Sculptures

Jeremy Guy’s distinctive abstract sculptures grace the grounds of many public places the world over. This is a favorite form—elegant, and bodacious, the curves of Mobius are based on...

Flora I is an elegant sculpture that captures the essence of modern minimalism, portraying a stylized female figure with elongated, graceful lines. Her torso twists subtly, lending a...

Gaïa is a bronze sculpture by contemporary artist Romain Langlois, dimensions are 90 × 64 × 75 cm (35.4 × 25.2 × 29.5 in). The sculpture is signed and numbered, it is part of a limi...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

Wayne Robbins Sperm Whale In Linden Made In 2006 Large. In good condition measures 42 inches long one of Wayne’s biggest pieces. Missing some teeth it appears very well done.

Nayla Saroufim creates installations that challenge the traditional notion of the passive viewer. Nayla’s art is a rich mix of media. She was always captivated by the dialogue betwee...

After Fernando Botero – Bull Bronze Sculpture Edition A thru Z This beautifully executed bronze sculpture is an After Fernando Botero work, created in faithful homage to the artis...

Monolith is a unique mirror-polished stainless steel sculpture by contemporary artist Franck K, dimensions are 282 × 120 × 110 cm (111 × 47.2 × 43.3 in). The sculpture is signed and...

Untitled III is an abstract sculpture by French artist Antoine Vidal. Bronze, 19.3 × 5.9 × 3.5 in (49 × 15 × 9 cm). Limited edition of 8 + 4 Artist's Proofs. Vidal's works in bronz...

Dancer “Takeoff” II is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 25 × 15 × 8 cm (9.8 × 5.9 × 3.1 in). Height of the sculpture with the metal base: 40 cm ...

Giuliano Tincani (Italian, 20th Century) Pair of Rock Crystal Obelisks Clear quartz crystal and sterling silver 13 x 4 x 2.5 inches, each These obelisks present as a matched pair of...

CHROMA “Companion With Heart” Sculpture — 28.5 Inches Mixed Media, Resin, Glass Beads, Acrylic Mexico City, Contemporary This striking 28.5-inch CHROMA “Companion With Heart” sculpt...

This blue, white, and gold striped, geometric ceramic wall hanging by sculptor Brian Bosworth uses simplistic color and pattern. Along side the three-dimension form, which create an ...

"LaFlat" is an original archival pigment print on cardboard box artwork by Kid Hazo measuring 5.5"h x 11"w x 5.25"d. This is an edition of 13. Hazo’s belief that art is for everyon...

Dancer III is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 100 × 50 × 20 cm (39.4 × 19.7 × 7.9 in). The sculpture is signed and numbered, it is part of a l...

Breach is a unique resin sculpture by contemporary artist Tom Price, dimensions are 202 × 45 × 45 cm (79.5 × 17.7 × 17.7 in). The sculpture is signed and comes with a certificate of...

Positive street signs and mindful messages characterize the work of multidisciplinary artist Scott Froschauer. Froschauer utilizes a practice called "cultural jamming," which appropr...

Standing tall and poised, Reni captures a sense of grace with her slender, angular silhouette. Her elongated limbs and subtle curvature of the body evoke a delicate balance between m...

Light purple hyperreal glass water balloon sculpture with glass droplets by Dylan Martinez. Dylan Martinez’s hyperrealistic water balloons are made of solid sculpted glass sandbla...

Architectural female figure sculpture in chestnut wood combining body, house and tower architecture in a surreal anthropotectural form. Ática is a unique sculptural work by Spanish ...

Baloo is a bronze sculpture by French contemporary artist Marie Louise Sorbac, dimensions are 65 × 31 × 30 cm (25.6 × 12.2 × 11.8 in). The sculpture is signed and numbered, it is par...

Master of Your Own Destiny II is a bronze sculpture with brown patina made of iron nitrate with a wax finish sculpture by contemporary artist Walter Peter Brenner, dimensions are 125...

Artist: Yayoi Kusama (1929) Title: Pumpkin, Yellow/Black Year: 2016 Medium: Painted cast resin sculpture Sculpture Size: 4 × 3.5 x 3.5 inches Inscription: ©Yayoi Kusama, as issued No...

Since ancient times, the Asian region, particularly China, has exerted tremendous influence on the entire world. It was a land of allure – shrouded in mystery and brimming with treas...

Stunning abstract stone sculpture, ca. 1990. Carved and polished black/grey granite. Measuring 21.75 inches diameter. 3.75 inches width. Weighs approx. 125 lbs. Will require a st...

Michael Ghaui (Tanzanian, b. 1950) Pair of Elephants, Patinated Bronze inscribed M. A. Ghaui C 97 AC with Pangolin Editions foundry mark Measurements 15 by 49 by 14 inches Condit...

This piece, titled "The Meanderer" is an original free-standing sculpture by Seth Clark as part of his newest solo exhibition, "Passing Through". Clark's deteriorating structures h...

Resin with original box Edition 17 of 30 8 × 9.2 × 9.7 cm (3 x 3.6 x 3.8 in) Signed and numbered on the bottom of sculpture. Signed, titled and numbered on the box Condition upon req...

This piece titled "Cigar Factory" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, pastel by Drew Leshko. This piece measures 15”h x 1”w x 8”d. ...

The military commander of Hrodna Castle in the early 14th century – there is little historical information about him, but quite a few myths. That’s precisely what makes him interesti...

Open the Right Mind By Johnson Tsang 2023 Painted, dry cast and porcelain filled resin sculpture. 43 x 15.6 x 13cm (16.9 x 6.14 x 15.1 in) Artist's signature stamped on reverse....

In Greek mythology, the chariot stands as a powerful, multifaceted symbol - representing heroic valor, destiny, and even cosmic order. One iconic image is Achilles charging into batt...

"The work is entirely based on the Lithuanian myth of Prince Gediminas' dream, in which he saw an iron wolf – a vision that led him to establish Vilnius as the capital of his grand d...

Inspired by dance and weightlessness, Granville Beals' industrial metal sculptures are primarily about relationships. Concerned with form and abstraction, he does not merely manipula...

Synthesis 2 is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, steel, acrylic and LED, dimensions are 125 × 50 × 50 cm (49.2 × 19.7 × 19.7 in). T...

Glass Sculpture, modern interior Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2024 Style: Contemporary Art, Title: Coral, Size: ...

Teckio is a bronze sculpture by contemporary artist Jacques Owczarek, dimensions are 19,5 × 48 × 28 cm (7.7 × 18.9 × 11 in). The sculpture is signed and numbered, it is part of a li...

Mary T. Bowling (American, 1917-1995) Female Head Mosaic ceramic sculpture Head: 13 x 7 x 9.5 inches Overall: 59 inches tall Provenance: Fred Schmidt (American 1936-2001) Mary T. ...

The work was created in 2019 as one of the competition entries for the city of Lida – a representation of the founding prince of Lida Castle. This equestrian composition is executed ...

This Gothic-inspired knight is a wry meditation on chivalry’s sacred trinity: love, combat, and blind faith – faith in God, in Love, and in the righteousness of conquest. The armor i...

An art deco terracotta-painted plaster sculpture of a standing partly nude woman holding a tray, signed and dated "KA (19)15" by Swedish sculptor Knut Andersson (1884–1954). This pie...

After Fernando Botero – CAT Bronze Sculpture Edition of 50 This beautifully executed bronze sculpture is an After Fernando Botero work, cr...

"I wanted to explore the paradox of a warrior – a figure driven by lofty ideals, yet capable of dark, blood-soaked deeds. The result is this frozen idol: a hollow shell clad in armor...

Sergey Oganov was born in 1974 in the family of the famous Belarusian sculptor Lev Oganov. Sergey began his first steps in the world of art while still being a schoolboy, helping hi...

Entrapped 8 is a unique paper porcelain sculpture by contemporary artist Simcha Even-Chen, dimensions are 21 × 30 × 27 cm (8.3 × 11.8 × 10.6 in). The sculpture is signed and comes w...

Italian, Late 19th Century Finely Finished Bust of Renaissance Lady White marble, garment in veined buff colored marble on fitted green marble pedestal Bust: 22 x 18 x 9 inches Pedes...

Raphaël Nannini (Italian, 1852-1925) Napoleon Bust, Late 19th Century Bronze on marble base Signed on back 17 x 11 x 8 inches Raphael Nannini was born in Florence. He exhibited at t...

Bronze Figure of Crouching Venus, or The Naked Aphrodite, 19th Century Italian School Bronze raised on a marble base 21 in. h. x 10 in. w. x 7 in. d., overall 18 in. h. x 8.5 in. w....

This contemporary, purple-colored, glass wall sculpture was created by Cheryl Wilson Smith. Each work is individually hand-formed in glass, so slight variations in colour, shape, an...

After Fernando Botero – SEATED NUDE WOMAN Bronze Sculpture Edition of 50 This beautifully executed bronze sculpture is an After Fernando Botero work, created in faithful homage t...

Mark Morrison (1895-1964) Head of Woman , ca. 1950 Carved stone 7.75" wide, 9" deep, height is 20 7/8" Signed at base. Provenance: Estate of Mrs. Mark Morrison. Born: Kingf...

Nebraka-based Jamie Burmeister is a sculptural artist known for his original artworks incorporating original small bronze figures, standing at just up to 4 inches tall. His unique fi...

Endless column of glass / 240601 is a glass sculpture by Japanese contemporary artist Toshio Iezumi, dimensions (not including the stainless steel base) are 180 × 10 × 10 cm (70.9 × ...

"White Standing Pod", Ceramic Sculpture Dimensions: 5 H × 5.5 W × 5.5 D Medium: Hand-built ceramic, glazed stoneware Adrienne Fierman’s "White Standing Pod" embodies the meditative ...

After Jean-Antoine Houdon (French, 1741-1828) Bust of Diana Bronze Signed on side, Susse Frères foundry stamp on base 28.5 x 16.25 inches Jean-Antoine Houdon's bust of Diana is an 1...

"Last Supper" is a visual manifesto of solitude, choice, and the premonition of sacrifice. Time has frozen in the moment after betrayal – when inevitability has settled in, and the c...

Counterpart (diptych) is a sculpture by contemporary artist Tom Price. This sculpture is made of coal, resin, tar, steel, acrylic, LED, dimensions are 45 × 220 × 35 cm (17.7 × 86.6 ×...

Pair of Porphyry Marble Columns with Gilt Bronze Capitals, 19th Century Porphyry marble & gilt bronze 20 x 4.25 x 4.25 inches Porphyry is an igneous rock, not marble, known for its...

Wonderful Art Nouveau "Ebrezza" bronze sculpture of a woman lying on a bed of roses. It bears at the base the signature Barbella and the wording “Rome Palm Sunday 31 III 1912” Brand...

Waylande Gregory (1905-1971). Nude Reclining, ca. 1950's. Painted composite cast from original sculpted in 1930's. Casting sanctioned and approved by the artist during his lifetime in partnership with MPI, Museum Pieces Incorporated. Very few examples were produced and even fewer survive. Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's Nautch Dancer, and his Burlesque Dancer. He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his Burlesque Dancer at about the same time as Nautch Dancer. As with the Nautch Dancer, he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for Burlesque Dancer, a clue to her identity is revealed in the sculpture's earlier title, Shimmy Dance. The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the Star Spangled Banner and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the Burlesque Dancer sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his Kansas Madonna. But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of Kansas Madonna. The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of Kansas Madonna totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture...