Bronze Sculptures

Original bronze sculpture by Melissa Cooper. Edition #19/50. Signed on base.

Title: Spirit of Man The Spirit of Man was created as a concept piece for a major 30 foot high monument to be placed in front of the Utah Symphony Orchestra Concert Hall in Salt La...

PIETA III by Lorenzo Vignoli contemporary bronze sculpture by Italian sculptor Lorenzo Vignoli based in Carrara, Italy Sculpture dimensions: 20in W x 14inch H x 9inch D 52cm W x 3...

Original bronze sculpture by E.C. Wynne. Edition #25/125. Signed on bronze.

Inscribed signature by the Artist on the bronze base of the piece with an edition number. 10/32

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...

Aparici's work is characterized by simplicity, since most of his pieces bring together few elements, resulting in very elegant compositions with simple lines, which together with his...

For Benson Landes, sculpture was most definitely a passion. His oeuvre of cast bronzes is populated with ‘off duty’ ballet dancers, rather wistful women, often caught in moments of solitary repose. Such an obvious appreciation of the grace and elegance of the female form was, no doubt, heightened by 25 years spent in the couture business, which Benson entered at the age of 14. The sculptor admitted that his time as an apprentice at his father’s clothing workroom and factory was given rather reluctantly, as he always harbored desires to become an artist. The young boy’s sense of responsibility was clearly equal to his creativity, though, as Benson knuckled down and learned the family trade. At the age of 18, however, a 2 year conscription to the RAF provided one of the few opportunities for Benson to experience artistic freedom. The possibilities of otherwise unobtainable materials such as pastels, paper, perspex and plaster of paris fuelled his ingenuity at the base’s well-stocked workshop. On completion of his RAF service, Benson briefly returned to the clothing factory...

Using the lost wax technique, all Danuta's bronzes are one-off originals Patenated Bronze On oak "The ripped raw edges of Elizabeth Frink; the measu...

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...

The modern Sculpture " Meditation ” is a unique metal Sculpture made from a burnout mold by David Marshall in 2010, sand cast in brass in our foundry, handcrafted by the Artist in hi...

Cammie Lundeen’s Battle of the Market is a commanding bronze sculpture that captures the iconic clash between bull and bear—universal symbols of financial markets. Set on a sweeping ...

Sculpture of a boy riding a toy pony.

This is a Erte bronze signed out of 375. In good condition. Measures 20x12

"I create this sculpture at the very beginning of my career. I sculpted it from a real model. The girl was very lost in her thoughts or dreamed of something. Her body was relaxed an...

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...

Paul Ludwig Kowalczewski (1865 Mieltschin - 1910 Berlin), Field worker with rake, around 1900. Brown and brown-greenish patinated bronze with cast naturalistic plinth mounted on a wh...

I am a storyteller. As an actor, director, and writer, storytelling has been the heart of my life’s work. Whether on stage, in front of a camera, or on the page, I’ve spent years cra...

Bronze sculpture by Mario Napoli, Swiss artist from XXth century. His works was sold 12 times in auctions since 2022. Work signed in the bronze. Edition ...

"Union" by Frederick Hart is a figurative female and male figure bronze sculpture with the edition number 299/350. Inspired by The Creation Sculptures of the Washington National Cathedral...

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...

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...

"Classical ballet was my main source of inspiration. Grace and beauty of ballerinas combining with extremely hard work they do. This combination is shocking and inspiring in the same...

A miniature bronze woman is reading. She found the perfect rock to settle on! This is number 2 in an edition of 12, but each edition number varies slightly due to the unique found ro...

Volodymyr Mykytenko - flower Fairy (2009) flower Fairy-Flower fairies are graceful creatures that wield the magic of nature to promote the growth of flowers. Fairies live in the for...

Au fil des sables is a bronze sculpture by contemporary artist Marine de Soos, dimensions are 56 × 75 × 17 cm (22 × 29.5 × 6.7 in). The sculpture is signed and numbered, it is part o...

"Adam Maquette" by Frederick Hart is a figurative female and male figure bronze sculpture with the edition number 116/350. “Adam is Everyman, pulled from the waters of baptism, concrete and universal, led by the fire of day by night, and the cloud of night by day — triumphing over the powers of darkness-emergent radiant in light.”After “Ex Nihilo” and “Adam” were carved into Indiana limestone...

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...

In this thoughtful sculpture by Canadian artist Richard Tosczak, the gestures of a female figure, head bent, arms wrapped, are captured in bronze. Known for his beautiful figurative work, this piece retains the artist’s signature highly textured appearance and green-black patina. Tosczak’s pieces are first conceived on paper in quick pen and ink drawings. The spontaneity of this approach is evident in the almost abstract appearance of the sculpture. This piece is number three in an edition of eight. “The ineffable, vital qualities of the human spirit (is what I’m trying to communicate.)” - Richard Tosczak Born in Belgium, Richard Tosczak studied philosophy and sculpture at the University of Alberta. At that time, Tosczak began working in steel and was influenced by a number of his professors who appreciated the work of a British abstract sculptor, Sir Anthony Caro considered one of the greatest sculptors of his generation. Further studies were pursued in France with another internationally acclaimed classic sculptor, Martine Vaugel...

This delightful bronze sculpture of a walking baby elephant is highly textured and finished with an elegant sepia patina. Canadian sculptor Richard Tosczak begins his pieces with rapid pen and ink studies that evolve into dynamic three-dimensional figurative works cast in bronze. This is number 3 in an edition of 8. “I have always liked sculptures of Ganesh (elephant-headed Hindu god of beginnings) and have thought about making images of baby elephants for years. The baby elephant, for me, symbolizes creativity and the importance of pursuing one’s truest life.” Richard Tosczak Born in Belgium, Richard Tosczak studied philosophy and sculpture at the University of Alberta. At that time, Tosczak began working in steel and was influenced by a number of his professors who appreciated the work of a British abstract sculptor, Sir Anthony Caro considered one of the greatest sculptors of his generation. Further studies were pursued in France with another internationally acclaimed classic sculptor, Martine Vaugel...

Commissioned to create a life-sized reclining figure, John Denning made two maquettes during a stay in a medieval hamlet in France. This is the cast of one of these wax maquettes, finished in a dark bronze patina. Smooth surfaces contrast with highly textured areas, as the figure seems to emerge from a block heavily worked with drips and carvings. As if a ruin herself, the figure’s arm and leg seem partially eroded away, while a bird lighted...

This strongly posed female nude figure in patinated bronze was created rapidly in clay - in gestures that verge on abstraction. It has then been cast in bronze. This is the Artist...

Ram of Mendes by Sandy Scott Bronze Wildlife Ram / Big Horned Sheep Bust Sculpture 13x14x10" cast bronze, completed/sold out edition, circa 1995 This particular casting is available...

​Kent Ullberg's Mountain Lion (edition 30/100) is a compelling bronze sculpture that embodies the stealth and power of this elusive predator. The mountain lion is depicted in a poise...

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...

This 35.43" x 9.84" bronze sculpture by Armenian artist, Arman Hambardzumyan, features a faceless figural form with long legs and a short torso. Th...

Patrick BRUN was born in Paris in 1941. After obtaining his Engineering degree, he began his professional life as a teacher in mathematics and physics. After this period, he started ...

The historic tradition of cast bronze provides a contemporary avenue for the creation of Wayne Salge’s abstracted human and animal figures. Thoroughly modern and distinctly impressio...

Contemporary figurative patinated bronze sculpture by Polish art master, Bronislaw Chromy. Artwork depicts a dragon. BRONISŁAW CHROMY (1925-2017) Sculptor, medallist, painter, drau...

Volodymyr Mykytenko - Huntress (2006) Huntress-The sculpture depicts the goddess of the hunt. Always young, virgin goddess, patroness of all life ...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1930s Kossack, c. late 1930s, polychromed cedar and walnut relief sculpture, carved signature under the base of the figure, 15 x 8 x 3 1/2 inches (figure), 10 x 19 inches (board), exhibited at Zeidler's solo exhibition at the San Francisco Museum of Art, November - December, 1942 (label verso), label verso reads "Kossack / cedar & walnut / Avis Zeidler" About the Sculpture Kossack is typical of Aviz Zeidler’s direct carved wood sculptures of the 1930s. The subject looks directly at the viewer, unfeeling behind a polychromed stare. Seemingly influenced by two of her major teachers, California’s Ralph Stackpole and New York’s William Zorach, Zeidler drew on primitive traditions to create what one critic described as her “gruesome wood sculptures.” Rigid, solid, and unmoving are other words that characterize Zeidler’s statues which often seem to have the deeply rooted ancient power of a totem. Zeidler’s “grimacing artificiality does, indeed, manage to hold a sense of force,” is how The San Francisco Examiner art critic put it in 1938 when describing the artist’s award-winning entry at the San Francisco Art Museum. The same words could have applied to Kossack when it was exhibited at the museum four years later. Perhaps the artist was trying to contain the power of the fearsome Kossacks, the enemy of so many Eastern European peasants, by freezing the image in wood. About the Artist Avis Zeidler (Nemkoff) was a California-based artist who is principally known for her sculpture and drawings. She was born in Madison, Wisconsin, but moved to Northern California by the late 1920s where she majored in art at Berkely and studied with Lucien Labaudt, Ray Boynton...

Rooster "French Symbol" is a unique bronze sculpture by contemporary artist Chésade, dimensions are 90 × 70 × 20 cm (35.4 × 27.6 × 7.9 in). The sculpture is signed and comes with a c...

Fisherman on stilt III is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 45 × 25 × 19 cm (17.7 × 9.8 × 7.5 in). The sculpture is signed and numbered...

Edition of 12

The meditation garden is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 26 × 13 × 7 cm (10.2 × 5.1 × 2.8 in). The sculpture is signed and numbered, ...

This head of young boy is a rare, precious and unpublished sculpture by Marino Marini, belonging to a private collection for over 60 years. The same subject...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

Signed/inscribed by Artist on bronze base of sculpture with an edition number. 7/21

After Aristide Maillol (French, 1861–1944) Bronze Torso Signed with foundry mark Cire Perdue A. A. Hebrard 12 in. h. x 6 in. w. x 6 in. d. Foundry mark "Cire Perdue A. A. Hebrard". ...

Indian Ponies, realistic bronze sculpture, dark brown patina, horses, Nambe Foundry limited edition bronze solid casting Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selec...

Jesús Curiá Perez Adan Y Eva bronze 26.50h x 9.50w x 8.75d in 67.31h x 24.13w x 22.23d cm ed. 4/8 JCP070 Jesús Curiá's sculptures arouse something more than purely aesthetic pleasu...

Volodymyr Mykytenko - Winner (2011) Winner-The composition of the winner in a humorous form reflects the classic finale of the struggle for life. ...

  Terracotta galloping horse. Signed on the base by the sculptor Giorgio Rossi (1894-1981). Period: 1930-40 Terracotta modeled by hand by the artist. Unique piece. Dimensions: Heigh...

Les Amants II Bronze Sculpture Lovers People Together Man Woman In Stock KOBE, pseudonym of Jacques Saelens, was a Belgian artist (Kortrijk, Belgium 1950 – Saint-Julien (Var), Franc...

"Classical theme of a Greek art inspires me. I am a big fan of a Greek mythology, so I depict it often". This sculpture shows beautiful woman in wet fabrics that emphasize body curve...

"Aspen Under Cover" By Tim Cherry is an original, handmade bronze sculpture that depicts a pair of rabbits facing each other underneath two branches.

bronze figurative sculpture numbered from 1 to 8 "Afghan" 19x9x7cm send in wood crate Emmanuelle Vroelant traveled to Afghanistan in the 1970s, she knew a proud and modern country th...

Inscribed by the Artist with a signature and edition number on bronze base. 5/30