Art by Medium: Marble

Rare and remarkable Italian pietra dura bayscape with birds, boats and a lighthouse handcrafted in inlaid stone and marble and presented in a marble frame.

"Inner View Layered VII" by Caroline Ramersdorfer Ramersdorfer carves slabs of marble to reveal complex inteiror spaces creating a variety of "views" and perceptions. Lit from bot...

“It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven years to perfect, and it continues to evolve today.” - Kevin...

Sezione Aurea 2024-024 is a unique sculpture by contemporary artist Mattia Bosco. This sculpture is made of black Palissandro marble and gold leaf, dimensions are 55 × 29 × 13 cm (21...

A very heavy, massive bronze sculpture by an important Chicago sculptor. Signed and marked "Firenze" with "Fuse Marinelli". METROPOLIS. Seven abstract shapes on black marble base. 1...

A Fine French Patinated Bronze Figure of Young Maiden sitting beside a Peacock surmounted atop a rouge marble plinth by Auguste Moreau. Perfect size for a desk or dresser, or mantle ornament...

Stunningly hand carved, large, circa 1825, solid Carrara marble statue of the crowned, Roman goddess, Juno- known in ancient times as the ruler of marriage, home, and family, a champ...

Italian Marble Putto Sculpture att. Cesare Lapini (1848–1893) A dynamic antique Italian white marble statue of a putto att. Cesare Lapini. Soulful and captivating, seated on a tree...

David Paul Kay "Rock on Fire" 2020 12x16x10 inches. Mixed media on a rock. Includes the marble stand. About the artist About the Artist David Paul Kay is an American contempora...

ARISTIDE PETRILLI Italian, (1868-1930) Flora (Allegory of Spring) Signed Prof Pedrilli; Galleria Bazzanti Firenze 49 inches high (Statue); 32 3/4 x 19 1/4 inches (Pedestal) Notes: Finely carved Italian carrara marble of a nude beauty signed Prof Petrilli...

"Dutch Girl with Lamb" in Bronze and Marble by Giuseppe Joseph D'Aste Finely expressed in detail is the Girl wearing Clogs or Klomps - Dutch Wooden shoes, holding a Lamb and carrying...

Fine Quality Patinated Bronze Figural Sculpture of King Menthuophi and Queen Nitocris. Signed on base, "E. Picault" Maker: Emile Louis Picault (1833-1915) Origin: French Date: 19th...

A neoclassical medallion in white marble, in relief, depicting a male profile with long, wavy hair, late 18th century. These small collectible medallions were often brought back f...

This monumental pair of sculptures in "Bardiglio" marble represent Greek Athletes figure , on a cylindrical base . Exaltation of the male strength and beauty, inspired by the trend i...

Sezione Aurea 2024-017 is a unique wall sculpture by contemporary artist Mattia Bosco. This sculpture is made of Palissandro marble and gold leaf, dimensions are 89 × 56 × 4 cm (35 ×...

Here for your consideration is a beautiful bronze sculpture of a stretching ballerina by the well known American sculptor Peggy Mach. Signed “Peggy Mach” on bottom back of sculpture....

This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...

Artist Commentary: Rolling dice, turning luck! All 6 sides of the dice has the same probability. When the dice is cubic, the results are digital, but when the dice getting closer to the ball shape the results could be analog and infinite when it is a perfect ball. Old cobblestones were used to make the heavy dices. In 3 steps the cube became a ball, a real rolling dice. Keywords: Abstract, dice, 4 pieces, black, white Artist Biography: Born in Hungary, Andrasfalvy is 50, with swift dark eyes, a chiseled jaw, and a casually athletic frame that stretch, well over six feet. He exudes a quiet restlessness. He holds an M.D., a Ph.D., and two curricula vitae—one that lists eleven peer-reviewed publications on neuronal physiology, and another that describes dozens of sculptures, several of them commissioned and many gifts. The pivot between art and science started early. When Andrasfalvy was 10 years old, his father gave him a woodcarving set. By age 20, he had completed his first stone sculpture—and was on the path to medical school. Ever since, he’s spent weekends sculpting leftover granite or marble...

Wonderfully carved, circa 1750, marble bust representing North and South America. Initially part of a series of busts that depicted "The Four Continents". The smiling figure is draped in a toga pinned...

A hand-carved marble head of Mercury mounted on a stained wooden plinth.

Marble sculpture in the round depicting St. Sebastian, Tuscan workshop, 18th century. The sculpture is taken from the fifteenth-century prototype by Benedetto da Maiano (Florence, 1...

Carved in the green marble know as verde prato, by a Florentine sculptor of the XX century this grand tour version of the Leone "Marzocco" is an exquisite example of elegance and her...

Exquisite Pair of Neoclassical bronze Bacchus and Bacchante figures cast in a dark patinated bronze. The pair rest on on white marble bases set with relief cast gilt plaques. 18th C...

Sensitively carved, solid marble bust of a young boy mounted on a custom, Lucite base. Carved fully in the round, though originally the figure was pa...

This monumental pair of sculptures in "Bardiglio" marble represent Greek Athletes figure , on a cylindrical base . Exaltation of the male strength and beauty, inspired by the trend i...

A very handsome antique French bronze of a rooster, by Louis-Albert Carvin (1875-1951), the bronze is signed and dates circa 1900. This very lovely antique bronze was created circa ...

A rare pair of marble busts from the second half of the 19th century. Finely carved from white marble, these works of art depict captivating mythological subjects: a satyr and a bacc...

Sezione Aurea 55-2020 is a unique sculpture by contemporary artist Mattia Bosco. This sculpture is made of black Palissandro marble and gold leaf, dimensions are 51 × 40 × 24 cm (20....

A pair of large, detailed cast bronze Roman figures of a senator (likely Julius Caesar) and possibly an emperor. Each in cascading drapery with beautifully rendered facial expression...

PIETRO BARZANTI Italian, 1825-1895 Allegory Of Spring Signed ‘P. Milanes/Galleria/P.Bazzanti/Florence.’ Carved White Italian marble circa 19TH C...

Marmi 2 - Marble Sculpture, Irish Green Marble, 2025, Signed 24x16" (60x40cm) MARMI by Andrea Gallotti. In the MARBLE series, Andrea Gallotti extends his long-standing exploration ...

Émile-Louis Picault (1833–1915) Egyptian Scribe 'Hierogrammate'   Date: circa 1880 French Signature: signed Picault on base Size: height 33 in. x 10.25 in

Theia is a unique ink, paint and wax on Carrara marble sculpture by contemporary artist Richard Perry, dimensions are 20.5 × 23 × 19 cm (8.1 × 9.1 × 7.5 in). The sculpture is signed...

A charming allegory for Dawn Date: 19th Century  Origin: Italian Material: Carrara Marble  Signed F. Vichi , Firenze. Dimensions: 41" H x 10" Diameter  A spellbinding female figural...

A very fine large, rare and charming, French, 19th century. Belle Époque carved white marble whimsical figural urn fountain depicting children climbing on an urn with flowers and gar...

Provenance Acquired by the gallery directly from the artist. Description This sculpture by Bela Bacsi was inspired by a Hellenistic marble based on...

An 18th c. hand-carved, solid Carrara marble bust, likely of a holy Roman Emperor on a specimen marble base of the period. Inscribed "OTTONI".

Earth by British sculptor Ian Thomson. Thomson's travels have provided inspiration for his work. He holds degrees in Architecture and Philosophy & describe...

The sculpture is made with Carrara and Estatuary marble and iron In Lluís Cera’s sculptures, soft, voluptuous forms are embedded in solid iron, marble or stone, making his pieces se...

Marble, granite and limestone sculpture

The opposition of two sheets of paper, very different in their structure, their color and their origin. Each one is made manually, one with linen rags and broken glass in a mill in ...

Artist: Jack Graves III (American, 1988-) Title: "Apollo II" Series: Sculpture *Signed, titled, and dated by Graves on bottom Year: 2026 Medium: Original Enamel Painted Cast Marble S...

Marble sculpture. 100 × 160 × 135 cm // 39.3 in x 63 in x 53 in. This artwork is available on commission. It will be created on the same basis as shown in the images and under the sa...

"Big Little #142" (Contemporary Abstract Geometric Painting) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in a bright red and blue palette acrylic, p...

A very fine Italian 19th century Carrara marble sculpture depicting a young beauty going for a Swim standing on the steps of a dock, raised on its original carved green marble pedest...

Rising Collection, combines two key elements of my process --- my signature use of needlepoint, plus, mixing powdered pigments, gesso, and marble dust to create my own colors. These ...

Sezione Aurea 57-2020 is a unique sculpture by contemporary artist Mattia Bosco. This sculpture is made of black Palissandro marble and silver leaf, dimensions are 47 × 25 × 16 cm (1...

Artist Commentary: After seeing a show of the works of Matisse, I wanted to express the joy I find in his work. His wonderful pleasure in color and simple forms. Making it while in ...

Transformation by British sculptor Ian Thomson. Thomson's travels have provided inspiration for his work. He holds degrees in Architecture and Philosophy &...

Born March 15, 1943 in Szekelyudvarhely, Transylvania, Hungary (now Romania), Marton Varo studied sculpture at Ion Andreescu Institute of Arts in Cluj, Romania from 1960 to 1966. In...

Vertical House is a unique Calacatta Carrara marble and stainless steel sculpture by contemporary artist Francesca Bernardini, dimensions are 150 × 35 × 35 cm (59.1 × 13.8 × 13.8 in)...

A. BATACCHI Italian, (XIX-XX) Nymph Italian Carrara marble. H 10.50 in. x W 17 in. x D 31.50 in. Signed A. Battachi, Florence in verso. Note: Batacchi was active in Flore...

Stonegate 8 is a unique sculpture by contemporary artist Mattia Bosco. This sculpture is made of black Palissandro marble and iron, dimensions are 119 × 57 × 24.5 cm (46.9 × 22.4 × 9...

Hand carved Carrara marble head of a cherub's face surrounded by wings. Later mounted on metal base.

Max Kalish (American, 1891-1945) Harmony, c. 1930 Bronze with green marble base Incised signature on right upper side of base 14 x 9 x 5 inches, excluding base 17 x 10 x 8 inches, including base Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti...

Sezione Aurea 2024-001 is a unique wall sculpture by contemporary artist Mattia Bosco. This sculpture is made of Palissandro marble and gold leaf, dimensions are 56.5 × 26.5 × 12 cm ...

Provenance Acquired by the gallery directly from the artist Description Masked suggests a sense of mystery and eccentricity, and begs the question: Who is the man behind the mask? ...

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...

« The memory of my joy as a child when I arrived on the beach knowing that I was going to be able to ride on the dunes. I invented mini-landscapes and I really liked to look at the m...

For me frimas is a rather poetic term, this word evokes the frosted powder on the trees, the soft light of a pretty morning very early in winter. It is a feeling of freshness and pl...