Figurine Sculptures

Louis Oury (1867 - 1940) L’Aiglon, 1899 Terracotta with polychromatic patina Signed on the shoulder and Seal from Goldscheider on the reverse Dimensions : 65 x 40 x 30 cm (25 x 15 3/...

jd Hansen creates art that explores the juxtaposition of vulnerability and strength using the human and animal form. Her work excavates the intricacies of human psychology, non-verba...

“Making sculpture is a very complex matter. A word added to a form, ultimately helping to better define it. And ultimately helping to understand the whole.” Ugo Riva is probably the most eminent and affirmed artist represented by the Frilli Gallery...

Bear Cub is a bronze sculpture by contemporary artist Eric Valat, dimensions are 9.5 × 11 × 6.5 cm (3.7 × 4.3 × 2.6 in). The sculpture is signed and numbered, it is part of a limite...

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...

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...

Le Siffleur 220 is an original work of art by the French artist Idan Zareski. "Our feet are our roots, our roots are our heritage. They ground and anchor...

hand-finished cast urethan resin 12/20 From Wikipedia, the free encyclopedia Melissa Zink Born 1932 Kansas City, Missouri Died 2009 (aged 76–77) Taos, New Mexico Nationality American Occupation(s) Artist, Sculptor Melissa Zink (1932-2009) was an American artist. An active member of the Taos, New Mexico art scene, she blended storytelling with sculpture, and described the enchantment of books and the imaginary worlds they evoked as the focus of her work.[1] Critics lauded her as a "late bloomer" because she only began to exhibit and sell her multi-media works of ceramics, cast bronze, and collage, when she was in her forties.[2] She became known for her "three-dimensional stories" and "dream-like dioramas" in clay, interior scenes that blend whimsy with surrealism.[2][1] Later she cast large bronze statues of human figures embossed with texts drawn from dictionaries and illuminated manuscripts.[2] In 2001 she won a Governor's Award for Excellence in the Arts from the state of New Mexico.[3] In 2021, one of her works featured in a special exhibit at the New Mexico Museum of Art entitled, "Southwest Rising: Contemporary Art and the Legacy of Elaine Horwich," which featured a group of artists in the 1970s and 1980s who together launched a movement described as "new Western art" or "Southwest pop".[4] Education and career Melissa Zink was born in Kansas City, Missouri. She attended the Emma Willard School, Swarthmore College, the University of Chicago, and the Kansas City Art Institute.[5] She later admitted that her professors' efforts to push her and her peers towards abstract expressionism during the 1950s deterred her from pursuing a career in art.[2] Instead she worked for many years by designing picture frames and operating an embroidery and craft shop while continuing to paint and experiment with various media in her free time.[6] In her forties, she married Nelson Zink, who encouraged her to pursue her artistic ambitions. The owner of the Parks Gallery in Taos, which represented her for many years, described her works as aiming to replicate through multi-media art the "book experience, that altered state of consciousness we enter when engrossed in a book."[7] Though known primarily for her clay dioramas and bronze figural sculptures, in later years she also created multi-media, collage wall hangings that incorporated fabrics and painted elements.[1] In 2000 Zink represented New Mexico at an exhibit of women artists called "From the States" held at Washington, D.C.'s National Museum of Women in the Arts.[1] In 2006 the Harwood Museum of Art in Taos staged an exhibition on her work.[8] In 2009, following her death, the Taos Art Museum and Fechin House staged a memorial exhibition entitled, "Melissa Zink: Her Singular World."[9] She featured among leading women artists in the book Exposures: Women & Their Art by Betty Ann...

A playful and spirited metal wall hanging by legendary folk artist Rev. Howard Finster (1916–2001), dated 1992 and numbered 25,000,998. This mixed-media piece features a cartoonish U...

'Together' is an original opal serpentine sculpture by the Zimbabwean artist by Noel Mwanza. The sculpture presents a moment of motherly devotion, with a woman's tall figure embracin...

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

Woman with flowers on head, terracotta, 1930s-40s, Giorgio Rossi (1894-1981). Tuscan Sculptor. Terracotta modeled by hand by the artist. Unique piece. Dimensions: Height 53 cm. The...

PROVENANCE Louis de Clercq (1836-1901), Paris Nicolas Koutoulakis (1910-1996), Paris and Geneva; thence by descent to the present owner LITERATURE A. de Rid...

Antique Horse Bronze Portrait of a Trotting Stallion Isidore Jules Bonheur (France, 1827-1901) Cast bronze mounted on a rectangular plinth with dark brown patina, Signed: I. BONHEUR 17 x 11 3/4 A brilliant exploration of a stallion in full trot. The patina is a deep, warm walnut brown with honey-colored tones. Isidore Bonheur was best known and the most distinguished of the 19th century French animalier sculptors. Isidore, the younger brother of Rosa Bonheur and older brother of Auguste, began his studies of painting initially with his father, who was friends with Francisco Goya. By 1848 he debuted at the Paris Salon having discontinued animal and landscape painting to concentrate on creating sculptures and in 1849, Bonheur enrolled at the Ecole des Beaux Arts. He won medals at the Paris Salon in 1859 and did so again in 1865 and in 1869. After entering the Exposition Universelle 1855, he won the Gold Medal in 1889. In the 1870s exhibited in the London at the Royal Academy of Arts where he earned great prestige and won the coveted Medaille d’Or. After winning numerous other medals and prizes, Bonheur was awarded the Legion d' Honneur in 1895 and he was Knighted in Portugal, Spain and France. Bonheur continued exhibiting at the Paris Salon until 1899. Many of his bronzes were fabricated at the foundry owned by Hippolyte Peyrol, Bonheur's brother-in-law by marriage to Isidore’s youngest sister Juliette Bonheur. The Peyrol casts for both Rosa and Isidore are exceptionally well executed which suggests a strong working relationship between the founder and sculptor. There is little doubt that Isidore Bonheur was an acute observer of nature; his animals were not anthropomorphized but modelled to catch movement or posture characteristics of the particular species he was sculpting. He achieved this most successfully with his sculptures of horses which are usually depicted as relaxed rather than spirited. These figures are among his most renowned works and his equestrian models became very popular, particularly among the British aristocracy. An acute observer of nature, his sculptures reflect his commitment to the Realist school - with precise detailing of the movements of animals in their natural habitats. Ultimately, His naturalistic studies of animals are now some of the most highly sought after works by any of the animalier. He was possibly inspired by his many visits to the Buffalo Bill Wild West Show...

Frances Semple’s beautiful and elegant sculptures often appear in motion. Defying gravity, a horizontal figure appears to float on its back above its shadow. This table top piece is ...

A piece from the exhibition "Cosmic Duality" by artist Mr. Mitote. Mitote is a term we use today to describe a lively, noisy, and excessive gathering. It’s also used to depict tumul...

"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...

Edition of 9 Jim Rennert was born in 1958, and grew up in Las Vegas, Nevada, and Salt Lake City, Utah. After ten trying years of working in business, Rennert was inspired to explore ...

"Mowzart Seeks Inspiration from Herbradite" is an original ceramic sculpture by Bill Reid. The artist signed the piece on the back and the title is stamped into the front. Reid's nar...

"Discovery 2019-1" by Kug Kyung Oh Medium: Bronze Edition: 2 of 12 Dimensions: 13 x 13 x 52 cm / 5.1 x 5.1 x 20.5 in Year: 2019 "Discovery 2019-1" by Kug Kyung Oh is a striking bronz...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

Waylande Gregory (American, 1905-1971) Polo Player, c. 1930s Ceramic Inscribed signature on bottom 11 x 8.5 inches Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's "Nautch Dancer," (fig. 1) and his "Burlesque Dancer," (fig. 2). He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his "Burlesque Dancer" at about the same time as "Nautch Dancer." As with the "Nautch Dancer," he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for "Burlesque Dancer," a clue to her identity is revealed in the sculpture's earlier title, "Shimmy Dance." The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the "Star Spangled Banner" and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the "Burlesque Dancer" sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his "Kansas Madonna" (fig. 3). But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of "Kansas Madonna." The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of "Kansas Madonna" totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture in the article. Gregory was from Kansas, and "Kansas Madonna" should be considered a major sculptural document of Regionalism. Gregory and his wife Yolande moved to New Jersey in the summer of 1933. And the artist began construction on his new home in the Watchung Mountains of Bound Brook (Warren today) in 1938. His enormous, custom kiln was probably constructed at the start of 1938. Gregory's new sculptures were the largest ceramic sculptures in western art, in modern times. To create these works of ceramic virtuosity, the artist developed a "honeycomb" technique, in which an infrastructure of compartments was covered by a ceramic "skin." Science and atomic energy were a theme in Gregory's most significant work, the "Fountain of the Atom" (fig. 4), at the 1939 New York's World Fair. This major work included twelve monumental ceramic figures at the fairground entrance from the newly constructed railway entrance, giving the work great visibility and prominence. The framework of the fountain itself was of steel and glass bricks. It consisted of a bluish green pool which was sixty five feet in diameter. Above it were two concentric circular tiers, or terraces, as Gregory called them; the first wider than the second. On the first terrace were eight "Electrons," comprised of four male and four female terra cotta figures, each approximately 48 inches high. These relate to the valance shell of the atom. Above them on a narrower terrace, were the much larger and heavier terra cotta figures depicting the four elements, each averaging about 78 inches in height and weighing about a ton and a half. Of the four, "Water" and "Air" were male, while "Earth" and "Fire" were female. This terrace represents the nucleus of the atom. In the center of the fountain, above the "Elements," was a central shaft comprised of sixteen glass tubes from which water tumbled down from tier to tier. At the top, a colorful flame burned constantly. The glass block tiers were lit from within, the whole creating a glowing and gurgling effect. Since the fair was temporary, the figures could be removed after its closing. But the credit for the design of the structure of the fountain belongs to collaborator Nembhard Culin, who was responsible for several other structures on the fair grounds as well. Although Gregory created a figure of "Fire" for the "Fountain of the Atom," he also executed a second, slightly smaller but more defined version which he exhibited at various locations (including Cranbrook, Baltimore Museum, etc.) in 1940-1941, during the second year of the fair (fig.5). Measuring 61 inches in height, "Fire" may be a metaphor for sexual energy, as well as atomic energy. Gregory stated, "Fire is represented by an aquiline female figure being consumed in endless arabesques of flame." Portraiture was also a significant focus of Gregory's sculpture. Gregory produced many commissioned portraits of local people as well as celebrities. He created Albert Einstein's portrait from life (fig. 6, ca. 1940) after Einstein had seen Gregory's "Fountain of the Atom." He also sculpted some of the leading figures in entertainment, including 2 sculptures of Henry Fonda, who became a personal friend. Gregory also sculpted a series of idealized female heads, both in terra cotta and in porcelain. These include "Girl with Olive" (ca. 1932) and "Cretan Girl;"(ca. 1937) both are very reductive and almost abstract works that call to mind Constantine Brancusi's "Mademoiselle Pogany" (1912, Philadelphia Museum of Art). But perhaps one of his most original female heads is "Head of a Child" (fig. 7, ca. 1933), a sensitive white glazed terra cotta portrayal with elaborately crafted braded hair, was originally created as one of a pair. Gregory also produced sculptural works for the Works Progress Administration. The WPA was a work relief project that greatly helped artists during the great depression. Founded by the Federal Government in 1935, an estimated 2500 murals were produced. Among these public works were the iconic post office murals. But, among the painted murals were also sculptural relief murals including Gregory's "R.F.D.," 1938, for the Columbus, Kansas Post Office. But, Gregory's largest WPA relief...

A limited edition bronze sculpture designed by Erte, famous for his elegant Art Deco fashion sketches. This run of 500 sculptures titled “Les Bijoux de Perles” were produced during t...

Original sculpture. Acrylic, Spray paints, Enamel, Resin, Varnish Tadas Zaicikas work is fun and joyful, his use of acrylics, spray paints, markers, a...

Born december 19 1958, De Keyzer studied at the Koninklijke Academie voor Schone Kunsten, Eeklo, lead by professional sculptor Leo De Buysere. In a time and environment where creativity was considered disturbing, rather than being a merit, the young Dirk De Keyzer found it hard to decide in which direction to head with his life. Like so many boys of his age, he was sent out to learn a craft, destined to go to work in a factory. Other horizons would call though, and that's how he ended up in the Royal academy of Eeklo. It was there that he discovered his predilection for bronze. It became more and more obvious that bronze would be the only medium for Dirk to give expression to his inner most thoughts and artwork. Fascinated by great sculptors like George Minne...

Sculpture of children gathered around a dog.

JOSEPH CSAKY 1888-1971 1888 - 1971 Paris (Hungarian/French) Title: Clio – Muse of History [κλειώ], 1965 Technique: Signed, Dated and Numbered Bronze Sculpture Size: 54 x 10 x 9....

"Untitled" is a bronze sculpture by Bill Nebeker. Signed on reverse base "Bill Nebeker CA 6/30". The full size is 23 1/2 x 18 1/4 x 8 1/2 inches. Bill Nebeker is an American artist ...

Edition of 31 Jane DeDecker’s energetic and dynamic bronze sculptures serve as a reflection of her own life experiences and those of her closely-knit family. Her twelve nieces and n...

The optimistic bronze sculptures of Dutch artist Miep Maarse (1945) are a feast for the eyes. Dancing elephants, bathing hippos and playing bears characterize her oeuvre. The images ...

This bronze sculpture by Bessie Potter Vonnoh, from 1911, is a charming rendering of a young woman dressing. Vonnoh became one of the so-called "White Rabbits", women artists who a...

Provenance: James Byrnes, Los Angeles (1917-2011) Giusto Le Court was born Josse or Justus de Corte in the Flemish city of Ypres. His father Jean was a sculptor and presumably his earliest training was with him before he entered the studio of Cornelis van Mildert. The young artist was clearly influenced by the dominant Flemish sculptor of the time, Artus Quellinus the Elder, with whom he may have worked on the decoration of the Amsterdam City Hall. Following the lead of many northern artists he travelled to Rome, perhaps more than once, before settling in Venice around 1655. It was there, as one of a colony of expatriate artists, that he made his name as a sculptor. One of his first Venetian commissions was for the monument to Alvise Mocenigo in the Church of San Lazzaro dei Mendicanti, where Le Court sculpted the marble figures of Strength and Justice. He also collaborated with the celebrated architect Baldassare Longhena, most famously for the high altar of Santa Maria della Salute, where he carved the multi-figured altarpiece depicting the Queen of Heaven Expelling the Plague. The present marble sculpture depicts the infant Saint John the Baptist, reclining, wearing his traditional hair-shirt, embracing a lamb, and holding the bottom of his attribute, a reed cross. Attached to his shirt is a baptismal cup, with which he would become associated later in his life. Veneration of the infant Saint John the Baptist was prevalent throughout Italy and images of the saint in childhood—often called “Giovannino,” or little John...

We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a ...

Wonderful and rare original Carl Kauba (1865-1922) gilt bronze of a Lady with sword and law book titled "Justitia" Signed: C Kauba and Geschutzt 4889. Height: 10.7 Inches with mar...

A boy reading a book. Edition of 21

JEAN-BAPTISTE CLÉSINGER French, (1814-1883) Helen of Troy Signed 'J. CLESINGER / ROME / 1860.' and with foundry inscription 'F. BARBEDIENNE. FONDEUR' 30 3/4 in. x 17 in.

Celebrate the iconic fusion of art and sneaker culture with Reina Koyano's "Air Mag Girl," a limited edition collectible released exclusively at Designer Con 2017. This meticulously ...

Artist/Designer; Manufacturer: Erte (Romain de Tirtoff) (Russian/ French, 1892-1990) Marking(s); notes: signed; ed. 270/375; 1990 Materials: bronze Dimensions (H, W, D): 21.5"h, 9.25...

Seated Woman with a Fan by Auguste Seysses (1862-1946) Bronze with nuanced light brown patina cast by HEBRARD France Early 20th century height 49.5 cm width 47 cm Biography : Feli...

Foal by Berthe MARTINIE (1883-1958) Sculpture in bronze with a black patina Signed twice " Martinie " on the base With the foundry stamp " Valsuani " France circa 1935 height 21,2 cm A similar model is exhibited at the Museum of Modern art in Paris (Inv. AMS 3). Biography : Berthe Martinie (1883-1958), was a French painter and sculptor. From 1906 to 1908, she studied at the Ecole des Beaux-Arts in Paris, in the only studio open to women, that of the painter Ferdinand Humbert (1842-1934). In 1913, Berthe married Henri Martinie, journalist and art critic, who supported her throughout her career. The beginnings of her family life and the First World War nevertheless marked an interruption in her creation. Berthe Martinie frequented the sculptors Robert Wlerick (1882-1944) and Jean Carton...

The sculpture is signed below, inside Tomasz Bielak born in Lublin in 1967. He graduated of The Academy of Fine Arts, Painting and Graphics Design Department in Gdańsk, in 1994....

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...

Expressionist lost-wax bronze sculptural duo exudes organic earthen textures and emotive paired forms. Dual Earthbound Wanderers (28 × 17 × 18 cm) brings together Replica Numbers 1 a...

Signed/inscribed by the Artist on the bronze base of the sculpture with an edition number. 10/35

Yara is an elegant figurative bronze sculpture by Nando Kallweit. Modelled on modern youthful postures but with a nod to the importance of heritage through the stylised Egyptian-inf...

"Femme de luxe" (Bronze) by Erte Type: Sculpture Media: Patina on Bronze Dimensions: 18 1/2 x 12 1/2 x 7" Year Produced: 1990 Edition Size: 500 Numbered, 12 AP, 2 HC Edition Number: ...

Edition of 12 + APs

Ambivalence is cast in bronze, and in an edition of 4. The figure stands in his underwear, one rubber boot on, one off, a beaver dangling from his hand. Nicholas Crombach (b.1989, K...

Hans Harders (1875 Mörel - 1955 Berlin), Boy playing the shawm, around 1930. Dark patinated bronze with round plinth on a black marble base (2 cm high), t...

"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...

Cuba Rumba is a bronze sculpture with green patina, it is connected to a steel base. The edition size is 50. This sculpture stands on shelf as well as be hung on wall. This sculpture is part of the Cuba Series of Joan Artigas which is inspired by the Cuba Rumba music and dance rhythm. Joan’s latest sculpture series of female figures brings an out-of-the-box approach to sculpture creation. The small vivid women figures linked or bonded to their pedestals; the figures are delicate and intriguing representation of a woman’s mind and soul yearning for liberty, freedom, a moment of tranquility from busy daily life, or a space that she could spend the time totally with herself and for escaping from the routine and monotony. The woman made of bronze is warm and sensual and dances in/on a structure of rusted iron. She observes the world from her/ours solitude, from this vertiginous watchtower (metaphor of life, universe) rusted because the inexorable time. The base rises impressively, creating a contradiction between both pieces. However, in Joan’s work the geometrical base and the figure find a surprising harmony. BIOGRAPHY OF JOAN ARTIGAS PLANAS...

KARL LAGERFELD ( 1933 - 2019 ) Kaiser de la mode ! Photographe , designer , dessinateur ... "Chanel addict " directeur artistique de la maison Chanel , ...

"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...

David Lotton signed glass “Organic Sculpture” . In good condition measures 11x10

ERTE "Rue de La Paix" Signed/Numbered BRONZE SCULPTURE By Erte Type: Sculpture Media: Patina on Bronze Image Dimensions: 14 x 6.75 x 3.25 inches Year Produced: 1987 Edition Size: 241...

Ivor Abrahams Tableau Balance Maquette 1990 bronze Edition 10 38 x 19.5 x 28.5 cms (15 x 7 3/4 x 11 1/2 ins) IA9751

Narrative figures in various combinations of human, animal and natural forms are the main characters of this work. This blending of forms is reflective of nature, mythology and story...

Narrative figures in various combinations of human, animal and natural forms are the main characters of this work. This blending of forms is reflective of nature, mythology and story...