Bronze Sculptures

Volodymyr Mykytenko - Guardian of Time (2015) Guardian of Time-The ram symbolizes fire, solar energy, passionate passion, courage, impulsiveness, stubbor...

A Monumental Museum Quality Pair of French 19th Century Figural Gilt and Patinated Bronze Rosso Granite Marble Flambeaux Urns, each depicting a pair of standing allegorical and whims...

A bronze hand, modelled after the artist’s own, balances on its index finger atop a sphere in this imaginative pop art sculpture by Dave Sheridan. Called...

Chien à la sauterelle, Sandoz, Dog, Sculpture, Bronze, Animal, 1910's Chien à la sauterelle Susse Fondeur circa 1918-1930 Bronze with brown patina and shade of green 13 x 13 x 9 cm Signed and seal of the foundry on the base : Sandoz, Susse Fondeur Catalogue raisonné de l'oeuvre sculpté de Edouard Marcel Sandoz, sculpteur figuriste et animalier 1881-1971, by Félix Marcilhac, Les Editions de l'amateur, 1993...

"Toro" is a unique bronze scultpure (2024) of Bulgarian mid career artist Günay Aliev. In this scultpure the artist depicts a forceful bull attacking. The bronze comes with a grani...

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...

A large, lost wax cast of an eagle by important Italian artist, Sirio Tofanari (1886-1969). Executed by the Fonderia Artistica Ferdinando Marinelli in Florence. Mounted on a marble ...

"Milan" 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 Kraiss...

LOUIS AUGUSTE MOREAU French, (1834-1917) Grecian Mother and Two Children Patinated bronze; Signed “MOREAU”. 22 x 25 inches

HIPPOLYTE FRANÇOIS MOREAU French, (1832-1927) Bronze sculpture of Two Beauties The base inscribed H. Moreau, surmounted on a green marble base. ...

"Bronze Statue - Ife, Nigeria" is a bronze sculpture created in circa 1920. This figure has short legs and a short torso, but a large head. They held out their hands with two objects...

White-tailed deer by Antoine-Louis BARYE (1796-1875) Electroplating bronze plaque with a brown patina Signed "Barye" Period cast from the "Barye's workshop" (made during the artist'...

Emmanuel FREMIET (1824-1910) Gorilla kidnapping a woman A rare bronze group with a greenish dark brown patina signed "E. Fremiet" on the base cast by " F. Barbedienne Fondeur " (fo...

Duco Lineam Bronze Sculpture Boy Male Nude Figure Marble Duco Lineam is a bronze male nude figure, a sculpture on a marble foot, from a boy bending and wri...

Dancer With Long Tutu is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 25 × 15 × 8 cm (9.8 × 5.9 × 3.1 in). Height of the sculpture with the metal base: 45 c...

Modernist nude bronze sculpture by Houston, TX artist David Adickes. The sculpture depicts an abstract armless female nude torse that stands on a wooden base. The piece is signed by the artist at the back of the sculpture's left leg. Artist Biography: Born (1927) and raised in Huntsville, TX, David Adickes is an artist whose art and heart are closely aligned with Paris, France. After studying art at the Atelier F. Leger in the late 40s, Adickes burst onto the art scene in Houston and elsewhere in the early 50s and has been a prominent member of Houston’s art community ever since. While his most visible works are his giant sculptures, from the Virtuoso in downtown Houston...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...

Volodymyr Mykytenko - Safari (2008) Safari is a cheerful and lucky image of a hunter. A funny bird sits on snails that look like a jeep. The gun i...

"Equos" A small study inspired by Classical equestrian examples, the artist in this piece balances the potential energy within the form of the horse with an emotional calm. Noun...

Herbert Haseltine Sudbourne Premier: Suffolk Punch Stallion, 1927 Signed left side: © HASELTINE / MCMXXVII Bronze, dark brown patina, parcel gilding ...

Orientalist African Hunter Leaning on His Shield Black Forest, School Switzerland  19th century Carved Wood 21 inches This is an exceptionally beautifu...

Antique Polychrome Wood Carving Igbo Nigeria Africa, Staff decorated with two figures, mounted as a finial on the shaft terminating in a triang...

Emile Andre Boisseau (French, 1842-1923) "Ense et Aratro" [By Sword or by Plow] Patinated Bronze Sculpture, retailed by Tiffany & Co., late 19th century, the standing warrior holding...

This fun and somewhat whimsical sculpture recalls a cherished childhood memory for Roch Smith. The Toronto-based sculptor has hand-forged the bronze figure of a young boy on a bike balancing upright on its back wheel-popping a wheelie. He stands poised to ride off the top of a high, narrow steel track that ends in a loop reminiscent of the popular ‘Hot Wheels’ toy race car...

Indulge in the beauty of divine creation with Adam by Frederick Hart. This masterpiece, number 2 out of 8, is up for sale and waiting to be cherished by its new owner. This piece is ...

All the time in the world is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 40 × 17 × 12 cm (15.7 × 6.7 × 4.7 in). The sculpture is signed and numbe...

For Nicolas Bourriaud, the flea market is a place where “past production is recycled and switches direction” and where “an object is given a new idea.” On the stalls of the flea market, objects are resurrected and given a second life. This is where Jennifer Small...

Volodymyr Mykytenko - The Bird of Happiness (2005) The Bird of Happiness-my bird fulfills all desires and brings happiness to this world. A gilded ...

This bird sculpture was created by an unknown Baga artist in French Guinea. The bird's head is covered with paint and intricate patterns. Among the less well known Baga art forms are the a-Bamp (or a-Bemp) bird figures. They range from the naturalistic to the abstract and often have small birds or other animals on their backs. Different birds are represented including pelicans, egrets and other fishing birds...

Plains Indian Medallion, bronze, Nambe, Allan Houser, small life-time casting Allan Houser (Haozous), Chiricahua Apache 1914-1994 recipient of the National Medal of Arts in 1992. Allan Houser's father Sam, was part of the small band of Apaches who traveled with Geronimo and surrendered in southern Arizona in 1886. Allan's parents were imprisoned with that group in Ft. Sill, Oklahoma. He was the first child to be born in freedom to those Apaches and a fluent speaker of the Chiricahua language. Allan Houser is an important artist in that he is of the culture he depicts in his artwork. Allan's parents would tell stories and sing songs recalling the experiences on the war path. This bronze edition is a life-time casting. Our gallery represented Allan Houser from 1974 until his passing in 1994 and were investors and provided quality control in the foundry process. Allan Houser's work is many international collections including the Georges Pomidou Centre, The Smithsonian National Portrait Gallery, The Dahlem Museum among others. Allan’s first bronze sculptures were started in the late 1960’s and were cast at Nambe Foundry. At the time the foundry was producing both Nambeware and was doing some sculptural foundry work. There was a fire at Nambe and they lost many of the molds for sculpture as well as their records. We acquired these works directly from Allan Houser. Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selected Collections Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze Dahlem Museum, Berlin, Germany Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City. National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore. Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green   The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States. This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma. Allan Houser was born in 1914. His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs. Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist. Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time. In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction. With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes. As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble. A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond. Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans. Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994. “It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...

3 Seated Figures I is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 42 × 49 × 16 cm (16.5 × 19.3 × 6.3 in). The sculpture is signed and numbered, it...

Eugène Laurent (1832 Gray - 1898 Paris), Joan of Arc, around 1880. Brown patinated bronze on a cast rectangular plinth with tree trunk and distaff. 40 cm (height) x 15.5 cm (length) x 15.5 cm (depth), weight 6.1 kg. Signed “E.[ugène] Laurent.” on the plinth and inscribed “HZ” on the reverse. - somewhat stained due to patina, traces of oxidation behind the distaff, slightly rubbed in places, overall still in very good condition for its age - The Liberating Power of Faith - At the age of 13, Jeanne, a peasant girl born in Lorraine around 1412, heard the voices of Saints Catherine and Margaret and the Archangel Michael telling her that she had been chosen to liberate France from English occupation. By 1428, Henry VI's troops had advanced to the Loire and besieged Orléans, a strategic city for the further conquest of France. Joan of Arc went to the exile of Charles VII and, with the king's consent, led the French army into battle against the besiegers. After four days of fighting, the English were defeated and Orléans was liberated. Other victorious battles followed, until in 1430 she fell into the hands of the enemy, who had her executed as a witch by the Inquisition. In May 1431, Joan of Arc was burned at Rouen. After the final expulsion of the English, the "Maid of Orleans" was rehabilitated by the Church in 1456. She was finally canonized in 1920. By then, Joan of Arc had become a national heroine and the patron saint of France. After the French Revolution, the strengthening of the nation-state and the Franco-Prussian War of 1870-71, Joan of Arc was again venerated and depicted in numerous bronze statues. Eugène Laurent depicts the young girl listening to the voices of the saints who reveal her destiny. With her eyes wide open, she gazes at the sky as if she were looking at the revealed future. Her hands are clasped in prayer, indicating her willingness to face her destiny. Leaning against a tree trunk, she treads with one foot on a raised stone, which, together with her upward gaze, gives her an upward movement that announces her higher mission. At the same time, however, she steps down from the stone to the earth, emphasizing her earthly mission, for which she has already taken the first step. In doing so, she steps over the discarded distaff, which refers to her "lower" origins and belongs to the life she has now left behind. Laurent manages to capture the fateful emotion that makes us look at Joan of Arc in awe, even though she is a simple peasant girl. Even if the design is aimed at the overall impression, the artist has nevertheless worked out certain details, such as the tied waistcoat, very realistically and, in addition to the skin, has particularly depicted the material quality of the textiles. About the artist Eugène Laurent studied at the École des Beaux-Arts in Paris, where he won a prize in 1860. He then joined the studio of Jacques Antoine Theodore Coinchon. As a freelance artist, he supplied the Paris Salon with statues, portrait busts, and medallions from 1861 to 1893. He also created large sculptures such as the monument to Jacques Callot in Nancy (1877) and the statue of François Boucher at the Paris City Hall. GERMAN VERSION Eugène Laurent (1832 Gray - 1898 Paris), Jeanne d’Arc, um 1880. Braun patinierte Bronze auf mitgegossener rechteckiger Plinthe mit Baumstamm und Spinnrocken. 40 cm (Höhe) x 15,5 cm (Länge) x 15,5, cm (Tiefe), Gewicht 6,1 kg. Auf der Plinthe mit „E.[ugène] Laurent.“ signiert und rückseitig mit „HZ“ bezeichnet. - patinabedingt etwas fleckig, Oxidationsspuren hinter dem Spinnrocken, stellenweise leicht berieben, insgesamt in einem altersgemäß noch sehr guten Zustand - Die befreiende Kraft des Glaubens - Als 13jähige vernahm das um 1412 in Lothringen geborene Bauernmädchen Jeanne Stimmen der Heiligen Katharina und Margarete und des Erzengels Michael, die ihr verkündeten, auserwählt zu sein, Frankreich von der englischen Besatzung zu befreien. 1428 waren die Truppen von Heinrich VI. bis zur Loire vorgerückt und belagerten die für eine Weitereroberung Frankreichs strategisch wichtige Stadt Orléans. Jeanne d’Arc begab sich ins Exil Karls VII. und führte mit der Einwilligung des Königs das französische Heer gegen die Belagerer ins Feld. Nach viertätiger Schlacht unterlagen die Engländer und Orléans war befreit. Es folgten weitere siegreiche Kämpfen bis sie 1430 in die Hände des Feindes fiel, der bei der Inquisition ihre Hinrichtung als Hexe erwirkte. Im Mai 1431 wurde Jeanne d’Arc in Rouen verbrannt. Im Anschluss an die endgültige Vertreibung der Engländer wurde die „Jungfrau von Orléans“ 1456 von der Kirche rehabilitiert. 1920 erfolgte schließlich ihre Heiligsprechung. Inzwischen galt Jeanne d’Arc als Nationalheldin und Schutzpatronin Frankreichs. In der Nachfolge der Französischen Revolution, dem Erstarken der Nationalstaatlichkeit und dem Deutsch-Französischen Krieg von 1870/71 erfuhr Jeanne d‘Art eine neue Verehrung und wurde in zahlreichen Bronzestatuen dargestellt. Eugène Laurent zeigt das junge Mädchen wie sie die Stimmen der Heiligen vernimmt, die ihr das von der Vorsehung bestimmte Schicksal offenbaren. Mit weit geöffneten Augen blickt sie gen Himmel als ob sie die offenbarte Zukunft schauen würde. Dabei hat sie die Hände in Gebetshaltung geschlossen, was zugleich vom Willen kündet, sich ihrem Schicksal zu stellen. An einen Baumstamm gelehnt, tritt sie mit dem einen Fuß auf einen erhöhten Stein, was ihr – zusammen mit dem aufwärts gerichteten Blick – eine von ihrer höheren Mission kündende Aufwärtsbewegung verleiht. Zugleich tritt sie aber auch von dem Stein auf die Erde herab, wodurch ihre irdische Mission hervorgehoben wird, zu der sie bereits den ersten Schritt getan hat. Dabei steigt sie über den abgelegten Spinnrocken hinweg, der auf ihre ‚niedere‘ Herkunft verweist und zum nun abgelegten Leben gehört. Laurent gelingt es, die schicksalhafte Ergriffenheit zur Darstellung zu bringen, die uns Jeanne d‘Arc, obwohl sie ein einfaches Bauernmädchen ist, ehrfürchtig betrachten lässt. Auch wenn die Gestaltung auf den Gesamteindruck zielt, hat der Künstler doch einzelne Details, wie die zugebundene Weste, äußerst realitätsnah herausgearbeitet und neben der Haut insbesondere die stoffliche Qualität der Textilien zur Darstellung gebracht. zum Künstler Eugène Laurent studierte an der Pariser École des Beaux-Arts und wurde 1860 von der Akademie mit einem Preis ausgezeichnet. Anschließend trat er in das Atelier Jacques Antoine Theodore Coinchon ein. Als freischaffender Künstler beschickte er von 1861 bis 1893 den Pariser Salon mit Statuen, Porträtbüsten und Medaillons. Zudem schuf er Großplastiken wie das Denkmal Jacques Callots in Nancy (1877) und die Statue...

Albert-Ernest Carrier-Belleuse (1824 - 1887) Female Figural Bronze Sculpture Melodie (Melody)  A young lady with a lyre  in bronze with a dark green patina 19th Century  31" H x ...

Donald De Lue, American (1897-1988). Sun God, 1937. Bronze, 35 x 19 x 9 inches. Bronze with Renaissance Brown patina and gold patina on sun. Number 6 in an ed...

Levesque Isabelle was born in 1954 in Antananarivo. She attended the school of fine arts of Brest (France) and practiced sculpture since 1997. She made her first official exhibition ...

This Horse Bust - Sculpture is an original artwork realized by the Italian artist Domenico Mazzone (Rutigliano, Bari, 1927-1999) during the 20th century. Lost wax bronze sculpture m...

Purebred named "Coyote" by Georges MALISSARD (1877-1942) Horse bronze sculpture with a dark brown patina old cast Signed on the base " G. Malissard " And titled " Coyote " France E...

Reclining Doe by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Barye's workshop (...

Chidy Wayne (b. 1981, Spain) is an artist based in Barcelona. Over the years, he has established himself as a recognized figure in the art world, developing a personal artistic langu...

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...

Europe & Zeus (divine love) Europa the daughter of the Phoenician king of Tyre, Agenor and Zeus in love in the shape of the bull. Bronze, on onyx pedestal Signed: Bruno Zach

Equestrian Joan of Arc by Emmanuel FREMIET (1824-1910) A very fine bronze equestrian group with a delicate and nuanced brown patina signed "E. Fremiet" on the base cast by "F. Barb...

Charles-Octave Levy (French, 1820-1899) "Salome" Patinated Bronze Sculpture, late 19th century, the standing figure holding a sword between her hands, on a plinth, signed to base. 32...

This splendid sculpture represents Young Girl with a Goat (Amalthea and Jupiter's Goat), after the original by Pierre Julien commissioned by Louis XVI in 1785 and completed in 1787 for the cot of Queen Marie-Antoinette in Rambouillet. The work of the sculptor Pierre Julien decorated the interior of a grotto in a pavilion decorated with bas-reliefs by the same sculptor (acquired by the State by dation in 2003). The work was the main element of a rock basin, which was destroyed during the renovation of the gardens of the small castle. The same sculpture was seized during the Revolution and exhibited in the Louvre from 1829. The terracotta sketch, which belonged to the collector Ernst May, must have adorned his château de la Couharde (Yvelines) before entering the Louvre's collections in 1920. The bronze set with a beautiful gilded patina presented here is a work after the original by Pierre Julien (1731-1804) and dates from the 19th century (around 1850). The superbly preserved sculpture, which has belonged to the same family since its acquisition, is presented on its original base in grey serpentine marble. The quality of this work is doubly certified: - on the one hand it is stamped with a round stamp at the top "A. This stamp is a sign of high quality. Achille Collas (1794 - 1859) was the French engineer, engraver and illustrator, inventor among other things of the patented mathematical reduction process of the 19th century to reproduce sculpted objects in reduction, which was very successful. He was awarded a prize at the 1855 exhibition: his "Procédé mécanique", the name under which he prints all his productions, is easily recognisable by the finesse of its execution and by the famous stamp which appears on the base (terrace) of this sculpture. - On the other hand, an important signature is found on the terrace of the sculpture "F. Barbedienne Fondeur", founder. In 1844, Achille Collas, in order to protect his invention, formed the Société Collas et Barbedienne (Paris) with the art founder Ferdinand Barbedienne (1810-1892), which began to produce and sell famous but smaller sculptures in plaster, wood, bronze or ivory. The first object to be marketed was the Venus de Milo after the original in the Louvre Museum. Other sculptures such as the sculpture of George Washington, of which a bronze bust was made by the Barbedienne & Process Collas foundry, are currently in the Metropolitan Museum of Art. HEIGHT OF THE SCULPTURE without base 69CM + BASE = 84CM WIDTH OF THE SCULPTURE without base 28 CM + BASE = 30,5 CM LENGTH OF THE SCULPTURE without base 46 CM + BASE 51 CM The Collas and Barbedienne company was highlighted at the Great Exhibition in London in 1851, the objects of the Barbedienne foundry received a medal and sales soared. At the 1889 Universal Exhibition in Paris, the Barbedienne company again presented a large number of its compositions, including the large neo-Renaissance clock of 1878. This clock, which was part of the Leblanc-Barbedienne estate, was donated by his heirs to the city of Paris, and is kept in the city hall. Pierre Julien (20 June 1731 - 17 December 1804) was a French neo-classical sculptor who worked in the full range of rococo and neoclassical styles. He had an early apprenticeship in Le Puy-en-Velay, near his native village of Saint-Paulien, and then at the École de Dessin in Lyon, before entering the Paris workshop of Guillaume Coustou le Jeune. In 1765, he won the Prix de Rome for sculpture with a bas-relief panel depicting a subject from Antiquity and entered the Royal School for Protected Pupils, which offered a special curriculum under the direction of the painter Louis-Michel van Loo. He was a boarder at the Académie de France in Rome from 1768 to 1773, where he was influenced by the wave of neoclassicism affecting his fellow students. As boarders were required to do, he sent back to France a slightly reduced marble copy of the so-called Cleopatra, the Sleeping Ariadne from the Vatican, which survives in Versailles. Back in France and with his former master, he worked on the sculpture of the mausoleum of Louis, the Grand Dauphin, in the cathedral of Sens. After a failed attempt in 1776, with his Ganymede, he was accepted by the Royal Academy of Painting and Sculpture in 1778, with a Dying Gladiator. He was appointed one of the first members of the Institut de France in 1795, and knight of the Legion of Honour in 1804. He was commissioned by the Count of Angiviller, director of the King's Buildings, on behalf of Louis XVI, to paint the figures for a series of life-size portraits of the great men of France: he produced a Jean de La Fontaine and a Nicolas Poussin, whom he chose to depict in a nightgown, similar to the draperies of a Roman toga. While fulfilling commissions in Paris, for the church of Sainte-Geneviève (now the Panthéon, Paris), or for the Pavillon de Flore in the Louvre, he sculpted in 1785 a virtuoso marble set representing the nymph Amalthée and Jupiter's nurse goat for the Queen's Dairy at the Château de Rambouillet; for his model, he adapted the pose of the famous Venus of the Capitoline. The bas-reliefs of the Dairy, considered his masterpieces, were sold at auction in 1819, but were recovered by the State in 2005, thanks to a gift from the son of the great dealer-collector Daniel Wildenstein. 19th century French school, after Pierre Julien (1731-1804)Amalthea and Jupiter's Goat Bronze with a light brown patina and gilding, reduction made after the marble by Pierre-Julien 1785 executed for Marie-Antoinette at the Laiterie du parc du château de Rambouillet in the Louvre Museum. Among his major works: - Dying Gladiator, marble, 1779, Musée du Louvre. - Ganymede pouring nectar to Jupiter changed into an eagle, [4] marble group, 1776-1778, Paris, Musée du Louvre. - Jean de La Fontaine, marble, 1783-85. Musée du Louvre - Nicolas Poussin, marble, 1789 - 1804. Musée du Louvre - Sketch of a model in terracotta by Nicolas Poussin, ca. 1787 - 1788. Musée du Louvre - Amalthea and Jupiter's goat, marble group, 1787 for the Rambouillet Dairy. The Queen's Dairy at Rambouillet - The girl with the goat, terracotta statuette, 1786. Louvre Museum - Sainte Geneviève restoring her mother's sight, terracotta bas-relief, 1776. Musée du Louvre The works of the famous sculptor Pierre Julien have been referenced in several books and catalogues, including The exhibition catalogue. Gilles Grandjean and Guilhem Scherf. "Pierre Julien 1731-1804". Le Puy-en-Velay, France: Musée Crozatier, 2004. The Lure of Classical Sculpture 1500-1900 (Yale University Press, 1981), cat. no. 24, pp 184-87). Michael Preston Worley, 2003. Pierre Julien: Sculptor to Queen Marie Antoinette. The first modern monograph. Europe in the age of enlightenment and revolution, a catalogue from the libraries of the Metropolitan Museum of Art (fully available online in PDF format), which contains information on Julien. Excerpts from the Grove Dictionary of Art online Pierre Julien in American Public Collections, on the French Sculpture Census website STATUE BARE (BODY) NANNY GOAT (ANIMAL) AMALTHAEA SITTING WOMAN ABOUT US: AYN GALLERY is located in the heart of old Paris on the Ile Saint-Louis surrounded by the Seine, in the most prestigious district of Paris. Just a few steps away from Notre Dame, like a village, this place preserved from urbanists offers a setting as it existed centuries ago with its numerous private mansions which earned the island the nickname "island of palaces" and its illustrious occupants: Charles Baudelaire, Marie Curie, Georges Pompidou or Camille Claudel Our gallery is located just opposite one of the oldest churches in Paris. As the eponymous name of the place indicates, Yasmine Azzi, the owner and artistic director of the place, has a keen eye. Born from the desire to bring together, in a unique space, vintage pieces of 20th century design, contemporary creations, original works of art and interior design know-how, AYN GALLERY was created in 2017. Our gallery presents an eclectic and daring mix, driven by a total freedom of styles and periods. We offer a collection that combines aesthetics and authenticity, in a word what we like and what our customers like. We offer an inspiring selection of furniture from the last century with rare antiques, but also precious objects and lighting with a special emphasis on vintage Italian...

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