Scott Rosenthal Sculptures

Tied Up 31, 2016. (Ceramic, PVC, C. 15.3 in. h x 11.8 in. w x 11.8 in d. Object No.: 3526) Steen Ipsen was born in 1966 in Denmark and lives and works in Copenhagen. He graduated in...

This is the bust of the Roman Emperor Caracalla modeled after a famous sculpture one displayed in the Vatican Museum. In Roman times this bust was a particularly innovative representation, as the face turns towards the left instead of the usual frontal view. The sculpture is a unique piece from the historic collection of Galleria Romanelli.

Add a burst of color and cheeky charm to your space with this vibrant 2002 pair of hand-painted papier-mâché sculptures by Denver artist Kathy Berenstein, signed and dated. These fig...

A large vintage plaster mouth sculpture. Can be displayed table top or mounted to the wall using the hanger on the back.

French modern bronzed plaster sculpture of a male nude torso, possibly a Maquette. Unsigned. A bold, well modeled sculpture, with a beautiful patina an...

Striking male nude sculpture executed in bronze with plaster. Unsigned. On pedestal.

The hands or "The Cathedral", plaster sculpture mounted on a brustalist carved wooden base, in the taste of Auguste Rodin. France, 1960s

A whimsical ceramic sculpture by Bill Stewart.

Modern abstract Geometric stylized embracing loving couple sculpture, figurine, statue in gray plaster. Very minimalistic with clear lines and still graceful. O-633-335

Rosenthal bronze sculpture. 1965, untitled. Stamped "Rosenthal, 1965." Nice original patina.

Einar Jónsson sculpture in plaster from the 1920s-30s. Signed Einar Jónsson. About Einar Jónsson (1874-1954) Einar Jónsson, who created many works in a ...

A unique patinated bronze sculpture in the form of a 1940's leather bomber jacket hanging on a wall mounted coat rack. The 1940's bomber jacket. It is one of the few items that has really transcended both fashion and trends. People are wearing these jackets today in the same way they have for the last six decades. It's a symbol of freedom, of the rebel in us, or a certain kind of social stigma, a certain attitude. Hanson chooses to isolate and immortalize a man's leather jacket. The choice becomes a comment on the power in our culture of image per se. A comment on the ascendance of personal style and image, via our possessions and fashion, to a consuming culture value. Seemingly casually tossed over a hook, yet frozen there in bronze, the jacket evokes an entire range of masculine stereotypes celebrated by the media-cowboys, mavericks and rebels of our time. The open road, macho bravado, rugged individuality, sex appeal. Yet the presence of this lone jacket equally evokes the very personal, if anonymous, history of its wearer. Like the cast-form-life sculpture of George Segal, it expresses mystery, even poignancy, of its owners absence. As in much of Hanson's art, this culture manages both to critique and also to value such material icons of our culture. Scott Hanson...