Figurative Sculptures

This miniature compact mirror sculpture of a snowy winter scene titled "Child’s Play, Make Way, Replay" is an original artwork by Kendal Murray made of m...

Hippopotamus by Armand PETERSEN (1891-1969) Sculpture in dull finish white tender paste porcelain. The bottom signed with the monogram « AP ». Stamped « B - G (for Bing & Grøndahl),...

Louise Nevelson Reclining Figure, circa 1943 Tattistone 8 inches high x 21 inches wide x 9 inches deep With base 10 inches high x 21 3/4 inches wide x 9 1/2 inches deep Provenance T...

This AFTER BOTERO sculpture is a very beautiful, faithful reproduction in the style of BOTERO'S work that has sold very well here on 1st Dibs. The edition is 50 in Roman numerals. ...

ARTIST: Salvador Dali TITLE: The 10 Commandments Platinum Bas Relief MEDIUM: Bas Relief SIGNED: Not hand signed. The Bas Relief bears the artist signature toward the left side a...

British sculptor Anthony Theakston (1965), who draws his inspiration from the shape and movement of birds, simplifies the birds and omits more and more details until only the essence...

Choir of beasts (Chœur de bêtes) is an installation by the contemporary French artist Cécile Raynal. The approximate dimensions refer to the sculptures as installed, as shown in the ...

Pair of English Regency Blue John (Derbyshire Spar) Urns, 19th Century 9.5 x 3 x 3 inches Obtained from the Derbyshire England, Blue John is a semi-precious mineral, a rare form of ...

Olga Patricia Lenis - Mickey Mouse, Medium: Bejeweled Resin and Aerosal sculpture signed in marker on bottom, Size: 12 x 10 x 12 in. (30.48 x 25.4 x 30.48 cm)

This eclectic and elegant contemporary sculpture is by Ania Biczysko whose work has been exhibited internationally. In this dynamic piece, ribbons of stainless steel swirl outward in...

"LarA 004" is an original sculpture from the LarA series by Spanish artist José Perozo, completed in 2024. Measuring 21 x 29 x 17 cm, this artwork merges the female figure with archi...

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...

Large lofty wall hanging 19th century turtle shell with its iconic form and alluring organic variegated color scheme.

Dorothea is an elegant figurative bronze sculpture by Nando Kallweit. An elongated, graceful seated female form. Modelled on modern postures but with a nod to the importance of herit...

This antique Japanese Tobacco Box, complete with drawers, a kiseru, is a captivating piece of history. The warm hew of the elm is telling a story ...

Classic female torso inspired by examples of high Greek sculpture. Sculptor explores the lines and shapes of the female body, embodied the diversity, slightly changed the poses. Thi...

Pietro Chiapparelli (Italian, 19th Century) Sleeping Ariadne, c. 1865 Bronze on marble base Inscribed 'P. Chiapparelli F.I. Roma' 22 x 24 x 10.5 inches 136 lb. (34 lb. bottom marble,...

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (1 of 2. ...

Piccolo busto neoclassico in marmo bianco di Carrara raffigurante l'Apollo del Belvedere. Bottega romana, metà del XIX secolo. I busti di piccole dimensioni raffiguranti capolavori ...

Donkey is a unique smoke-fired stoneware, resin, plaster and clay sculpture by French contemporary artist Cécile Raynal, dimensions are 82 × 60 × 60 cm (32.2 × 23.6 × 23.6 in). This ...

Democratic Republic of Congo Lega mask Wood / raffia and kaolin Late 19th century H mask alone 18 x W 10 x D 4cm With beard / metal base: 35cm Provenance: collection of Hillary Ger...

This contemporary wall sculpture of a mask is made out of metal. An iconic Canadian symbol—the maple leaf appears in stunning detail in this unique work by sculptor Dale Dunning. H...

Artist: After Guillaume Coustou, French (1677-1746) Title: Cheval de Marly Medium: Bronze Sculpture, signature inscribed Size: 22 x 19 x 9 in. (55.88 x 48.26 x 22.86 cm) This be...

In the shadow of being loved is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 32.5 × 25.5 × 39.5 cm (12.8 × 10 × 15.6 in). The sculpture is signed ...

Translucent alabaster head sculpture with expressive natural veins, carved in direct carving for a unique interplay of light, stone and human form. This unique alabaster head sculpt...

This contemporary outdoor sculpture is forged from stainless steel to resemble clouds. In this elegant sculpture by Ania Biczysko, fine ribbons of stainless steel overlap in circles forming a cloud-like structure mounted on a tripod stand. When viewed from all sides, the sky is reflected in the luminescent quality of the highly polished steel. "Clouds for me represent reaching out for hopes and dreams. They appear in ever-changing shapes and light however elusive and untouchable, we find them present in our everyday lives. Like our dreams, they guide us to something bigger and allude to an idea of pure beauty." Ania Biczysko Ania Biczysko obtained a master’s degree in sculpture from the Fine Art Academy in Gdansk, Poland. Over the years, she has received many public exhibitions and commissions within...

Sculpture by the Spanish artist AMANCIO GONZALEZ Iron and bronze. Very popular artist in Europe and Latin America AMANCIO Gonzalez ( Leon 1965 ) Amancio González is a sculptor from ...

Bronze 67,5 cm signed restored Partina original Émile Louis Picault (1833–1915) was a French sculptor known for his dynamic bronze works, often depicting mythological, allegorical,...

A one time exclusive re-edition of 500 pcs from the highly popular 999 pcs edition of the famous "Balloon Dog". Cold cast resin, comes with its original box and certificate of authe...

Sculpture from the Ballet series. The series is dedicated to classical ballet and includes over 30 sculptur...

This intense bronze sculpture was made by the well known Italian artist, Aron Demetz, in 2004, Italy. This is a lost wax bronze hand painted. The title is "Guardando" translated in ...

Richard Klemm, German (1852 - 1916) - Couple Proposing, Medium: Porcelain Clock, maker's mark stamp verso, Size: 39 x 12 x 6.5 in. (99.06 x 30.48 x 16.51 cm)

Date: circa 1980 Green Onyx sculpture on marble base, signature inscribed at base Size: 45 x 10 x 10 in. (114.3 x 25.4 x 25.4 cm)

“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 ...

Bronze sculpture, patinated brass or steel plinth. 167 cm × 60 cm × 30 cm. Limited edition of 8 + 4 A.P., each signed and numbered. Dimensions include the plinth of the sculpture, w...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. 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. 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. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. 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 critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

ARTIST: Salvador Dali TITLE: Saint Narcissus of The Flies MEDIUM: Sculpture with Bronze Patina SIGNED: Engraved signature in the sculpture EDITION NUMBER: F 015/100 MEASUREMENT...

Antique Horse Bronze Portrait of a Trotting Stallion Isidore Jules Bonheur (France, 1827-1901) Cast bronze mounted on a rectangular plinth with dark brown patina, Signed: I. BONHEUR 17 x 11 3/4 A brilliant exploration of a stallion in full trot. The patina is a deep, warm walnut brown with honey-colored tones. Isidore Bonheur was best known and the most distinguished of the 19th century French animalier sculptors. Isidore, the younger brother of Rosa Bonheur and older brother of Auguste, began his studies of painting initially with his father, who was friends with Francisco Goya. By 1848 he debuted at the Paris Salon having discontinued animal and landscape painting to concentrate on creating sculptures and in 1849, Bonheur enrolled at the Ecole des Beaux Arts. He won medals at the Paris Salon in 1859 and did so again in 1865 and in 1869. After entering the Exposition Universelle 1855, he won the Gold Medal in 1889. In the 1870s exhibited in the London at the Royal Academy of Arts where he earned great prestige and won the coveted Medaille d’Or. After winning numerous other medals and prizes, Bonheur was awarded the Legion d' Honneur in 1895 and he was Knighted in Portugal, Spain and France. Bonheur continued exhibiting at the Paris Salon until 1899. Many of his bronzes were fabricated at the foundry owned by Hippolyte Peyrol, Bonheur's brother-in-law by marriage to Isidore’s youngest sister Juliette Bonheur. The Peyrol casts for both Rosa and Isidore are exceptionally well executed which suggests a strong working relationship between the founder and sculptor. There is little doubt that Isidore Bonheur was an acute observer of nature; his animals were not anthropomorphized but modelled to catch movement or posture characteristics of the particular species he was sculpting. He achieved this most successfully with his sculptures of horses which are usually depicted as relaxed rather than spirited. These figures are among his most renowned works and his equestrian models became very popular, particularly among the British aristocracy. An acute observer of nature, his sculptures reflect his commitment to the Realist school - with precise detailing of the movements of animals in their natural habitats. Ultimately, His naturalistic studies of animals are now some of the most highly sought after works by any of the animalier. He was possibly inspired by his many visits to the Buffalo Bill Wild West Show...

Holi is a bronze sculpture by contemporary artist Romain Langlois, dimensions are 62 × 24 × 23 cm (24.4 × 9.4 × 9.1 in). The sculpture is signed and numbered, it is part of a limite...

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (2of 2. No...

Yayoi Kusama Original Limited Edition hand signed and numbered Pumpkin (Red), 1998 Painted cast resin on ceramic tile in the original wood box, display plate and paper box Signed and...

Yayoi Kusama Pumpkin Plush Red and White (Small), 2004 Nylon 6 x 9 2/5 in diameter 15.24 x 24 cm diameter

The canticle of the stilts (with ibis) is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 70 × 30 × 25 cm (27.6 × 11.8 × 9.8 in). The sculpture is si...

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...

Alma Mater by the late Belgian sculptor Isabelle Thiltgès is a 2018 bronze sculpture that exemplifies her minimalist and poetic approach to form. Standing at 19.6 inches in height an...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Nichola Theakston (1967) has established herself as one of the UK’s foremost contemporary sculptors working within the animal genre. With the ''Resting with Ancients' Nichola shows...

Layne Rowe, Blazing, 2024 Freeblown glass H48 x W20 x D20 cm (18.9 x 7.9 x 7.9 in) Original artwork The pineapple sculpture is a profound symbol of hospitality and generosity. The ...

Heron (Large) is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 180 × 100 × 86 cm (70.9 × 39.4 × 33.9 in). The sculpture is signed and numbered, it i...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Three Acrobats, signed mounted on black marble plinth 24.5"h x 14"w x 7"d (bronze alone) Chaim Gross (March ...

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...

Brittany is a figurative bronze sculpture of the female form in a relaxed pose by Nando Kallweit. Modelled on modern youthful postures but with a nod to the importance of heritage t...

Boris Paval Conen Senne, sitting H50xD50xW30 cm lime wood Unique/ one piece The sculptures of the Amsterdam artist Boris Paval Conen, mainly made of wood,...

After Fernando Botero Bronze Horse Sculpture on Marble Base Stamped F. BOTERO 1992, Numbered.

Richard MacDonald’s sculpture Duality, Atelier, originally introduced to collectors under the working title of Yin and Yang II, represents a principle that is fundamental to art from...

Even though Helle Rask Crawford often refers to classic myths in her sculptures, sh is not a classical sculptor in the neoclassical sense. Rather, Helle Crawford could be defined as ...

Ceramic expressionist head sculpture created in refractory stoneware with a semi-transparent copper glaze. This ceramic head belongs to the Testas series, a body of work composed of ...

ARTIST: Salvador Dali TITLE: The Madonna of Port Lligat MEDIUM: Sculpture with Bronze Patina SIGNED: Engraved signature in the sculpture EDITION NUMBER: F 015/100 MEASUREMENTS...

19th Century Italian School Grand Tour Bronze Sculpture of Dionysus, 19th Century Bronze with black-green patination 24 x 10 x 10 inches Dionysus, in Greco-Roman religion, a nature ...

Pink Kioveo is a polymer sheathed with crocodile skin sculpture by contemporary artist Jacques Owczarek, dimensions are 17 × 30 × 13 cm (6.7 × 11.8 × 5.1 in). The sculpture is signe...