Photographs of some of my bronze sculptures are provided here. For each, a brief description, including dimensions, patina and completion date, is provided. Every piece is offered as part of a limited edition series and copies are numbered consecutively, as they are cast. The photographs included here are taken from the artist’s copy, which is not for sale, but copies will be virtually identical. In most cases there is not an inventory of copies on hand, so a buyer must await completion of the foundry’s casting of the new copy.
The preparation time, usually 8 – 10 weeks, will vary due to the foundry’s schedule, as well as presentation variables such as the type of mounting selected or the metal chosen for casting. The buyer may select a different patina, mounting or casting material than that used for the original copy, or ask that the original be replicated, as is. Should the buyer wish to have a base or mounting, usually wood, marble or stone, that is not part of the casting itself, it can be easily arranged. This may be done using sources familiar to the artist or foundry, or using material obtained by the buyer, and the cost of each is separate from that of the cast sculpture.
Prices for each piece are set at the time of purchase and vary over time with casting costs and market circumstances. Payment terms are one half on order and the remainder upon completion. Buyers are responsible for paying Florida sales tax, if applicable, packaging and shipping.
Howard Geer Hudson began his art education at the Loomis School in Windsor, Connecticut. At Loomis, he studied in the studio of noted sculptor Evelyn Longman Batchelder with painter Sanford Low, who served for years as Director of the New Britain Museum of American Art. Upon graduation, he received the Loomis School Art Award.
A football player at Princeton, he studied for four years with the renowned sculptor, Joe Brown, a boxer turned artist, who he met in the school’s boxing program. Joe Brown is regarded by many as the pre-eminent sports sculptor of his time. He declined Professor Brown’s offer to remain at Princeton as his apprentice, but over the years continued his modeling education, with particular emphasis on human anatomy and figurative sculpture.
After a stint as a professional ambulance driver, and then, Marine Corps reservist, he began a career in finance. During this time his love of sculpture never left him and retirement from the bond market has afforded him the opportunity to devote full time to doing what he likes best.
He exclusively models in clay and casts in bronze. Much of his recent work has been cast at the Bronzart Foundry, www.bronzartfoundry.com, located in Sarasota, Florida and can be seen on their website as well. His subjects are varied, but generally emphasize the human form. Figures engaged in vigorous activities are favorite subjects, so his work often involves athletics. “Capturing the energy of a situation and building in the anticipation of results is my objective. I am most gratified if I can evoke recognition of the message and a positive response from another person.”
His work has been shown in a variety of venues, including the annual “Art To The Avenue” show in Greenwich, CT, and the Lighthouse Art Center, in Jupiter Florida, where two of his bronzes, “Cliff” and “Warrior Game”, were awarded first place ribbons. A copy of “Warrior Game” is exhibited in Princeton’s lacrosse facility, called “the Cookie”, in honor of his friend, the all-American and lacrosse hall of fame member “Cookie” Krongard. A copy of the same piece was also selected as the annual MVP award for the lacrosse program at Bryant University, in Rhode Island, and is displayed in the lobby of their Chace athletic center.
Howard Geer Hudson began his art education at the Loomis School in Windsor, Connecticut. At Loomis he studied in the studio of noted sculptor Evelyn Longman Batchelder with painter Sanford Low, who served for years as Director of the New Britain Museum of American Art. Upon graduation, he received the Loomis School Art Award.
A football player at Princeton, he studied for four years with the renowned sculptor, Joe Brown, a boxer turned artist, who he met in the school’s boxing program. Joe Brown is regarded by many as the pre-eminent sports sculptor of his time. He declined Professor Brown’s offer to remain at Princeton as his apprentice, but over the years continued his modeling education, with particular emphasis on human anatomy and figurative sculpture.
After a stint as a professional ambulance driver, and then, Marine Corps reservist, he began a career in finance. During this time his love of sculpture never left him and retirement from the bond market has afforded him the opportunity to devote full time to doing what he likes best.
He exclusively models in clay and casts in bronze. Much of his recent work has been cast at the Bronzart Foundry, located in Sarasota, Florida and can be seen on their website as well. His subjects are varied, but generally emphasize the human form. Figures engaged in vigorous activities are favorite subjects, so his work often involves athletics. “Capturing the energy of a situation and building in the anticipation of results is my objective. I am most gratified if I can evoke recognition of the message and a positive response from another person. ”
His work has been shown in a variety of venues, including the annual “Art To The Avenue” show in Greenwich, CT, and the Lighthouse Art Center, in Jupiter Florida, where two of his bronzes, “Cliff” and “Warrior Game”, were awarded first place ribbons. A copy of “Warrior Game” is exhibited in Princeton’s lacrosse facility, called “the Cookie”, in honor of his friend, the all-American and lacrosse hall of fame member “Cookie” Krongard. A copy of the same piece was also selected as the annual MVP award for the lacrosse program at Bryant University, in Rhode Island, and is displayed in the lobby of their Chace athletic center.
“Geronimo” 1907 |
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• 2014 • Bronze • Patina – Red/Brown • Height 13” Width 6.5” Depth 10” • 21 lbs. Series of 18Price Upon Request |
| This head was done using a photograph of Geronimo, taken by Adolph Muhr and dated 1913. The problem with that is Geronimo died on February 17, 1909, so, I used the 1907 date to identify the fact that Geronimo was near the end of his life at the time and showing the effects of a long, hard, battle-filled existence. His hair , though thinning, is still thick for a man in his late seventies, his cheekbones are pronounced and his cheeks hollow. He had a notable wart on his right cheek and an unexplained indentation on his right temple, possibly the remnant of a significant wound earlier in life. This is the visage of a fierce and proud old warrior. |
Mustang |
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• 2015 • Bronze • Patina – Black • Height 15”, Width 7”, Depth 22”• 27 lbs.• Series of 24Price Upon Request |
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| I love horses. I grew up with them, cared for them, rode them, trained them, and taught others to ride and care for them. I feel at a loss when I don’t see one for a while. They are very large, powerful creatures, whose anatomy is truly magnificent. There is a regal elegance to them and the image of the free mustang running across the western plains evokes the meaning of the wild west. | ||
“Warrior Game” |
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•2016 • Bronze • Patina – Gold/Brown• Height 31”, Width14”, Depth 18″ • 68 lbs. Series of 24Price upon request |
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| The game we know as lacrosse was played by the various North American Indian tribes, often as a day-long event and was frequently a means of settling disputes between tribes and villages. It was played aggressively, as the translation of its Cherokee name as ” little war” or its Mohawk name “little brother of war”, would indicate. There was little passing of the ball, for example, and it was viewed as cowardly to avoid contact with an opponent. The game could involve hundreds of players and the distance between goals varied between a few hundred yards and several miles. Given the extraordinary physical demands of these contests, clothing was usually minimal, as this figure suggests, but also consistent with the Indian life style. I modeled the stick after a blend of the ones used by the Creek, Choctaw, and Cherokee in the mid 1800’s. The stick evolved over time from a simple spoon-like device, to this one with a closed loop and deer sinew webbing. Eventually, a larger u-shaped stick became common with a much larger net. While early lacrosse balls were made of wood, by the 1800’s the ball, which I have copied here, was made with a skin cover very much like our baseball, covering a light-weight filler of feathers or hair. A copy of this sculpture is both at Bryant University, Smithfield, RI in the Chace Athletic Center where it is accompanied by a plaque inscribed each year with the name of the current year’s winner of the lacrosse “Bulldog Warrior” award, and at my alma mater, Princeton, where it was donated by the family of Howard ” Cookie” Krongard as a memorial to the lacrosse Hall of Fame legend. | ||
“Clear Shot” |
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• 2015 • Bronze • Patina – Red/Brown or Color Wash • Height 16”, Width 14, Depth .5 to 1.0” • 14 lbs. Series of 24Price upon request |
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During the summer of 2014 a friend suggested I do a lacrosse piece and helpfully provided a great action photograph. Since we were in a four month rental in New Canaan, CT and I was without my usual materials for a traditional, three dimensional sculpture, I improvised. Thus, a bas relief was born, utilizing a piece of wallboard found in the basement and the modeling clay I always have on hand. The process was intriguing as it merged the two dimensional restrictions of a painting with the raised sculpted relief. The action in the subject matter was exciting enough to encourage me to produce the full figure American Indian lacrosse piece, “Warrior Game” In the Bronzart Foundry in Sarasota, where I do most of my casting, we did one copy with a traditional monotone patina and tried another with a color wash. The two pieces are shown here for comparison. As with all other bronzes, the color and finish can be selected to personal taste. |
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“Time Being” |
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• 2017 • Bronze • Tint – red/brown • Height 31”, Length 19”, Width 21” • 88 lbs • Series of 18Price upon request
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| A formed expression suggesting infinite existence. Originally done as a pair to complement the entrance of our friends home in Florida. | ||
“Osceola” |
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• 2019 • Bronze • Tint – ferric/brown • Height 23”, Depth 9”, Width 17” • 44 lbs • Series of 24Price upon request |
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The Seminole people are a polyglot of not only several tribes, but also several races. They had their origins primarily in the Creek nation, some of whom migrated into Florida from Georgia, and were also sometimes referred to as Lower Creeks. Osceola was born and named Billy Powell, in Georgia as the son of a Scottish trader and a mixed race Creek woman named Polly Coppinger. The Creeks were one of the Southeastern tribes that owned slaves and they intermarried, so Polly reflected that heritage. Since the records of his appearance contain only the images created by several painters, I have taken the liberty of depicting him in this bust as a robust young warrior whose features reflect his mixed heritage.
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“Life Line” |
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• 2017 • Bronze • Tint – polished bronze • Height 18”, Length 16”, Width 16” • 56 lbs • Series of 18Price upon request
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| This piece preceded ” Time Being ” pursuing a similar theme as “Time Being”. The bronze is mounted on a tapered stack of black marble discs for elevation and contrast. | ||
Current Events |
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• 2021 • Bronze • Patina – Brown • Height 23″ Width 9”, Depth 12”• 20 lbs.• Series of 24Price Upon Request |
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| This piece considers the upside down state of present day affairs. | ||
