron, 26\u03a738\u03a724,5 cm.
\ninv. no. 9082\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Owl<\/em>, before 1959
\nhammered iron and welded copper, 26\u03a740,5\u03a727 cm.
\ninv. no. 9082<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Owl<\/em>, before 1959
\nhammered iron and welded brass, 33\u03a719\u03a715 cm.
\ninv. no. 9141<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Ballerina<\/em>, 1959
\nhammered bronze, 150\u03a772\u03a750 cm.
\ninv. no. 9155<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Ballerina<\/em>, 1959
\niron, 129\u03a770,5\u03a775 cm.
\ninv. no. 9155\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Angry Owl,<\/em>\u00a0after 1959
\niron, 18\u03a741,5\u03a720 cm.
\ninv. no. 9083\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Angry Owl<\/em>, after 1959
\nhammered copper, 18\u03a742\u03a725 cm.
\ninv. no. 9083<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Bird<\/em>, c. 1959
\nhammered brass, 64,5\u03a760,5\u03a726 cm.
\ninv. no. 9191<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Bird<\/em>, c. 1959
\niron, 115\u03a7113,5\u03a731 cm.
\ninv. no. 9153\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Bird<\/em>, c. 1959
\nhammered brass, 126,5\u03a7113,5\u03a738 cm.
\ninv. no. 9153<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Totem of the Depths, <\/em>1959-1960
\nhammered brass, 108\u03a718\u03a715 cm.
\ninv. no. 9168<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Owl<\/em>, 1960
\niron, 18,5\u03a739\u03a724 cm.
\ninv. no. 9142\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Owl<\/em>, 1960
\nhammered iron and welded copper, 17\u03a739\u03a725 cm.
\ninv. no. 9142<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Eagle II<\/em>, 1960
\niron, 127\u03a791\u03a733,5 cm.
\ninv. no. 9154\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Eagle II<\/em>, 1960
\nhammered brass, 125\u03a789\u03a733 cm.
\ninv. no. 9154<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Winged Chief,<\/em>\u00a01960
\niron, 109\u03a794\u03a723 cm.
\ninv. no. 9145\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Winged Chief<\/em>, 1960
\nhammered brass, 116\u03a775\u03a723 cm.
\ninv. no. 9145<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Sprite<\/em>, 1960
\nhammered brass,\u00a0 140\u03a782\u03a758 cm.
\ninv. no. 9158<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Nymph<\/em>, 1960
\nhammered brass, 138\u03a767\u03a743,6 cm.
\ninv. no. 9051<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Nike<\/em>, 1960
\nhammered brass, 103,5\u03a784\u03a735,5 cm.
\ninv. no. 9157<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1950-1960<\/h3>

Movement into Space,<\/em>\u00a01960
\nhammered brass, 90\u03a770\u03a728 cm.
\ninv. no. 9161<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1950-1960\"\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3> <\/div>\r\n
\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Geometric Study, <\/em>after 1960
\nhammered iron, 46\u03a717\u03a716,5 cm.
\ninv. no. 9159<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Geometric Study, <\/em>after 1960
\nhammered iron 39\u03a726\u03a714 cm.
\ninv. no. 9166<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Endless spiral, <\/em>after 1960
\nhammered brass, 132X19X18 cm.
\ninv. no. 9186<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Sound or Musical Instrument, <\/em>after 1960
\nhammered brass, 79\u03a749\u03a712 cm.
\ninv. no. 9171<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Pheasant<\/em>, after 1960
\niron, 18,5\u03a745\u03a710 cm.
\ninv. no. 11709<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Pheasant<\/em>, after 1960
\nhammered brass, 34\u03a790\u03a722 cm.
\ninv. no. 9146<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Minerva<\/em>, 1961
\nhammered copper, 36\u03a733\u03a716 cm.
\ninv. no. 9143<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Minerva<\/em>, 1961
\nbronze, 36,5\u03a735,5\u03a717,5 cm.
\ninv. no. 9144<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Nightbird<\/em>, 1961
\niron, 28,5\u03a786\u03a725 cm.
\ninv. no. 9084\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Nightbird<\/em>, 1961
\nhammered brass, 27\u03a786\u03a722 cm.
\ninv. no. 9084<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Nike<\/em>, 1962
\nplaster, 107\u03a780\u03a725 cm.
\ninv. no. 9156<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Lot\u2019s Wife,<\/em>\u00a01962
\nmarble, 85\u03a721\u03a719 cm.
\ninv. no. 9151<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Lot\u2019s Wife<\/em>, after 1962
\niron, 167,5\u03a733\u03a727,5 cm.
\ninv. no. 9151\/\u03b3<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Wounded Bird<\/em>, 1962
\niron, 24\u03a756\u03a730 cm.
\ninv. no. 9164\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Wounded Bird,<\/em>\u00a01962
\nhammered brass, 24\u03a756\u03a725 cm.
\ninv. no. 9164<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Totem of the Depths<\/em>, 1962
\nhammered brass, 330\u03a756,5\u03a755,5 cm.
\ninv. no. 9052<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Owl`s Head,<\/em>\u00a0before 1963
\nhammered iron, 58\u03a764\u03a726 cm.
\ninv. no. 9140<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Dialogue<\/em>, 1963
\niron, 35\u03a730\u03a717,5 cm 29\u03a723,5\u03a711 cm.
\ninv. no. 9167\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Dialogue<\/em>, 1963
\n(study for stage scenery)
\niron, copper, brass 35,5\u03a741,5\u03a718,5 cm.
\ninv. no. 9167<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Minoan<\/em>, before 1964
\niron, copper, brass (hammered)
\n139\u03a794\u03a72,5 cm.
\ninv. no. 9183<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Study in Space<\/em>, 1964
\nmarble, height 46 cm.
\ninv. no. 9162<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Icarus<\/em>, before 1965
\niron, 66\u03a785,5\u03a734 cm.
\ninv. no. 9147\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Icarus<\/em>, before 1965
\nhammered brass 62\u03a782,5\u03a736 cm.
\ninv. no. 9147<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Dancer<\/em>, before 1965
\nhammered brass, 46,5\u03a729,5\u03a718 cm.
\ninv. no. 9160<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Rising<\/em>, 1968
\niron, 59\u03a735\u03a715 cm.
\ninv. no. 9163\/\u03b1<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
\r\n
\r\n \"1960-\r\n
\r\n \r\n Download Image \r\n \r\n <\/svg>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/figure>\r\n <\/div>\r\n
\r\n
\r\n
\r\n

1960- after 1970<\/h3>

Rising<\/em>, 1968
\nhammered brass,\u00a0 58\u03a737\u03a716 cm.
\ninv. no. 9163<\/p>\n<\/div> <\/div>\r\n

\r\n
\r\n \r\n Read more <\/a>\r\n <\/div> \r\n <\/div>\r\n <\/div>\r\n
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\r\n \"1960-\r\n
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1960- after 1970<\/h3>

Nike II<\/em>, 1969
\nhammered brass, 170\u03a790\u03a757 cm.
\ninv. no. 9165<\/p>\n<\/div> <\/div>\r\n

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1960- after 1970<\/h3>

Nike II<\/em>, 1969
\nhammered brass, 170\u03a790\u03a757 cm.
\ninv. no. 9165<\/p>\n<\/div> <\/div>\r\n

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1960- after 1970<\/h3>

Birds<\/em>, before 1972
\nhammered brass, 118\u03a767\u03a734 cm.
\ninv. no. 9050<\/p>\n<\/div> <\/div>\r\n

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Articles & Interviews<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Articles & Interviews<\/h3> <\/div>\r\n
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Articles & TV shows<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Proia<\/em>\u00a0<\/strong>(\u03a0\u03c1\u03c9\u0390\u03b1)<\/em><\/strong>, 8 February 1937\u00a0<\/a>(\u0399.\u039c. \u03a0\u03b1\u03bd\u03b1\u03b3\u03b9\u03c9\u03c4\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u00ab\u0391\u03b3\u03b3\u03b5\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b5\u03b9\u03b4\u03ce\u03bb\u03b9\u03b1\u00bb)<\/p>\n

Athinaika nea<\/em><\/strong>\u00a0(\u0391\u03b8\u03b7\u03bd\u03b1\u03ca\u03ba\u03ac \u039d\u03ad\u03b1)<\/em><\/strong>, 4 October 1937<\/a>\u00a0(\u0395. \u03a4\u03b6\u03b1\u03bc\u03bf\u03c5\u03c1\u03ac\u03bd\u03b7\u03c2, \u00ab\u039c\u03af\u03b1 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03ad\u03c7\u03bd\u03b9\u03c2 \u03c0\u03bf\u03c5 \u03b1\u03c3\u03c7\u03bf\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03bc\u03cc\u03bd\u03bf \u03bc\u03b5 \u03c4\u03b1 \u03b6\u03ce\u03b1\u00bb)<\/p>\n

Ellinis<\/strong>\u00a0<\/em>(\u0395\u03bb\u03bb\u03b7\u03bd\u03af\u03c2)<\/em><\/strong>, 26 March 1938<\/a>\u00a0(\u0391\u03b8\u03b7\u03bd\u03ac \u03a4\u03b1\u03c1\u03c3\u03bf\u03cd\u03bb\u03b7, \u00ab\u039c\u03af\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03af\u03b4\u03b1 \u03b1\u03b3\u03b3\u03b5\u03b9\u03bf\u03c0\u03bb\u03ac\u03c3\u03c4\u03c1\u03b9\u03b1\u00bb)<\/p>\n

Gynaika<\/strong>\u00a0<\/em>(\u0393\u03c5\u03bd\u03b1\u03af\u03ba\u03b1)<\/em><\/strong>, 8 April 1938<\/a>\u00a0(\u0394\u03b9\u03b4\u03ce \u03a3\u03c9\u03c4\u03b7\u03c1\u03af\u03bf\u03c5, \u00ab\u0397 \u039c\u03b5\u03b3\u03ac\u03bb\u03b7 \u03a0\u03b1\u03bd\u03b5\u03bb\u03bb\u03ae\u03bd\u03b9\u03bf\u03c2 \u039a\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae \u0388\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2 \u0396\u03b1\u03c0\u03c0\u03b5\u03af\u03bf\u03c5\u00bb)<\/p>\n

Elliniki Epitheorisis<\/strong><\/em>\u00a0(\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0395\u03c0\u03b9\u03b8\u03b5\u03ce\u03c1\u03b7\u03c3\u03b9\u03c2)<\/em><\/strong><\/a>, July 1938<\/a>, \u03c3. 186 (\u03a3\u03c0. \u03a0\u03b1\u03bd\u03b1\u03b3\u03b9\u03c9\u03c4\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u00ab\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Gynaika<\/strong>\u00a0<\/em>(\u0393\u03c5\u03bd\u03b1\u03af\u03ba\u03b1)<\/em><\/strong>, 3 May 1939<\/a>\u00a0(\u039b\u03b9\u03bb\u03af\u03ba\u03b1 \u039d\u03ac\u03ba\u03bf\u03c5, \u00ab\u039f\u03b9 \u03b5\u03be\u03ad\u03c7\u03bf\u03c5\u03c3\u03b5\u03c2 \u0395\u03bb\u03bb\u03b7\u03bd\u03af\u03b4\u03b5\u03c2. \u039c\u03b9\u03b1 \u03bd\u03b5\u03b1\u03c1\u03ae \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1. \u0397 \u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03ad\u03c1\u03b3\u03bf\u03bd \u03c4\u03b7\u03c2\u00bb)<\/p>\n

Kathimerini<\/strong><\/em>\u00a0(\u039a\u03b1\u03b8\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae)<\/em><\/strong>, 4 September 1943<\/a>\u00a0(\u03a3\u03c0\u03cd\u03c1\u03bf\u03c2 \u039c\u03b5\u03bb\u03ac\u03c2, \u00ab\u039a\u03b5\u03c1\u03b1\u03bc\u03b9\u03ba\u03ae\u00bb)<\/p>\n

Ethnos<\/strong>\u00a0<\/em>(\u0388\u03b8\u03bd\u03bf\u03c2<\/em><\/strong>, 29 December 1946)\u00a0<\/a>(\u039f \u039a\u03b1\u03bb\u03bb\u03b9\u03c4\u03ad\u03c7\u03bd\u03b7\u03c2, \u00ab\u0397 \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1 \u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Vradyni<\/strong>\u00a0<\/em>(\u0392\u03c1\u03b1\u03b4\u03c5\u03bd\u03ae)<\/em><\/strong>, 16 January 1948<\/a>\u00a0(\u039d\u03af\u03ba\u03bf\u03c2 \u0393\u03b9\u03b1\u03b2\u03ae\u03c2,\u00a0\u00ab\u0397 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03c4\u03b5\u03c1\u03c1\u03b1\u03ba\u03cc\u03c4\u03b1\u00bb)<\/p>\n

Ta Nea<\/strong><\/em>\u00a0(\u03a4\u03b1 \u039d\u03ad\u03b1)<\/em><\/strong>, 11 December 1954<\/a>\u00a0(\u0395. \u0392\u03b1\u03ba\u03b1\u03bb\u03cc,\u00a0\u00ab\u039c\u03b9\u03b1 \u03c9\u03c1\u03b1\u03af\u03b1 \u03ad\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2\u00bb)<\/p>\n

Ethnos<\/strong>\u00a0<\/em>(\u0388\u03b8\u03bd\u03bf\u03c2)<\/em><\/strong>, 10 December 1954\u00a0<\/a>(\u03a3\u03c0. \u03a0\u03b1\u03bd\u03b1\u03b3\u03b9\u03c9\u03c4\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2,\u00a0\u00ab\u0395\u03ba\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2\u00bb)<\/p>\n

Ethnos<\/strong>\u00a0<\/em>(\u0388\u03b8\u03bd\u03bf\u03c2)<\/em><\/strong>, 20 July 1955\u00a0<\/a>(\u0391\u03c7. \u039c\u03b1\u03bc\u03ac\u03ba\u03b7\u03c2,\u00a0\u00ab\u03a4\u03bf \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03cc\u03bd \u03c1\u03b5\u03c0\u03bf\u03c1\u03c4\u03ac\u03b6 \u03c4\u03b7\u03c2 \u03b5\u03b2\u03b4\u03bf\u03bc\u03ac\u03b4\u03bf\u03c2\u00bb)<\/p>\n

Zygos<\/strong>\u00a0<\/em>(\u0396\u03c5\u03b3\u03cc\u03c2)<\/em><\/strong>, no. 9, July 1956<\/a>\u00a0(\u00ab\u0397 \u03b4\u03b9\u03b5\u03b8\u03bd\u03ae\u03c2 \u03ad\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2 \u03c4\u03bf\u03c5 \u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03bf\u03c5 \u03a1\u03bf\u03bd\u03c4\u03ad\u03bd. \u0395\u03bd\u03c4\u03c5\u03c0\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c4\u03b7\u03c2 \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1\u03c2 \u03ba. \u03a6\u03c1\u03cc\u03c3\u03c9\u03c2 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7-\u039c\u03b5\u03bd\u03b5\u03b3\u03ac\u03ba\u03b7\u00bb)<\/p>\n

Zygos<\/strong>\u00a0(\u0396\u03c5\u03b3\u03cc\u03c2)<\/strong>,\u00a0<\/em>no. 16, February 1957<\/a>\u00a0(\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7-\u039c\u03b5\u03bd\u03b5\u03b3\u03ac\u03ba\u03b7, \u00ab\u0393\u03b9\u03b1 \u03bc\u03b9\u03b1 \u03bd\u03b5\u03bf\u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03ba\u03b5\u03c1\u03b1\u03bc\u03b9\u03ba\u03ae\u00bb)<\/p>\n

Architektoniki<\/strong>\u00a0<\/em>(\u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03bf\u03bd\u03b9\u03ba\u03ae)<\/em><\/strong>, no. 5, September-October 1957<\/a>\u00a0(\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7, \u00ab\u03a0\u03bb\u03b1\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b5\u03c0\u03b9\u03c4\u03b5\u03cd\u03be\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7\u03bd \u0391\u03bc\u03b5\u03c1\u03b9\u03ba\u03b1\u03bd\u03b9\u03ba\u03ae \u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03bf\u03bd\u03b9\u03ba\u03ae\u00bb)<\/p>\n

Zygos<\/strong>\u00a0<\/em>(\u0396\u03c5\u03b3\u03cc\u03c2)<\/strong>, no<\/em>. 24, October 1957<\/a>\u00a0(\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7, \u00ab\u03a4\u03bf \u03bd\u03ad\u03bf \u03c0\u03bb\u03b1\u03c3\u03c4\u03b9\u03ba\u03cc \u03b9\u03b4\u03b5\u03ce\u03b4\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u0391\u03bc\u03b5\u03c1\u03b9\u03ba\u03b1\u03bd\u03b9\u03ba\u03ae \u03b3\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae\u00bb)<\/p>\n

Zygos<\/strong>\u00a0<\/em>(\u0396\u03c5\u03b3\u03cc\u03c2)<\/strong>, no<\/em>. 26, December 1957<\/a>\u00a0(\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7, \u00abOur Museum. \u039f\u03b9 \u0391\u03bc\u03b5\u03c1\u03b9\u03ba\u03b1\u03bd\u03bf\u03af \u03b3\u03b9\u03b1 \u03c4\u03b1 \u03bc\u03bf\u03c5\u03c3\u03b5\u03af\u03b1 \u03c4\u03bf\u03c5\u03c2\u00bb<\/p>\n

Eleftheria<\/strong>\u00a0<\/em>(\u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03af\u03b1)<\/em><\/strong>, 8 November 1959<\/a>\u00a0(\u039c.\u0393. \u0391\u03bd\u03b1\u03b3\u03bd\u03c9\u03c3\u03c4\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u00ab\u0393\u03bb\u03c5\u03c0\u03c4\u03ac \u03ba\u03b1\u03b9 \u03ba\u03b5\u03c1\u03b1\u03bc\u03b9\u03ba\u03ac \u03c4\u03b7\u03c2 \u03a6\u03c1\u03cc\u03c3\u03c9\u03c2 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Zygos<\/strong>\u00a0<\/em>(\u0396\u03c5\u03b3\u03cc\u03c2)<\/strong>, no<\/em>. 60, November 1959<\/a>\u00a0(\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7, \u00ab\u0397 V Bienal \u03c4\u03bf\u03c5 Sao Paulo\u00bb)<\/p>\n

Anexartitos Typos<\/strong>\u00a0<\/em>(\u0391\u03bd\u03b5\u03be\u03ac\u03c1\u03c4\u03b7\u03c4\u03bf\u03c2 \u03a4\u03cd\u03c0\u03bf<\/strong>\u03c2)<\/em>, 14 March 1961<\/a>\u00a0(\u0386\u03b3\u03b3\u03b5\u03bb\u03bf\u03c2 \u0394\u03cc\u03be\u03b1\u03c2,\u00ab\u0393\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Eleftheria<\/strong>\u00a0<\/em>(\u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03af\u03b1)<\/em><\/strong>, 14 March 1961<\/a>\u00a0(\u039c.\u0393. \u0391\u03bd\u03b1\u03b3\u03bd\u03c9\u03c3\u03c4\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5,\u00a0\u00ab\u039c\u03af\u03b1 \u03ad\u03ba\u03b8\u03b5\u03c3\u03b9 \u03b3\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2\u00bb)<\/p>\n

Ta Nea<\/strong><\/em>\u00a0(\u03a4\u03b1 \u039d\u03ad\u03b1)<\/em><\/strong>, 17 March 1961<\/a>\u00a0(\u0395\u03bb\u03ad\u03bd\u03b7 \u0392\u03b1\u03ba\u03b1\u03bb\u03cc,\u00a0\u00ab\u0397 \u03ad\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2 \u03a6\u03c1\u03cc\u03c3\u03c9\u03c2 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Ethnos<\/strong>\u00a0<\/em>(\u0388\u03b8\u03bd\u03bf\u03c2)<\/em><\/strong>, 3 April 1961\u00a0<\/a>(\u03a3\u03c0. \u03a0\u03b1\u03bd\u03b1\u03b3\u03b9\u03c9\u03c4\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u00ab\u0395\u03ba\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2\u00bb)<\/p>\n

Ethnikos Kyrix<\/strong>\u00a0<\/em>(\u0395\u03b8\u03bd\u03b9\u03ba\u03cc\u03c2 \u039a\u03ae\u03c1\u03c5\u03be)<\/em><\/strong>,\u00a09 April 1961<\/a>\u00a0(\u03a7. \u03a0\u03b1\u03c0\u03b1\u03b3\u03b5\u03c9\u03c1\u03b3\u03af\u03bf\u03c5,\u00a0\u00ab\u0388\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2 \u03b3\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u03a6\u03c1\u03cc\u03c3\u03c9\u03c2 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7-\u039c\u03b5\u03bd\u03b5\u03b3\u03ac\u03ba\u03b7\u00bb)<\/p>\n

Kathimerini<\/strong>\u00a0<\/em>(\u039a\u03b1\u03b8\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae)<\/strong><\/em>, 9 April 1961<\/a>\u00a0(\u0386\u03b3\u03b3\u03b5\u03bb\u03bf\u03c2 \u03a0\u03c1\u03bf\u03ba\u03bf\u03c0\u03af\u03bf\u03c5, \u00ab\u0395\u03ba\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2\u00bb)<\/p>\n

To Vima<\/strong>\u00a0<\/em>(\u03a4\u03bf \u0392\u03ae\u03bc\u03b1)<\/em><\/strong>, 20 April 1961<\/a>\u00a0(\u039c\u03b1\u03c1\u03af\u03bd\u03bf\u03c2 \u039a\u03b1\u03bb\u03bb\u03b9\u03b3\u03ac\u03c2,\u00a0\u00ab\u039c\u03b9\u03b1 \u03c3\u03b5\u03b9\u03c1\u03ac \u03b5\u03ba\u03b8\u03ad\u03c3\u03b5\u03c9\u03bd\u00bb)<\/p>\n

To Vima<\/strong><\/em>\u00a0(\u03a4\u03bf \u0392\u03ae\u03bc\u03b1)<\/em><\/strong>, 15 February 1962<\/a>\u00a0(\u00ab\u0397 \u03c0\u03c1\u03cc\u03c3\u03c6\u03b1\u03c4\u03b7 \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03c4\u03b7\u03c2 \u03a6\u03c1. \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Eleftheria<\/strong>\u00a0<\/em>(\u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03af\u03b1)<\/em><\/strong>, 15\u00a0February 1962<\/a>\u00a0(\u039c.\u0391., \u00ab\u039c\u03af\u03b1 \u0395\u03bb\u03bb\u03b7\u03bd\u03af\u03c2 \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1 \u03c0\u03bf\u03c5 \u03b1\u03c0\u03ad\u03c3\u03c0\u03b1\u03c3\u03b5 \u03c4\u03b7\u03c2 \u03b4\u03b9\u03b5\u03b8\u03bd\u03ae \u03b1\u03bd\u03b1\u03b3\u03bd\u03ce\u03c1\u03b9\u03c3\u03b7\u00bb)<\/p>\n

Mesimvrini<\/strong>\u00a0(\u039c\u03b5\u03c3\u03b7\u03bc\u03b2\u03c1\u03b9\u03bd\u03ae)<\/em><\/strong>, 20 February 1962<\/a>, (\u00ab\u0388\u03ba\u03b8\u03b5\u03c3\u03b9\u03c2 \u03b3\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c4\u03b7\u03c2 \u03ba\u03b1\u03c2 \u039c\u03b5\u03bd\u03b5\u03b3\u03ac\u03ba\u03b7-\u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Athinaiki<\/strong>\u00a0<\/em>(\u0391\u03b8\u03b7\u03bd\u03b1\u03ca\u03ba\u03ae)<\/em><\/strong>, 24 February 1962\u00a0(\u0391\u03bb\u03ad\u03ba\u03bf\u03c2 \u0394\u03c1\u03ac\u03ba\u03bf\u03c2,\u00a0\u00ab\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Gynaika<\/strong>\u00a0<\/em>(\u0393\u03c5\u03bd\u03b1\u03af\u03ba\u03b1)<\/em><\/strong>, no. 316, 28 February-13 March1962<\/a>\u00a0(\u039c\u03b1\u03c1\u03b9\u03ac\u03bd\u03bd\u03b1 \u039c\u03bf\u03c5\u03c4\u03b6\u03bf\u03c5\u03c1\u03af\u03b4\u03bf\u03c5, \u00ab\u0397 \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1 \u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7\u00bb)<\/p>\n

Eleftheria<\/strong>\u00a0<\/em>(\u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03af\u03b1)<\/em><\/strong>, 24 May 1964<\/a>\u00a0(\u00ab\u03a3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac \u03b3\u03bb\u03c5\u03c0\u03c4\u03ac \u03c3\u03c4\u03b7 \u0394\u03b9\u03b5\u03b8\u03bd\u03ae \u03ad\u03ba\u03b8\u03b5\u03c3\u03b7 \u03c4\u03b7\u03c2 \u039d\u03ad\u03b1\u03c2 \u03a5\u03cc\u03c1\u03ba\u03b7\u03c2\u00bb)<\/p>\n

Mesimvrini<\/strong>\u00a0<\/em>(\u039c\u03b5\u03c3\u03b7\u03bc\u03b2\u03c1\u03b9\u03bd\u03ae)<\/em><\/strong>, 13 February 1980<\/a>\u00a0(\u00ab\u039c\u03b9\u03b1 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b1 \u03c3\u03c4\u03b7\u03bd \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1;\u00bb)<\/p>\n

Eleftheros Kosmos<\/strong><\/em>\u00a0(\u0395\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03bf\u03c2 \u039a\u03cc\u03c3\u03bc\u03bf\u03c2)<\/em><\/strong>, 29 May 1980<\/a>\u00a0(\u00ab\u0398\u03b1 \u03b2\u03bf\u03b7\u03b8\u03ae\u03c3\u03c9 \u03c4\u03bf\u03c5\u03c2 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03ad\u03c7\u03bd\u03b5\u03c2 \u03b1\u03bd \u03b5\u03ba\u03bb\u03b5\u03b3\u03ce \u03b1\u03ba\u03b1\u03b4\u03b7\u03bc\u03b1\u03ca\u03ba\u03cc\u03c2\u00bb)<\/p>\n

Eikones<\/strong>\u00a0<\/em>(\u0395\u03b9\u03ba\u03cc\u03bd\u03b5\u03c2)<\/em><\/strong>, 28 May 1986<\/a>, \u03c3. 34-38 (\u0399\u03c9\u03ac\u03bd\u03bd\u03b7\u03c2 \u0399\u03c9\u03ac\u03bd\u03bd\u03bf\u03c5, \u00ab\u038c\u03bd\u03b5\u03b9\u03c1\u03b1 \u03b1\u03c0\u03cc \u03c0\u03b7\u03bb\u03cc \u03ba\u03b1\u03b9 \u03bc\u03ad\u03c4\u03b1\u03bb\u03bb\u03bf\u00bb)<\/p>\n

Keramika Chronika<\/strong>\u00a0<\/em>(\u039a\u03b5\u03c1\u03b1\u03bc\u03b9\u03ba\u03ac \u03a7\u03c1\u03bf\u03bd\u03b9\u03ba\u03ac)<\/em><\/strong>, no. 45, July-September 1987<\/a>\u00a0(\u0393\u03b5\u03ce\u03c1\u03b3\u03b9\u03bf\u03c2 \u039d\u03b9\u03ba\u03bf\u03bb\u03b1\u03ba\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u00ab\u03a6\u03c1\u03cc\u03c3\u03c9 \u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7. \u039a\u03b5\u03c1\u03b1\u03bc\u03b9\u03ba\u03ae \u03b1\u03bd\u03b1\u03b3\u03ad\u03bd\u03bd\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0395\u03bb\u03bb\u03ac\u03b4\u03bf\u03c2\u00bb)<\/p>\n

Broadcast by BBC Greek Service<\/strong>, 16\/9\/1955, 19.30<\/a><\/p>\n

Hellenic National Audiovisual Archive\u00a0<\/strong><\/a><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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Interviews<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Vradyni<\/strong>\u00a0<\/em>(\u0392\u03c1\u03b1\u03b4\u03c5\u03bd\u03ae<\/em>)<\/strong>, 8 December 1949<\/a>\u00a0(\u03a0\u03b1\u03cd\u03bb\u03bf\u03c2 \u039a\u03c1\u03b9\u03bd\u03b1\u03af\u03bf\u03c2, \u00ab\u0397 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03ad\u03c7\u03bd\u03b9\u03c2 \u03c4\u03b7\u03c2 \u03bf\u03c0\u03c4\u03ae\u03c2 \u03b3\u03b7\u03c2\u00bb)<\/p>\n

Vradyni<\/strong>\u00a0<\/em>(\u0392\u03c1\u03b1\u03b4\u03c5\u03bd\u03ae)<\/em><\/strong>, 13 January 1954<\/a><\/p>\n

Tachydromos<\/strong>\u00a0<\/em>(\u03a4\u03b1\u03c7\u03c5\u03b4\u03c1\u03cc\u03bc\u03bf\u03c2)<\/em><\/strong>, year A\u0384, no. 15, 24 July 1954<\/a>, p. 3 (\u0391\u03b8\u03b7\u03bd\u03ac \u039b\u03bf\u03c1\u03ac\u03bd\u03b4\u03bf\u03c5, \u00ab\u0397 \u03c3\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b1 \u03b5\u03af\u03bd\u03b1\u03b9 \u03c3\u03ba\u03bb\u03ac\u03b2\u03b1 \u03ae \u03c4\u03cd\u03c1\u03b1\u03bd\u03bd\u03bf\u03c2;\u00bb)<\/p>\n

Interview to Dimis Apostolopoulos<\/a>\u00a0for\u00a0\u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2<\/em>\u00a0(Art and Science Hour) radio show on December 16, 1954<\/p>\n

Mesimvrini<\/strong>\u00a0<\/em>(\u039c\u03b5\u03c3\u03b7\u03bc\u03b2\u03c1\u03b9\u03bd\u03ae)<\/em><\/strong>, 7 May 1980\u00a0<\/a>(\u039a\u03af\u03c4\u03c3\u03b1 \u039c\u03c0\u03cc\u03bd\u03c4\u03b6\u03bf\u03c5, \u03a6\u03c1\u03cc\u03c3\u03c9 \u039c\u03b5\u03bd\u03b5\u03b3\u03ac\u03ba\u03b7-\u0395\u03c5\u03b8\u03c5\u03bc\u03b9\u03ac\u03b4\u03b7: \u03bc\u03b9\u03b1 \u03b3\u03bb\u03cd\u03c0\u03c4\u03c1\u03b9\u03b1 \u03ba\u03c4\u03c5\u03c0\u03ac \u03c4\u03b7\u03bd \u03c0\u03cc\u03c1\u03c4\u03b1 \u03c4\u03b7\u03c2 \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1\u03c2\u00bb)<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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Photographs<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n
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Photographs<\/h3>

Meet Frosso Efthymiadi through photographs of her own archive.<\/p>\n<\/div> <\/div>\r\n

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Frosso’s Eftymiadi House<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n
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Frosso\u2019s Efthymiadi and Manolis\u2019 Menegakis house at Gripari 10 str. in Kipriadou area.<\/h3> <\/div>\r\n
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Frosso\u2019s Efthymiadi and Manolis\u2019 Menegakis house at Gripari 10 str. in Kipriadou area.<\/h3> <\/div>\r\n
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The entrance of the house<\/h3> <\/div>\r\n
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View from the garden \u201cPan with Baby Lamb\u201d and \u201cKid\u201d at the bottom of the photograph<\/h3> <\/div>\r\n
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\u201cSeated donkey\u201d at the garden of the house<\/h3> <\/div>\r\n
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The patio of the house The \u201cMermaid with fish\u201d at the center<\/h3> <\/div>\r\n
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View from the living room Small scale terracotta sculptures on the shelves, on the left of the photograph<\/h3> <\/div>\r\n
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View from the living room with Frosso\u2019s Efthymiadi works and furniture designed by her<\/h3> <\/div>\r\n
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View from the living room with works, ornamental objects and furniture designed by Frosso Efthymiadi<\/h3> <\/div>\r\n
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View from the living room with Frosso\u2019s Efthymiadi works<\/h3> <\/div>\r\n
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View from the living room Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the living room Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the living room Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the living room Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the living room Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the living room \u201cGirl with Water-Jar\u201d in a prominent place<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the \u201cPiano Room\u201d with Frosso\u2019s Efthymiadi works and memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the house The bantam-wall fitting is designed by Frosso Efthymiadi<\/h3> <\/div>\r\n
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View from the house with memorabilia from the artist\u2019s journeys Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the house with silhouettes from Shadow Play<\/h3> <\/div>\r\n
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View from the house with terracotta sculptures made by the artist<\/h3> <\/div>\r\n
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View from the house Wall fitting and vase are designed by Frosso Efthymiadi<\/h3> <\/div>\r\n
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View from the house with ornamental objects designed by Frosso Efthymiadi along with memorabilia from her journeys<\/h3> <\/div>\r\n
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View from the house Wall fitting is designed by Frosso Efthymiadi<\/h3> <\/div>\r\n
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View from the house with memorabilia from her journeys Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space<\/h3> <\/div>\r\n
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View from the exhibition space<\/h3> <\/div>\r\n
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View from the exhibition space<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the exhibition space Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the first floor Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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View from the artist\u2019s studio on the basement Photograph taken after the artist\u2019s death<\/h3> <\/div>\r\n
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Personal Photographs<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n
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Personal Photographs<\/h3> <\/div>\r\n
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Frosso Efthymiadi standing on the left of the photograph with her family<\/h3> <\/div>\r\n
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Frosso Efthymiadi in traditional costume<\/h3> <\/div>\r\n
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Frosso Efthymiadi as a schoolgirl<\/h3> <\/div>\r\n
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Frosso Efthymiadi at a young age<\/h3> <\/div>\r\n
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Frosso Efthymiadi <\/h3> <\/div>\r\n
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Frosso Efthymiadi<\/h3> <\/div>\r\n
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Frosso\u2019s Efthymiadi spouse, Manolis Menegakis<\/h3> <\/div>\r\n
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Frosso\u2019s Efthymiadi spouse, Manolis Menegakis<\/h3> <\/div>\r\n
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Frosso\u2019s Efthymiadi spouse, Manolis Menegakis<\/h3> <\/div>\r\n
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Frosso Efthymiadi with Kazuko Watanabe the model of the artwork \u201cJapanese Girl\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi with the donkey used as the model for the artworks \u201cDonkeys\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi next to the \u201cDonkey\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi with actress Aleka Katseli at the opening of her solo exhibition at the hall of the newspaper \u201cTo Vima\u201d, 1954<\/h3> <\/div>\r\n
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Frosso Efthymiadi working the Kid<\/h3> <\/div>\r\n
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Frosso Efthymiadi in front of \u201cCouple of roe-deer\u201d at the opening of exhibition (?)<\/h3> <\/div>\r\n
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Mayor of Athens Kostas Kotzias posing at Frosso\u2019s Efthymiadi studio for the making of his bust<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at Kostas\u2019s Kotzias bust<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at \u201cSibylla\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at \u201cSibylla\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at \u201cBird\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at \u201cBird\u201d<\/h3> <\/div>\r\n
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Frosso Efthymiadi working on \u201cEagle II\u201d with iron rods<\/h3> <\/div>\r\n
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Frosso Efthymiadi working at large scale \u201cLot\u2019s wife\u201d, which was installed at Manolis\u2019s Menegakis tomb<\/h3> <\/div>\r\n
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Frosso Efthymiadi with Koula Pratsika choreographer and founder of the Greek National School of Dance, when the artist was granted the award of the Academy of Athens<\/h3> <\/div>\r\n
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Frosso Efthymiadi at the opening of the National Gallery of Greece on the 17th of May 1976, with the prime minister Konstantinos Karamanlis, the president of the Hellenic Republic Konstantinos Tsatsos, Ioanna Tsatsou and Dimitris Papastamos, director of the National Gallery<\/h3> <\/div>\r\n
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Frosso Efthymiadi at the opening of the National Gallery of Greece on the 17th of May 1976, with the prime minister Konstantinos Karamanlis, the president of the Hellenic Republic Konstantinos Tsatsos, Ioanna Tsatsou and Dimitris Papastamos, director of the National Gallery<\/h3> <\/div>\r\n
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Frosso Efthymiadi at the opening of the National Gallery of Greece on the 17th of May 1976 with the president of the Hellenic Republic Konstantinos Tsatsos<\/h3> <\/div>\r\n
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Conservation<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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The vast majority of works produced by Frosso Efthymiadi-Menegaki is in the National Gallery collection. Enjoying unique access to almost all of the sculptress\u2019s works, the Sculpture Conservation Department is responsible for the study of materials and construction techniques, as well as the maintenance and conservation of sculptures..<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Frosso Efthymiadi-Menegaki photographed in the yard of her house-studio, applying the final finish to the marble surface of Lot\u2019s Wife.<\/h3> <\/div>\r\n
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Media<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Frosso Efthymiadi-Menegaki initially used clay, extensively studying the material, even indexing Greek clay types, compiling samples that she collected while traveling around the country. She later turned to metal alloys, using bronze, and to iron bars. The National Gallery collection includes a large part of her plaster models and works, as well as two sculptures in white marble.<\/p>\n

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The sculptress working on a bust in clay<\/h3> <\/div>\r\n
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Clay<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi was involved with pottery for at least twenty years, her interests ranging from the raw material and clay processing methods to developing her own method of firing in order to produce large-scale one-piece works. She studied the natural properties of clay, travelled all over Greece to collect clay samples, and sought to identify solutions to many sculptural issues that concerned her and other potters.<\/p>\n

At first, she directly modelled the figures but later used the wheel, producing more abstract figures (birds, female figures) and vases, or other functional objects (jugs, plates, teapots, toys). Experimenting in all techniques, she also produced a few painted and glazed terracottas.<\/p>\n

A large group of works were commissioned by the mayor of Athens, Kostas Kotzias, to be installed in the city\u2019s parks and fountains. Efthymiadi made a series of zoomorphic works using as models live animals, which she brought into her studio to observe; initially, all works were meant to have a glass coating to make them more resilient to agents of deterioration when exposed to the elements. In the end, because of the war initiation, the commission was not awarded; the art works remained without glazing, and the sculptress produced copies in metal alloys.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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One of the frames with Greek clay samples collected and documented by Efthymiadi.<\/h3> <\/div>\r\n
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One of the artist\u2019s ceramic cock<\/h3> <\/div>\r\n
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One of the ceramic works intended for outdoor placement in Athens<\/h3> <\/div>\r\n
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Ceramic chess pawns<\/h3> <\/div>\r\n
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Plaster<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Plaster is used by sculptors in various stages of their work. After being started on clay, art works are copied to plaster, and then clay, plaster, or metal casts are produced. In Efthymiadi\u2019s studio there were many casts, either copies or unique works. She used plaster moulds, without the addition of other materials, such as silicone or rubber, and therefore, they could be used in the future for producing new copies, or casting.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Plaster model on wooden stand; from that, a bronze work was later produced.<\/h3> <\/div>\r\n
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Bronze<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Following the traditional technique, Efthymiadi produced works in clay or plaster which she then cast in copper alloys (mostly bronze). At the same time, however, she also produced more abstract works by welding together bronze plates.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Kid, bronze cast<\/h3> <\/div>\r\n
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Art work made of bronze plates<\/h3> <\/div>\r\n
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Iron<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi used iron for a limited number of art works, but she worked extensively with iron rods, with which she made a series of 3D sketches, which she also sometimes made in other materials, such as plaster, or bronze.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Iron work<\/h3> <\/div>\r\n
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3D sketch made of iron rods<\/h3> <\/div>\r\n
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Marble<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Marble was not Efthymiadi\u2019s medium of choice, perhaps due to the difficulty of marble carving, as a certain physical strength is required, or to the fact that is an expensive material and difficult to manage (especially compared with clay, which is easy to work on and to store). Finally, it may simply not have been the ideal medium for her to convey what she sought in her works. The marble chosen for these few works is white (probably Pentelic).<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Marble work by Eythmiadi<\/h3> <\/div>\r\n
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Techniques<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi used a number of techniques. With respect to clay, she produced works on a potter\u2019s wheel, by hand and impressed into moulds, painted or glazed, while also developing the process of firing large ceramic works. She was also concerned with waterproofing the surface so that ceramic works could be safely placed in outdoor settings. When she later turned to metal, she also used various processing techniques \u2013 casting, welding, forging. In order to produce plaster moulds and casts, she adopted the traditional process of using iron armature, while two works in white marble have been produced in the traditional manner, using chisel and hammer.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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The sculptress smoothing out welds on a metal work <\/h3> <\/div>\r\n
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Shaping clay by hand<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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The classic way of working with clay is to model by hand. Efthymiadi, who was especially fond of producing works in clay, used different types of Greek clay for their individual properties, especially with regard to colour and plasticity.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Detail of a work where the mermaid \u2019s hair has been shaped by hand. <\/h3> <\/div>\r\n
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Wheel pottery<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi quite often used a pottery wheel, for producing both vases, which is the most common purpose to use a wheel, and other kinds of art works.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic vase made on the wheel<\/h3> <\/div>\r\n
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Ceramic work partly processed on the wheel<\/h3> <\/div>\r\n
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Mould-pressed pottery<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Some pottery has been made by hand-pressing clay into a mould, usually plaster. In this way, the sculptress was able to produce large-scale, one-piece art works, as well as reliefs, which were usually designed to be wall-mounted. Using a mould to produce pottery was regarded as quite an achievement by the sculptress, as firing large ceramics is one of the most demanding pottery skills.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic art work pressed into a ceramic or plaster mould<\/h3> <\/div>\r\n
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Rear view of the terracotta relief, showing how the art work was reinforced as well as the special method of suspension.<\/h3> <\/div>\r\n
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Painted art works<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Most of Efthymiadi\u2019s pottery is simply the natural colour of clay, or plaster. In some works, however, she experimented with painting the surface. These were usually human figures, or vases. She also produced a series of coloured plaster medals, as proposals for metal medals.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Hand-coloured ceramic head of girl<\/h3> <\/div>\r\n
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Hand-coloured ceramic relief<\/h3> <\/div>\r\n
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Painted plaster medallion<\/h3> <\/div>\r\n
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Glazing<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Glazing is an amorphous solid, either transparent or coloured with metal oxides, applied by firing to cover the ceramic surface by following its contours. It is applied either to make ceramics impervious to liquids, or for decorative purposes.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic teapot with green glazing<\/h3> <\/div>\r\n
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Glazed ceramic Kid<\/h3> <\/div>\r\n
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Casting<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Following the traditional technique of producing sculptures, many of the art works created by Efthymiadi in clay or plaster were subsequently cast to copper alloys, mostly bronze and brass. \u00a0In some cases, the foundry mark is embossed on the works.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Plaster work from which the metal was produced, after casting.<\/h3> <\/div>\r\n
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Bronze work made by casting<\/h3> <\/div>\r\n
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Embossed foundry mark on art work base<\/h3> <\/div>\r\n
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Welding<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi produced several works by welding together iron rods. She gave rods the desired size and angle, and then, without any further processing, joined them by welding.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Detail, art work made from welded rods<\/h3> <\/div>\r\n
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Forging<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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In some of her works, Efthymiadi used metal sheets, which she cut into the desired shapes, hammered them to shape on the anvil and joined them by oxy-fuel welding to give works their definitive form. Finally, she mechanically smoothed out the joints and applied an artificial patina. As stated by the sculptress herself in an the same interview (to Dimis Apostolopoulos for \u038f\u03c1\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2 (Art and Science Hour) radio show, Deftero Programma, Thursday, December 16, 1954, 18:00), she learned the art of forging from the sculptor Kostas Koulentianos.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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The sculptress while smoothing out the joints created by welding forged parts of the art work<\/h3> <\/div>\r\n
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Patinas <\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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The artificial patina in metal alloy works serves to protect the metal, as well as to enhance the aesthetic appearance of the art work. To most of her works, Efthymiadi applied a brown patina, which is the most common in Greek sculpture; for a few works she opted for a greenish patina.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Forged iron work with greenish patina. <\/h3> <\/div>\r\n
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Moulds<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Following the traditional sculptural process for works moulded in clay or plaster, plaster moulds are produced, either to produce copies or to mould metal works. In Efthymiadi\u2019s production, there are also many instances where moulds were used to create internally empty copies in clay, so as to be able to be fired. These moulds were stored in the sculptress\u2019s home studio and now provide important historical documentation of her work.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Plaster moulds stored in Efthymiadi\u2019s studio<\/h3> <\/div>\r\n
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Plaster models<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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According to the traditional method, plaster models are used for copying an art work to another, usually more robust and permanent material, such as marble.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Plaster model used to produce the marble ‘Lot’s Wife’<\/h3> <\/div>\r\n
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Detail of plaster model, with marks used in transferring the art work to a different material<\/h3> <\/div>\r\n
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Stone sculpture<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi did not engage with sculpture in stone so extensively. In the National Gallery collection, there are only two works on marble, crafted using a traditional technique.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Marble sculpture<\/h3> <\/div>\r\n
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Conservation Work<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Conservation work on Efthymiadi\u2019s works involved cleaning the surface, adhesion, consolidation, stabilization of the work, filling in the minor losses, as well as aesthetic restoration and surface protection.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Adhesion of ceramic art work fragments <\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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One of the most common kinds of damage in sculptures is fracturing, which can occur due to either material failure or mechanical stress. The detached parts are glued together to restore the art work in its original form, while the choice of adhesive depends on the material of the art work and the location of fracture (taking into account the potential forces it must withstand).<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic art work with two detached sections<\/h3> <\/div>\r\n
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Ceramic work after restoring the fragments<\/h3> <\/div>\r\n
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Cleaning a plaster work or model<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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The surface of plaster works or models is usually coated with deposits of dust and soot. In the case of Efthymiadi\u2019s works, they were stored in the basement under unfavourable environmental conditions. Surface cleaning was carried out using gentle means and preserving the copying marks, where applicable.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Plaster model during cleaning<\/h3> <\/div>\r\n
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Plaster model during cleaning (detail)<\/h3> <\/div>\r\n
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Metal art work surface protection<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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After cleaning the surface and removing deposits, the metal works need their surface to be covered with a material to protect it from agents of deterioration. This material, typically a special wax, also provides the brilliance required for the aesthetic enhancement of art works.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Metal work without surface protection<\/h3> <\/div>\r\n
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Metal work with surface protection<\/h3> <\/div>\r\n
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Aesthetic restoration<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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After bonding parts of an art work, aesthetic considerations often necessitate the aesthetic restoration of welding points; this is almost always the case when completing a missing part. The purpose of aesthetic restoration is for the appearance of the art work to remain unaffected after filling or adhesion procedure. These interventions comply with conservation principles, according to which they should not be discernible from a distance, but should be visible from up close.<\/p>\n

A typical example of conservation work on a ceramic by Efthymiadi is Little Donkey, which involved adhesion of detached parts, filling the gaps at points of fracture with filler material and restoring the colour.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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The art work state prior to conservation<\/h3> <\/div>\r\n
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The art work after re-attachment and aesthetic restoration<\/h3> <\/div>\r\n
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Surface cleaning and surface protection of metal art work<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Metal art works usually have on their surface metal corrosion products and pollutants. Cleaning is effected by mechanical or chemical means and aims to remove the deposits while maintaining the artificial patina that gives the characteristic colour chosen by the sculptress for each work.<\/div>\n
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Bronze art work before cleaning the surface<\/h3> <\/div>\r\n
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Bronze art work after cleaning the surface<\/h3> <\/div>\r\n
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Corrosion products on bronze art work surface<\/h3> <\/div>\r\n
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The surface after cleaning the corrosion products (detail)<\/h3> <\/div>\r\n
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Cleaning and protection of metal 3D sketches<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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The art works made by welding iron rods into armatures also called \u201cskeletons\u201d often suffer from corroded sections or detached parts. First, structural stability at the base (when applicable) is evaluated, and the corresponding connection is strengthened, where necessary. The surface dirt is cleaned and then, corrosion products are removed, any detached parts are welded and the surface is protected.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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3D sketch before conservation<\/h3> <\/div>\r\n
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3D sketch after conservation<\/h3> <\/div>\r\n
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Fragments adhesion of a plaster art work<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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In many of the plaster art works or casts there are fractures, mainly resulting from mechanical stress, to which the material is not very resistant. Fragments are reattached, using an adhesive that is capable of holding the pieces together, as well as providing resistance to ultraviolet radiation (to prevent yellowing) and is reversible (so that it may safely be replaced if required).<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Joining plaster art work sections together<\/h3> <\/div>\r\n
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Ceramic art work cleaning<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Ceramic works stored indoors have been preserved in very good condition. Dust had accumulated on their surface, however. This can be predominantly an aesthetic issue, and needed to be removed. Mild cleaning methods were used, compatible with the material.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Ceramic work during cleaning<\/h3> <\/div>\r\n
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Securing an art work to its base<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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In order to stand upright, sculptures are often attached to a base. In Efthymiadi\u2019s case, this is usually effected by pins inserted into or screwed to a base. In some cases, the base exists; in others, the pins are simply there waiting for future construction. Stability of mounting is the first point of inspection for conservators.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Metal 3D sketch attached to a metal base<\/h3> <\/div>\r\n
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Metal 3D sketch mounted on a wooden base<\/h3> <\/div>\r\n
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Analysis \u2013 Examination<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Sometimes during conservation of Efthymiadi\u2019s works, methods of analysis and examination were used to obtain information on individual art work materials, or to study factors of deterioration. These included macro photography, stereo microscopy to observe the surface; in collaboration with N.C.S.R. Demokritos, X-ray fluorescence was used to identify metal alloys, as well as the composition of ceramic tiles in the Efthymiadi collection.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Macro photo where the sculptress\u2019s fingerprints are visible on the clay<\/h3> <\/div>\r\n
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Photo from observation under microscope of biological deposits on the surface of a ceramic work by Efthymiadi<\/h3> <\/div>\r\n
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Table of analysis results by portable x-ray fluorescence of the art work\u00a0Nike II<\/em>. Containing copper (65.60%), zinc (34.74%), and a minimum of lead and manganese, the alloy was identified as Cast Brs-260.<\/p>\n\n\n\n\n
Element<\/strong><\/td>\nCu<\/td>\nZn<\/td>\nPb<\/td>\nMn<\/td>\nFe<\/td>\nNi<\/td>\nSn<\/td>\n<\/tr>\n
% \u00a0content in the alloy<\/strong><\/td>\n65,5<\/td>\n34,74<\/td>\n0,03<\/td>\n0,02<\/td>\n0<\/td>\n0<\/td>\n0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n
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Photo during analysing a ceramic tile by portable X-ray fluorescence device<\/h3> <\/div>\r\n
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Display Storage Transport<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Art work display and storage conditions are important factors in preventive conservation, as appropriate choices may help prevent deterioration and ensure better state of preservation. Recommended environmental conditions depend on art work materials and techniques, but the extent to which conditions can be controlled depends on a number of factors, such as technical and engineering features of the exhibition or storage facilities, and financial resources available. Similarly, art work packaging and transport choices are made so as to provide maximum protection from environmental conditions, mechanical stress and to prevent any potential interaction of art work materials with packaging.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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A work by Efthymiadi in the permanent display of the National Glyptotheque<\/h3> <\/div>\r\n
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Art work packed in a wooden crate for safe transport<\/h3> <\/div>\r\n
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A display by the sculptress<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Although Efthymiadi\u2019s house was not up to museum standards and was small for the sheer number of works, the sculptress took care to ensure a minimum degree of environmental conditions in order to protect her works from agents of deterioration. Thus, in the following photo we can see that she had placed her works on pedestals so as not to be in contact with the floor in the event of a flood; she moreover choose materials compatible with the art work material (wood, stone, Plexiglas\u00ae or metal); in addition, the floor was bare (no carpet, which could contribute to decay by microorganisms and accumulation of dirt), while art works were placed at some distance from the window (to prevent direct contact with any water that might seep through the edges) and from the exterior wall (to avoid direct contact with moisture). \u00a0In the second photo can be seen the air conditioning and ventilation system, which helped to prevent extreme fluctuations in interior humidity and temperature; art works are arranged according to size, without touching each other or being stacked, although this left them exposed in case of earthquake. Other art works were arranged in recesses in the wall, in wooden display cases, on shelves, hung on walls, placed upon large objects (e.g. the piano or television set), both inside the house and in the yard.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Display at the sculptress\u2019s home studio<\/h3> <\/div>\r\n
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Display at the sculptress\u2019s home studio<\/h3> <\/div>\r\n
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Storage<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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In 1995, when Efthymiadi\u2019s works became part of the National Gallery collection, most were in her home studio, where they were inventoried and taken delivery of. They were transferred to the National Gallery vaults, and in 2006 to the National Glyptotheque vaults and finally, in 2013, to the National Gallery’s warehouses.<\/p>\n

Storage conditions today comply to international standards, providing safety from most factors of deterioration, including extreme temperature\/humidity fluctuations, biological attack, dust, fire and flood.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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Caching art works in the National Glyptotheque vaults<\/h3> <\/div>\r\n
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Display<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Works by Frosso Efthymiadi-Menegaki were on display at the National Gallery permanent exhibition, and are now part of the permanent display of the National Glyptotheque and the permanent display of the National Gallery Corfu Annexe. Efthymiadi\u2019s works have occasionally been featured in temporary exhibitions at the National Gallery, the National Glyptotheque, and other venues. In each case, the conditions of display are evaluated, and appropriate solutions are recommended regarding support, lighting and environmental conditions.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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From the exhibition New Acquisitions of the National Gallery from 1992 to 2010, “A Century of Modern-Greek Art`<\/h3> <\/div>\r\n
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From the exhibition “Unknown Treasures from the National Gallery Collections“<\/h3> <\/div>\r\n
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Transport<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Efthymiadi\u2019s works have been transported on several occasions. The sculptress herself ensured safe packaging, transport and storage of her works, especially for the ceramics, which are more fragile. Some of them had to be packed to travel to and from Greece, even across the Atlantic. Some relevant information is provided in her letters and diaries, for instance that \u201clarge works were transported one by one on a trolley with sacks filled with meadow grass, or packets of paper with grass to protect them (August 1948), or her suggestion to package art works wrapped in burlap and meadow grass. Nevertheless, there were some inevitable failures, involving works that broke during transport \u2013 particularly ceramics.<\/p>\n

Upon original delivery of the works from Efthymiadi\u2019s home studio, they were grouped and packed in wooden crates with filler material. Since then, the art works are packaged and transported whenever they go on display in temporary exhibitions.<\/p>\n

The packaging materials used and procedures followed are consistent with international standards. This means that materials must be compatible with the art work materials, must not cause any interaction, and provide surface protection. Art work packaging procedures in crates and their stabilisation in them are carried out in a way that ensures maximum protection against mechanical stress.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n

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During the initial art work packaging-transport, when taken delivery of by the National Gallery<\/h3> <\/div>\r\n
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Example of plaster art work requiring particular protection from mechanical stress. The material used is gradually cut following the shape of the work to create a protective case so that the art work in this casing can then be placed in a cardboard box of similar dimensions.<\/h3> <\/div>\r\n
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Example of ceramic work transport in a wooden crate, with appropriate support<\/h3> <\/div>\r\n
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Credits<\/h2>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Concept, texts, editing<\/strong>
\nDr Tonia Giannoudaki
\nCurator of the National Gallery Sculpture Collection<\/em><\/p>\n

Conservation Texts<\/strong>
\nDr Maria Kliafa
\nHead of the National Gallery Sculpture Conservation Studio<\/em><\/p>\n

Conservation of works of art<\/strong>
\nDr Maria Kliafa, Giorgos Margaritis
\nNational Gallery Sculpture Conservation Studio<\/em>
\nDr Maria Petrou, Asimina Kourouni, Spiros Hatzidakis<\/p>\n

Photos<\/strong>
\nStavros Psiroukis
\nNational Gallery Photo Studio<\/em>
\nFrosso Efthymiadi-Menegaki Archive, National Gallery
\nThaleia Kibari<\/p>\n

Handling of artworks<\/strong>
\nOrphee Beinoglou S.A.<\/p>\n

Digital Strategy Consultant<\/strong>
\nPostScriptum<\/p>\n

Design & implementation<\/strong>
\nSteficon<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

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