Figurine Art

Adolphe Jean Lavergne (1863-1928), Pecheur, c. 1900. Brown patinated bronze with rectangular cast plinth on a green marble base (3 cm high), total height with hinge 37 cm, width 9 cm, depth 8 cm, weight 2.9 kg, signed “Lavergne” on the plinth. - Base with old drilling and a few oxidized areas, patina occasionally rubbed, somewhat stained in the folds. - Full of anticipation - This bronze is the larger, highly detailed version of the fisherman that made Parisian artist Adolphe Jean Lavergne famous. In preparation for fishing, the boy prepares his rod before heading out to sea. The attachment of the iron ring and the rope behind him suggest a quay wall and a boat moored there. However, the depiction is entirely focused on the actual action of the young fisherman: With equal skill and concentration, he bends a hook to connect it to the fishing line. The contrast with his casual clothing, the loose-fitting trousers, the open shirt with its "wild" folds, and, last but not least, the sun hat boldly perched on his neck, reinforces the impression of the attentive care with which he goes about his work. His gaze makes him appear absorbed, as if he has forgotten the world around him and yet he is visibly filled with anticipation of fishing. GERMAN VERSION Adolphe Jean Lavergne (1863-1928), Pecheur, um 1890. Braun patinierte Bronze mit rechteckiger gegossener Plinthe auf grünem Marmorsockel (3 cm Höhe), Gesamthöhe mit Angel 37 cm, Breite 9 cm, Tiefe 8 cm, Gewicht 2,9 kg, auf der Plinthe mit „Lavergne“ signiert. - Sockel mit alter Bohrung und wenigen oxidierten Stellen, Patina mitunter berieben, in den Falten vereinzelt etwas fleckig. - Voller Vorfreude - Die Bronzefigur ist die größere äußerst detaillierte Ausführung des Fischers, mit dem der Pariser Künstler Adolphe Jean Lavergne bekannt geworden ist. In Vorbereitung auf das Fischen präpariert der Junge die Angel...

Small Horse III is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 40 × 33 × 9 cm (15.7 × 13 × 3.5 in). The sculpture is signed and numbered, it is pa...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - A very Fine and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble genre scenes and allegorical figures as well as copies of antique and Renaissance sculpture catered to a prominent international clientele which included European and Russian aristocracy, and the Industrial fortunes being made in England and Americas drove considerable export demand. In 1861 the studio was awarded the medal for 'Ercole con cinghiale sulla spalla' (Hercules with boar on shoulder), 'Due Cani' (Two dogs) and 'Cinghiale' (Boar) sculptures at the National Exposition in Florence. In 1874 he exhibits his works in London and in 1876 in Philadelphia. Bazzanti frequently returned to the subject of 'After the Bath' or 'The Bather' in his works, having carved examples of the bathing Venus after the Antique and in dynamic and dramatic compositions such as the present sculpture. The finely-detailed work relates closely to popular figures produced by Bazzanti’s contemporary, Cesar Lapini, whose La Sopresa depicts a young woman stepping back from approaching waves. The sculptor’s penchant for realism is on full display with the contrasting matte and highly-polished finishes of the gently lapping waves at the figure’s feet, to the jutting rocks and soft skin. Elegant handling of textures is further exemplified in the draped fringe of the cloth. This monumental and Fine work is illustrated in situ at Bazzanti’s studio circa 1900 among other fashionable works of the period. Notes: Pietro Bazzanti was also known as Pietro Barzanti. There are conflicting dates of Pietro Bazzanti/Barzanti's birth/death year. Some auction houses and art galleries have described 'Pietro Barzanti' as Italian, 1842–1881 and Pietro Bazzanti as Italian, 1825-1895. However, according to Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78, 'Pietro Barzanti' was in fact 'Pietro Bazzanti' one and the same, and it questions his year of his birth/death as "Firenze (?), ?, ?." thus we believe that the Italian, 1825-1895 description is the most plausible. Literature: Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78. Auctions: Another example of this sculpture, probably also Pietro Bazzanti but almost a foot shorter (Height 44¾ in. (113.5 cm), unsigned and without its pedestal, was sold at Christie's New York, 19th Century Furniture, Sculpture, Works of Art and Ceramics Sale...

Michael Ayrton (1921-1975) Girl Wringing out her Hair Patinated bronze, 1962 26cm in height Michael Ayrton was a British artist and writer, renowned as...

Polar Bear by François POMPON (1855-1933) An original edition sculpture made in white enameled porcelain biscuit. Stamped in the paste "S 1927 DN" (S for "Sèvres" – dated 1927 – DN...

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

Ulysses, 2012 Canvas, pigment, reinforcing mesh (Signed on bottom) 39 2/5 H × 60 1/5 W × 47 1/5 D in. 100 H × 153 W × 120 D cm Unique The sculpture "Ulysses" was exhibited in the so...

After studying fine arts, a need for contact with solid material was needed. Ybah took a classic artistic path from an academic education from the Louvre reproductions, learning at t...

Henri Honoré Plé (1853 Paris - 1922 Paris), The Victorious David, around1890. Red-brown and brown patinated bronze with terrain plinth mounted on a round base. 42 cm (total height) x...

Antique Bronze Dog Portrait of a Löwchen on a Marble Base French 19th century 1/2 x 8 x 5 1/2 inches The chiseled bronze has a nuanced, rich brown patina depicting a Löwchen in the round, seated on a quadrangular marble base decorated with very fine gilt bronze flowers and fluted feet. Napoleon III, Louis XVI style. Based on a model by Jacques Caffieri for the Prince de Condé in 1773. (More images to be added.)F Executed during the nineteenth century, this figure is fully in line with the eclectic taste of the reign of Napoleon III. Indeed, the Empress Eugenie brought the Louis XVI style up to date in her castle of Compiègne. Jacques Caffieri is one of the most famous bronze smiths of the eighteenth century. In 1715 he was admitted as a master caster and chiseler, and worked almost exclusively for the crown castles...

Erich Schmidt-Kestner (1877 Berlin - 1941 Nordhausen), The Feeding, around 1915. Gold and black patinated bronze with cast brown patinated plinth mounted on a lightly veined black-gr...

Man Ray (Emmanuel Radnitsky, called) Hollywood : Mr and Mrs Woodman, 1970 Original gelatin silver print Handsigned on the back Authenticated with the artist stamp "Epreuve originale...

Philippe Guillerm began his professional life in Paris, France, where he was born in the late 1950s. He has traveled around the world on his forty-ei...

Horse XV is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 71 × 60 × 17 cm (28 × 23.6 × 6.7 in). The sculpture is signed and numbered, it is part of ...

Beautiful late 15th-century Burgundian Netherlandish portrait of a woman. Carved walnut. Original polychrome has been removed with traces at base and lower portions of figure. Minor ...

Horse Clearing an Obstacle (work number 48) Bronze with dark brown green patina bearing the stamp of the signature "Degas", Numbered IV/IX and dated 1998 Posthumous lost wax casting as of 1998. Stamp of Valsuani. Signed Degas The work is a sought-after rarity in terms of Degas’ sculptures. This bronze is distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these Hebrard bronzes...

Caroline's Torso is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 30 × 15 × 15 cm (11.8 × 5.9 × 5.9 in). The sculpture is signed and numbered, it is part of...

A lively, beautifully cast, patinated bronze sculpture of two hounds on a lush forest floor by listed French artist, Alfred Dubucand (1828-1894). A proponent of Romantic Realism,  Dubucand was a prize pupil of the renowned founder of the French Animaliers School, Antoine-Louis Bayre (1796-1875) whose patrons were representatives of the state government and royalty including the Duke of Orleans...

Ira Bronze Sculpture Contemporary Nude Boy Marble Stone Sitting Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession a...

Saltationus Casus Bronze Contemporary Sculpture Nude Boy Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high school, he intensively practises his profession as a sculptor. Only when his work would measure up to his own standards, he decided to present it to the rest of the world...

A sensitively carved, solid alabaster, antique sculpture of famed Italian poet and philospher, Dante Aligheri (1265-1321). The figure in a rich, flowing robe, holding a book and wear...

This small and intimate sculpture of an elephant is a heartfelt and doting example of the sculpture of the Shona artists of Zimbabwe, but also demonstrates the clever use of the texture of the stone. The sculpture is stylized, though more naturalistic than many of the sculptures of the Shona artists. The elephant leans backward and reaches its trunk into the air. The use of texture on its body is ingenious, using a series of crossing lines to create a rough surface that mimics the appearance of real elephant skin, adding a lifelike effect to the stationary stone. Unknown Shona artist 'Elephant,' late 20th century springstone 4.5 x 3.87 x 1.63 inches Overall excellent condition; some minor surface abrasions Shona artists and crafts people have been working in different media for generations. These include paintings, pottery, basket ware, wood carvings, and sculpture done in metal as well as the stone carvings. While there is not a long standing tradition of sculpture in what is now Zimbabwe (formerly Southern Rhodesia), stone carvings dating from the 15th century were seen in Great Zimbabwe, an excavated temple near Bulawayo. Most of the artifacts from this location have been moved to museums in Cape Town, South Africa or London. It is generally agreed that Zimbabwean stone sculpture...

"This is one of my earliest sculptures. I depicted a naked girl at the waterfall. She bathes under jets of water. The fabric of clothing hugs her body and lies down to her feet. The ...

Origin: Chinese Artist: Unknown Title: Dragon Medium: Hand-Carved and Painted Wood Sculpture Size: 11.5 in. x 13 in. x 6 in. (29.21 cm x 33.02 c...

Ary Bitter (1883 Marseille - 1973 Paris), Girl with Kid, around 1930. Green patinated bronze with cast plinth loosely mounted on a white-veined dark green marble base. Dimensions of the plinth: 5 cm (height) x 80 cm (length) x 24 (width), dimensions of the bronze 28 cm (height) x 72 cm (length) x 18 cm (width). Weight of the bronze 18.2 kg, total weight 39.2 kg. Signed “Ary Bitter.” on the plinth and stamped “L N Paris J L” by the foundry Les Neveux de Jacques Lehmann...

Ultramarine seahorse II is a unique bronze sculpture by contemporary artist Chésade, dimensions are 25 × 10.5 × 6 cm (9.8 × 4.1 × 2.4 in). The specified dimensions include the stand ...

Patrick Nevins’ "Einsteinium" is a striking 3D trompe-l'œil oil painting that masterfully blends realism with sculptural illusion. Painted in 2025, this unique piece presents a playf...

Handmade Large Bull #3. With Certificate of Authenticity. Oaxaca, Mexico.

Raoh Schorr (1901-1991) Bronze "Cheval" Signed on the base circa 1950 h20 x l 13 x 4,5 cms

Great Standing Figure II is a bronze sculpture by French contemporary artist Pierre Yermia, dimensions are 140 × 26 × 24 cm (55.1 × 10.2 × 9.4 in). The sculpture is signed and numbe...

ROMAN MADONNA “Sedes Sapientiae” Auvergne Around 1175/80 Pine wood Polychrome remains Height 40 cm This depiction of the Madonna is a masterfully carved, extremely early figure made...

Elegant 15th-century wooden sculpture of a finely executed infant missing his arms. The work, of central Italian provenance, recalls the Donatello manner in the delicacy of the featu...

MASTERPIECE Piece made of cardboard, delicately hand painted by the most expert artisans of Guadalajara Jalisco, México. LISTING =================================== 1 Cardboard handpainted Virgin =================================== DIMENSIONS =================================== 24" x 24" x 8" in or 60 x 60 x 20 cm =================================== DETAILS =================================== Time of Preparation: 2 months Made: Guadalajara, Jalisco, México. Artisan: Danilo Lopez Ochoa...

Elli 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...

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...

Antique Bronze Dog Portrait of a Cavalier King Charles "Thigley" French School (possibly Franck Burty Haviland) Lost wax bronze casting Circa 1910 5 7/8 x 9 x 3 1/4 A sophisticated bronze casting of a Cavalier King Charles spaniel made in lost wax casting (cire perdue) from the beginning of the 20th century by Valsuani Foundry. This an unusual bronze approached in its aesthetic that’s reminiscent of the work of great animal sculptors of the second half of the 19th century except in this presentation which is more avant-garde for the time with a much looser, more impressionistic execution. The patina is a superb bronze color, brown and slightly greenish, going in places towards a more antique green. The attitude of the dog is extremely well and sensitively rendered with the placement of material unlike the renderings of a bronze by Barye...

You can rightly call Romee Kanis an old acquaintance of the gallery, her work was regularly seen at the gallery until a few years ago. We restore this trad...

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...

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...

Bear carrying a basket, with a dog Match holder by Christophe FRATIN (1801-1864) Cast in bronze with a dark brown patina Signed to the front of the base "Fratin" Old edition cast F...

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

This sculpture is made out of bronze, by Dutch artist Martijn Soontiens. He made a series of sculptures for the latest exposition at Galerie Bonnard. You can check out the rest of th...

Signed/etched by Artist on bronze base of sculpture with edition number. 11/30

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...

William Mozart McVey (American, 1905-1995) Bubble Bubble Cast bronze with brown patina Signed on back 6.5 x 5 x 2.25 inches 'Double, double toil and tro...

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...

Naor is a French artist from Lyon born in 1988. Completely anchored in his time, he has always traveled a lot around the world. If travels form youth, Naor was inspired by it. From ...

Bronze sculpture with patina on base. Incised "Moore" outer right leg. Executed in 1952-1953, this work is from an edition of 9 plus 1 artist's proof. Size approx 8.25 x 3.5 x 4 in...

This small metal statuette exemplifies the Italian artist Umberto Del Negro's interest in playing with the themes of civilization and nature. From multiple angles this piece could ap...

A fine antique French gilt bronze sculpture of a swordsmith, by the French- Polish artist & sculptor Henryk II Kossowski (1855-1921), the bronze dating to 1890. The bronze depicts a ...

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 ...

A Monumental and Truly Exceptional French Patinated Bronze Bust of Jesus Christ, Circa 1858, Signed J. Clesinger, Rome 1858 & F. Barbedienne Fondeur This monumental and extraordinar...

Max Kalish (American, 1891-1945) Locomotive Engineer, 1926 Bronze Signed and dated on base, foundry mark: Meroni Radice Cire Perdue Paris 15.5 x 6 x 5 inches Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti and Herbert Adams...

This captivating photograph portrays an aging statue of the enchanting and slumbering Euphrosyne, one of the three graces. Despite the inexorable passage of time and the gentle touch...

Walter Sinz (American, 1881-1966) Seated Female, c. 1940 Ceramic 6 x 3.5 x 3.5 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz’s fathe...

Ivor Roberts-Jones 1916-1996 British Sir Winston Churchill Numbered “132” (on base) Bronze with a brown patina on a stone base “My dear friends, this is your hour.” These were Wi...

Volodymyr Mykytenko - Winged tiger (2010) The tiger in culture and mythology has always acted as a protector who gladly helped and took care of his masters. My tiger is the protecto...

Lion and snake n°3 by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark greenish brown patina signed "Barye" on the base old edition cast – probably from the Bary...