Ferdinand Preiss Art

ARMAN 1928 - 2005 Bronze sculpture, 2004 Polished bronze with black patina, 2004, stamped with foundry stamp and numbered, published by Venturi Arte, Bologna Signed and numbered...

Artist: After Pierre Jules Mene (French, 1810-1879) Title: Cheval Libre (Free Horse) Year: 1868 Medium: Cast bronze sculpture with dark brown patina Edition: Unknown Size: Inclu...

Classic female torso inspired by examples of high Greek sculpture. Sculptor explores the lines and shapes of the female body, embodied the diversity, slightly changed the poses. Thi...

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 ...

Grand Tour Marble Bust of a Young Apollo (Late 19th Century) Marble bust on a swivel marble base Unsigned 24 ½" high x 21" wide x 9 1/2 " deep...

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...

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 ...

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

Bronze sculpture of a ballerina taking a rest. Her leotard is patinated to a lovely green shade to contrast with the bronze colour of the rest of her figure. Ballet slippers are visi...

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...

Pierre Jules Mene "Chien Braque" (Tom) Bronze approx. 5 x 9 x 4.25 Signed PIERRE JULES MENE (1810-1879) Pierre Jules Mene, (P. J. Mene), was born in Pa...

This highly evocative bronze by Vincenzo Vela captures the deposed Emperor Napoléon on his deathbed, holding a map of Europe and lost in thought about what might have been. Remarkable among most portrayals of the exiled leader, this highly detailed sculpture depicts Napoléon at his most vulnerable. Nonetheless, Vela perfectly captures his still-heroic bearing, which imparts to this work a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Château de Malmaison, which was shown at the Paris Salon of 1867. The founder of the verismo movement in Italy, Vela was one of the great exponents of realism in sculpture. Born in Ligornetto, Switzerland in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalism and the romantic painting of Francesco Hayez...