Metal Sculptures

Jean Garnier (1853-1910) Art Nouveau Bronze Sculpture circa 1890s A Fine bronze sculpture by listed French artist Jean Garnier. A young nude woman with long flowing hair and a tamb...

Jean-Léon Gérôme, (1824-1904) "Entrance of General Bonaparte in Cairo, 1798" Bronze with medal patina Signed on the base “GEROME” and on the back part “SIOT Fondeur Paris” Dimensi...

Isidore Romain Boitel (French, 1812 - 1861) "Jeune fille aux colombes et à la corbeille de fleurs". Young girl with doves and basket of flowers Bronze ...

Louis Guy Bronze Sleeping Basset Signed and dated 1876 L14 x d8,5 x h4 cms

Hope-Pinker was born in Peckham, Surrey, the son of a stonemason and builder employing 5 or 6 men c.1871 in Hove, Sussex, who seems to have taught his son much of his stone-carving skills, although he also attended the Royal Academy Schools (c.1871). Hope-Pinker typically carved without a model from drawings. The bulk of his work was portrait sculpture and John Hunter...

Buffalo Cow by Charles Rumsey, a bronze sculpture that dates C.1910 and may be part of the preparation for the Manhattan Brie Frieze executed in 1916. ...

Franz Bergmann (Austrian, 1861-1936), "Mameluk Warrior",cold patinated bronze sculpture. Signed "Nam Greb" with foundry mark . On marble base. Provenance: From the Estate of Nell & R...

Tiger surprising an antelope (terrace without profile) Bronze with a shaded green patina, circa 1880 Signed 'BARYE', stamped 'H' by the founder Brame Antoine-Louis Barye (1796-187...

Desperate by Jules DALOU (1838-1902) A bronze sculpture with a nuanced dark brownish-green patina Signed on the base " Dalou " Cast by " Susse Frères Editeurs Paris " (with the fou...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...

EMILE PINÉDO French, 1840-1916 Guerrier Arabe Sur un Dromadaire - Warrior On a Camel Signed Pinédo with the bronze Garanti au Titre seal, titled Patinated bronze, brown patin...

Antique Bronze Dog Bulldog Playing with a Mouse on Sheaves of Wheat Henri Émile Adrien Trodoux (1815-1881) 6 1/8 x 3 7/5 inches Signed on the terrace Henri Émile Adrien Trodoux (Fre...

Jockey Winner by Isidore BONHEUR (1827-1901) A rare and magnificent bronze group with a dark brown patina Signed on the base "I. Bonheur" A period cast by "Peyrol" (with the foundry stamp) Standing on a molded wooden base France circa 1880 height of the bronze : 53,5 cm total height with the base : 62 cm total length : 68 cm depth : 24 cm Biography: Isidore Jules Bonheur (1827-1901) was a French painter and sculptor. Isidore first received an artistic apprenticeship from his father Raymond and his older sister Rosa, then, in 1827, he entered the School of Fine Arts in Paris. After practicing...

Follower of Bacchus is an original bronze sculpture realized by an Italian Sculptor in the end of the XIX century. Bronze casting. Made in Italy. H: 100 cm. Excellent conditions. ...

William Zorach (American 1891-1966) First Steps, 1918 Bronze 8.5 x 5 x 4 inches, including base Born in 1887 in Lithuania, William Zorach immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this new-found stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of wood-block prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jack-knife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptors tools...

Nothing is more delightful than depictions of people from the turn of the century that convey a distinguished sort of elegance, composure and dignity. Gone today is the concept of "...

Bronzetto firmato alla base F. de Luca, artista meridionale attivo fra XIX e XX secolo, raffigurante un'allegoria delle Arti. In secondo piano, la "Scultura", identificata da un put...

An amazing bronze cast of a little 19th-century boy. The quality of the piece is outstanding, as is the color and patination. There is little known about the painter other than he wo...

Alabaster temple with Corinthian capitals, palmette decoration runs along the rim. On the front, two swans are carved on the base, while there are five rosettes at the top. In the ce...

Edwin Willard Deming (American, 1860-1942) Man with Flute and Cougar Cast bronze sculpture with golden brown patina Signed, numbered 9/100, with Fenn F...

"Charity" also known as "Motherhood" by Aimé-Jules DALOU (1838-1902) A beautiful bronze group sculpture with a nuanced dark brown patina Signed on the base "Dalou" A very fine cas...

An acute observer of nature Barye was fascinated by the dramatic depiction of animals in the wild. These anomalies bronzes can sit on mantles and desks and elevate a room tremendousl...

Pair of elegant Louis XVI style candelabra with six arms with flowering branches France, 19th century Gilt bronze and blue porcelain Dimensions: h. 77 cm Pair of magnificent candle...

Antique Bronze Miniature Barnyard Scene (Cow, Sheep & Goat) Christophe Fratin (France, 1801-1864) Sand cast bronze 5 3/4 x 4 1/4 x 2 1/4 inches Highly refined and sensitively modeled miniature bronze representing a small herd of cattle, sheep and cattle on the terrace. Despite its small size, this bronze offers a complete view of a small herd of livestock: a bull is lying in a landscape near a sheep and a goat climbing a tree above a rocky mound. Here we find the skillful hand of the animalier sculptor Christophe Fratin (French, 1801-1864), immensely famous in the 19th century for his thoughtfully crafted animal...

CESAR CERIBELLI (French, 1841-1918) Signed: ‘C. Cirribelli’ 19th Century 22 1/2 in. x 13 3/4 in.

Salammbô at Mathô, I Love You! I Love You by Théodore RIVIERE (1857-1912) Bronze group with a nuanced greenish brown patina and with gilded highlights Signed to the front of the bas...

Encounter the resonant blend of motion and music in 'The Nomadic Virtuoso,' a captivating painted metal sculpture by Arthur Waagen. This art piece from the late 19th century depicts ...

Jules Moigniez (1835 Senlis - 1894 St-Martin-du-Tertre), Hunting dog on the prowl, around 1880. Dark patinated bronze with naturalistic terrain plinth, 16 cm (height) x 30 cm (length...

Ernest Rancoulet (1842-1918), Allegory of Progress, around 1890. Bronze-plated metal cast with cast terrain plinth mounted on a wooden base (6 cm high). 64.5 cm (total height) x 28 c...

Fender Guitar Multi Layers Glass Sculpture Artist signed and dated '98. Fabulous mixed media, layers of multi color dichroic glass, ceramic tiles, aluminum on wooden base. William Wertz was born in 1946 dide in (2021 Los Angeles). American artist, teacher and photographer. Known for his unique assemble layers of glass sculpture. His art can be found in Musee des Decoratifs, Paris, the country of Oman (stained glass dome...

CHARLES CARY RUMSEY (American, 1879-1922) Colt Scratching Nose, 1917 Roman Bronze Works casting 8"H x 10 1/2"L x 4 3/8"D Weight: 9.12lbs Inscribed on the base: CC Rumsey LITER...

CHARLES CARY RUMSEY (American, 1879-1922) Colt Scratching Nose, 1916 Roman Bronze Works casting #15/ 40 6 1/4"H x 7 1/2"L x 2 1/2"D Weight: 5.8lbs Inscribed on the base: CC Rum...

After Andrea del Verrocchio (Italian, 1435-1488) "Equestrian Statue of Bartolomeo Colleoni" Patinated Bronze Sculpture, marked "Verrocchio", the Condottiero holding articulated reign...

Elk surprised by a Lynx by Antoine-Louis BARYE (1796-1875) A bronze group with a nuanced dark green patina Signed on the base " A.L. Barye " Old cast Standing on a wooden base Fra...

French School "Mother and Child" Patinated Bronze Sculpture, late 19th century, cast with a standing female figure clutching a child on a circular plinth, illegibly signed. 28.5" H x...

After Pietro da Barga (Italian, Rome, active c. 1574-1588) "Farnese Bull" Patinated Bronze Sculpture, late 19th century, depicting Antiope directing her sons Amphion and Zethus attac...

JEAN-BAPSITSE AUGUSTE CLÉSINGER (FRENCH, 1814-1883) Femme piquée par un serpent Inscribed J. CLESINGER and F. BARBEDIENNE. FONDEUR Bronze, dark brown patina 8 in. (20.3 cm.) high, 22...

Fritz Heinemann (1864 Altena - 1932 Berlin), Young Roman, 1892. Brownish patinated bronze on a cast round plinth, mounted on a red marble base (8.5 cm high), total height 36 cm, dime...

CHARLES CARY RUMSEY, born in Buffalo, NY in 1879. His interest in sculpture appeared and was encouraged at an early age. The most significant encouragement came when the boy was tak...

Hans Schork (Austrian, b.1849) "The Sower" Patinated Bronze Sculpture, late 19th century, after the model by Louis-Oscar Roty (French, 1846-1911), the stan...

Pierre Emmanuel Guerin, (American, NY, NY born France, 1833-1911). Large PE Guerin foundry bronze casting of Mercury. Measures 36"h x 11"w x 8" across. Rests on a decorative bronze...

Alain LOVATO (born in 1943) Preparatory sculpture for the monumental “Signal oblique” project (Lyon, Parc de la Cerisaie), circa 1980 White, red and ochre lacquered polychrome steel ...

Antoine-Louis Barye 1795-1875 French Tigre saissant un paon (Tiger seizing a peacock) Bronze Signed “BARYE” Modeled by famed French Romantic sculptor Antoine-Louis Barye, this r...

Pair of Bronze Busts of Queen Mary when Duchess of York William Henry Tyler Dated 1893 These rare and highly important bronze busts of the future Queen Mary, created in 1893 by the ...

A pair of gilded bronze torchere lamps with Alabaster shades on top and exquisite detailed bottom part supported by multi level round carved marble base. Measurement: 91”height x 2...

Karl Bitter Reclining Woman, 1897 Signed: Bitter 97 Stamped: GORHAM M F G CO. Bronze 10.25 x 10.25 x 4 inches Initially from Vienna, Karl Bitter first studied art at the city’s Kunstgewerbeschule and the Kunstakademie before being drafted into the Austrian army. He deserted his position in the military while on leave, and departed for New York City where he would discover considerable success. Early on, he won a competition for the Astor memorial bronze gates at Trinity Church, which awarded him enough capital to open his own studio. He went on to execute sculptures of Alexander Hamilton and Thomas Jefferson at the Cuyahoga Courthouse in Cleveland; he also created portraits of Jefferson for the state of Missouri and the University of Virginia. These commissions caught the attention of sculptor Richard Morris Hunt (who famously designed the façade of the Metropolitan Museum), earning Bitter the duty of producing the portrait medallions that now appear near the top of the museum’s grand face. Notably, he presented at Chicago’s 1893 World’s Columbian Exposition and directed the Pan-American Exposition in Buffalo in 1901. Over his career, his artwork became more flexible – his early academy training is easily identifiable within his work, but after moving to America, conventions of Modernism became more prevalent within his sculpture. In addition to many awards, Bitter presided over the National Sculpture Society in 1906-1907, and was a member of the National Institute of Arts and Sciences, the National Academy of Design, the American Academy of Arts and Letters, the Architectural League, and the Art Commission, New York. His public work can be found at the Biltmore Estate, Asheville, NC; Gettysburg National Military Park, Gettysburg, PA; Wisconsin State Capitol, Madison, WI; United States Naval Academy...

signed 'A. CARRIER-BELLEUSE' (on base)

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

Important pocket-tray with sea gods by Gustave MICHEL (1851-1924) A very fine bronze group with a gilded patina signed on the side of the base "G. Michel" cast by "Siot-Decauville ...

Inkwell "Boar Hunting" by Christophe FRATIN (1801-1864) Cast in bronze with nuanced brown patina Signed on the hinge of the lid "Fratin" A very rare old cast France circa 1845 heig...

Émile-Louis Picault (1833–1915) Egyptian Scribe 'Hierogrammate'   Date: circa 1880 French Signature: signed Picault on base Size: height 33 in. x 10.25 in

A late 19th century bronze figure of a dog playing with a ball on a naturalistic base. Nice dark rich brown patina with slightly lighter rubbed area to lower side of base. Signed 'Wa...

Dancing Nude Bronze by Charles Rumsey is one of many figures he depicted of women. He has usually been known for his sculptures of horses, polo players, wildlife and dogs, mainly due to the fact that he was an avid sportman, hunter, and renowned polo player. However, he often depicted women in flattering if not loving ways. Often in movement, sometimes in reflection, in small sizes such as this one of Dancing Nude and also in large outdoor sculptures...

Bronze oriental male figural torchère with bronze base and gilt patina. This figure exhibited at the Salon from 1850-51. In 1855 it appeared in the A.Collas and Barbedienne society c...

Emile Guillemin: 1841-1907. Very important and well listed French sculptor. He has auction results over 1.2 million dollars. This little bronze gem of a possible cook or some other c...

A bronze hound sculpture on marble based. Signed by French animalier sculptor Antoine-Louis Barye 1795-1875.

ALFRED DRURY, RA (1856-1944) The Age of Innocence Signed: A DRURY Bronze on green marble base Height including base 45.5 cm., 18 in. Born in Islington...

Mathurin Moreau (French, 1855-1919) Bronze female figure titled Danseuse a La Lyre, The Lyre Dancer.  A patinated maiden posed holding a lyre with a tortoise shell accent in her rai...