Augustus Saint-Gaudens Art

ANCIENT ROMAN MARBLE RELIEF FRAGMENT Rome, 1st Century b.C. marble 23 x 15 x 5 cm without base 9 x 6 x 2 in

The University of Michigan’s Museum of Art, which holds such a bust in its collection, describes this aridly as a “Bust-length figure of a woman with head turned proper left, down-tu...

Tony Hochstetler's "Cowrie Shell" (2015) is an original handmade bronze sculpture that depicts the shell of a cowrie. TONY HOCHSTETLER is a sculptor of unusual animals and botanical...

This bronze sculpture, from 1996, is a powerful rendering of a horse rearing. It is not uncommon to see stallions rearing; it is a tactic that can be used to dislodge a predator, to...

Charles Schreyvogel (1861-1912) New York / New Jersey Artist Image Size: 12" x 18.50" x 5" Medium: Bronze Sculpture 1903 "The Last Drop" Charles Schreyvogel (1861-1912) New York / Ne...

This sculpture "The Foundry Worker" c.1925 is a bronze sculpture by German artist Albert Caasmann, 1886-1968. The signature is impressed in the bronze. The subject size is 11.15 x 8.15 x 3.15 inches, including marble base, the size is 13.15 x 8.15 x 5 inches. It is in excellent condition. about the artist: Albert Caasmann (2 June 1886 – 23 March 1968) was a German sculptor and porcelain artist. Caasmann designed toy figures for the Berlin toy company Lineol and from 1919 to 1952 was the lead designer and production manager for the company. He designed figurines for the porcelain companies Rosenthal AG and Volkstedt. Caasmann's work for the company Rosenthal are exhibited in the Porzellanikon's Rosenthal Museum. Lineol toy figures modeled by Caasmann are in the Historical Toy Museum in Freinsheim and the Toy museum in Havelland. Albert Caasmann was born on 2 June 1886 in Berlin, Germany. From 1909 to 1919, he worked as a freelancer for the Berlin toy company Lineol, founded by Oskar Wiederholz in 1906. After service as a soldier in the First World War, he became the leading designer and production manager of Lineol from 1919 to 1952. He designed over 600 figures for Lineol, including soldiers, animals, Indians, knights, fairy figures, and railroad figures. His toy figures were widely used in the region by children. Lineol ceased operations in 1965, and in 1985 the company Lineol Duscha has the trademark rights to Lineol. Lineol Duscha reproduces Lineol figures modeled before 1945. Lineol toy figures modeled by Caasmann are in the Historical Toy Museum in Freinsheim and the Toy museum in Havelland. Caasmann spent time in the Berlin Zoo, where he modeled his animal models. He made a model for a porcelain cheetah...

Jules Moigniez "Mountain Goat" Bronze approx 11 x 9 x 4 inches Signed Jules Moigniez (1835-1894) Jules Moigniez was born in Senlis sur L'Oise, France ...

Animal sculptor Sophie MARTIN creates from inert clay a whole living animal kingdom. She freely observes the animal and captures and interprets a movement; and places it in nature an...

This amazing sculpture figures a peacock making the wheel. Each feather is made of a slice of transparent agate, soldered with brass to the rest of the wheel. The agate wheel is me...

Provenance Acquired by the gallery directly from the artist Description Slatoff’s sculpture is a biblical reference to the central figure in the book of Nehemiah, which describes a ...

Dubucand Alfred 1828-1894 Two Hunting Dogs, Bronze on a Marble Base The Bronze with the monogram 'E.V.' and the number '2958' Two Hunting Dogs, Group Signed Alfred Dubucand, Fren...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...