Figurative Sculptures

Hermann Rastorfer was a draftsman, painter, sculptor, illustrator, ceramist, designer, poster artist, developer of advertising concepts and communication campaigns, inventor, and architect. He began as a typesetter in Salzburg. In the mid-1950s, he moved to Germany, where he soon founded his own studio for graphic design and advertising. His goal was always to give each product a distinctive, highly recognizable appearance. He designed his own design line for the German pharmaceutical company Boehringer Ingelheim, artistic cover images for numerous paperbacks from renowned publishers, and packaging for well-known products such as Ferrero Küsschen, Mon Chéri, Martell cognac...

Standout mid century life size frog sculpture or object of art handcrafted in silver plate on bronze with a tortoise shell terrazzo back. Signed Maitland Smith on the bottom.

Bust of the sculptor Jules Dalou by Auguste RODIN (1840-1917) A stunning bronze bust with a nuanced dark brownish green patina presented on a fine Belgian black marble base Signed o...

Henri Honoré Plé (1853 Paris - 1922 Paris), The Victorious David, around1890. Red-brown and brown patinated bronze with terrain plinth mounted on a round base. 42 cm (total height) x...

Mireia Serra creates sensuous bronze and iron sculptures showing the beauty of snapshots caught in life which are full of emotions and feelings along the life journey. Her metal artw...

Arbre-monde III is a unique smoke-fired sandstone sculpture by French contemporary artist Cécile Raynal, dimensions are 85 × 44 × 25 cm (33.4 × 17.3 × 9.8 in). This sculpture is a unique piece signed by the artist and comes with a certificate of authenticity. This highly narrative sculpture depicts a tree inhabited by various symbolic elements perched among its branches—birds, a wolf, a hare, and even a human hand. In recent years, animals have become increasingly prominent in Cécile Raynal’s artistic universe: "All kinds of beasts and hybrid forms populate my work. Chimeras, constructed by elective affinities between animal figures and human," she writes in Memories of Embers (Éditions Privat, 2018). More recently, however, the vegetal world has found a place in her sculptures, through representations of trees or the “vegetalization” of human and animal forms with branching elements. This evolution plays a central role in the present work. “The title of this series naturally echoes the novel by Richard Powers...

Ai Weiwei (Chinese, b. 1957) Coca-Cola Glass Vase, 2023 Medium: Cast vase in translucent red glass Dimensions: ⌀ 19 cm x 21 cm x 21.2 cm (7 1/2 × 8 3/10 × 8 3/10 in) Edition of 300: ...

Outstanding 19th century Italian finely carved Carrara "Statuario" marble sculpture of Antinoo , after the Antique The Capitoline 'Antinous'. Antinous, a young Bithinius favorite...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk (an evil spirit that lodges itself in the soul of a living person until exorcised) frequently appear in his work. In the sixties, Aronson turned to sculpture. His work during this period is best exemplified by a magnificent 8’ x 4’ bronze door which now stands at the entrance to Frank Lloyd Wright's Johnson Foundation Conference Center for the Arts in Racine, Wisconsin. In the seventies and eighties, Aronson continued his work in pastel drawings, paintings, and sculptures, often exploring religion and the frailties of man's nature. During this time, in addition to a traveling retrospective exhibition and many one-man shows in New York, Los Angeles, Chicago, and Boston at the Pucker-Safrai Gallery on Newbury Street, Aronson won many awards and became a member of the National Academy of Design in New York. Two years ago he retired from teaching to work full-time in his studio in Sudbury, Massachusetts. included in the catalog Contemporary Religious Imagery in American Art Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others. Selected Awards 1990, Certificate of Merit, National Academy of Design 1976, Purchase Prize, National Academy of Design 1976, Joseph Isidore Gold Medal, National Academy of Design 1976, Purchase Prize in Drawing, Albrecht Art Museum 1975, Isaac N. Maynard Prize for Painting, National Academy of Design 1973, Samuel F. B. Morse Gold Medal, National Academy of Design 1967, Purchase Prize, National Academy of Fine Arts 1967, Adolph and Clara Obrig Prize, National Academy of Design 1963, Gold Medal, Art Directors Club of Philadelphia 1961, 62, 63, Purchase Prize, National Institute of Arts and Letters 1960, John Siimon Guggenheim Fellowship 1958, Grant in Art, National Institute of Arts and Letters 1954, First Prize, Tupperware Annual Art Fund Award 1954, Grand Prize, Third Annual Boston Arts Festival 1953, Second Prize, Second Annual Boston Arts Festival 1952, Grand Prize, First Annual Boston Arts Festival 1946, Traveling Fellowship, School of the Museum of Fine Arts 1946, Purchase Prize, Virginia Museum of Fine Arts 1944, First Popular Prize, Institute of Contemporary Art 1944, First Judge's Prize, Institute of Contemporary Art Selected Public Collections Art Institute of Chicago Virginia Museum of Fine Arts Bryn Mawr College Brandeis University Tupperware Museum, Orlando, Florida DeCordova Museum Museum of Modern Art Print Collection, New York Atlanta University Atlanta Art...

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 ...

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. ...

Nephiline and manganese glazed Buño clay head sculpture channels organic textures and existential introspection in Aldonza’s evocative “Testas” series. Nephiline-Manganese Glazed Cer...

Apache Mountain Spirit Dancer 1, bronze sculpture, multicolored patina Goseyun cast and fabricated bronze sculpture depicting an Apache Mountain Spiri...

Anne de Villeméjane's sculptures in bronze, crystal and cement are exhibited in galleries and major art shows in the United States, Europe and the Middle East. Anne is a French artis...

Dog in the style of Tang/Sancai, Early 20th Century Drip glaze ceramic 9.5 x 13 inches Sancai is a versatile type of decoration on Chinese pottery using glazes or slip, predominantl...

William Mozart McVey (American, 1905-1995) Rumination Cast bronze with brown patina Signed on back foot 8 x 4 x 3 inches William McVey (12 July 1905-31 May 1995) became Cleveland's ...

Pablo Picasso Chouette aux plumes (Owl with Feathers) Original ceramic of Picasso made of white earthenware clay, partially engraved, with colored engobe and glaze. Annoted "Edition...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

"Cinnilla" Bronze Sculpture 16" x 13" x 10" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979. ...

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches 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," (fig. 1) and his "Burlesque Dancer," (fig. 2). 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" (fig. 3). 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 in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...

For his first time-limited sculpture, James Jean sets a ghostly figure in perpetual freefall. First seen tumbling through flowers and clouds in an epic 2019 painting, the Descendent has become a prominent motif in James Jean’s explorations of time, space and fantasy. Falling forever, yet somehow serene, the figure represents ‘caught in between' feelings of all kinds – up and down, east and west, dream and reality. Descendent - Lucid Dreamer...

This hand-crafted cement bust by José Perozo fuses architectural form with the human face, offering a sculptural meditation on selfhood and habitation. Part of the artist’s LarA seri...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the strength of ancient Egyptian sculptures...

hand made resin gummy bear Approx 7.5 inch height x 3.5 inch wide x 2.5 inch depth Resin, painted by hand Signed - Each unique piece designed by LA artist Sahara Novotna

Grayson Perry (British, b. 1960) Piggy Bank, 2017-2022 Medium: Ceramic piggy bank in blue and white with rubber stopper Dimensions: 19 × 10 × 9 cm Edition size: Unknown; Stamped with...

This new work by Tal Nehoray is from her latest body of works called "Happy Pills". All are hand made with ceramic and hand painted with automotive paint. It is a combination of 3 ce...

Miratio Bronze Sculpture Nude Male Figure Boy Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high school, he intensively pract...

NUTS is a bronze sculpture by contemporary Czech sculptor Ondřej Oliva. The price applies for one sculpture, each measuring 15 × 22 × 15 cm (5.9 × 8.7 × 5.9 in). The set of five nuts...

Elephant and Pink Balloon" by Philippe Berry is a contemporary work that blends humour and poetry through the depiction of an elephant carrying a pink balloon. The artist, known for ...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

a very fine Model Sculpture of a standing horse , finely rendered in patinated plaster, signed ‘MMM’ and dated 30 , w. rich burnished patina. Its quality and elegance are reminiscent...

"Pair Recumbent Stone Lions" after Antonio Canova (1757-1822) Italian (possibly Florence) Mid 19th Century Alabaster, marble 6 x 9 x 4 inches This is an exquisite pair of Italian alabaster lions on marble bases based on the monumental lions carved by Antonio Canova (1757-1822), the greatest Italian neoclassical sculptor. Canova sculpted the marble lions for the monumental tomb of Pope Clement XIII in St. Peter’s, Rome in 1792 Canova Lions refers to the pair of copies of lion sculptures by Antonio Canova. When Canova created the sculptures in 1792, he installed them on the tomb of Pope Clement XIII. The marble sculptures are some of the most prominent features in St. Peter's Basilica in Rome. Given the intricacies of creating the original Canova lions, some artists created molds and replicated them. A good example is the pair of lion sculptures...

Monica Piloni was born in Curitiba in 1978 and graduated from the Paraná School of Music and Fine Arts in 2002. She lives and works in Brussels, Belgium. Looking at her work as a whole, one can see the artist's interest in the representation of the female figure, which began as a consequence of having her own body as a living model. Most of her works have a common feature in the way they are constructed: mirroring. This feature distorts the body by omitting or multiplying elements, creating another dimension in the perception of the human figure that attracts at the same time as it repels. In this way, Monica reflects on the female experience, which includes subjective procedures for adapting to characters, patterns of behavior and archetypes, fashion and cosmetics, as well as physical procedures such as mutilation and other body modifications...

An exceptional drummer sculpture by Willitts Designs International and Shen Lung. The sculpture is cold painted and made of hand cast resin. The drumm...

Jean-Léon Gérôme French 1824 - 1904 La Joueuse De Cerceau - The Hoop Dancer A mini gilt bronze female figural statue of a young hoop dancer inspired by a trove of ancient terraco...

Artist: Richard Shiloh, Polish/Israeli (1949 - ) Title: Girl holding a Mirror Year: Circa 1975 Medium: Bronze with Painted patina, signature inscribed ...

Fiberglass sculpture with acrylic paint. Hand signed on base by Alec Monopoly. Hand numbered "AP" on base. Sculpture size: 17 x 12.25 x 10 inches. Artwork is in excellent condi...

A very unique bronze that touches upon the classic, female strength in form and the details beaux arts style in America. A work that really is for a collector and to be put in a spo...

Finely carved mythological roman subject of Minerva in Marble Travertino . Excellent condition from an estate of Veneto. Measurements: Statue cm 180 . Minerva (Pallas Athena in Greek...

Keith Haring 1958–1990 Luna Luna Karussell, A Poetic Extravaganza!, 1986 Medium: Pop-up cardstock multiple (Color offset print on colored cardboard, shaped and carved) Dimensions unf...

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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...

Frederick William MacMonnies (American, 1863-1937) Diana, 1890 Bronze with green verdigris patina Signed and dated Copyright 1894 with Jaboeuf & Rouard, Paris foundry mark 31 x 21 x 17 inches A sculptor of classical figures, American-born Frederick MacMonnies...

Madoura round dish of white earthenware clay. From the edition of 100. Dish size 16.5 inches (diameter). Frame size approx 22 x 22 inches. Ramie 332. Inscribed 'C.100' and with ...

Loet Vanderveen, Dutch (1921 - 2015) - Antelope, Medium: Bronze sculpture, signature and numbering inscribed on bottom, Edition: 408/500, Size: 6 x 7.5 x 3 in. (15.24 x 19.05 x 7...

Lupus is a unique smoke-fired stoneware, resin, plaster and clay sculpture by French contemporary artist Cécile Raynal, dimensions are 90 × 30 × 100 cm (35.4 × 11.8 × 39.3 in) This s...

Luca Madrassi (1848-1919), large patinated terracotta sculpture in Art Nouveau style, late 19th century. The sculpture depicts a half-naked young woman sitting in a tree holding a m...

This is a fibre glass sculpture by the noted Chinese artist, Xie Ai Ge, that is hand laid with 99.99% gold leaf, varnished. This piece is for 1 item of "G...

Cockatoo Head turned to the right, with a raised and spread out crest by Edouard-Marcel SANDOZ (1881-1971) A bronze sculpture with a dark brown patina nuanced with green Signed on t...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

Takashi Murakami Melting DOB, 2021: Takashi Murakami's signature DOB figure new/unopened in its original packaging. A standout Murakami limited edition collector's piece, rarely presented new/sealed in its original factory box. Medium: Painted cast vinyl figure with metallic disk stand...

Jack Schuyler (1912-2002) Polished Metal Sculpture "Abstract Figural Composition" Hand signed and Dated 1982. Measures 27" x 26-1/2" x 10.5" inches. There is not much known about t...

Soar into the realm of timeless artistry with this magnificent gilded bronze sculpture by celebrated Thai artist Hattakitkosol Somchai (1934–2000)—a commanding representation of a bi...

"Mother and Child" an impressionist bronze sculpture of baboons by sculptor Blanca Will, American, 1881-1978, dated 1912. Works by Will are rare. Blanca Will Exhibited at the National Academy of Design, Pennsylvania Academy of Fine Arts...

Nichola Theakston (1967) has established herself as one of the UK’s foremost contemporary sculptors working within the animal genre. With the ''Elysian Hare'' Nichola shows how exq...

Robert Indiana LOVE (Official Artist Copyright and Foundation Stamp), 2011 Brushed Aluminum sculpture (Red) Stamped by artist's estate, Stam...

About the Artist: Lesley Hilling is a self-taught English artist known for her intricate constructions made entirely from salvaged wood and found objects. Her work reflects a deep c...

The graceful form of a female figure emerges from hand-chiselled black granite in this classically elegant sculpture by Jeremy Guy. The British artist’s contemporary work has long be...

Henri Honoré Plé (1853 Paris - 1922 Paris), The Victorious David, around 1890. Red-brown and brown patinated bronze with terrain plinth mounted on a round base. 62 cm (total height) ...

This sculpture is from Orly's latest body of works. It is part of an edition of 15 and comes signed and numbered. It is made of Jasmonite casting and covered with acrylic paint. "I ...