Bronze Sculptures

Artist: Erte Title: Top Hats Size: 16 x 12 Inches (26 x 22 Inches Framed) Medium: 3D Bronze Wall Relief Sculpture Edition: of 375 Year...

Textured, abstract, pedestal sculpture in cast bronze. Created with rich brown and mottled green patina over a patterned design. The work is inspired by Ancient Greek weaponry. Fran...

Junghans (1956, Recklinghausen) creates abstract sculptures in stone, wood and bronze, mostly torsos and primal portraits, in a primitive, cubic and expressionistic imagery. He also ...

Jose Cardona Ferro: 1878-1923. Well listed Spanish artist also known as just Jose Cardona. He has had auction prices over $4000. This charming bronze of a...

La Posada by François-Rupert CARABIN (1862-1932) A bronze group with a silvered patina Signed on the base "R. Carabin" Old cast Numbered "5" France circa 1901 height 24 cm length ...

Bronze, dark patinated. Created by Karl Lind, Germany. Cast from 1940. Top on the plinth signed: K. LIND. On the side of the plinth foundry mark: BILDGIESSEREI KRASS. Dimensions: Hei...

David Hare Dancer, circa 1955 Bronze with integral stand 68 high x 17 wide x 13 1/2 deep inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Signed/engraved by Artist on bronze base of sculpture with an edition number. Open Edition #7

Dante meets Virgil - Sculpture is a rare and magnificent artwork realized by the renowned sculptor Pericle Fazzini during the 20th century. Bonded bronze high relief sculpture. Edi...

Contemporary figurative bronze sculpture by Polish artist Michal Bajsarowicz. This piece has green patina that is more visible on the back than on t...

David grew up on a family farm in California. He attended elementary school in a one room schoolhouse on Roberts Island where his elementary teacher, Mrs. MacIntosh, taught him first...

MATHURIN MOREAU (FRENCH, 1822-1912) Flore et Zephyr Signed 'Mthrin Moreau' (to the base), rotating socle applied with engrave plaquette 'FLORE ET ZEPHIR / PAR Mathurin MOREAU / MEDAI...

Water by Jane DeDecker Allegorical Element Figurative Bronze 72x25x15" bronze ed/17 (available patina is a darker blue-grey hue) Shipping price includes the custom packing/crating n...

This rare bronze sculpture by Marcel Debut (1865–1933) presents a unique departure from his more frequently encountered mythological and allegorical themes, venturing into the realm of animalier sculpture. The piece depicts two polar bears, one resting and the other in an alert posture, rendered with a masterful blend of naturalism and expression. The textured modeling of the fur and musculature reflects Debut’s strong academic training while incorporating an impressionistic approach to surface treatment. A notable aspect of this sculpture is its curved base, a subtle yet clear indication of Art Deco influence. Unlike traditional animalier works, which often rest on rigid, symmetrical bases, this dynamic foundation lends a sense of fluidity to the composition, reinforcing the motion and interaction between the two animals. This element suggests that the piece was created during the later period of Debut’s career, as Art Deco aesthetics—with their emphasis on stylized and elegant forms—began to shape sculptural design. The choice of subject, polar bears, is also intriguing within the animalier tradition. While French sculptors of the late 19th and early 20th centuries frequently depicted felines, horses, and other terrestrial animals, this work stands out for its intimate, contemplative depiction of arctic wildlife. Rather than emphasizing a dramatic hunting or combat scene, Debut captures a quiet moment of interaction between the two bears, showcasing his ability to infuse emotion and realism into his subjects. The patina of the bronze is rich and varied, enhancing the play of light on the textured surface and contributing to the lifelike quality of the sculpture. The artist’s signature “Debut” is clearly visible, further confirming its authenticity. With its balance of academic realism, impressionistic texture, and Art Deco design principles, this bronze sculpture is a remarkable testament to Marcel Debut’s versatility as an artist. Its combination of naturalistic observation, expressive modeling, and modernist elegance makes it a rare and desirable piece within the canon of French animalier sculpture.

MATHURIN MOREAU French, (1822-1914) Silvered Bronze Figure of Psyche Silvered bronze; Signed ‘Moreau Mathurin’ 30 3/8 x 15 x 13 inches

Patinated bronze, lost-wax casting. Antonio Nocera - Italian painter and sculptor, born in Caivano (Naples) in 1949. Antonio is currently engaged in the...

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

Equestrian Joan of Arc by Emmanuel FREMIET (1824-1910) A very fine bronze equestrian group with an "old gold" patina signed "E. Fremiet" on the base cast by "F. Barbedienne Fondeur...

HIPPOLYTE FRANÇOIS MOREAU French, (1832-1927) ‘Eaves Dropping’ and ‘Consolation’ Patinated bronze; signed ‘Moreau’ 25 x 11 inches

Agnes Yarnall LePage, began studying sculpture at the age of 6 at the Liberty Tadd School of Modeling. She went on to study with Charles Grafly at the Pennsylvania Academy of the Fine Arts before opening her own studio in the late 1920s, with the support of her parents, Anna B. Coxe and Charlton Yarnall. Over the years, Ms. Yarnall's work included numerous portraits, human figures and animal sculptures. Among her proudest achievements were busts of George Washington and General Lafayette, displayed at the Valley Forge Historical Society, and of Abraham Lincoln, at the Union League of Philadelphia. She also counted among her premier accomplishments busts she sculpted of Ronald Reagan, Jack Nicklaus and Pope John Paul II. One reviewer who had seen her depictions of Edna St. Vincent Millay, Dame Judith Anderson, Carl Sandburg and Sir John Gielgud lauded her work for its ''sensitivity, grace and dynamism," her family said. During her early career Ms. Yarnall studied and worked with such great artists as Boris Blai, Paul Manship and Alexander Archipenko. In addition to her long career in sculpture, she also was an accomplished poet. Her books included Indian Summer, Hesperides and Other Poems and Pandora and Other Poems. In 1987 Ms. Yarnall was presented with the Living Legacy Award as ''Evocatrix Extraordinary" by the Women's International Center, joining such honorees as Dame Judith Anderson, Clare Boothe...

"King with Two Tribesmen" is a bronze relief sculpture from the Nigeria-Benin area tribe. It depicts three figures: two tribesmen on the left a...

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 ...

Mathurin Moreau 1822-1912, was a French sculptor in the classic academic style. His father was also a sculptor and his siblings. Mathurin first received a medal at the Salon in 1848,...

Etienne Alexandre Stella (French, XIX-1892) "Verano" Patinated Bronze Sculpture, depicting Summer personified, on a circular base, signed, and titled. 36.25" H x 11" W x 11" D. Keyw...

Akirokio is a sculpture by French contemporary artist Jacques Owczarek. This elephant in bronze takes shape through a series of lines, edges and curves. Jacques Owczarek discovered ...

The Anatomy of a Golfer lV, Atelier is the fourth in Richard MacDonald's series of golfers that were inspired by the creation of his heroic sculpture,...

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

"Wall Shark" by Henk Jan Sanderman is a striking ceramic wall sculpture that commands attention with its powerful presence and lifelike detail. This original artwork features a metic...

Junghans (1956, Recklinghausen) creates abstract sculptures in stone, wood and bronze, mostly torsos and primal portraits, in a primitive, cubic and expressionistic imagery. He also ...

Artist: Kuno Vollet Title: Brass Gingko with 5 leaves art sculpture Materials: Bronze, black granite base Polished bronze to gold adds highlights to the leaves. Art Deco Mid-centu...

John Kearney (American, 1924-2014) Rocky Mountain Goat, 1991 Bronze 11 x 17 x 6 inches Born in Omaha, Nebraska, John Kearney studied at the Cranbr...

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...

Tony Hochstetler's "Boa" (2014) is an original handmade bronze sculpture that perfectly captures the detail of a boa constrictor snake.

Jaguar Bronze Sculpture Polished Wild Animal In Stock Chris Tap (1973, Amsterdam, the Netherlands) attended university where he studied economy and cul...

Artist: Kuno Vollet Title: Brass Gingko with 5 leaves art sculpture Materials: Bronze, black granite base Polished bronze to gold adds highlights to the leaves. Art Deco Mid-centu...

Antoine-Louis Barye (French, 1795-1875) Ocelot emportant un héron (Ocelot carrying off a heron) bronze sculpture, dark-brown patina, Signed “Barye” and “F. Barbidienne Fondeur Paris”...

Barrett is a large scale and well known American sculptor. Point Out is a superb small scale maquette and it a great piece on many levels. These works have movement, delicacy and s...

Richard MacDonalds sculpture Yin & Yang, represents a principle that is fundamental to art from all time periods and cultures it is the timeless paradox that opposites exist in harmo...

Danse Mystique Dance Mystic Bronze Sculpture Classical Contemporary The sculptures of Margot Homan (1956, Oss, the Netherlands) show a perfect command of the old craft of modelling ...

From small limited edition of 7, this is a signed and dated hollow cast bronze sculpture. Provenance: Important Miami Beach estate that included many paintings and sculpture by Post Impressionist masterpieces and works by Latin American masters. Felipe Castaneda (Mexican, b.1933) was born in 1933 in La Palma in the state of Michoacan, Mexico. His artistic career began at the National Museum of Anthropology in Mexico City where he became an assistant to the renowned sculptor Francisco Zúñiga (French, 1867–1947), Zuniga helped the artist realize his aptitude for sculpting and carving. Castañeda finished his studies in 1963, and by 1970, he was showing his work in exhibitions. Castañeda experimented with many media in order to master molding clay for his sculptures, preferring to work in marble, onyx, and bronze. The heavy influence of pre-Columbian artifacts...

Numbered and limited to 8 copies Artwork signed Authenticity: Sold with certificate of Authenticity Invoice from the gallery Sculpture: bronze, metal, bronze patina Display: The sc...

"Ebb" is a new, large free-standing bronze sculpture, suitable both for the inside and outside. Edition 8, signed, numbered and dated on the bottom. The sculptress Susanne Kraisser...

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

"Cat Under the Bridge" is a miniature bronze animal sculpture with a black brown patina. The cat seems to have been suddenly discovered and looks very surprised. It is very life-like...

'In the manner of' Aristide Maillol 1861-1944, was a French sculptor, painter and print maker. Maillol predominantly was a painter and weaver of tapestry, however Gaugin advised him ...

Ferdinand Barbedienne (Saint-Martin-de-Fresnay 1810 – 1892 Paris) after Lorenzo Ghiberti (Florence, 1378 – 1455) Signed at the lower right of the principal relief: F. BARBEDIENNE Provenance: Private Collection, USA. Barbedienne’s “Gates of Paradise” reliefs are one of the triumphs of nineteenth-century bronze casting and patination. The nine panels that comprise our example are half-size reductions of the famous originals by Lorenzo Ghiberti, made for the Baptistery of Florence and now housed in the Museo del Opera del Duomo. Mounted in an impressive, mullioned frame surround, our work is an exceptional exemplar of the Renaissance Revival, the broadly influential style and movement that infused architecture, design, and artistic culture in the latter half of the nineteenth century. The central scene, The Story of Joseph, is perhaps the most celebrated of the entire series depicting as it does seven episodes from the Biblical narrative integrated into a single composition: Joseph cast by his brethren into the well, Joseph sold to the merchants, the merchants delivering Joseph to the pharaoh, Joseph interpreting the pharaoh’s dream, the pharaoh paying him honor, Jacob sending his sons to Egypt, and Joseph recognizes his brothers and returns home. The surrounding reliefs—two vertical figures in niches, two recumbent figures, and four portrait heads in roundels—are as well faithful reductions of Ghiberti’s original bronzes on other parts of the doors. The maker of these casts was the renowned 19th-century French fondeur Ferdinand Barbedienne. Gary Radke has recently written of this great enterprise: “The Parisian bronze caster Ferdinand Barbedienne began making half-sized copies of ancient and Renaissance sculpture in the 1830s. His firm benefitted enormously from the collaboration of Achille Collas, whom Meredith Shedd has shown was one of numerous pioneers in the mechanical reproduction of sculpture. Their competitors largely devoted themselves to reproducing relief sculpture, but Collas devised a process for creating fully three-dimensional copies. A tracing needle, powered by a treadle, moved over the surface of a full-sized plaster cast or bronze of the original and triggered a complementary action in a cutting stylus set over a soft plaster blank…He signed an exclusive contract with Barbedienne on November 29, 1838, and won medals for his inventions in 1839 and 1844. Barbedienne’s half-sized copies of the Gates of Paradise were famous not only for their fidelity to the original, but also for the way their gilding…suggested the glimmering surface that was hidden under centuries of dirt. Some critics even saw Collas’s and Barbedienne’s work as ‘philanthropic, an exemplary adaptation of industry to the requirements of art, the artist, the workers, and the public alike.’ At 25,000 francs, Collas’s and Barbedienne’s reduction of the Gates of Paradise was singularly more expensive than any other item for sale in their shop. All the reliefs, individual statuettes, and busts were cast separately and could be purchased either by the piece or as an ensemble. Fittingly, Barbedienne’s accomplishment earned him the Grand Prix at the 1878 Paris Exposition Universelle, along with numerous other medals.” Three complete examples of the Barbedienne-Ghiberti doors are known. One, first installed in a chapel in the Villa Demidoff of San Donato near Pratolino, was later acquired by William Vanderbilt...

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (1 of 2. ...

Catherine Bohrman's bronze sculptures encompass gestural form with figurative elements. Her international style has been noted to possess soft edges that belie the magnitude of their...

A rare example of late Renaissance sculpture, this impressive Italian bronze captures one of the greatest divine heroes of myth and legend: Hercules. The figure is rendered with stun...

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...

“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 ...

Mounted as lamps and cast by Ferdinand Barbedienne after models by Alexandre Falguiere and Paul Dubois. Both statues are signed on the bases. These fine torchères are reductions of...

One World One Love - Standby your loved one in the journey of life, you won’t be alone. "In these pieces, I wanted to use profusely my language based on my iconic objects: maps, wo...

Edition Signed with the stamp: Lalanne Monogrammed, marked and numbered under the apple: CL ; Artcurial ; 57/250 Literature Robert Rosenblum, Les Lalanne, Genève, Éditions Skira, 1991, an other version reproduced p. 123. Claude et François...

Our silver cheetah is a statement piece for discerning buyers, which brings a level of sophistication and appeal, for the ideal home. The sculpture is first cast in bronze, and then ...

Measures about 5.25 X 3.75 inches. Box is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know if ...

Retaining a fine patina and in overall good condition. Signed with initials SB. I believe the edition size was 7 But I cannot find a mark. Stanley Bleifeld (1924 – 2011) was an American sculptor. Stanley Bleifeld was born and raised in Brooklyn, New York, Bleifeld earned bachelor of fine arts, bachelor of science in education and in 1949 a master of fine arts degree in painting at Tyler School of Art of Temple University. After a trip to Rome in 1959 or 1960 he gave up painting for sculpture. He began his fine-art career as a painter. However, a visit to Italy and exposure to the bronzes of Donatello, Michelangelo, and Ghiberti changed his direction He worked with the Art Foundry of Massimo del Chiaro and alongside artists such as Lucchesi, Harry Marinsky, Fernando Botero, Igor Mitoraj and Ivan Theimer. Many of his early pieces were religious subjects, and reflected both painting and sculptural techniques in bas reliefs* that had "liquid landscapes in undulating reliefs and free-flowing portraits reminiscent of classical fragments" (166-167). He later turned from these abstract pieces to more realistic figures in bronze. Bleifeld was a National Academician in Sculpture, and a member of the National Academy of Design, and helped set policy for that organization. He was also President of the National Sculpture Society. Past presidents of the society have included John Quincy Adams Ward, James Earle Fraser, Chester Beach, Wheeler Williams, Leo Friedlander, Neil Estern, and Cecil de Blaquiere Howard. The first woman to gain admission into the NSS was Theo Alice Ruggles Kitson, in 1893. She was followed a few years later by Enid Yandell and Bessie Potter Vonnoh in 1898; Janet Scudder in 1904; Anna Hyatt Huntington in 1905 and Evelyn Longman and Abastenia St. Leger Eberle in 1906. In 1946, Richmond Barthé was likely the first African-American to be admitted. In 1994, the NSS held their first exhibition outside the United States at the Palazzo Mediceo Di Seravezza in Italy. Titled “100 Years of the National Sculpture Society of the United States of America in Italy” it ran from the 16th of July through the 4th of September and was curated by Nicky and Stanley Bleifeld along with Costantino Paolicchi, Lodovico Gierut and Paolo Giorgi. Among the 60 notable American sculptors whose work was selected for the exhibition were Stanley Bleifeld, Andrew DeVries, Neil Estern, Leonda Finke, Bruno Lucchesi, Barbara Lekberg...