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This website provides a gallery of the works by sculptor,  

Howard Geer Hudson

Photographs of some of my bronze sculpture 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 artists’ 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.

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About the Artist

Howard Geer Hudson

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. Turning down Professor Brown’s offer to remain at Princeton as his apprentice, he continued his fine arts education with particular emphasis on human anatomy and figurative sculpture in night school. 

After a stint as a professional ambulance driver and Marine Corps reservist, he began a career in finance. He spent his first twenty years at Morgan Guaranty Trust, where he became the head of fixed income in the bank’s Trust and Investment division.  He led the bond group at Fortis, Inc., managing both the insurance general assets and several specialty mutual funds.  He also started his own firm, which he merged into an investment bank with four friends from Saloman Brothers, in Greenwich, Connecticut. 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.  
Over the years he has exclusively modeled in clay and cast 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 human form with a message. 

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 usually my objective. For me, 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, 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” was 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.

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Gallery

Current Events
• 2021 • Bronze • Patina – Brown • Height 23″ Width 9”, Depth 12”• 20 lbs.• Series of 24 Price Upon Request
This piece considers the upside down state of present day affairs.  Our history is being rewritten to reflect today’s changing needs.  Behavior and language are being altered to suit political ends. Pronouns are in flux. Crime surges and judges release repeat criminals while money is denied police. Rest room selection is determined by mood.  A rock released will go up and where possible, Newton’s statue will be torn down.

“Geronimo” 1907

Mustang
• 2015 • Bronze • Patina – Black • Height 15”, Width 7”, Depth 22”• 27 lbs.• Series of 24 Price Upon Request
The first thing about this piece is that 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 which is commanding and the image of the free mustang running across the western plains evokes the meaning of the wild west.

“Warrior Game”
•2016 • Bronze • Patina – Gold/Brown• Height 31”, Width14”, Depth 18″ • 68 lbs. Series of 24 Price upon request
The game we know as lacrosse was played by the various 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 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.

“Fadeaway” •2017 • Bronze • Patina – Gold/Green • Height 29”, Width 10”, Depth 14″ • 36 lbs. Series of 24 Price upon request This piece was modeled using a photograph of a seven foot NBA player, Dirk Nowitzki, executing what is known as the fadeaway shot. This is a maneuver that is extremely difficult to defend against, particularly  “outside the paint”, when executed by a very tall person. “Free Kick”
• 2014 • Bronze • Patina – Golden Brow • Height 13”, Width 6.5”, Depth 10″ • 21 lbs. Series of 18 Price upon request
This soccer theme was inspired by a photograph of professional soccer player David Beckham in the act of taking a kick so named.
“Medicine Crow” • 2004 • Bronze • Tint – brown/black/bronze • Height 22”, Length 14”, Width 9” • 82 lbs. with base • Series of 12 Price Upon Request Done from 1908 photograph by Edward S. Curtis. Apsaroke Crow chief, Medicine Crow, whose name translates more accurately as Sacred Raven, was born in the Musselshell country around 1848. He was born into the Kicked in the Bellies division of the Crows, member of the New Made Lodge clan and Lumpwood warrior society. He was the son of Jointed Together, reportedly a prominent headman, who died, probably of smallpox, before he was born. His mother, One Buffalo Calf, later married a medicine man named Sees The Living Bull who became influential in his upbringing. During his late teens he fasted often and experienced visions which proved prophetic, one involving the coming of the white man.           Medicine Crow joined his first war party at the age of 15 and over the next nineteen years he obtained the honors necessary to become a chieftain. His battles were primarily against the Lakotas and involved the critical warrior requirement of counting “coups”. In 1876, along with 176 other Crows, he joined General George Crooks troops at the battle of the Rosebud and a year later led the Crow scouts with US Troops against the Nez Pierce, where a Lt. John Bourke observed “ Medicine Crow, the Crow Chief, looked like a devil in his war bonnet of feathers, furs and buffalo horns.”               In 1880, along with a delegation of 5 other tribesmen, he went to Washington to negotiate settlements in the Crow agency and divide the land into individual farms. There, it is reported his artistic side flourished and he spent time sketching the animals he saw in the Washington zoo. While other tribes were moved from their land, he was influential in establishing the Crow Agency on ground they occupied. Medicine Crow settled in Lodge Grass Creek, where he took up farming. In 1890 he was appointed a tribal judge and he was a force in maintaining tribal unity, firmly opposing the sale of tribal lands. He died in 1920 and is buried in the area of the Little Big Horn, the Valley of Chieftains. He reportedly had taken 6 wives. His last grandson was Chief Joseph Medicine Crow,  who became well known as one of the tribe’s official historians. “Possible Completion” • 2011 • Bronze • Tint – Brown/black • Height 20”, Length “26”, Width 12” • 58 lbs • Series of 18 Price upon request This piece depicts a story involving energy and uncertain outcome .                           Here is a football situation involving a tight end and a defensive back. The larger of the two is the tight end and, as a lineman, wears thigh and knee pads and high top shoes. He is about ten yards past the line of scrimmage and has broken his intended pattern to reach back for an under-thrown or, possibly, tipped ball. He is in an awkward and vulnerable position. The slightly smaller and faster defensive back wears no thigh pads. The back also has low cut shoes and has cut his pants off above the knee, all intended to increase mobility. He has developed considerable momentum and clearly sees the tight ends’ dilemma. The upcoming collision will most certainly cause the tight end some discomfort and the question is whether or not he will be able to hold onto the ball.

“Clear Shot”
• 2015 • Bronze • Patina – Red/Brown or Color Wash • Height 16”, Width 14, Depth .5 to 1.0” • 14 lbs. Series of 24 Price upon request
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 and perspective distortions 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. The photographs of my sculpture were done by Bonnie Miyoshi of West Palm Beach.

“Time Being”
• 2017 • Bronze • Tint – red/brown • Height 31”, Length 19”, Width 21” • 88 lbs • Series of 18 Price upon request
A formed expression suggesting infinite existence. Originally done as a pair to complement the entrance of our friends home in Florida.

“Osceola”
• 2019 • Bronze • Tint – ferric/brown • Height 23”, Depth 9”, Width  17” •  44 lbs • Series of 24 Price upon request
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.                        “Cliff” • 2012 • Bronze • Tint – green/black • Height 17” Width 15” Depth 10” • 35 lbs • Series of 20 Price Upon Request Contemplating the meaning of eternity, this little fellow called “Cliff ” is perched above the abyss of endless time. The piece now includes the cliff supporting him, but can be cast and offered separately.  He won a first prize ribbon for sculpture when shown by the Lighthouse gallery in 2015.

“Life Line”
• 2017 • Bronze • Tint – polished bronze • Height 18”, Length 16”, Width 16” • 56 lbs • Series of 18 Price upon request
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.

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