Unknown

Indian Pink Sandstone Figure of a Deity, Central India, 11th/12th century

Circa 11th/12th century

Antique Bronze Dog Portrait of a Maltese on a Marble Base French 19th century 1/2 x 8 x 5 1/2 inches The chiseled bronze has a nuanced, rich brown patina depicting a Maltese in the round, seated on a quadrangular marble base decorated with very fine gilt bronze flowers and fluted feet. Napoleon III, Louis XVI style. Based on a model by Jacques Caffieri for the Prince de Condé in 1773. (More images to be added.) Executed during the nineteenth century, this figure is fully in line with the eclectic taste of the reign of Napoleon III. Indeed, the Empress Eugenie brought the Louis XVI style up to date in her castle of Compiègne. Jacques Caffieri is one of the most famous bronze smiths of the eighteenth century. In 1715 he was admitted as a master caster and chiseler, and worked almost exclusively for the crown castles...

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

Balancing Elephant Louis-Albert Carvin (France, 1875-1951) Bronze, marble Circa 1930s, Art Deco 8 x 7.5 x 2 (4 1/4 x 7 1/2 x 1 7/8 figure) inches Artist Louis-Albert Carvin, born in Paris in 1875, was exposed to art from an early age through his painter father. Carvin's formal education in art began at the École des Beaux-Arts, where he studied under artists like Émmanuel Frémiet and Georges Gardet. Over the years, artist Louis-Albert Carvin became a renowned sculptor, dedicating his life’s work to the modeling of human and animal figures. He studied under Fremiet and Gardet and became a member of the Société des Artistes Français, exhibiting at the Salon des Artists Francais from 1894 until 1933 winning the Medal of Honor in his first year in 1894. Remarkably, he sculpted La Muse de l’Aviation, the bronze trophy...

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...

Antique Horse Bronze Exceptional Bronze of a Draft Horse Pierre Jules Mêne (French, 1810-1879) Circa 1860s 4 3/4 (W) x 3.25 (H) As Mêne personally ov...

Antique Porcelain Dog Portrait: Cavalier King Charles-Edmé Samson According to the model created by Johann Joachim Kaendler (MEISSEN around 1770). By the famous factory of Edmé Sams...

Standing angel with banner Flemish Around 1450/60 Sandstone 60 x 21 x 15 cm This museum figurine shows a standing angel with a banner in his right hand and a small box in his left. The youthful, ageless figure wears a coat held together with a triangular, floral brooch in front of the chest over a long robe. The angel’s gaze is directed forward, his head tilted slightly to the left. The elongated face is sculpted: the large almond-shaped eyes with accentuated upper and lower eyelids are alertly open and sharp eyebrows lead directly into the root of the nose. The straight nose above the pronounced mouth completes the idealized oval face of the angel and his calm, internalized facial expression. What is particularly remarkable, however, is the magnificent curls, which are only partially tamed by a simple headband. As if puffed up by the wind, the hair, which is sometimes streaked in parallel, sometimes wildly twisted and richly curled, stands out dynamically from the ears. The tilted head with these sideways protruding waves of hair thus conveys an immediate impression of movement. The physicality of the sculpture is expressed particularly through this organic, lifelike movement of the loosened hair. The lively overall impression of the figure is further enhanced by the multiple rolled banners that the angel presents to the viewer. The outstretched palm of the right hand appears both intimate and confidential as well as mystically revealing. This banderole winds in gentle curves in front of the figure’s body, throws a fold over the second attribute in the angel’s left hand and falls downwards in a loose manner. The volute-shaped rolled up end of the banner clearly shows the fine texture of the banner and at the same time draws the viewer’s attention to the small cube-shaped box that the angel is holding in its slender, long-limbed fingers. The cube is decorated with a Gothic quatrefoil motif, which is often seen in the architectural tracery of windows, but was also often used to decorate caskets and other small treasures. The sweeping gestures in the presentation of the attributes suggest three-dimensionality, in contrast to the tubular folds at the base of the neck and the intricate draperies in flat and multiple overlapping garment sections. The soft curves of the folds give the impression that the clothing is made of a heavy fabric that falls diagonally down the front and is laid in several bowl folds under the right hand. Overall, the sculptural work testifies to the highest artistic skill, which emphasizes the virtuosity of sculpture in its precious and representative overall impression. The memorable characteristics recognizable here can be seen in comparable pictorial works from Utrecht around the middle of the 15th century, when sculptural art – especially stone sculpture – was characterized by a remarkably high quality. Particularly noteworthy is the accentuated Utrecht head type with an elongated oval face, almond-shaped eyes with heavy lids and dense, vividly protruding tufts of hair framing the head. For example, the figure is comparable to a capital of an angel on the east side of the rood screen of the Joriskerk in Amersfoort (province of Utrecht) from the second quarter of the 15th century. Not only the physiognomy and hair, which in the comparative example stand somewhat more horizontally to one side, but also the garment puff above the girdle are similar. Even more related motifs, such as the cleverly placed bowl folds, can be found on the limestone figure...

Bronze Warthog Bust on Sandstone base H 16 cm x W 13 cm x D 8 cm. Base size 8 x 8 x 4 cm. Edition 2 of 9 - ready for shipping. Meticulously crafted, this bronze artwork captures the ...

Black Rhino Bust with brown green patina, Limited Edition of 12, bronze sculpture on Sandstone base. The first time I was sculpting in the field, all I saw oft this magnificent Black...

Rare and imposing reduction of the famous statue of JP Molin, inaugurated in 1867 in front of the National Museum of Stockholm. This version in black enamelled stoneware was produced...

Kimiko by Gary Alsum Bronze ed/7, 54x19x20", comes with 3" high, 24" diameter sandstone round base as pictured in the garden images. Young woman in traditional attire holding an fan. Ideal scale for a garden setting. ABOUT THE ARTIST: Taking the knowledge passed on from artists such as Fritz White, Glenna Goodacre...

"Our Love" by Denny Haskew Figurative Female Nude 23x10x10" Bronze with Gold Leaf, Limited Edition of 21 (#2 available) Sandstone base included "Love isn't something you find. Love...