Artist Spotlight: Adolph Alexander Weinman

  • Artist Spotlight
  • Fine Art

One of our featured artists this April is German-born American sculptor, Adolph Alexander Weinman. Weinman’s work embraces both the storied past of his influences and predecessors as well as the developing aesthetic of the modern era.


Weinman immigrated to the United States at age 14 and studied art at Cooper Union and the Art Students League of New York — where he was influenced by the work of Augustus Saint-Gaudens. Weinman later assisted several notable sculptors in their studios, including Daniel Chester French, the sculptor of the Lincoln Memorial monument in Washington, D.C. French’s impact on Weinman’s style is apparent in many of his public works, including his own statue of Lincoln at the Kentucky State Capitol, and in Neo-Classical decorative sculptures like Fountain of the Centaurs, located at the Missouri State Capitol.


Adolph Alexander Weinman (American, 1870–1952), Untitled (Nude Dancer with Hoop), 1922, bronze sculpture, 19″h.
Adolph Alexander Weinman (American, 1870–1952), Untitled (Nude Dancer with Hoop), 1922, bronze sculpture, 19″h.
Estimate: $15,000–$20,000

Weinman is also known for his architectural sculptures, some of which grace the facades of the most prominent buildings in Washington, D.C. Weinman designed and sculpted the pediment scenes on both the National Archives Building and the Jefferson Memorial, with the latter featuring an iconic portrayal of the signing of the Declaration of Independence.

Weinman is remembered as a celebrated medalist as well. His designs on the Mercury dime and Walking Liberty half dollar circulated in the early 20th century and were later used on commemorative coins. Weinman’s skill in metallurgy can be seen in the bronze sculpture in the April sale, a nude female figure dancing with a hoop. The hoop motif was popular for bronze statuettes during the Art Deco period, but Weinman added his own Neo-Classical touch by making the figure nude — with great concentration on anatomy — as opposed to the flapper-like depictions of the era.

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