Head Sculptures

This striking piece, known for its bold red finish and lifelike detail, exemplifies Zareski's unique artistic vision and mastery in sculpture. "Bigfoot" is a part of Idan Zareski's ...

Charles Samuel – Thyl Ulenspiegel and Nele (after the Monument to Charles De Coster, 1894) Bronze, marble base, 66 x 61 x 27 cm Cast by Petermann, Brussels A moment of intimacy and d...

Henri Ernest Parayre’s Jeune femme debout les bras sur la tête is a striking embodiment of early 20th-century French sculpture, seamlessly blending classical inspiration with the eme...

This is a Bill Mack original sculpture “” signed and numbered. In excellent shape. Buyer must cover any additional shipping expense. measures 55x37

Kiva Ford Memento Mori, 2015 Borosilicate glass 13.50h x 7.50w x 7.50d in

Duality of Vision Bronze Sculpture Classic Contemporary Art The sculptures of Margot Homan (1956, Oss, the Netherlands) show a perfect command of the old craft of modelling and sculp...

Signed on base. This was exhibited at the Goldscheider Pavilion at the 1925 Paris Exhibition Marble base has loss to right edge and very small lose to center edge. , Bronze is in ve...

LOUIS AUGUSTE MOREAU French, (1834-1917) Figural Group of Venus Flanked by Putti Patinated bronze; Signed ‘Ate Moreau’ 28 in. x 11 in x 8 inches Notes: Having a deep brown...

John Edward Jones (Irish – 1806-1862) “Portrait of Lady Lucy Henderson” Signed and dated London 1858, and inscribed, “Lucy Henderson, Nee Durham” 28 ½” high x 20 ½” wide x 11” deep Provenance: Collection Saratoga Springs, NY About John Edward Jones was born in Dublin on May 2nd, 1806. He was the son of a miniature painter Edward Jones. He was trained as an engineer under Alexander Nimmo and worked with him on many important works in Ireland, including the building of the bridge at Waterford between 1829 in 1832, of which he was in charge. A taste and an aptitude for sculpture induced him to relinquish his prospects as an engineer and he commenced practice in London as a sculptor. He achieved considerable success, especially in portrait busts, and was employed by many notable persons of the time. He first exhibited at the Royal Academy in 1844 and continue to do so until his death. He executed a considerable number of bust of Irish personages. He paid occasional visits to Dublin where he contributed to the Royal Hibernian Academy in 1847, 1852,1853 and 1854. A full-length statue by him of Sir Robert...

Loodrecht Perpendicular Black Bronze Sculpture Lady Balance The statues of Erwin Meijer are subtle with a recognizable, personal handwriting. ...

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...

This fascinating work is a contemporary sculpture depicting a human face, created from carefully assembled pieces of wood. Each element, meticulously carved, varies in size to shape ...

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

Barefoot on the sacred land is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 61 × 28 × 13 cm (24 × 11 × 5.1 in). The sculpture is signed and number...

Walter Sinz (American, 1881-1966) Mother and Child, 1949 Plaster Signed and dated on base 23.5 x 6 x 9 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on Jul...

In the work of the sculptor and painter Samuel Salcedo, it is possible to raise a deep and at the same time fun reflection on the human condition. He st...

An anatomical maquette of Houdon's l'Écorche (Flayed Man), after the original completed in 1767 while Houdon was a student in Rome, and the basis for his sculpture of Saint John the ...

2015, 8 Editions stainless steel carved painted & varnished 19 7/10 × 15 7/10 × 15 7/10 in - 50 × 40 × 40 cm The artwork is signed by the Artist , carved with edition number and ...

Cobalt carbonate-glazed Buño clay head sculpture evokes organic textures and introspective narratives in Aldonza’s “Testas” series. This hand-built ceramic bust (33 × 20 × 25 cm) is ...

Unique terracotta sculpture Signed by the artist The contemplative creatures of Nili Pincas, of an extreme refinement, invite silence. This isolation of the sculpted being seizes and soothes, at the same time as it questions. Are we facing the face of anguish or introspection? The white or purple flesh, with a slightly grainy matte appearance, reveals the infinite sensuality of the artist’s touch...

Angelo Basso (Italy, 1943 – 2011) Gabriella  Dimensions 17.0" W x 18.0" H x 7.0" D This sculpture was cast in the Dyansen Studios Foundry in 1991 under...

Iris little study, Auguste Rodin, Bronze, Sculpture, Modern Art, 1970's, Nudes Petite etude pour Iris, douzième épreuve Ed. 12/12 pcs 1973 Bronze with brown and black patina Marked around the left thigh : A.Rodin n°12 c by Musée RODIN...

Gevleugelde Gedachte Winged Thought Bronze Sculpture Contemporary Classic The sculptures of Margot Homan (1956, Oss) show a perfect command of the old craft of modelling and sculpti...

Helen Beling (American, 1914-2001) Business is Bad Finished plaster 21 x 9 x 9 inches Helen Beling was an American sculptor. Beling was a native of New ...

Marble-based bronze statuette depicting Cupid, holding an arrow in his hand, walking caressing a lion's mane, lowered in the act of affectionately licking his little foot. The subjec...

Who needs Wings Bronze Sculpture Mythology Classic Contemporary Female Portrait The sculptures of Margot Homan (1956, Oss, the Netherlands) show a perfect command of the old craft o...

Mauro Corda’s figurative sculptures maintain a reverence for classical and modernist traditions, while also expressing the artist’s voice. Though born in France, the artist hails fro...

Karin Beek's (1948) bronze sculptures are characterized by a friendly, round and at the same time monumental style. They breathe the atmosphere of everyday life. Beek would like her ...

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

Tree Athena by Troy Williams female nude blonde wood sculpture Santa Fe artist Sculptor Troy Williams unites the timeless and the contemporary in scul...

Stages of Self Bronze Sculpture Mythology Classic Contemporary Nude Female The sculptures of Margot Homan (1956, Oss, the Netherlands) show a perfect command of the old craft of mo...

God of light, beauty, the arts, and prophecy, Apollo embodies balance and power. This series reinterprets his figure through a contemporary lens, where color and pop aesthetics do no...

Measurements Height: 8 5/8 inches Width: approx 7 inches Weight 3.4 lbs Condition with some wear to the patina, light abrasions

American, b. 1958 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 ex...

In this new series of wall plaques, titled "Behind Closed Doors," the artist reimagines original images from a book titled In Praise of the Backside. The book's collection features w...

Artist: (Garo) Karapet Balakeseryan Medium: Clay Ceramic, One of a Kind Year: 2025 Style: Classic Academism Title: Anahit, Goddess of Fertility & Motherhood Size: 12''x16''x...

This striking piece, known for its bold red finish and lifelike detail, exemplifies Zareski's unique artistic vision and mastery in sculpture. "Le Sifflleur" is a part of Idan Zares...

Mark Morrison (1895-1964) Seated Woman, ca. 1950 Carved and polished red Italian marble 4.75" wide, 6 3/8" deep, height is 16.5"" Provenance: Estate of Mrs. Mark Morrison. Born...

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...

Four Term Figure sculptures with classically draped figures and their distinguishing symbols in carved Vicenza stone. Autumn, winter, spring and summer. Measures: Height with squar...

An ornate rocaille scrolled base with garland swags, centered the enamel white clock face with Roman and Arabic Numerals, the face with, G. Philippe, Palais Royal 66, flanked by two ...

Testa nº 8 is an expressionist ceramic head sculpture from the Testas series, modeled in white stoneware and finished with a distinctive bismuth raku glaze. This ceramic head, measur...

Maxim Geo Woman with child Metal, marble, onyx, 39x51x15 cm small defect

20 inches tall x 11 inches wide at base. Signed. Numbered 6/100 A cast bronze sculpture that depicts an adult female, rural worker, mid-stride, holding a large bundle of wood on her...

A 1910s beautiful and extremely rare terracotta sculpture, Our company has been present on this platform for many years, with numerous sales made and just as many excellent reviews ...

Untitled Portrait Head (perhaps Arnold Geissbuhler, the artist’s husband), c. 1920s, bronze, signed verso, 11 x 9 x 7 inches (excluding base) Elizabeth Chase was a sculptor, printma...

Hospitality - Sculpture is a fine sculpture realized by the Italian artist Orfeo Tamburi (Jesi, 1910- Paris, 1994) during the 20th century. Edition of 99 exemplars. Bonded bronze sculpture with a golden patina. Mounted on a Guatemala green marble base. Guatemala green marble, as its name suggests, is a marble coming from India, also known ad India Green; it is characterized by an intense green color with white veins with an irregular and uneven shape. Dimensions: cm 10 x 10 x 2 (base); cm 29 (height of sculpture). Excellent conditions. This artwork - born on a project realized by the artist in the 1930's and manufactured posthumous - represents a sensual nude woman who symbolizes the hospitality. Delightful creation by the great Italian painter Orfeo Tamburi. He firstly embraced the principles of the Roman School, from which he matured an evocative language with warm chromatic intonations that found favorite themes in portraits and urban views. After a trip to Paris where he discovered the painting of Cèzanne, the artist began a long friendship with Giuseppe Ungaretti, the director Marcello Pagliaro and Curzio Malaparte...

Muy interesante puerta de sagrario de madera tallada y policromada del siglo xvii. Es de comienzos del barroco, hay la representación del agnus dei con...

JEAN-BAPTISTE AUGUSTE CLÉSINGER French, 1814-1883 Dancer Zingara Inscribed F. BARBEDIENNE.FONDEUR with the reduction mecanique A. Collas Brevete seal Patinated bronze, brown ...

MATHURIN MOREAU French, (1822-1912) Le Rêve du Poète Circa 1860, Patinated bronze; Signed ‘math moreau’ and Inscribed REVE DU POETE par MTH MOREAU, MEDAILL...

Daphne Sweet is a contemporary artist based in Butte, Montana, whose work intertwines personal narrative, mythology, and the landscapes of the American West. Born in Los Angeles and ...

This artwork titled "Ixchel" 1977, is a bronze sculpture with brown patina by noted Mexican artist Enrique Gottdiener Soto, 1909-1986. Signature is impressed on the bronze. The sculp...

'Mother and Child' is an original stone sculpture by the Zimbabwean artist Obert Mukumbi. This sculpture is unlike most other examples of Shona sculpture in that it has been carved to sit on a step, ledge or shelf rather than to stand upright. While this difference offers the chance for a more interactive artwork that can be set in unexpected locations, the aesthetics sensibilities that Obert applies to the subject are steeped in the Shona tradition. The materiality of the stone is on full display, with the artist playing with textures of rough-hewn stone and smooth polish. In addition, the mother and child show an intimate relationship, a common and desired theme amongst Shona artists. springstone not signed 25 x 10 x 11 inches, overall body stands 16 inches tall from seat legs extend 9.25 inches downward from seat concrete base included at request of buyer 95 lbs Overall excellent condition with no signs of wear or damage. Obert Mukumbi was born on February 11, 1974 in the village of Dengu in Bindura, some 86 kilometers north east of Harare, Zimbabwe, where he likewise completed his O-levels in school. During his education, he was interested in wood craft. By age twelve, however, he began working in stone under the guidance and encouragement of his brother Kennedy Musekiwa...

This artwork "Woman with Bird" c.2000 is an original cast paper bas relief by noted Swedish/American artist Carlo Wahlbeck, b. 1933. It is hand signed a...

"Celebrations (C-56)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece, and it weighs 228 pounds. This piece features a woman with a ...

Maartje 45 x 20 x 17 cm Bronze The theme van der Kraan likes most is to show the growing of young girls. Living in their own world. The narrative sculptures show 'the woman' and 'th...

A unique clay mask by Hawaii based artist Ira Ono. Artist: Ira Ono Year: 1982 Medium: Ceramic Size: 10.5 x 5.5 x 3 in. (26.67 x 13.97 x 7.62 cm)

"LarA 003" is a unique sculpture from the LarA series, created by Spanish sculptor José Perozo in 2024. Measuring 21 x 29 x 17 cm and hand-tinted in an intense blue tone, this piece ...

This 10.5" x 6" x 8" 3-D printed bust of Jesse Jackson was created by California based artist, Daniel Edwards. It is a unique 3D printed sculpture from the Civil Rights Portrait Seri...

Outstanding bust of a young man wearing a turban, known as the “Bust of Barbados.” The face displays a serious and intense expression, with marked eyebrows, firm, full lips, and a g...