Figurine Figurative Sculptures

Rare and fascinating carved wooden female bust, probably used as a wig holder. The work, made in Holland in the first half of the 17th century, features an elegant stylization of fac...

Bill Starke's "In My Dreams I Can Fly" is a limited edition, cast and patinated aluminum sculpture created by Bill Starke depicting a male figure free falling through the air. ( 3/99 ) Note: Images 4 and 5 depict additional available patinas. About the artist: Human beings interacting, colliding, cooperating, striving, & achieving are the themes I wish to portray in my sculptures. My observations on the human condition are meant to be both humorous and thought provoking. Bill Starke's "Free Man" is everything that good art should be: technically superb, brilliantly composed, emotionally powerful and visually arresting... like George Stubbs, the 18th century English...

Jean-Léon Gérôme (1824 - 1904) FRENCH BELLUAIRE OR PLAUDITE CIVES. This sculpture shows the scene of a Roman coliseum where a gladiator just finished his battle with a large lion. ...

From the series ”Gods and Goddesses”. Original sculpture: 3/8 ex Signed and numbered by the artist and stamped Bocquel fondeur. Acquired directly from the artist. Free shipment wor...

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...

"5th Avenue Q" by David Gerstein is a vibrant wall sculpture that captures the dynamic energy of New York City's iconic 5th Avenue. Using bold colors and layered shapes, Gerstein bri...

Copacabana presents Erté's vision of fantasy, splendor, and femininity in a statuesque model wearing a cabaret costume. The gown is noted for its luxuriant richness and design. Softe...

Artist: Kay Ritter Title: Hot Dog Man Medium: Papier-mache Figure Sculpture with Mixed Media Found Objects, signed Year: 1981 Size: 48 x 16 x 15 in. (121.92 x ...

Lost wax bronze 2/8 - Foundry LC Born in 1960 in a family of artists collecting the bronzes of the Italian Renaissance, sculpture has always been part of the environment of Elisabet...

Edition of 17 Jane DeDecker’s energetic and dynamic bronze sculptures serve as a reflection of her own life experiences and those of her closely-knit family. Her twelve nieces and ne...

John Bennett (Born 1952) Fredericksburg, Texas Artist "Grace in the Storm" John Bennett (Born 1952) John Bennett was designated Texas State Artist 2010 by the 81st Texas Legislature....

Felipe Castañeda Mujer Agachada (Crouching Woman), 1972 Bronze, wood base 12 x 9.5 x 11.5 inches Edition III/VI Most recent owners acquired this limited-edition bronze sculpture fro...

In "Coursing Cheetahs, Atelier," MacDonald creates a unique composition with tremendous movement: the long strides of the cheetahs are powerfully executed and charged with energy as ...

Artist Statement I absolutely love working with clay. Creating forms with a chunk of moist earth is a tangible way to cultivate beauty and delight. Through my work, I hope to touch ...

Pierre Jules Mene (French, 1810-1879) Chien Braque a la Feuille Bronze with brown patina 9.5 inches (24 cm) long 5 inches (12.7 cm) high Inscribed on base: PJ Mene Condition: ...

Georges GARDET (1863-1939) Two young Lions Bronze group with a nuanced dark brown patina Signed on the base " G. Gardet " Cast by " Siot-Paris " (with the foundry mark) France circ...

Sculpture, bronze and stainless, figurative Edition of 6 Measurement includes stainless base and bronze sculpture

MATHURIN MOREAU (French, 1822-1912) Signed: ‘Mat. Moreau, hors concours’ 19th Century 31 1/2 in. x 15 in.

"Celebrations (C-56)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece, and it weighs 228 pounds. This piece features a woman with a ...

Emile Louis Picault (French, 1833-1915) "Paris" Patinated Bronze Sculpture, late 19th century, the standing figure holding a golden apple, signed to base. 32" H x 12" W x 12" D. The ...

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

Title: El Doctor Year: circa 1990 Medium: Bronze Sculpture, signature and number inscribed Edition: V/XXX Size: 12.5 in. x 6 in. x 6 in. (31.75 cm x 15.24 cm x 15.24 cm)

This statue came to us as part of a group of statues purchased by a European traveler taking the continental "tour" many did as a rite of passage in the late 19th century, bringing h...

Holiday, Thailand. -Complete Set Of 3 By KAWS KAWS, the pseudonym of American artist Brian Donnelly, is widely recognized for his distinctive blend of street art and pop culture ic...

After Francois-Joseph Bosio (French, 1768-1845) "Henry IV of France" Patinated Bronze Sculpture, late 19th century, depicted as a child, on a square base, inscribed "Bosio". 46" H x ...

Ira Bronze Sculpture Contemporary Nude Boy Marble Stone Sitting Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession a...

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...

White marble sculpture - The Kiss. ​​19th century. 15 x 20 x h 20 cm including base, 12 x 17 x h 18 cm excluding base. Entirely in white marble, some small breaks and repairs. - ...

Antoine-Louis Barye (French, Paris 1795–1875 Paris) Roman Jester (Petit fou de Rome) modeled probably circa 1874, executed after 1875 Measure: Height 6.25 inches Condition: Very go...

Artist: Anthony Quinn, American (1915 - 2001) Title: Spirit of Zorba Year: 1984 Medium: Bronze Sculpture, signature, date and edition inscribed Edition: 49, AP Size: 16.5 x 9.5 x 8....

This mask was hand-carved by an unknown artist from the Mende tribe in Sierra Leone, Africa. It depicts a face with its eyes downcast, hair in rows, and two birds on the top. 16" x 10" x 10 1/2" The Mende people (also spelled Mendi) are one of the two largest ethnic groups in Sierra Leone. The Mende are mostly farmers and hunters. Much Mandé art is in the form of jewelry and carvings. The masks associated with the fraternal and sorority associations of the Marka and the Mendé are probably the best-known, and finely crafted in the region. The Mandé also produce beautifully woven fabrics which are popular throughout western Africa, and gold and silver necklaces, bracelets, armlets, and earrings. Masks are the collective Mind of Mende community; viewed as one body, they are the Spirit of the Mende people. The Mende mask...

Sitting Madonna Central Italy/Tuscany or Marche Around 1420 Poplar wood carved Original version Height 31 cm Charming Madonna sculpture from the heyday of the Soft or International...

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...

A fine modernist solid wooden sculpture of a nude couple embracing in the manner of Rodin by South African artist Herman Wald (1906-1970). Wald was born...

American artist Burton Freund worked in Chicago in the 1930's and 1940’s for the FAP (Federal Arts Project) as an illustrator and sculptor. These original wood sculptures are time capsules of the 1930's and 1940's, hand carved out of solid wood including their bases. Walking the train platform in Chicago in 1938, the artist saw a "Red Cap" porter with a Phi Beta Kappa key hanging around his neck. When asked, the porter...

Hebru Brantley Beyond the Beyond, 2018. Set of 2 Hebru Brantley Flyboy’s, each new in original packaging. Medium: Painted cast vinyl. Dimensions (applies to each individual figure): 9 x 8 x 4 inches (22.9 x 20.3 x 10.2 cm). Each new in its original packaging. From a sold out edition of unknown; published by Hebru Brantley, Billionaire Boys Club & BAIT. Safely packed and shipped from New York, NY. Artist Statement: "Flyboy came out of characters of colour within popular culture. I hate saying “popular culture,” but it’s really popular culture. I mean you look at cartoons. You’ve got animated sponges and ducks and birds and whatever, and it’s very rare to see a popular character within any medium that is African-American, Latino, even Asian. What I wanted to do was create that, but in a space of high art and be able to have some historical context to that character. So I looked at the Tuskegee Airmen...

"Witness (Dessert Pronghorn)" by Heidi Moller Somsen, ceramic, 14 1/2 X 20 in., $2,000. The desert pronghorn are fascinating creatures, and the only large, plant-eating mammal speci...

Angelo Basso (Italy, 1943 – 2011) Siren Signed and marked AP Foundry Mark FAA Beauty & Mythology Collection Sculpture 23″ inches tall (Base 5″ Siren 18″) Box size 20″ x 17″ x 27...

Ettore Ximenes (Italian, 1855-1926) "The Pilgrims" Patinated Bronze Sculpture, late 19th century, depicting a male pilgrim holding a staff carrying his female companion down a rocky ...

Filcer made very few sculptures in his artistic career and this is one of his most special pieces. Limited Edition: 1/10.

PIETRO BARZANTI Italian, 1825-1895 Allegory Of Spring Signed ‘P. Milanes/Galleria/P.Bazzanti/Florence.’ Carved White Italian marble circa 19TH C...

Title: Horse - Taal Mayon Year: 1981 Medium: Terra Cotta Sculpture, signed and dated Size: 20.5 in. x 23 in. x 6 in. (52.07 cm x 58.42 cm x 15.24 cm)

Sisters was inspired by a gouache painting from 1921 entitled 'Les baisers pervers ou la brune et la blonde' and is a wonderful example of an invention of Erté's from the early 1920s...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing sta...

Satyr and Baby is a bronze statue created by the artist Aurelio Mistruzzi. Minotaur with child on his shoulders. Edition of the late 1900s. Engraved signature on the marble base....

"Mickey Lagerfeld Mini Black and Red" resin, automotive paint, automotive gloss and metal sculpture by artist Skyler Grey. Signed Skyler Grey © on base. Depicts Mickey Mouse as Karl ...

Venus Bronze Sculpture Woman Contemporary Female Nude Sitting Lady The statues of Erwin Meijer are subtle with a recognizable, personal handwriting. They ...

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...

Mother Holding Baby, large terra-cotta and clay sculpture. From the Totonaca culture (state of Veracruz). Modern Pre Columbian style large sculpt...

Rumsey’s specialties included equestrian sculptures – portraits of polo players and prize horses, as well as of cowboys, cattle and horses as metaphors. He worked principally in bron...

Discover a striking work of art by acclaimed French sculptor Roland Masson: a rare, limited-edition abstract bronze sculpture of extraordinary beauty and elegance. Meticulously cast ...

"Can't Get Her Off My Mind" is an original ceramic sculpture created by Steven Kemenyffy. 43"x30"x14" Ceramic Steven Kemenyffy (born 1943) is an American ceramic artist living and working in Pennsylvania. He is most recognized for his contributions to the development of the American ceramic raku tradition. He has served as a Professor of Ceramic Art at Edinboro University of Pennsylvania (formerly Edinboro State College) since 1969. He Has retired from teaching, but continues to produce artwork at his home studio in McKean, Pennsylvania. Kemenyffy is often characterized in regard to his contributions to American experimental ceramics of the late 1960s and early 1970s. More specifically, Kemenyffy’s contributions to American raku techniques are often cited. Kemenyffy has stated that his interest in raku came out of practical considerations: “We [Steven and Susan] were doing a variety of workshops in a variety of different media. Raku was always an official way of making pieces in a short period of time…In raku it seems to compress all the firings into one.” Kemenyffy, himself, describes his early work as “Biomorphic forms alluding to old ceramic traditions such as tiles, vases, and containers.” These works were often in excess of six feet tall and many times included mixed media elements. In 1974, Kemenyffy wrote about the work he was producing; “For several years now, my work has dealt with certain formal considerations. Chief among these is using clay in such a way as to crystallize the moment and permanentize the impermanent. These have been among the primary concerns of all potters since the earliest times.” Today, Kemenyffy continues his pursuit of biomorphic imagery and themes. He writes, “Personally I am most challenged by the business of transforming porous organics into porcelain.” For much of Kemenyffy’s career, he has worked in tandem with his wife, Susan Hale Kemenyffy. In 1987 Susan stated about their collaborative works: “Steven is the [sculptor], I am the drawer. These works would not exist if it weren’t for the sculpture; if it weren’t for the clay. The clay entity comes first and my drawings come second.” James Paul Thompson further clarifies this relationship (as observed in 1987): “Steven Kemenyffy uses patterns as a point of departure for his work, while Susan Kemenyffy...

A Roman, Carrara marble sculpture of the mythological Greek god Pan as a fountain. Italy.

A nineteenth-century cast of Antoine-Louis Barye's Le cheval demi-sang arabe (no. A125-Poletti; A148-Pivar), with nice patina. Poletti and Richarme, Barye: ...

Holiday, Thailand. brown By KAWS KAWS, the pseudonym of American artist Brian Donnelly, is widely recognized for his distinctive blend of street art and pop culture iconography. Re...

Ian Edwards - Born within Fire - Original Signed Bronze Sculpure Dimensions: 160 x 60 x 60 cm Edition of 12 Edwards’ practice expresses the power and determination of human endeav...

Red Indian #3 (Tomahawk) by Yoram Wolberger, 2008 Additional information: Medium: Reinforced cast fiberglass composite and pigmented resin Dimensions: 84 × 65 × 29 in (213.4 × 165....

PIERRE-AUGUSTE RENOIR (1841-1919) La Danseuse au Voile Cast in 1964 Ed. 14/20 pcs / Conceived in 1913 Bronze with a black patina 64 x 46 x 28 cm Signed, foundry's stamp and numbered ...

Elephant running with coiled trunk by Roger GODCHAUX (1878-1958) Sculpture in bronze with a very nuanced brown patina Signed on the base "Roger Godchaux" Cast by "Susse Frs Edts Par...

This bronze sculpture by Auguste Moreau is a beautiful work from the Romanticism period. Auguste was the third son of sculptor and painter ...