Stone Figurative Sculptures

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

Italian sculptor (15th-16th century) - Bust of Christ. 34 x 20 x h 44 cm. Carved stone, with traces of polychromy. Bust depicting the face of Christ, attributable to Italian sculp...

Maxim Geo Woman with child Metal, marble, onyx, 39x51x15 cm small defect

Hand carved from the richly marked cream-coloured Sienna Travertine marble, this contemporary tabletop sculpture of a walnut tree is by Doug Robinson. Th...

Artist: (Garo) Karapet Balakeseryan Medium: Hydro Stone, Dust Marble, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Standing Nude, Size: 32" x 15'' x 10'' in...

Signed in the base, Antocolsky, bronze stamped with foundry mark F. Barbedienne. Fondeur. Paris. Gilt patinated bronze mounted on polished stone. 85 cm tall (including base). A scar...

Figurative Sculpture, Natural Onyx Stone, handmade by Garo Artist: (Garo) Karapet Balakeseryan Medium: Natural Stone, All one piece of work, One of a Kind Year: 2023 Style: Clas...

“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...

Artist: (Garo) Karapet Balakeseryan Medium: Ceramic, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: The Thinker, Size: 17" ...

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 ...

Artist: (Garo) Karapet Balakeseryan Medium: Hydro Stone, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Adam and Eva, Size:...

Artist: (Garo) Karapet Balakeseryan Medium: Gips, Handmade, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Nut Man , Size: 8" x 6'' x 7'' inch, (20x15x18cm), ...

Artist: (Garo) Karapet Balakeseryan Medium: Hydro Stone, Dust Marble, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Hope, Size: 27" x 10'' inch, (68x25cm), ...

Sculpture from the Ballet series. The series is dedicated to classical ballet and includes over 30 sculptures. This sculpture depicts a dancer tying p...

Important white marble bust depicting a high society woman, signed "Laure Martin Coutan" and dated 1887. This bust, carved from pure white Carrara marble, depicts a young woman wi...

Charna Rickey 1923 - 2000 Mexican-American Jewish Woman artist. Signed Bronze House of Books, Architecture Bronze sculpture, signed Charna Rickey and on the front "House of the book." It depicts an open Torah. Original patina. Approx. dimensions: 7 in. H x 9 in. W x 8.5 in. D. Weight: 13.1 lbs. Modernist Judaica Sculpture Born Charna Barsky (Charna Ysabel or Isabel Rickey Barsky) in Chihuahua, Mexico, the future artist lived in Hermosillo and immigrated to Los Angeles when she was 11. She was educated at UCLA and Cal State L.A., she married furniture retailer David Rickey and explored art while raising their three daughters. Moving through phases in terra cotta, bronze, marble and aluminum, she found success later in life. Rickey became one of the original art teachers at Everywoman's Village, a pioneering learning center for women established by three housewives in Van Nuys in 1963. She also taught sculpture at the University of Judaism from 1965 to 1981. As Rickey became more successful, her sculptures were exhibited in such venues as Artspace Gallery in Woodland Hills and the Courtyard of Century Plaza Towers as part of a 1989 Sculpture Walk produced by the Los Angeles Arts Council. Her sculptures have also found their way into the private collections of such celebrities as Sharon Stone. Another of Rickey's international creations originally stood at Santa Monica College. In 1985, her 12-foot-high musical sculpture shaped like the Hebrew letter "shin" was moved to the Rubin Academy of Music and Dance at Hebrew University in Jerusalem. The free standing architectural Judaic aluminum work has strings that vibrate in the wind to produce sounds. Rickey also created art pieces for the city of Brea. They commissioned some amazing art pieces by Laddie John Dill, Walter Dusenbery...

'Famine' is an original springstone sculpture signed by the Zimbabwean artist Rangarirai Makunde. The sculpture presents a solitary figure who stands facing directly forward. He hold...

A striking and dynamically posed 19th-century Dutch bronze écorché sculpture of an archer, executed in the distinctive anatomical style of the Renaissance master Willem van Tetrode. ...

Listening, bronze sculpture, childs portrait, limestone base, contemporary limited edition bronze

A bronze hand, modelled after the artist’s own, balances on its index finger atop a sphere in this imaginative pop art sculpture by Dave Sheridan. Called...

This small, pedestal sized or table top sculpture by Israeli artist, Boaz Vaaida is a rare find. Very few small works, such as this are available. Cast in bronze from an original s...

'Excited Girl' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamombe's ...

Listening, bronze sculpture, childs portrait, black granite base, green patina 35 lbs

'Grandmother' is an original black serpentine sculpture by the celebrated second-generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamombe's w...

Financer is an elegant and ironic sculptural interpretation of the modern businessman, rendered through the image of a rabbit—an animal traditionally associated with agility, alertne...

A bronze sculpture by modernist sculptor Ruth Gutman. Posthumously, the Cooper Union created an art award in her honor, the Ruth Gutman Epstein Memorial Prize for Excellence in Sculp...

'Feeling Heart Beat' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamo...

Francisco Zúñiga Mujer Envuleta (Enveloped Woman), 1973 Onyx 12.75 x 9.75 x 10.25 in (32.38 x 24.76 x 26.04 cm)

Filatrice Pompeiana ( Female spinner from Pompeii ) By C . Lapini A 19th C. Italian carved marble bust, titled on front ‘Filatrice Pompeiana’, signed on back, ‘Galleria Frat:III La...

Stone sculture realized by Sirio Pellegrini in 1960s. Hand carved. Very Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his...

Marble sculpture realized by Sirio Pellegrini in 1960s. Hand carved. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his ch...

A fine antique French gilt bronze sculpture of a swordsmith, by the French- Polish artist & sculptor Henryk II Kossowski (1855-1921), the bronze dating to 1890. The bronze depicts a ...

Stone sculture realized by Sirio Pellegrini in 1960s. Hand carved. Very Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his...

First Bite,female figure holding apple,garden of eden,bronze sculpture Williams First Bite, female figure holding apple, garden of eden, bronze sculpture Expressing Situations and Beings in Human Form Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. For the sophisticated clientele of Glenn Green Galleries Williams specializes in figurative and facial sculptures hewn from fallen woods he finds while running near his home in the mountains of north central New Mexico. Williams has in the past worked with exotic woods, but now avoids them in a desire to protect the people, plants, and animals that depend on a vibrant, healthy, and unexploited local ecosystems. Finding dead and downed wood also introduces an element of serendipitous chance into the sculptor’s process of selection and inspiration. Nature provides an exquisite mass of workable solids, surfaces, patterns, and curves in cottonwood and the many varieties of juniper this sculptor favors. Troy Williams simply rescues these from the elements and then elevates them to timeless treasures by relating them to themes that express our deepest nature. Awake to the most beautiful twists, turns, and striations already present in these found mediums, Williams is naturally and passionately drawn to every stage of freeing the underlying sculpture. Following the wood’s ingrained tendencies is always a creative guide for Williams. Growing up in an Indiana farming community, his dad a family practice doctor and his mother an artist, Troy has always felt an affinity for the earth and especially its mountains. He initially came west to study agriculture at Fort Lewis College in Durango, Colorado, attracted there by a setting where his athletic nature could find full expression. His interest in an agriculture career gave way to his love of the mountains. In order to continue living in them and enjoy the hiking, climbing, and running he also loved, Troy worked for several years in a solar business, progressing from manufacturing to installations to design. On a fortuitous errand for a cousin back home, Troy happened into silversmithing and began producing simple, hammered ear cuffs. At this point the artistic nature that he had earlier suppressed in favor of athletics began to emerge strongly, and he expanded into more complex designs as he learned and mastered goldsmithing and lapidary. Another quantum leap occurred when he made his first copper face for a pendant. He couldn’t wait to see the face on a larger scale and was eager for the challenge of learning another art. He began sculpting metal, then stone, then came upon wood as his medium of choice. Wood had immediate allure: scented, expanding, contracting, and seeming to breathe. Williams was seduced by its warmth, the play of light on the complexion of its grain, and the inherent life force so evident in wood. He also learned to coax creative advantage from some of wood’s pitfalls, like soft spots, tricky grains composed of woody xylem and softer phloem; and to avoid the conditions that make it splinter. A quality of segmentation or fragmentation characterizes Williams’s sculptures and provides great visual satisfaction along with intriguing thematic provocation. One is struck by the beautiful outlines that might never be apparent had Williams not removed segments or created interior voids expressly to reveal them. When sculpting a face, Williams focuses on aspects that are mask-like, floating, and alive with contours that might not be visible were the artist to sculpt the full head. The segmentation in his exquisitely refined female figurative works incorporates solids, hollows, and curvilinear elements for reasons that are at once artistic, philosophical, and experiential. Besides attending basic college art classes, to understand more fully the human figure, Troy spent a summer in Europe...

Artist: Anthony Quinn Title: Nefertiti Medium: Unique hand-carved black Marble sculpture on marble base, signature inscribed Size: 34.5 x 8 x 7.5 inches (39 in. with base)

Cast in bronze and anchored on a solid basalt stone base, The CEO embodies authority, vision, and quiet confidence. This expressive sculpture presents a lion—long regarded as the ult...

Oligarch is a bold and ironic sculptural statement that explores power, wealth, and influence through sharp visual metaphor. Cast in bronze and accented with cold enamel, the work de...

This expressive sculpture embodies strength, ambition, and authority in a strikingly symbolic form. Leader depicts a powerful tiger transformed into a refined businessman — the ultim...

Artist: Jack Graves III (American, 1988-) Title: "Artemis Bust" Series: Sculpture *Signed, titled, and dated by Graves on bottom Year: 2026 Medium: Original Acrylic and Enamel Painte...

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...

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

This architectural ceramic and wood sculpture presents the body as a habitable structure, transforming the idea of portraiture into a domestic space. Fogar 1 belongs to a two-piece s...

A good antique bronze sculpture of a brown bear by the celebrated French Animalier sculptor Antoine-Louis Barye, circa 1870. The bronze depicts a brown bear in a dynamic pose, head h...

This is a one of a kind original portrait relief by southern California artist Mary Buckman. It is 10" x 8" x 1.5". It is unframed. A certificate of au...

Wonderful original granite sculpture by well known contemporary artist Michael Patterson. This work of the female form was completed in 2013. The sculpture is attached to a white m...

This delightful Fisherman sculpture captures a humorous, story-driven moment that instantly draws the eye. The fisherman proudly holds his catch while gripping a fishing rod, unaware...

Investor is a bold and characterful bronze sculpture that embodies strength, confidence, and determination. Crafted from bronze with refined cold enamel accents, the work depicts a r...

"Classical theme of a Greek art inspires me. I am a big fan of a Greek mythology, so I depict it often". This sculpture shows beautiful woman in wet fabrics that emphasize body curve...

White alabaster, Pedestal - Belgian Blue Marble David Natidze is a Belgium-based sculptor born in 1969 in Georgia known for his refined stone sculptures that blend modernist tradit...

This charming Hunter sculpture brings a touch of humor and storytelling to classic craftsmanship. The scene captures a hunter peering intently through binoculars while holding his ri...

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...

Graceful and serene, the Diver and Dolphin sculpture captures a poetic underwater encounter between human curiosity and marine life. The composition depicts a diver at the very momen...

American sculptor Hana Geber (1910 - 1990) She was born in Prague of Czechoslovakian heritage and eventually settled in New York. Her sculptures deal with Jewish themes She taught sc...

Matrix White Carrara Marble on marble base, singed and titled in plate. Created 1972 And exhibited in Solo exhibition in 1976 Le Galeria De Arte Moderno Dominican Republic. Robert...

As a direct carver, Goulet would take her material as-is and begin to work without making any preparatory studies or maquettes. In Arcadia, the artist was able to uncover a loving co...

Focused, calm, and precise, the Billiard Player sculpture captures the quiet tension that defines the game just before the shot is taken. The figure stands with cue in hand, eyes fix...

Toro Bull Patinated Bronze sculpture on marble base, artist signed, 16.5h x 8w x 6d, base 6"h x7.5"w x6"d Heriberto Juárez (March 16, 1932 – August 26, 2008) was a self-taught Mex...

"Crossing the Road (C-48)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece. This artwork features two women in large, textured dresses walking side by side. 6" x 5 1/2" x 3" art Colleen Madamombe was born in 1964 in Harare, Zimbabwe. Considered to be among the finest new talents from Zimbabwe, she has won the award of Best Female Artist of Zimbabwe for the past three consecutive years, and is quickly becoming an established figure of the Second Generation of Zimbabwean stone...

'Landing Dove' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Joel Nhete. The artist presents in this sculpture a highly abstracted figur...

Crafted in bronze and set on a solid basalt stone base, Investment Banker is a bold and playful sculpture that captures the spirit of the financial world through powerful symbolism. ...