Stone Figurative Sculptures

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

“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...

At once elegant and contemporary—this sublime sculpture of a reclining figure is by Jeremy Guy. Chiselled from black granite and honed to a smooth, velvet-like finish, the subject ma...

Blue Solo (with Jean Pierre) is a smoke sandstone sculpture by French contemporary artist Cécile Raynal, dimensions are 50 × 27 × 31 cm (19.7 × 10.6 × 12.2 in). The sculpture is a un...

Artist: (Garo) Karapet Balakeseryan Medium: Ceramic, Clay, Handmade, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Portrait of Woman, Size: 25" x 17'' x 4'' ...

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), ...

Artist: (Garo) Karapet Balakeseryan Medium: Hydro Stone, Dust Marble, One of a Kind Year: 2023 Style: Classic, Impressionism, Subject: Hope, ...

Alabaster on granite

RYSZARD PIOTROWSKI (born in 1952) Sculptor. He graduated from the Academy of Fine Arts in Warsaw. His works include intimate, small forms in marble, bronze and silver. He specializes...

An original carved marble sculpture by Constantin Antonovici from his Torso Series. Referenced in "Constantin Antonovici: Sculptor of Owls", pg 79 Antonovici was born in Neamt, Romania on February 18, 1911, and graduated from the Fine Arts Academy in Iasi, Romania, in 1939. In 1940, Antonovici studied in Zagreb with the famous Croatian sculptor Ivan Mestrovici, until his arrest by Italian fascists. Antonovici himself survived imprisonment in Germany for his refusal to fight on the side of the Nazis. After the war, he continued his studies in Vienna, under the tutelage of Professor Fritz Behn...

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, ...

26" x 15" x 30" Black serpentine, signed. Colleen Madamombe (1964–2009) was born in Harare, Zimbabwe. Considered to be among the finest new talents from Zimbabwe, she won the award of Best Female Artist of Zimbabwe three years in a row, and became an established figure of the Second Generation of Zimbabwean stone...

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...

Coeur Heart Bronze Sculpture Portrait Classical Contemporary The sculptures of Margot Homan (1956, Oss, the Netherlands) show a perfect command of the old...

Modern abstract sculpture of a woman and goat by renowned artist Reuben Nakian. The work features a female nymph figure lying back as a goat figure approaches in Nakian's iconic bloc...

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...

Stone and metal, usually granite or slate, and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level, the work ...

Jules Edmond Masson (French, 1871–1932) Bronze Figure of a Lurcher Dog, 1930 Bronze with brownish green patination, on a fitted stone base The base inset with a bronze plaque reading...

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, ...

" Hang Tide " This unique sculpture was created by David Marshall and Jennifer Baker from sand cast aluminium and cast glass. Mounted on sandstone base. Certified authentic by both ...

Marble free form sculpture by Chrissy Harris. Composition is cipollino green marble from Greece. Signed on base of marble sculpture. American School....

"I Am Beautiful" is an original opal stone sculpture by Savheri Chirwa, a contemporary Shona sculptor. This sculpture features an elongated face with textu...

MICHAŁ KUBIAK (born in 1946) Studied at the Academy of Fine Arts in Poznan (1967-1972). He received his degree in sculpture in the studio of Olgierd Truszyński. Since 1972 he has p...

Untitled (Man, Woman and Child Dancing) bronze on marble plinth base. signed and numbered Gerard Koch was a French Post War & Contemporary sculptor who was born in 1926. Gérard K...

A very rare bronze cast of two battling Rams, by Sirio Tofanari (1886-1969). An old cast with a dark brown shaded patina. On a heavy green marble steppe...

"Giving a Sign (C-33)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece at the base. This artwork features a woman in a large, textured dress gesturing to her side. 11" x 11" x 6" 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...

"Shona Chief" is an original serpentine sculpture signed by the artist Chemedu Jemali. This sculptor works in the Shona tradition of Zimbabwe. The sculpture depicts an abstracted head of a man and weighs 95 lbs. The signature is on the back. 25" x 12" x 10" sculpture 95 lbs. Chemedu Jemali was born on March 3, 1971 in Harare where he did his primary education. He and his family then moved to the Shamva township where he completed high school. His family is originally from Malawi and their totem is of the Miranzi (mouse). He started sculpting in 1990. He was taught to sculpt by his brother Chituwa Jemali. He has three brothers and one sister. In the early 1990's, Chemedu took an interest in carving, inspired by the success of his older brother, Chituwa, and became an established carver. Initially, he worked as an apprentice to Chituwa who introduced him to carving the local hard stone such as verdite, springstone, cobalt and lemon opal. His brother, Salim, is also a full time sculptor. Chemedu produces abstract creations of various themes - from spirit birds to stylized busts. He has become a well known artist in the Shona Art...

Pradeep Jogdand - Untitled Black Marble H 41 x W 18 x D 13 inches ( Delivered ) Pradeep Jogdand (born 1987) is a young sculptor based in Mumbai. He did his BFA in sculpture from J.J...

Figurative abstract tribal sculpture of a creature with four arms by Nathaniel Sirles (American, b. 1956). Signed and dated "Sirles 1973" on the bottom. Sirles completed this piece ...

Pradeep Jogdand - Untitled Black Marble H 28 x W 24 x D 14 inches ( Delivered ) Pradeep Jogdand (born 1987) is a young sculptor based in Mumbai. He did his BFA in sculpture from J.J...

Deborah Ballard is best known for conceiving of figures and groupings of figures who relate to one another (and the viewer) through their body language, relationships and dialogue. S...

'African Queen' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Chenjerai Chiripanyanga. The sculpture itself stands tall and proud like a...

Italian sculptor (early 20th century) - Masonic altar. 56 x 52 x h 105 cm. Entirely in finely carved white marble, two snakes are depicted wrapping a skull and a game with the Eye ...

The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standi...

Margaret Foley (American, 1827-1877) Marble Bust "Head of Prophet Zephaniah" A rare and important marble bust head relief portrait on The Prophet Ze...

Carpi, mid-17th century, scagliola panel. The panel, in black and white two-tone, features insertions of polychrome marbled elements and a central scene depicting St. Michael defeat...

Doug Hyde: Born 1946, is a well listed American artist who is known for his Native American sculptures. He has auction results as high as $22,000. This is by far one of his finest ex...

20th Century Continental School Europa Bronze on stone base 11 in. h. x 8.5 in. w. x 4.5 in. d., overall Inspired by the Greek myth Europa and the Bull Phoenician princess abducted to Crete by Zeus...

Naman Mahipal - Vintage Identity MDF & Paint, L 10 x W 11 x H 16 inches Naman expresses his subjects and thoughts through a variety of art forms like po...

Title: Meditating St.Tropez Date: 2022 Technique: Recycled Resin (PETG), Chromatic and Candy Paint Dimensions: 47 x 47,5 x 25 cm Signature: Hand Signed (Ri...

Divyendu Anand - Within The Shell - H 27.5 x W 19 x D 14 inches Edition 7/9 Oxidised Bronze over Stone Composite, Granite Base, 2020 Growing up with th...

Bronze sculpture of a horse carrying a woman - The sculpture portrays the love and intimate harmony between horse and girl. About the Gallery: Folly and Muse was established in 2015...

Bronze sculpture of a ballerina taking a rest. Her leotard is patinated to a lovely green shade to contrast with the bronze colour of the rest of her figure. Ballet slippers are visi...

'Scratching Bird' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Chenjerai Chiripanyanga. The artist presents in this sculpture a highly abstracted figure of a bird, the long beak and eye of which emerges shining and polished from within the rough-hewn surface of the stone. Though Chiripanyanga is trained in the Shona stone carving tradition, the way that the bird seems to be revealed out of the stone reminds of the "unfinished" sculptures of Michelangelo...

Rosa Portugal marble torso of a woman. Unsigned. Late 20th century. In excellent condition. American School. 18.5 inches high by 10 wise by 7 inche...

Dean Kugler The Black Road: Crystal, 2022 resin, steel, limestone 31h x 13w x 12d in 78.74h x 33.02w x 30.48d cm DK0044 Dean Kugler is a seasoned interdisciplinary artist, painter, ...

Embrace Mother with child. Soft pink-white marble, black onyx pedestal, artist signed. It will be shipped in two separate boxes. Robert Russin, born in 1914, in New York City died in...

Shona sculpture from Zimbabwe

'Special Catch' is an original sculpture signed by the Zimbabwean artist Chemedu Jemali. The sculpture presents the head and torso of a figure clutching to a fish, each highly abstra...

"Once Upon a Time upon a Rock" relates an intimate moment when a mother reads to her child. The dimensions include the rock and each piece in the edition will vary as each rock will be unique. Edition of 12. Available now is Number 2 in the edition. The bronze figures together measure 1 1/2" x 1" x 3/4" Brooklyn, New York artist Noa Bornstein describes herself as “a draw-er”. Many of her sculptures begin as a quick drawing or impression - from memory, from dreams, or from life itself. “Watching a man walking down the street, I take out my little pad and am compelled to capture something of his gait, the rhythm, shape, whatever attracts my attention,” says Bornstein. Figurative sculptor and painter Noa Bornstein was born in San Rafael, California, and grew up mostly in Los Angeles. She has lived and worked in New York City since 1986. Bornstein holds a Bachelor of Arts degree from The University of California at Santa Cruz. Her sculptures have been shown in many indoor and outdoor venues, including at the Palm Beach Institute of Contemporary Art in Florida, the Rotunda Gallery in Brooklyn, and Grounds for Sculpture, Toad Hall...

Modern abstract sculpture of a woman's torso, signed and dated Warner in stone and marker pen, "Warner '80" and "Warner #106". Dimensions: 16"L x 11"W x 9"H. Listed artist Doris Ann...

My Jupiter Series is part of a new series of pieces started while quarantining in this pandemic time. They are hand cast solid bronze relief sculptures mounted on black granite bases...

"Drover" is an original yellow & green opal serpentine stone sculpture by Aaron Perkins Chikumbirike, a contemporary Shona stone sculptor. The artist signed the piece. It depicts an ...

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...

Arrighini Nicola (Pietrasanta 1905-1977) a sculptor of Pietrasanta (Italy) in 1930 decided to create, in white Carrara marble on black marble basis, the Mask of Leopoldo Fregoli, o...

'Flower' is an original fruit serpentine sculpture signed by the Zimbabwean artist Benjamin Mundara. The title 'Flower' in this case is more suggestive than definitive, as the sculpt...

This Figurative sculpture in black Belgian marble by Lutfi Romhein has a very fine grain which provides a really soft touch. A graduate from the Academy of Fine Arts of Carrare, in ...

This is a gorgeous hand-carved grey marble object The marble is polished and with an amazing tactile feel. The weight and the feeling of the polished marble is the best. This piece...