Stone Figurative Sculptures

Antonio-Giovanni Lanzirotti, "La Danza", grande scultura in marmo bianco di Carrara, firmata AG Lanzirotti sulla base. Antonio Giovanni Lanzirotti, nato a Palermo il 9 maggio 1839 e...

Fine Quality Patinated Bronze Figural Sculpture of King Menthuophi and Queen Nitocris. Signed on base, "E. Picault" Maker: Emile Louis Picault (1833-1915) Origin: French Date: 19th...

Antoine-Denis CHAUDET (1763 - 1810) NAPOLEON Ist, circa 1808 Carrare Marble - First Empire Hermes Bust of Napoleon Ist, after Antoine-Denis CHAUDET Dimen...

Capturing a climactic moment from Shakespeare’s famed tragedy, this exquisite marble sculpture was created by acclaimed Italian sculptor Fausto Biggi in t...

Masquerade, a traditional yet playful composition by Fortunato Galli, reflects the realism and intricacy that defined Italian sculpture at the end of the 19th century. Magnificently ...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

After Antonio Canova (Italian, 1757-1822) Bust of Young Napoleon as Caesar, 19th Century Hallow cast bronze with verdigris patina, attached to rouge...

Four Caryatids sculptures with classically draped figures and their distinguishing symbols. Autumn, winter, spring and summer. Measures: Height wi...

Antique Pair of Russian Wolfhounds/Borzois Dog Portrait Sculptures by Scalini (aka Scali; Italian, 20th century) circa 1930's Patinated spelter 9 x 14 inches (on bases) Though rath...

This splendid sculpture represents Young Girl with a Goat (Amalthea and Jupiter's Goat), after the original by Pierre Julien commissioned by Louis XVI in 1785 and completed in 1787 for the cot of Queen Marie-Antoinette in Rambouillet. The work of the sculptor Pierre Julien decorated the interior of a grotto in a pavilion decorated with bas-reliefs by the same sculptor (acquired by the State by dation in 2003). The work was the main element of a rock basin, which was destroyed during the renovation of the gardens of the small castle. The same sculpture was seized during the Revolution and exhibited in the Louvre from 1829. The terracotta sketch, which belonged to the collector Ernst May, must have adorned his château de la Couharde (Yvelines) before entering the Louvre's collections in 1920. The bronze set with a beautiful gilded patina presented here is a work after the original by Pierre Julien (1731-1804) and dates from the 19th century (around 1850). The superbly preserved sculpture, which has belonged to the same family since its acquisition, is presented on its original base in grey serpentine marble. The quality of this work is doubly certified: - on the one hand it is stamped with a round stamp at the top "A. This stamp is a sign of high quality. Achille Collas (1794 - 1859) was the French engineer, engraver and illustrator, inventor among other things of the patented mathematical reduction process of the 19th century to reproduce sculpted objects in reduction, which was very successful. He was awarded a prize at the 1855 exhibition: his "Procédé mécanique", the name under which he prints all his productions, is easily recognisable by the finesse of its execution and by the famous stamp which appears on the base (terrace) of this sculpture. - On the other hand, an important signature is found on the terrace of the sculpture "F. Barbedienne Fondeur", founder. In 1844, Achille Collas, in order to protect his invention, formed the Société Collas et Barbedienne (Paris) with the art founder Ferdinand Barbedienne (1810-1892), which began to produce and sell famous but smaller sculptures in plaster, wood, bronze or ivory. The first object to be marketed was the Venus de Milo after the original in the Louvre Museum. Other sculptures such as the sculpture of George Washington, of which a bronze bust was made by the Barbedienne & Process Collas foundry, are currently in the Metropolitan Museum of Art. HEIGHT OF THE SCULPTURE without base 69CM + BASE = 84CM WIDTH OF THE SCULPTURE without base 28 CM + BASE = 30,5 CM LENGTH OF THE SCULPTURE without base 46 CM + BASE 51 CM The Collas and Barbedienne company was highlighted at the Great Exhibition in London in 1851, the objects of the Barbedienne foundry received a medal and sales soared. At the 1889 Universal Exhibition in Paris, the Barbedienne company again presented a large number of its compositions, including the large neo-Renaissance clock of 1878. This clock, which was part of the Leblanc-Barbedienne estate, was donated by his heirs to the city of Paris, and is kept in the city hall. Pierre Julien (20 June 1731 - 17 December 1804) was a French neo-classical sculptor who worked in the full range of rococo and neoclassical styles. He had an early apprenticeship in Le Puy-en-Velay, near his native village of Saint-Paulien, and then at the École de Dessin in Lyon, before entering the Paris workshop of Guillaume Coustou le Jeune. In 1765, he won the Prix de Rome for sculpture with a bas-relief panel depicting a subject from Antiquity and entered the Royal School for Protected Pupils, which offered a special curriculum under the direction of the painter Louis-Michel van Loo. He was a boarder at the Académie de France in Rome from 1768 to 1773, where he was influenced by the wave of neoclassicism affecting his fellow students. As boarders were required to do, he sent back to France a slightly reduced marble copy of the so-called Cleopatra, the Sleeping Ariadne from the Vatican, which survives in Versailles. Back in France and with his former master, he worked on the sculpture of the mausoleum of Louis, the Grand Dauphin, in the cathedral of Sens. After a failed attempt in 1776, with his Ganymede, he was accepted by the Royal Academy of Painting and Sculpture in 1778, with a Dying Gladiator. He was appointed one of the first members of the Institut de France in 1795, and knight of the Legion of Honour in 1804. He was commissioned by the Count of Angiviller, director of the King's Buildings, on behalf of Louis XVI, to paint the figures for a series of life-size portraits of the great men of France: he produced a Jean de La Fontaine and a Nicolas Poussin, whom he chose to depict in a nightgown, similar to the draperies of a Roman toga. While fulfilling commissions in Paris, for the church of Sainte-Geneviève (now the Panthéon, Paris), or for the Pavillon de Flore in the Louvre, he sculpted in 1785 a virtuoso marble set representing the nymph Amalthée and Jupiter's nurse goat for the Queen's Dairy at the Château de Rambouillet; for his model, he adapted the pose of the famous Venus of the Capitoline. The bas-reliefs of the Dairy, considered his masterpieces, were sold at auction in 1819, but were recovered by the State in 2005, thanks to a gift from the son of the great dealer-collector Daniel Wildenstein. 19th century French school, after Pierre Julien (1731-1804)Amalthea and Jupiter's Goat Bronze with a light brown patina and gilding, reduction made after the marble by Pierre-Julien 1785 executed for Marie-Antoinette at the Laiterie du parc du château de Rambouillet in the Louvre Museum. Among his major works: - Dying Gladiator, marble, 1779, Musée du Louvre. - Ganymede pouring nectar to Jupiter changed into an eagle, [4] marble group, 1776-1778, Paris, Musée du Louvre. - Jean de La Fontaine, marble, 1783-85. Musée du Louvre - Nicolas Poussin, marble, 1789 - 1804. Musée du Louvre - Sketch of a model in terracotta by Nicolas Poussin, ca. 1787 - 1788. Musée du Louvre - Amalthea and Jupiter's goat, marble group, 1787 for the Rambouillet Dairy. The Queen's Dairy at Rambouillet - The girl with the goat, terracotta statuette, 1786. Louvre Museum - Sainte Geneviève restoring her mother's sight, terracotta bas-relief, 1776. Musée du Louvre The works of the famous sculptor Pierre Julien have been referenced in several books and catalogues, including The exhibition catalogue. Gilles Grandjean and Guilhem Scherf. "Pierre Julien 1731-1804". Le Puy-en-Velay, France: Musée Crozatier, 2004. The Lure of Classical Sculpture 1500-1900 (Yale University Press, 1981), cat. no. 24, pp 184-87). Michael Preston Worley, 2003. Pierre Julien: Sculptor to Queen Marie Antoinette. The first modern monograph. Europe in the age of enlightenment and revolution, a catalogue from the libraries of the Metropolitan Museum of Art (fully available online in PDF format), which contains information on Julien. Excerpts from the Grove Dictionary of Art online Pierre Julien in American Public Collections, on the French Sculpture Census website STATUE BARE (BODY) NANNY GOAT (ANIMAL) AMALTHAEA SITTING WOMAN ABOUT US: AYN GALLERY is located in the heart of old Paris on the Ile Saint-Louis surrounded by the Seine, in the most prestigious district of Paris. Just a few steps away from Notre Dame, like a village, this place preserved from urbanists offers a setting as it existed centuries ago with its numerous private mansions which earned the island the nickname "island of palaces" and its illustrious occupants: Charles Baudelaire, Marie Curie, Georges Pompidou or Camille Claudel Our gallery is located just opposite one of the oldest churches in Paris. As the eponymous name of the place indicates, Yasmine Azzi, the owner and artistic director of the place, has a keen eye. Born from the desire to bring together, in a unique space, vintage pieces of 20th century design, contemporary creations, original works of art and interior design know-how, AYN GALLERY was created in 2017. Our gallery presents an eclectic and daring mix, driven by a total freedom of styles and periods. We offer a collection that combines aesthetics and authenticity, in a word what we like and what our customers like. We offer an inspiring selection of furniture from the last century with rare antiques, but also precious objects and lighting with a special emphasis on vintage Italian...

A white marble sculpture by Mario DeNoto. A modern abstract figure of subtly human-like features and slight gray veining. Artist: Mario DeNoto Title: Abstract Figure Medium: White...

ITALIAN RENAISSANCE CAPITAL WITH MYTHOLOGICAL FIGURES, 15th Century marble H 18 x Diam 33.5 cm H 7 x Diam 13 1/4 in

Refined white marble statue from the first half of the 20th century. This is a very high quality copy of a work by the great Italian sculptor Giacomo Ginotti (1845-1897). Known as Th...

The Music - Sculpture is a magnificent artwork realized by the Italian artist Benedetto Robazza (Rome, 1936-2020). Travertine sculpture realized by the fusion of auburn pewter. Limited edition of 15 exemplars. Dimensions: cm 11 x 11 x 3 (base); cm 9 x 5 x 32 (sculpture). Very good conditions. This sculpture is a splendid creation by one of the most appreciated sculptors all over the world. Bendetto Robazza was a great sculptor but also a talented portrait painter, demanded among the politicians, people in finance, the military, ecclesiastical and showbusiness world: he had the honour of being invited to portray American President Regan, whose bust is displayed in in the prestigious Roosevelt room in the White House. He enjoyed portraying big stars of yesterday and today: Rudolf Valentino...

A charming allegory for Dawn Date: 19th Century  Origin: Italian Material: Carrara Marble  Signed F. Vichi , Firenze. Dimensions: 41" H x 10" Diameter  A spellbinding female figural...

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...

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...

Never too Big by Jane DeDecker Abstract Figurative Mother and Child 9x4x4" ed/250 ©2000 cast pewter on granite base ABOUT THE ARTIST: Jane DeDecker has been making a major contribu...

Hand Forged Iron Stone Mosaic Hanukah Menorah Candelabra David Palombo was an Israeli sculptor and painter. He was born in Turkey to a traditional family and immigrated to the Land of Israel with his parents in 1923. They lived in the Nahalat Shiva neighborhood of Jerusalem. In 1940 he began his studies at Bezalel Academy of Arts and Design, and from 1942 was a student of sculptor Ze’ev Ben-Zvi. For a period of time, Palombo was an assistant at Ben-Zvi’s studio and also taught at Bezalel. During this period he was also a member of the “Histadrut HaNoar HaOved VeHaLomed” (The General Federation of Students and Young Workers in Israel). In the 1940s he took art lessons at night. In 1948 he went to Paris, where he visited the studio of the sculptor Constantin Brancusi whose work influenced him. Around 1958 he married the artist Shulamit Sirota. In 1960 he quit his job to devote himself to art. In 1964 he married for the second time to the artist Yona Palombo. The two of them went to live in an abandoned home on Mount Zion in Jerusalem. In 1966 he was killed when the motorcycle on which he was riding ran into a chain stretched across the street to prevent the desecration of Shabbat. His widow opened a museum in their home that was active until the year 2000. Work by Palombo is included in the Judaic collection of the Jewish Museum (a well known Hanukkah menora). Palombo executed the impressive metal gates of the Tent of Remembrance at the Yad Vashem, the memorial to the martyrs of the holocaust, as well as the gates to the Knesset Building the United Nations Educational Scientific and Cultural Organization (Unesco award) awarded him a scholarship for study in Japan. He worked in marble, granite, bronze, iron and steel. as well as with glass mosaic tiles. Palombo’s early works, in the 1950s, were influenced by modernist sculptors such as Brancusi. These works were composed of abstract images from nature and were carved out of stone or wood. At the end of the 1950s he began making metal sculptors, using the technique of welding. His work took on a more abstract and expressive character. Education 1940 Painting with Isidor Ascheim, New Bezalel School for Arts and Crafts, Jerusalem 1942 Sculpture with Zeev Ben Zvi, Jerusalem 1956 Mosaic, Ravenna, Italy 1958 Welding Course Awards And Prizes 1966 UNESCO Award Exhibitions: Sculpture in Israel, 1948-1958 Mishkan Museum of Art, Kibbutz Ein Harod Artists: Zvi Aldouby, Yitzhak Danziger, Arieh Merzer, Dov Feigin, Aaron Priver, David Palumbo, Menashe Kadishman, Kosso Eloul, Yehiel Shemi, Zahara Schatz. The Spring Exhibition of Jerusalem Artists, Artists' House, Jerusalem Artists: Palombo, David Bezalel Schatz, Mordechai Levanon, Fima, Ludwig Blum 12 Artists, The Bezalel National Museum, Jerusalem Avraham Ofek, Aviva Uri, Avigdor Arikha, Yosl Bergner, Lea Nikel, Palombo, Ruth Zarfati...

Antique marble head of the roman emperor Tiberius. 43cm without the base.

This amazing sculpture figures a peacock making the wheel. Each feather is made of a slice of transparent agate, soldered with brass to the rest of the wheel. The agate wheel is me...

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 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

Title: Blue Desire Date: 2020 Technique: Recycled Resin (PETG), Chrome Spray Paint Dimensions: 37 x 37 x 17 cm Signature: Engraved Signature (Back side of head) Conditions: Excellent...

Title: Black Delight Date: 2020 Technique: Recycled Resin (PETG), Chrome Spray Paint Dimensions: 150 x 93 x 20 cm Signature: Engraved Signature (Back side of head) Conditions: Excell...

A rare Art Deco patinated metal sculpture modelled as an athletic male walking alongside a stylized lion utlizing cubist elements. The work is set on a black polished stone base whic...

This sculpture is cast and manipulated stone, fiberglass, iron, and casters. Deborah Ballard is best known for conceiving of figures and groupings of figures who relate to one anoth...

Divyendu Anand - Leaves - The Mystical Link - H 32 x W 20 x D 18 inches Edition 3/8 Liquid Metal Coating over Composite of Stone Glass and Polyester Res...

"Cutouts" by Jane DeDecker Figurative Bronze, 41x40x20" Sandstone bench is included. A girl sits quietly unfolding her paper cutouts. Great piece for a...

Katherine Bust Atelier, Marble Dust uses cast carrara marble and draws on Richard MacDonald's unique sensitivity to the experience of the dancer. Based on a classical study for the m...

“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 ...

Standing figure of Julius Caesar wearing a Tunic and holding a billowing drapery with a composition marble square-section pedestal. . The other figure is of Hannibal. Provenance fro...

Rare, Late Roman Empire (3rd to 5th centuries, C.E.), solid marble bust of a young man. Beautiful patina. Mounted on a later, Carrara marble base.

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, Woods Davy, Rod Kagan, Pol Bury, Niki de Saint Phalle, Magdalena Abakanowicz, Larry Bell, John Okulick...

Roman marble altar fragment with cupid Provenance: Nicolas Koutoulakis (1910-1996), Paris and Geneva

Bronze Sculpture Dencing Ballerinas. Victor Salmones (Mexican, 1938-1989) "'Pas de Quatre" Edition 1 of 10, 1976, 26 x 11 3/4 x 9 7/8 in. This sculpture was originally created and ...

This figurative sculpture in veined white Carrara marble stone is by Lutfi Romhein. A graduate from the Academy of Fine Arts of Carrare, in Italy, Lutf...

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...

Mattia Listowski(b. 1987, Paris, France) is a French sculptor, draughtsman, and photographer with French, Italian, and Polish origins, coming from a creative family. He lives and wor...

Roman Marble Altar fragment from the 1st/2nd Century A.D. with the typical element of Roman rituals. Provenance: Nicolas Koutoulakis (1910-1996), Paris...

Glenna Goodacre was commissioned to create the largescale bronze Sidewalk Society in Albuquerque Plaza, New Mexico. Her intention was for people to interact with her sculpture, and t...

A hand-carved marble head of Mercury mounted on a stained wooden plinth.

Primarily a figure sculptor in marble and wood, he was born in Russia. In New York City, he studied at the Educational Alliance and Art Workshop and was active in numerous art associ...

Title: Strategist Date: 2022 Technique: Resin, Chrome Spray Paint Dimensions: 46 x 75 x 27 cm Signature: Engraved Signature (Back side of head) Conditions: Excellent, Brand New Editi...

A fine cast patinated bronze sculpture with impressionist figures by American sculptor Stanley Bleifeld (1924-2011). Bleifeld was born and raised in Brooklyn, New York, and was an ar...

This hand made art work is a modular and comes with 20 fish sculptures all in four different sand tones (five of each). These abstract fish project shadows on the wall turning light into an essential component for double sculpture...

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)

Love Letters by Jane DeDecker Figurative Bronze 49x19x16" Ed/31 A young girl looks wistfully into the distance, her heart all a flutter having received a ...

Beautiful La Belle Epoque marble in nive vintage condition. Mathurin Moreau (1822-1912) was a French sculptor in the academic style. He was born in Dijon, first exhibited in the 1848 Salon, and finally received a medal of honor...

Finely carved mythological subject in Vicenza limestone of Apollo and Minerva Excellent condition from an estate of Veneto. Measurements: Statues cm 150, base cm 85.

Wonderful miniature bronze cast figurative sculpture of a young barefoot shepherd girl holding a staff by R. Hobold (German, 19th c). The girl is dressed in a flowing peasant dress a...

White stone head in the art deco style. Born in Lithuania at the end of the nineteenth century, Boris Lovet-Lorski studied art at the Imperial Academy of Art in St. Petersburg before working briefly as an architect. He immigrated to New York in 1920 and became an American citizen five years later. His sculptures epitomize the ideals of the Art Deco decades: comprised of sleek lines and smooth surfaces, the streamlined compositions reflect the new technological forms of the machine age. Despite their modernist treatment, Lovet-Lorski’s elegant, stylized figures reference both ancient and classical sources and are characterized by a universal and serene sensibility. Concentrating on figural busts, familial groups, and standing female nudes as his subject matter, the artist rendered them in a variety of media. The materials range from the traditional bronze and marble to exotic woods and unusual stones; each is carefully selected so that its surface texture and color contribute to the emotive aura of the work. Carved out of a block of limestone, Untitled (Head) depicts a female visage nearly androgynous in its idealization. The delicate features of her face, the long, straight nose, thin pursed lips and high cheekbones, are made even more diminutive by the massive bulk of the stone that serves as their backdrop. The prominent widow’s peak of her hairline and the strong arch of her brow, two of Lovet-Lorski’s most distinctive characteristics, are elongated to accentuate the linear rhythms of the composition. The layers of her hair are delineated by stepped striations reminiscent of archaic precedents, which meld into structural columns and connect the form architecturally to the stone’s mass. Unlike the majority of Lovet-Lorski’s sculptures, in which the heads of the figures are tilted to the side or downward to convey a pensive mood, the woman in Untitled (Head) looks straight ahead. Her frontal positioning gives the composition a nearly perfect symmetry, in turn endowing the work with a still, eternal sensibility. The notched surface of the surrounding limestone stands in sharp contrast to the smoothness of her skin. In the twenties, the artist tended to finish his sculptures to a highly polished degree of refinement, but in the thirties he began to experiment with contrasts of texture and the aesthetic of the fragment. In this respect, the work is vaguely evocative of Egyptian funerary sculptures, in which the figures were carved with an eye for three-dimensionality but were left intact in a larger piece of stone to give them physical durability and permanence. Embodying classical ideals of stoicism and universal beauty, the sculpture ultimately exudes a surface allure that is difficult to resist. A similar example of this approach can be seen in the 1937 sculpture Diana, which resides in the permanent collection of the Hirshhorn Museum and Sculpture Garden, Washington D.C. Carved from a piece of black Belgian marble, the work is a stylized bust of the Greek goddess Diana...

Medium: Mahogany, concrete As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual lang...

A substantial and dramatic Art Deco figure of a horse, hand-carved in rose-ochre alabaster. Unsigned, American School circa 1930.

Signed bronze from small edition of 8. plus 4 artists proofs Dominik Albiński (born 1975, South Africa) He started carving at the age of twelve. When he was eighteen he went to Pari...

"Monumental" is an original springstone sculpture by Shona sculptor Phineas Masaya. The artist signed the piece. This artwork features an abstracted figure. 10 1/2" x 4" x 4" art Shona artists and crafts people have been working in different media for generations. These include paintings, pottery, basket ware, wood carvings, and sculpture done in metal as well as the stone carvings. While there is not a long standing tradition of sculpture in what is now Zimbabwe (formerly Southern Rhodesia), stone carvings dating from the 15th century were seen in Great Zimbabwe, an excavated temple near Bulawayo. Most of the artifacts from this location have been moved to museums in Cape Town, South Africa or London. It is generally agreed that Zimbabwean stone sculpture as seen today began during the late colonial period of the 1950's and 1960's. During this period the artists and artisans depicted many of the traditional Shona and other tribal spiritual myths. Out of all the nations in Africa, the large varieties and abundant supplies of rock formations present throughout the Zimbabwe landscape...

Figurative sculpture of a nude female figure. The stone is a grey tone with speckling. The artist signed and dated the piece in the crevice on the bottom. Jose Zacarias is known for ...

Raffaello Romanelli 1856 - 1928 Raffaello e Fornarina signed Raffaello Romanelli Firenze and inscribed Raffaello et Fornarina marble height 38 in.; 96.5cm. diameter 16 in.; ...

19th century grand tour carving of the "Medici" lion. Carved green porphyry granite. This is an unusually large size. Pieces carved porphyry granite are uncommon. It's hardness makes...