Dance VI
1967 · Black walnut
72 × 12 × 17 in.Selected works · stone, wood, bronze
The work of
the hand.
Harvey Fite made far more than Opus 40. His studio practice moved between bodies, dancers, animals, portraits, archetypes, humor, and abstraction.
The digital sculpture archive
Fourteen works, gathered to be seen.
Open any work to enlarge it and see every currently verified detail.
Uniform viewing frames bring order to photographs made at different times. Missing dates, dimensions, locations, and provenance are left blank—not guessed.
Published measurements
Scale, confirmed.
These dimensions come from museum, exhibition, catalog, gallery, or auction records linked on the sources page. Most public records do not publish complete measurements.
Self Portrait
1950 · Bronze
17 × 15 × 8 in.Gluttony
1948 · Travertine
12 × 9 × 9 in.Jamaican Mother and Child
1945 · Lignum vitae
13 × 10 in.; depth unpublished1943 onward
The Family of Man.
Fite’s monumental bluestone sequence—Flame, Tomorrow, Prayer, and Quarry Family—was conceived for the quarry terraces.
As the setting became the primary artwork, the figures were moved outward onto the surrounding grounds.
Read the official archival accountFlame
Vertical aspirationBluestone · 1943—44 · about ½ ton
Tomorrow
A reclining figureBluestone · 1943—44 · about 2 tons
Prayer
Contemplation in stoneBluestone · 1943—44
Quarry Family
A four-figure groupBluestone · begun circa 1945 · about 4 tons
A wider studio practice
Known works awaiting a complete catalogue.
Public records establish additional sculptures for which this edition does not yet include a suitable image. Naming them keeps the archive useful without pretending it is complete.
Play
Amaranth · Whitney annual, 1947
Bull Dancer
Black walnut · circa 1960
Modern Dance IV & V
Black walnut · mid-1950s
Workingman’s Arm
Ebony · described by Fite as a self-portrait
Woman with Windswept Hair
Wood · 1970
Sleeping Cat
Yellow pine · date not established