Face Sculptures

Yeonsoo Kim, "Never Ending Story," Colorful clay white stoneware, underglaze, 114 x 12 x 12 inches. Korean ceramic artist Yeonsoo Kim masterfully blends the ancient Onggi tradition ...

Susi Singer-Schinnerl (Austrian-American, 1891-1965) Man with Two Dogs, c. 1925 Ceramic Manufactured by the Wiener Werkstätte, model number 682 Stamped on bottom 13 x 5.5 x 4 inches...

Frank Jirouch (American, 1878-1970) Statuette, 1922 Bronze Signed and dated on base 14.5 x 5 x 3 inches Frank L. Jirouch (3 Mar. 1878-2 May 1970) was a sculptor known mainly for hi...

Urbano Lucchesi 1844 - 1906 Italian La Casta Susanna (The Chaste Susanna) Marble This elegant statue entitled La Casta Susanna depicts the virtuous biblical figure Susanna, exper...

Thelma Frazier Winter (American, 1905-1977) The Sirens, c. 1937 Ceramic 17.5 x 15 x 5 inches, including base Thelma Frazier Winter was an American enamelist, ceramic sculptor, and ...

Walter Sinz (American, 1881-1966) Torso, c. 1930 Ceramic Signed on base 12.5 x 7 x 3.5 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz...

Yeonsoo Kim, "Sweet Home," 2024, Porcelain moon jar,, colored clay, underglaze, 15 × 14 × 14 inches Korean ceramic artist Yeonsoo Kim masterfully blends the ancient Onggi tradition with bold, contemporary expression, crafting pieces that chronicle his personal and artistic journey. Drawing inspiration from Korea’s rich ceramic heritage, he redefines Onggi, a centuries-old practice originally used for functional pottery, by infusing it with vibrant colors, unconventional forms, and playful, stylized motifs. His hand-shaped vessels and sculptures become dynamic, modern narratives that capture his thoughts and experiences in clay. Kim’s technique involves spontaneous surface decoration using Sgraffito and calligraphy brushing, resulting in intricate designs featuring whimsical figures, animals, and objects. His work is driven by memories, relationships, and emotions, evolving organically without preplanning, embracing "freedom over perfectionism." Through his reinterpretation of Onggi, Kim merges tradition and modernity, offering a fresh expression of cultural storytelling in each piece. Working with both porcelain and iron-bearing clays, he tailors each material to the expressive qualities of his designs, revitalizing a millennia-old craft for the modern era. Yeonsoo Kim states, "My work serves as a canvas for a diverse cast of characters, engaging in silent conversations that speak volumes through their nuanced expressions. These characters, often resembling self-portraits, invite viewers into a world where implied images and narratives converge. My work reflects my ongoing quest for artistic identity by exploring the intricacies of daily existence. I delve into the depths of human emotion through recurring motifs, transforming abstract inner experiences into tangible visual realities." Yeonsoo Kim earned a BFA in ceramics and glass from Hongik University in Seoul, an MFA in ceramics from the Lamar Dodd School of Art at the University of Georgia, and has held apprenticeships with master Onggi artisans Hayngjong-Oh in Jeolla-do and Jinkyu Huh in Gyeongsang-do, Korea. In 2020, Kim was recognized as one of the top six Emerging Artists by the National Council on Education for the Ceramic Arts (NCECA). His work has been exhibited nationally and internationally, most recently being selected for the prestigious 12th International Ceramics Biennale Competition at the Korea Ceramics Foundation in Gyeonggi. Kim has participated in several artist residency programs, including the Korea Ceramic Foundation, Montana State University, the Morean Center for Clay in St. Petersburg, FL, and the Archie Bray Foundation in Montana. ceramic sculpture...

Clodion, i.e. Claude Michel (1738 Nancy - 1814 Paris), after The Sacrifice to Priapus, black-brown, brown and greenish-brown patinated bronze on a black, green-veined marble base (3....

Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Cologne), The Blacksmith of Solingen, after 1895. Bronze-color patinated zinc cast on plinth, 47 cm (height) x 20 cm (width) x 16 cm (depth), weight 5.5 kg. Signed “Albermann.” on the plinth and identified as a cast by “AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN”. Dedication on the front: “Mr. Ing. F. Kuhlmann to the wedding. Management and officials of the Hannoversche Waggonfabrik. Aircraft construction department". - The zinc showing through in spots, the patina somewhat stained, the right upper arm under the sleeve retouched in black. - The Double-edged Sword - The figure is a reduction of Wilhelm Albermann's 1895 fountain figure of the armourer of Solingen, who has always been identified with the historical blacksmith Peter Hahn. In 1839, Karl Simrock wrote the poem “The Blacksmith of Solingen" and thus coined the legendary figure. The first and penultimate verses read: A blacksmith spoke to Solingen With every bayonet, That came to his diligence: "Oh, that Fritz had it!" The war took its course, Many battles were fought, Which often made him fearful and anxious In his soul. The blacksmith had given up his trade to fight for Frederick the Great. Not least because of his strength and will to fight, the battles were won. With his fountain sculpture, Albermann has given the legendary blacksmith a figurative form and at the same time created a landmark for the city of Solingen, which was once famous for the art of sword forging and today still stands for the production of high-quality knives. During the bombing raid in November 1944, the fountain was destroyed along with the entire old town of Solingen. Only the head remained. The broad-shouldered blacksmith stands securely behind his anvil, his leather apron tied around him, and has just finished a sword blade with his own "weapon" - the blacksmith's hammer. His entire body shows the strength with which he wields the hammer, but also the strain of this activity, as evidenced by the wide open shirt, the somewhat 'untidy' apron, and especially the furrowed face. However, the blacksmith does not look at the finished work, but resolutely and at the same time thoughtfully into the distance, in line with the quoted verse from Simrock's poem that the battles "often made him fearful and anxious in his soul". There is certainly something melancholy in his gaze, fed by the knowledge of the necessity of forging swords and taking up arms and their deadly use - experiences Albermann had to make during his own war missions. The flowing full beard gives his gaze into the distance an almost prophetic character. In keeping with the craft of the perfectly formed art of blacksmithing, the detailed casting reproduces the respective materials depicted in perfect form: the leather apron convincingly conveys the impression of leather and lies - also in the back view - like a second formed layer over the body, while the shirt and trousers illustrate their own textile qualities. Due to its masterful execution and profound content, the “Blacksmith of Solingen”, which has survived in its cast reproductions, remains Albermann's most famous work to this day. About the artist The son of a carpenter, Wilhelm Albermann began an apprenticeship as a joiner, but then followed his artistic calling and trained as a sculptor in Elberfeld. In 1855, at the age of twenty, he was drafted into the army in Berlin, where he served until 1857. Albermann attended the Berlin Art Academy on the side and began regular studies after his service. While still a student, he completed commissioned works for his teachers August Fischer and Hugo Hagen. His first independent commissions followed, enabling him to establish a flourishing sculpture studio in Cologne in 1865. His artistic activities were repeatedly interrupted by military service, and he took part in the German-Danish War in 1864, the war against Austria in 1866, and the Franco-Prussian War in 1870/71. After his last war service, Albermann, already a respected artist, founded a commercial drawing school at the request of the city government, where he taught the modeling class and served as director until 1896. In 1890 he also worked for the "Society for the Promotion of Sculpture in the Rhineland and Westphalia". Albermann was one of the most prolific sculptors in Cologne in the second half of the 19th century. He created numerous monuments, fountains, tomb sculptures, architectural ornaments, and domestic statues. At its peak, his workshop employed up to thirty sculptors and stonemasons at a time. GERMAN VERSION Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Köln), Der Schmied von Solingen, nach 1895. Bronzefarben patinierter Zinkguss auf gegossener Plinthe, 47 cm (Höhe) x 20 cm (Breite) x 16 cm (Tiefe), Gewicht 5,5 kg. Auf der Plinthe mit „Albermann.“ signiert und als Guss der „AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN“ ausgewiesen. Schauseitige Widmung: „Herrn Ing. F. Kuhlmann zur Vermählung. Direktion und Beamte der Hannoverschen Waggonfabrik. Abt. Flugzeugbau“. - Punktuelles Durchscheinen des Zinks, Patina etwas fleckig, der rechte Oberarm unter dem Ärmel schwarz retuschiert. - Die Zweischneidigkeit des Schwertes - Die Figur ist eine Reduktion von Wilhelm Albermanns 1895 geschaffener Brunnenfigur des Waffenschmieds von Solingen, der seit jeher mit dem historischen Schmied Peter Hahn identifiziert wurde. 1839 hatte Karl Simrock das Gedicht „Der Schmied von Solingen“ verfasst und damit die legendäre Figur geprägt. Die erste und die vorletzte Strophe lauten: Zu Solingen sprach ein Schmied Bei jedem Bajonette, Das seinem Fleiß geriet: »Ach, daß der Fritz es hätte!« Der Krieg ging seinen Gang, Man schlug noch viele Schlachten, Die oft ihm angst und bang' In seiner Seele machten. Der Schmied hatte sein Handwerk ruhen lassen, um selbst für Friedrich den Großen zu kämpfen. Nicht zuletzt durch seine Kraft und seinen Kampfeswillen verliefen die Schlachten siegreich. Dem legendären Schmied verlieht Albermann mit seiner Brunnenskulptur eine bildliche Gestalt und schuf damit zugleich ein Wahrzeichen der Stadt Solingen, die einst für die Kunst des Schwerterschmiedens berühmt war und bis heute für die Herstellung qualitätvoller Messer einsteht. Beim Bombenangriff im November 1944 wurde mit der gesamten Solinger Altstadt auch der Brunnen zerstört. Einzig der Kopf blieb erhalten. Mit sicherem Stand und umgebundener Lederschürze steht der breitschultrige Schmied hinter seinem Amboss und hat gerade mit seiner eigenen ‚Waffe‘ – dem Schmiedehammer – eine Schwertklinge fertiggestellt. Seinem gesamten Körper ist die Kraft abzulesen, mit der er den Hammer führt, aber auch die Anstrengung dieser Tätigkeit, wovon das weit geöffnete Hemd, die etwas ‚unordentlich‘ arrangierte Schürze und vor allem das zerfurchte Gesicht zeugen. Der Schmied schaut aber nicht auf das vollendete Werk, sondern entschlossen und zugleich sinnierend in die Ferne, entsprechend der zitierten Zeile von Simrocks Gedicht, dass die Schlachten „oft ihm angst und bang‘ in seiner Seele machten“. Der Blick hat durchaus etwas Melancholisches, dass sich aus dem Wissen um die Notwendigkeit, Schwerter zu schmieden und zu den Waffen zu greifen und deren tödlichem Einsatz speist – Erfahrungen, die Albermann bei seinen eigenen Kriegseinsätze machen musste. Der wallende Vollbart verleiht dem in die Ferne schauenden Blick einen beinahe prophetischen Charakter. Dem Handwerk der formvollendenden Schmiedekunst entsprechend, gibt der detaillierte Guss die jeweils dargestellten Materialien in vollendeter Ausformung wieder: Die Lederschürze vermittelt überzeugend den Eindruck des Leders und liegt – auch in der Rückenansicht – wie eine zweite ausgeformte Schicht über dem Körper, während das Hemd und die Hose...

Carved profile bust of Leonardo Da Vinci. Mounted on velvet covered wood plaque. 19th century.

Our histories are written in and on our bodies. Our identities are inseparable from our physical experiences, which are in turn shaped by genetic, cultural, and epigenetic heritages ...

This Mercury by Montagne has lovely patina and surface and is a pleasingly different depiction of Winged speed as he is seated! It is an arresting pose and elegant and covers all fa...

French sculpture from the late 19th century. Work finely sculpted in alabaster depicting a young gleaner, a girl with a scythe and ears of wheat of excellent quality. Sculpture finis...

"3 Skulls" is just one of Dana Younger's amazing realist bronze sculptures. Created in 2023, mounted on walnut and measuring 5 x 1.75 x 5 in., this piece masterfully captures a stack of skulls in different perspectives. Artist Bio/Statement: Dana Younger is a Texas sculptor who earned a BA in Theater from the University of Texas at Austin. His experiences in the theater, as well as in construction and boatbuilding, led him to a career in fabrication. Younger began his work as an artist as a founding partner of Blue Genie Art Industries, an art fabrication company, and the Blue Genie Art Bazaar, an annual holiday art show now in its 18th year. Currently he is the Exhibits Manager for Texas Parks and Wildlife where he works with writers, designers and fabricators to make exhibits for Texas state parks. His sculpture work has been featured in galleries throughout Texas and the US including the Meijer Sculpture Garden in Grand Rapids, Michigan, New Mexico State University, the Louise Hopkins-Underwood Center for the Arts in Lubbock, Texas, Wright State University in Ohio, Purdue University...

Italian grand tour portrait bust of a roman legionnaire . Carved variegated sienna marble mounted on white marble plaque. Early 19th century.

Bronze sculpture signed/etched by the Artist on bronze base with an edition number. 5/50

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

French alabaster Napoleon III sculpture depicting a woman with flowers. The female figure is presented in a very light dress with both hands supporting cascades of flowers. With he...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

Spray paint on plexiglas case with acrylic and spray paint on Multiple canvas - 1/1 - BASED on when Banksy was in NYC selling his work on the streets Thirsty Bstrd is a french visua...

Signed/etched by Artist on bronze base of sculpture with edition number. A/C 2/3

Bust of a woman by Pilade Olivari (19th-20th c.) Bust in white Carrara marble Signed on the side of the left shoulder "Pilade O." Dated "1888" Italy height 66 cm width 32 cm depth ...

Anonymous, Bust of a young woman, c. 1900, artificial marble and gray onyx marble. 37 cm (height) x 37 cm (width) x 22 cm (depth), weight 17.2 kg. Signed “GURRINI” on the reverse. -...

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...

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...

Lock and Key, Protective Linings and Rattling Cages, 2019 by Alex Hodge Carved porcelain plate Overall size: 34.5 H x 10.5 W x 2 D in. Individual Size: Lock and Key: 10.5 x 10.5 x 0...

Jef (Joseph Marie Thomas) Lambeaux (1852 Antwerp - 1908 Brussels), Weeping boy with laughing mask, around 1890. Alabaster on a round base (8 cm high), total height 37 cm, width 22 cm, depth 18 cm, weight 9 kg. With incised signature “JeF.LAMBEAUX” on the reverse. - Slightly dented in places, the cord of the cap with a small loss in one place, otherwise in very good condition. - The tragicomedy - During the Baroque era, artists such as Peter Paul Rubens and Gian Lorenzo Bernini explored human passions. The emotions depicted also included humor, which could easily erupt into uproarious laughter. In his work, Jef Lambeaux takes these Baroque pictorial forces and transposes them into his own time. The boy's crying has intensified to the point of screaming. Tears roll from his eyes and trickle down his cheeks, his mouth is open, and his entire face, especially his forehead, is contorted with emotion. As Gotthold Ephraim Lessing points out in his essay "Laokoon or on the Limits of Painting and Poetry" (1766), it is absolutely impossible to make an emotion the main subject of representation, because the extraordinary emotional state fades away in reality, while it remains permanently present in the painting, which has a highly unpleasant effect on the viewer. And yet Lambeaux succeeds in this balancing act. He masterfully models the expression of pain from the child's physiognomy, while at the same time giving the boy a putto-like quality that removes him from reality. In the Baroque period, putti were used to illustrate emotions and the senses. Lambeaux draws on this, giving the boy an allegorical dimension. However, the bust does not only illustrate grief heightened to pain; beneath the childlike putto is a laughing mask with an oversized nose. It seems to be laughing at the top of its lungs and represents the physiognomic counterpart to the boy's face. As a mask, it refers to theater and comedy, and thus to life itself, as the master of realism, Honoré de Balzac, called his monumental 137-volume work "The Human Comedy". Taken together, the laughing mask and the crying boy represent the tragicomedy of humanity, with the mask seeming to laugh maliciously at the boy's real pain, as if it knows that crying does not change the tragedy. About the artist Jef Lambeaux entered the Antwerp Academy of Fine Arts at the age of ten. He initially studied under Nicaise de Keyser...

Set of 4 Porcelain Wall Sculptures, 2019 by Alex Hodge Carved porcelain plate Overall size: 22 H x 22 W x 1 D in. Individual Size: Chin Up: 11 x 11 x 0.5 in. Snake got your tongue: ...

Madame Monarch and Falling Backwards, 2019 by Alex Hodge Carved porcelain plate Overall size: 16 H x 23 W x 0.5 D in. Individual Size: Madame Monarch: 16 x 12.5 x 0.5 in. Falling Ba...

5146 Antique Italian Hand painted ceramic tile of two sisters Hanging hardware on back

Signed/etched by Artist on the bronze base of the piece with an edition number. 3/30

BRONZE FIGURE OF MARS, 18th Century gilt bronze on marble base 35.6 x 8.9 x 7.6 cm 14 x 3 1/2 x 3 in

PORTRAIT HEAD OF BEARDED MAN Central Italy, 16th/17th Century marble with traces of polychromy height 39 cm height 15 1/4 in

"The Kiss" also named "Farewell to Life" by Albert BARTHOLOMÉ (1848-1928) Sculpture made in white Naxos marble Signed at the low left "A.Bartholomé" France circa 1908 marble : hei...

ITALIAN MARBLE BUST OF MELPOMEN, MUSE OF TRAGEDY Late 18th Century inscribed to base Melpomen marble height 66 cm height 26 in

GROTESQUE MASK Italy, 15h Century stone 30 x 31 x 20 cm 11 3/4 x 12 1/4 x 7 3/4 in

FOUNTAIN HEAD MASK Italy, 18th Century marble 66 x 31 x 8 cm 26 x 12 1/4 x 3 1/4 in

ARCHITECTURAL RELIEFS WITH CHIMERAS Central Italy, 16th Century green marble 26 x 25 cm 10 1/4 x 9 3/4 in

Centaure Bronze Sculpture Horse Human Mythology In Stock Lucie Sentjens (Brussels, 1959) is a sculptor, graduated from the Cambre in 1982 in the studio of Rik Poot. She takes eveni...

Joe Brubaker was born in Lebanon, Missouri and raised in Southern California. He received his B.A. from Sacramento State University, then attended UCLA where he earned his MA and MFA...

This fabulous figural bronze statue of Psyche by the Barbedienne Foundry is simply exquisite. Remnants of a lovely green oxidation, nestled within the corners, curves and crevices of...

Joe Brubaker was born in Lebanon, Missouri and raised in Southern California. He received his B.A. from Sacramento State University, then attended UCLA where he earned his MA and MFA...

PIERRE-AUGUSTE RENOIR (1841-1919) La Danseuse au Voile Cast in 1964 Ed. 14/20 pcs / Conceived in 1913 Bronze with a black patina 64 x 46 x 28 cm Signed, foundry's stamp and numbered ...

Benzoni is one of the great Italians who was celebrated for marble carving in the 19th century. His work is in major museums throughout the world and has a work on the floor at the ...

Getting at the Heart & Eve in Repose, 2023 by Alex Hodge From the Behind Closed Doors series Hand-built plate with sgraffito and collaged transfers Overall size: 14 x 8.5 x 0.25 in. ...

The Song by Félix CHARPENTIER (1858-1924) Bronze sculpture with a very nuanced dark brown patina Signed on the base " Félix Charpentier " Cast by "E. Colin & Cie Paris" (foundry ma...

We cannot see time, but we can see the power of time. With a firm heart, seek a green field in the vast world. The leader also has the power to chase light and dreams, and with his f...

Fritz Kochendörfer (1871 Mannheim - 1942 Osterode am Harz), Bust of a young woman with headscarf, c. 1910. Two-tone alabaster on a curved black marble plinth, 24 cm (height) x 22 cm ...

"Faces" is a single edition bronze wall sculpture created by Bill Starke, depicting three finely carved human heads from differing perspectives. "Faces" is a single edition install...

Molly Schulps is an artist and educator living in both California and Oregon. She grew up in Southern California and was deeply influenced by her father who was a successful educator...

Wonderful historic boultos by New Mexico artist Jose Aragon (1796-1850) Titled: “Jesus de Nazarino.” Painted wood, gesso and polychrome. Measures: 20 3/4"h x 9 ½”w x 5"d. In wonde...

Oliver Scarlin is a contemporary artist born in Cape Town, South Africa, in 1987. He has a diverse educational background in visual arts, having completed a Bachelor of Applied Desig...

Imposing pair of white marble busts, France, c. 1820. The large size gives us an idea of the high social position occupied by this noble couple: richly attired according to the fash...

Egyptian Head by Ronald Moll Limited Edition Cold Cast Bronze Sculpture Signed to the base Ronald Moll is British UK Cold Cast Bronze or bonded bronze Bronze is added to the outs...

Green Cape Lady is a unique wood sculpture carved from elmwood from Hostetler's farm in Athens, OH. He used aniline dyes to "paint" on the hair and dress. He only carved one sculptur...

An abstract sculpture of a seated man.