Ashville Fine Arts Figurative Sculptures

Japanese Meiji Period Bronze Sculpture of Jerodian (Old Man), Ca. 1890 Meiji Period (1868-1912) DIMENSIONS: Height: 16.5 in...

A Pair of Japanese Mid Edo Period Carved Stone Sculptures of Female Buddha Sattva, ca. 1750 PERIOD Mid Edo Period (1603-1868) DIMENSIONS Height: 10.5 ...

Japanese Edo Period Okimono Carving of a Mythological Figure of Kirin, Ca. 1860 (Edo Period 1603-1868) 19th Century DIMENSIONS: Height: 13 i...

Japanese Showa Period Porcelain Standing Old Man Holding Staff & Scroll, Ca. 1960 MARKINGS Signed on bottom. DIMENSIONS: Height: 19 inches Width: 7.5 inches Depth: 7 inches

Japanese Edo Period Carved Seated Fasting Buddha, 18th C./Early 19th C. DIMENSIONS Height: 9.5 inches (24 cm) Width: 7 inches (18 cm) Depth: 5 inches (12.8 cm) ABOUT This early Edo...

Japanese Tumulus Period Unglazed Aged Terracotta Haniwa of a Woman’s Head, 3rd/4th Century Tumulus Period (AD 250-552) Haniwa means “circle o...

Japanese Edo Period Saga Ningyo, Ca. 1850 DIMENSIONS Height: 9.5 inches Width: 6 inches Depth: 5 inches

Japanese Late Edo Period Life-Size Imperial Bunraku Head, Hands and Legs by Nagoshi Kenji, Ca. 1850 DIMENSIONS Head: 13” High Hands: 11” High Legs: 9” High ...

Japanese Edo Period Dragon God Ningyô, Ca. 1820 DIMENSIONS Height: 26 inches over all Minor wear in textiles. Fine antique condition ABOUT Musha-Ningyô (warr...

Japanese Edo Period Musha Ningyo Seating Samurai, Ca. 1800 DIMENSIONS Height: 16 inches Width: 19 inches Depth: 10 inches ABOUT Musha Ningyō (武者人形)- Literal meaning: "Warrior Dolls...

Japanese Meiji Period Elaborate Bunraku Puppeta. 19th Century Meiji Period (1868-1912) Minor wear to textiles, fine antique condition, Original Bamboo display stand. DIMENSION Height: 33 inches Width: 18 inches Depth: 9 inches ABOUT Bunraku (puppet) depicting the warrior Minamoto Yoshistune his head carved of wood and covered in a fine white gofun with painted details, face of a handsome youth with trigger mechanism allowing for the eyebrows to raise and lower and the eyes to shift from side, is wearing military armor with signature dragon on his breastplate ,brocade patterning of his thick obi tie, sumptuous silk brocade kimono and brocade hakama trousers with the Minamoto Clan pattern, silk tabi socks...

Indian Medieval Carved Wood Sculpture of Shakti Goddess Ca. 8th to 12th Century ...

Art Deco Man with Serpent Hand-Carved Wood Sculpture Circa 1920s DIMENSIONS Height: 23.5 inches Width: 14.5 inches Depth: 8.75...

Italian Modernism Alfredo Barbini Chinese Woman Murano Art Glass Sculpture ca. 1960s DIMENSIONS Height: 28 inches Width: 3-3/4 inches ...

Amedeo Gennarelli Torso Carved Granite Art Deco Circa 1940 DIMENSIONS Height: 15.5 inches (39.37 cm) Width: 8 inches (20.32 cm) Depth: 6 inches (15.24 cm) ABOUT This expressive hand-carved and highly polished grey-and-pink granite sculpture is mounted on a square black stone base with the incised signature atop, ‘A. Gennarelli’. AMEDEO GENNARELLI (Italian/French, 1881–1943) a/k/a Jean Ortis was a French/Italian sculptor. He was born in 1881 in Naples, Italy, but immigrated to Paris in 1913 and worked there; exhibiting at numerous Salons of the Societe des Artistes Francais through the years to come. He is known for his work in the art deco style and for his depictions of the female nudes; working in bronze, stone, terra-cotta and wood. Amedeo Gennarelli died in Paris...

American Art Deco Nude Female Wrought Iron Sculpture ca. 1920’s DIMENSIONS Height: 13 inches Width: 4 inches Depth: 4 inches ABOUT Designed in...

Art Deco Soccer Player Patinated Bronze Sculpture Germany, ca. 1930’s DIMENSIONS Height: 9.5 inches Width: 6.75 inches Depth: 2.75 inches ABOUT A rare, laconi...

Austrian Art Deco (for Rena Rosenthal possibly, by Hagenauer) Madonna and Child Carved Ebonized Wood & Silvered Metal ca. 1920’s MATERIALS Ebonized wood and silvered metal. MARKINGS Stamped with “Made in Austria” and "RENA" marks. DIMENSIONS Height: 6.25 inches Width: 4.25 inches Depth: 2.5 inches ABOUT SCULPTURE Quite extraordinary in its design, craftsmanship and selection of materials, this outstanding Art Deco tabletop sculpture of the Madonna and Child was most likely made in the Vienna studio...

ABOUT A light, graceful female figure, as if floating in the air, with hair fluttering in the wind, trying not to spill, carefully carries in front of her a large sea shell filled wi...

Auguste Rodin Age of Bronze Patinated Bronze Sculpture Re-Cast XX Century ABOUT THE ARTWORK Rodin's breakout sculpture, The Age of Bronze (L'Age d'airain) caused a critical scandal ...

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

ABOUT SCULPTURE This wonderful sculptural and portrait work was certainly created by a master sculptor, although not signed by the author. The face of this typical all-American boy, ...

ABOUT This funny, humorous tabletop ceramic figurine depicts a drunken sailor lying on his back. Around his neck is a metal ring with an anchor on it. MARKINGS Signed on the left buttock: "Italy". DIMENSIONS: Height: 2.5 inches Width: 2 inches Depth: 3.5 inches VALERIE “VALLY” WIESELTHIER (Austrian-American, 1895 – 1945) was an outstanding ceramic artist. She was born to a Jewish family in Vienna, Austria. Her father, Wilhelm Wieselthier was a lawyer. Valluy attended theWiener Frauenacademie in Vienna from 1912 to 1914 and studied at the Vienna School of Applied Arts with Rosalinda Rothhansl, Kolo Moser, Jodef Hoffmann and Michael Powolny from 1914 to 1920. In addition, she worked as an auxiliary nurse during the First World War. From 1917 to 1922, she worked for the Wiener Werkstatte. From 1922 to 1927, she ran her own ceramic workshop in cooperation with the Augarten porcelain factory, which was newly founded in 1923, but also with other companies such as Friedrich Goldschider, Gmundner Keramik and Lobmeyr. Her expressive and humorous porcelain figures attracted attention at the Exposition Internationale des Arts Décoratifs et industriels modern in Paris in 1925 and are considered typical examples of the Art Deco style style. From 1928, the artist increasingly moved her center of life to the United States. She went to the International Exhibition of Ceramic Art in New York City in October 1928. In 1933, she moved to Chicago with Paul Lester Wiener...

DIMENSIONS Height: 9.5 inches Width: 6.5 inches Depth: 3.75 inches MARKINGS Brown-patinated bronze, inscribed on base: H. Scholter

Dimensions Total Height: 7.5 inches Base Height: 2 inches Width: 2.75 inches Depth: 2.75 inches ABOUT This charming desk figurine in dark brown patinated Viennese bronze by the famous Austrian sculptor Karl Kaub stands out for the originality and humor of its subject matter. The author depicted with amazing subtlety a boy who jumped on one leg in fright, suddenly seeing a frog sitting on his arm. CARL KAUBA (Austrian, 1865-1922) was born August 13, 1865 in Vienna, Austria. The son of a shoemaker, Kauba chose to follow his calling into the world of art. Collectors now rank him in a class with Remington and Russell as one of the great portrayers of American Western. His subjects were typically American Indians, calvarymen, cowboys, and roughriders. In addition to his American bronzes, Kauba produced a lifetime’s worth of Austrian statuary. His work became fully appreciated on both sides of the Atlantic. Carl studied at the Academy of Fine Arts in Vienna under professor Laufenberg. Later he would study at the academies under Carl Waschmann and Stefan Schwartz. Next, he went to Paris in 1886 to further study before he set off for the U.S. In fact, some debate still remains as to whether Kauba ever visited the U.S. Kauba’s fascination with the West was fired by the stories of the German writer, Carl May, whose tales of Western adventure were well known throughout Europe. Most authorities feel that he was about twenty-five years old when he traveled widely throughout the American West. He then returned to Austria with voluminous notes, sketches, and several models of Western sculpture...

Permanently exhibited at the Musee Rodin in Paris, ‘The Thinker’ (French: Le Penseur), the original Auguste Rodin’s bronze sculpture of...

Sébastien Tamari (French, 1900-1991) 1900 Birth in Baku of Sébastien Tamari (Russian Empire). 1920 He left his hometown due to political events. He travelled through the Caucas...

Probably Austrian, this lovely Jugenstil desk-sized black-patinated bronze figurine on its original marble pedestal depicts a fawn youth, checking the size of his tail to see how muc...

Probably Italian, 19th Century patinated bronze candlestick in form of a dancing Fawn holding a candle-vessel in his hands, on its original wood base.

Signed on the plinth “Silvestre” Original wooden base. Dimensions Height: 11.75 inches (29.37cm) Width: 23.25 inches (58.12cm) Depth: 6 inches (15cm) PAUL SILVESTRE (French...

DETAILS Signed by the author and stamped with Roman Bronze Works Foundry NYC stamp. DIMENSIONS Height: 14.5 inches Width: 6.5 inches Depth: 9inches ABOUT THE SCULPTURE Made of black patinated bronze, the fairy literally floats in the air thanks to a wonderful composition using a huge light scarf fluttering in the wind. ABOUT THE SCULPTOR Alexandre Zeitlin (French/American, 1872 - 1946) was an outstanding sculptor known for his portrait busts. Alexander Zeitlin was born in Tiflis, Georgia (Russian Empire), in 1872. He held his first art exhibition in his hometown in his early teens. At first, the novice sculptor studied at the Vienna Academy of Fine Arts (1890–1894), where his portrait busts of Archduke Otto were noted. He then studied at the École des Beaux-Arts in Paris. Zeitlin's ‘Despair’ statue and a portrait bust of the opera singer Jeanne Hatto were among the first to receive public recognition. He became known for his portrait busts. Zeitlin received the Ordre des Palmes académiques (1903) for the busts of Camille Flammarion...

American Art Deco Nude Kneeling Woman Carved Slate Sculpture ca. 1920 DETAILS Mounted on original marble base. Apparently unsigned. DIMENSIONS Hei...

ABOUT ARTIST Richard Bauroth (German, 1884-?) was active/lived in Germany. German sculptor, Richard Bauroth studied in Munich et al. under Adolf von Hildebrand. DIMENSIONS Heigh...

About Sculpture This homoerotic ebonized hand-carved wood sculpture of a pair of nude males, the older one supporting the falling down body of the youth, was created by an anonymous...

ABOUT SCULPTURE Crafted with great taste and skill by an unidentified sculptor (signed 'Needle'), this stunningly shaped and proportioned remarkable modernist sculpture looks exquis...

About ‘VICTORY OF BOGOTA Henri Louis Bouchard was an important French Romantic sculptor, known for works commemorating heroic moments in the hist...

Bearing a clear aesthetic influence of the Art Deco era, this wonderfully beautiful image of the progenitor Eve is a Western-European school sculptural portrait of a stunningly beaut...

Edgardo Simone, (Italian/American, 1890-1948) Classically trained in Italy at the Beaux Arts Academy in Rome from 1906 to 1913, Edgardo Simone became a famous sculptor in Italy and the United States using mediums of terracotta, ceramic, bronze, and plaster. He earned a Doctorate of Design and Sculpture at the Academy and then emigrated to the United States where he worked in New York, Chicago and southern California. His style was influenced by Art Nouveau, Art Deco and other modernist influences. In Italy, he had received three times the Croix de Guerre and was decorated by King Victor Emmanuel II and Queen Margherita. Before moving to America, he had much recognition in Italy. He had created war and city monuments, and tombstones in twenty-six Italian cities. When he arrived in New York City, one of the newspapers carried a headline: "Italy's greatest Sculptor Arrives in New York." In New York, Simone became prominent in society and did many portrait busts including such of Thomas Edison, John J. Pershing, Henry Ford and Louis Brandeis. Sally Rand, the famous fan dancer of Chicago's World's Fair in 1933-1934, sat as a model in his studio as did President Franklin Roosevelt and author Theodore...

ABOUT ARTIST Regretfully, there is only a limited amount of biographical information available on the author of this wonderful sculpture - Jacobus Nicolaus Sandig (Dutch, 1876 - 193...

Signed on the base: ‘B. Sopher’ Well-preserved original dark brown patina. Dimensions: Height: 7.5" Width: 8" Depth: 7" Bernhard (Burnat David) Sopher (1879 – 1949) was a German-American sculptor. He was born in Safed, Syria and studied sculpture at the Berin Art Academy from 1897; and from 1905 to 1908, at the Weimar School of Crafts with Adolf Brutt in Berlin and Weimar. At the end of his studies, he was already involved in the realization of the monument to Grand Duke Carl Alexander...

This wonderful life-like sculpture depicts a Koran scriber, who, bending his legs under him, holds sheets of paper in his hands, on which he transcribes verses from the Koran lying i...

This wonderful life-like sculpture depicts a half-naked odalisque reclining in a lazy pose on silk pillows on an ottoman, covered with a lion's skin. With bare breasts, only a small ...

A Streamline Moderne style sculpture by Ukrainian artist Anton Pavlos (1905-1954), produced circa 1930s. It depicts a couple of male and fem...

This exquisite KPM Porcelain Mythological Group of feasting Bacchus depicts Dionysus (also called Bacchus - a nature god of fruitfulness and vegetation, especially known as a god of ...

This delicate statuette, amazing in its plot and executed in the best traditions of Meissen, depicts a charming cherub with a sad face expression, who has injured his leg and is leaning on homemade crutches. It evokes in the viewer compassion and a smile of tenderness at the same time. Hallmarked with Meissen crossed swords and numbered ‘18’ on the bottom of the base. Dimensions: Height: 8.38 inches With: 3.63 inches Depth: 4.63 inches MEISSEN Meissen porcelain or ‘Meissen china...

Executed in the best traditions of Meissen, this lovely pair of statuettes depicts a female mandolin player and a woodcutter, where a musician entertains the laborer while he is occupied with his work. Hallmarked with Meissen crossed swords and numbered ‘18’on the bottom of both bases. Dimensions: Mandolin Player: Height: 4.07 inches (10.17cm) Width: 2.25 inches (5.62cm) Depth: 1.88 inches (4.7cm) Woodcutter: Height: 4.07 inches (10.17cm) Width: 1.88 inches (4.7cm) Depth: 2.75 inches (6.87cm) Meissen Meissen porcelain or ‘Meissen china...

This wonderful porcelain sculptural group depicting children playing in an 'adult wedding’ conveys with surprising accuracy the emotional component of the moment, conveyed in the expression of children's faces. Dimensions: Height: 7.13 inches (17.82cm) With: 11.75 inches (29.37) Depth: 4.5 inches (11.25cm) Royal Vienna Porcelain. The Royal Vienna Porcelain Manufactory (German: Kaiserlich privilegierte Porcellain Fabrique) was a porcelain manufacturer in Alsergrund in Vienna, Austria. It was founded in 1718 and continued until 1864. The firm was Europe's second-oldest porcelain factory after Meissen porcelain, and for 25 years the two remained the only European...

Signed “E. Seger”. Black patina. Dimensions Height: 8 inches (20cm) Width: 7.5 inches (18.75cm) Depth: 8.5 inches (21.25cm) THE BIBLE STORY Samuel 17:34-36 Originally, Saul would not allow David to fight Goliath (17:33). Saul’s reason was simply that Goliath would be stronger than David. David was young and he did not have the experience to fight such a capable enemy as Goliath. David was likely to die, and his death would benefit nobody. Often people wrongly imagine that they are acting in faith (in other words, that they are trusting God). Really, they are acting in a foolish manner, as if the danger is not real. They are not trusting in God, but in their own thoughts, hopes and desires. David’s reply to Saul shows us his attitudes. This reply explains clearly why David had offered to fight Goliath. In other words, it shows how David considered himself able to defeat Goliath. Like many boys and young men in Israel, David had worked as a shepherd. That is, he looked after sheep. He was responsible to look after those sheep in every way. In particular, he had to protect them from wild animals. Lions and bears are some of the fiercest large wild animals. They were common in Israel at the time of the Bible. They are much stronger than a man (see for example 1 Kings 13:24 and 2 Kings 2:24). Only the bravest and strongest men were able to kill a lion (Judges 14:5-6; 2 Samuel 23:20). However, David had killed both a lion and a bear. He had killed animals that were stronger than him. David did not believe that the strongest man would win the fight. David had a close relationship with God; he was trusting God to rescue him (17:37). David was not pretending that there was no danger. However, God’s Holy Spirit was active in David’s life (16:13). By the power of his Holy Spirit, God had given David the faith (trust in God) to fight Goliath. Because David really was trusting God, there was no reason for him to be afraid of Goliath. THE ARTIST Ernst Seger (1865 1939), born in Neurode (Nowa Ruda, now Poland), studied sculpturing from 1884 at the Kunstschule in Breslau under Robert Härtel. From 1886 he worked in the Atelier of Christian Behrens, where he created the Eichendorff-Memorial for the Silezian City of Neisse. From 1893 to 1894 Seger stayed in Paris where he worked in the atelier of Auguste Rodin. However, Seger finally chose a ‘Jugenstill’ and a more ‘naturalistic’ or ‘Neuklassizismus’ style. His sculptures, modelled like the Greek antiques, were later greatly admired by the National Socialists. At the end of 1894 Ernst Seger went back to Berlin, founded his own atelier and created the Kaiser Wilhelm I memorial for the Silesian City of Glatz. In 1897 Seger created the sculpture ‘Jugend’ (‘Youth’), which was displayed at the ‘Große Berliner Kunstausstellung’ in 1898, at the ‘Große Berliner Kunstausstellung’ in 1899, at the ‘Münchener Glaspalast Ausstellung’ in 1899 and at the ‘Münchener Glaspalast Ausstellung’ in 1908. As a sculptor Seger regarded this as his first relevant work, his breakthrough. A copy of the sculpture in bronze, 1.60 metres high, was placed in the ‘Scheitniger Park’ in Breslau (now Wroclaw). In 1898 Segers ‘Diana’, the Roman Goddess of the Hunt, the Moon and Childbirth, was unvealed in Park Szczytnicki, Breslau, Polen (earlier ‘Schneitniger Park’). Until 1945 the sculpture stayed in the Schneitniger Park, Breslau. This part of the park is still called ’Dianagarten’. After the turn of the century the elegant female dancers and nudes by Seger gained great popularity. In 1905 Ernst Seger created -together with the sculptor Bernhard Sehring- the ‘Bismarck Brunnen’ (‘Bismarck Fountain’) in Breslau. This memorial-fountain (which still exists) represents the allegories ‘Kampf’ and ‘Sieg’ (‘Battle and Victory’). Seger’s ‘Verwundete Amazone’ (‘Wounded Amazon’), displayed at the Grosse Münchner Kunstausstellung in the Glaspalast in 1908, was placed in the garden of the ‘Kaufhauses Wertheim’ in Berlin. In the same year he was appointed as a professor. Seger’s marble sculpture ‘Kypris’, created in 1916, was placed in the Alten Nationalgalerie in Berlin. In 1925 the City of Berlin acquired his sculpture ‘Anbetung’ and placed it at the Johannaplatz. ‘Storchenbrunnen’ (‘Stork-fountain’), was placed in 1931 at the Adolf-Scheidt-Platz in Berlin. In 1935 the American newspaper publisher William Randolph Hearst bought Seger’s sleeping ‘Ganymede’. During the Third Reich Ernst Seger was commissioned numerous Hitler busts...

Ignacio Gallo (Spanish/French, 1850-1935) was a Spanish sculptor, who was active as a sculptor and engraver in Madrid and Paris in the interwar period. His works show animal scenes, ...

Lovely large French silvered bronze sculpture of a semi-nude erotic dancer, signed in the bronze: Josselin. Original portorro marble base. Dimensions: H 15.25”, W 11.5”, D 2.7...

This exquisite sculpture masterfully captures the essence of rural life, featuring an elderly peasant standing proudly, reins held firmly in his hands. Behind him, nestled in a beautifully crafted sleigh, are his son and grandson, with the latter energetically guiding the horses using a whip. Each figure is adorned in traditional peasant attire, which not only adds authenticity but also reflects their connection to the land and their heritage. Their faces are wonderfully expressive, conveying a sense of pride, determination, and the bond of family. The craftsmanship of this outstanding silver sculpture, along with its original marble base, showcases an extraordinary level of artistry. The intricate details are so skillfully rendered that one can almost visualize the steam rising from the horses' nostrils in the crisp, frosty air. The air seems to vibrate with the sound of the horses’ hooves crunching through the fresh snow, creating a vivid auditory backdrop to the scene. As the troika gallops at full speed, it leaves behind distinct impressions of horseshoes on the pristine snow, marking their journey through the wintry landscape. This dynamic movement not only brings the sculpture to life but also invites viewers to imagine the story behind this moment—an intimate glimpse into the daily life and enduring spirit of a hardworking family united by tradition and the rhythms of nature. Notes: There are intact little bell on the yoke of a central horse, and an original detachable hallmarked whip. The original, intricately executed marble base is an integral part of the whole composition. The sculpture was never cleaned or polished, and has an original patina. Markings: Fully hallmarked with maker's marks IS (for Ignaty Sazikov...

Signed “A.H. Devaulx”, and marked “Susse Fes Ed.20” Dimensions: Height 6-7/8”, width 7-7/8”, depth 4-1/4” This wonderfully unusual desktop sculpture of gilded bronze, depicting a beautiful female-centaur breastfeeding her cub is made in a classic romantic style of the Belle Epoque era by a remarkable French sculptor, Alexandre Henri Devaulx. Alexandre Henri Devaulx (French, 1856-1940) was the son of the noted sculptor of the Romanticism period, François Théodore Devaulx (1808–1870). Born in Paris, he studied under E. Devaulx, making his début as a sculptor at the 1876 Paris Salon with Portrait, a plaster medallion. Alexandre Henri Devaulx became a member of the Artistes Français in 1888, winning an award with merit in the same year.... Susse Frères Bronze Foundry, Paris - The French firm Susse Frères manufactured a daguerreotype camera, which was one of the first two photographic cameras...

Signed “Igor ’67”, this beautifully cast patinated bronze sculpture depicts a woman on tiptoe, arms folded across h?? chest, head up and screaming with all her might, mouth wide open...

Émile Hébert, the wanderer, French Belle Époque patinated bronze sculpture, circa 1880s Dimensions: Height 24.75” Width 10.5” Depth 5.75” Pierre-...

Dimensions: 4.33 high x 2.25 wide x 2.75 deep This elegant desk-size statuette of a kneeled harlequin wearing a golden mask is a perfect example of the little masterpieces in cold...

Both sculptures are signed ‘C. Kauba’ on the plinth. Dimensions: 9.75” high x 3.75” deep x 3.5” wide Dark brown patina. Original marble pedestals. Carl Kauba (Austrian, 1886 – ...

A remarkable mobile double-figure sculptural group with both, male and female figures rotating freely around their own axis; and where both figures can be installed in any position relative to each other. With any new desirable position, it becomes apparent how their relationships change diametrically with each and any turn of the figures. Both, male and female sculptures...

Signed KEREMYI on the back of the plinth. Some patina abrasions are noticeable in the back area. The white Carrera marble base obviously is a later replacement. Dimensions: Height 14.75” Width 11.75” Depth 7.75”. Jeno Kerényi...

Art Deco silvered bronze sculptural group with two female putti figures reclining together in an embrace, surrounded by flowers and filigree. Sculpture has a beautiful silver finish, and rests on the original rouge marble base. Signed on the right front “Raphael Peyre”; and foundry mark “B.L. Paris” with “Cire Perdue” (lost wax) in an oval cartouche in the back. The piece is very heavy (51 pounds), crating recommended for shipment. Charles Raphaël Peyre...

Signed on the side of the base, "F. Flacone" and "Orientale 1800", dated "1925". Carved out inscription on the bottom of the base, "Chiavari". (Chiavari is a small town in the Pro...