Sculpture Chronology


In collaboration with Max Ernst, Carrington produces a group of sculptures and reliefs on the ramps and walls of their house in Saint-Martin-d’Ardèche in the south of France. These include the first recorded sculpture by Carrington, a plaster of a horse head. 


In Mexico, Carrington takes up wood carving, helped by her friend and sculptor José Horna. They create a puppet theatre and sculptures such as Cradle, carved by Horna and painted by Carrington to celebrate Nora Horna´s birth. Carrington makes Cat Woman for Edward James.


Carrington produces wooden sculptures inlaid with precious stones, including Lepidóptero(Lepidopteran).


The artist makes Luna (Orpheus), a sculpture that she reinterprets in 2000 with the title Luna Muda (Mute Moon).


In New York, the artist produces bronzes and other sculptures using concrete reinforced with steel mesh, including Nigrum.


Carrington designs a series of works for the jewellery TANE, including La vaca (The Cow). 


The artist makes bronze versions of several of her works in different sizes. 


In New York, Carrington produces her bronzes La gallina ciega (The Old Hen) and La vieja Magdalena (The Blind Magdalen).


Beginning of Carrington’s most productive period as a sculptress. With the support of art promoter Isaac Masri, she creates Monsieur, Nigrum, Ing and Esfinge (Sphynx). 


Carrington produces six sculptures for Masri, including Godiva de la selva (Godiva of the Jungle), Corrunus, Luna león (Lion Moon) and La virgen de la cueva II (The Virgin of the Cave II).


Carrington’s bronzes are featured in the book Libertad en Bronce. Supported by Pedro Leitis, the artist collaborated again with TANE and made Nigrum, Lira (Lyre), Virgen del laberinto (Virgin of the Labyrinth) and Minotaur.


The artist makes another two groups of sculptures for Masri, completing a total of thirty-six pieces.


Instigated by Masri, Carrington makes How Doth the Little Crocodile, a monumental sculpture for the Reforma Avenue in Mexico City. She produces ten sculptures for Roberto Hernández. However, only four of them were ever cast. These works were made at the workshop of José y Miguel Ángel Rivero. 


Encouraged by her son, Pablo Weisz, the artist produces thirty-eight sculptures at the workshop of Alejandro Velasco.


The artist creates ten sculptures with José Sacal: Loroceronte, La Silla de Metatrón (Chair of Metratron), Two Face Bird, Luna muda (Mute Moon), Dragomaquia, Gatomaquia, Cabeza de cocodrilo (Crocodile Head), Tecolota (Female Owl), Alto por favor (Stop Please) and Silence Please.


Carrington creates The Ancestor and Bailarín (Dancer), with the support of José Sacal, Gabriel Weisz and Raquel Chamlati. She makes Media luna (Crescent Moon), Magus and Bañista (Bather) with José y Miguel Ángel Rivero.


The artist makes five sculptures with José Sacal: Cara blanca (White Face), Martes (Tuesday), Sol Nigger (Nigger Sun), Mandolin, and Lemur.


In collaboration with Alejandro Velasco, Carrington designs and models four female muses: La bandolinista (The Mandolinist), La arpista (The Harpist), La tamborilera (The Drummer) and La violonchelista (The Cellist).