Sculptures

Brutalist Abstract Nail sculpture comprised of hundreds of hand welded flat nails with a rusticated patina. Would be great as a fireplace scree...

Gothic Lion XIV century in stone. 16th Century stone carved lion. He has a lot of wear from time but looks better in person than on the photos. Measures: ...

Ceramic woman with sled sculpture signed Friedrich Goldscheider. Austria, circa 1900.

Giraffe nº 1 by Alcino Silversmith 1902 is a handcrafted piece in 925 Sterling Silver with twisted head, hammered and chiseled by excellent craftsmen, giving this piece a much higher future valorization. In our animal collections, We have 5 different giraffes, they are numbered from 1 till 5. This one is the number 1. This piece was handcrafted in our workshop in Porto, Portugal. It is all in Sterling silver 925 and the eyes are natural grenades. The finishing is oxidized. Giraffes represent the balance of nature. A giraffe can also symbolize a long distance between head and heart since they stand tall and keep looking into the future...

Fragility and stability, lightness and solidity: those usually antithetical terms, Papaveri Delicati (Delicate Poppies), seem to be able to co-exist as in all the other creations of Gherardo Frassa. Small metal sculptures...

A fine antique Nymphenburg porcelain figurine. Entitled "Der Gestörte Schlummer", which translates to English as "The Disturbed Slumber". After the 18th Century Frankenthal Porcelain model modeled by Johann Friedrich Lück. Depicting a sleeping gallant attended to (and being awakened by) two maidens. The gallant is sleeping on patches of grass that are supported by a stylized Rococo rocaille base. Simply a wonderful antique Nymphenburg figurine...

Elegant Goldscheider Art Deco ceramic figure of the 1930's: Dancer with shoulder-length hair in a long, wide, light gray skirt with floral decoration and ...

Luminous monolith in murano artistic glass. The murano artistic glass sculpture is a creative and natural expression of the artist Eros Raffael, made with transparent and pastel glas...

This is a stunning porcelain figure of Neptune with a dolphin standing on a sea shell, made by Derby around the year 1785. The figure is in beautiful original condition. We have one other Neptune figure from 1765, please see separate listing. The Derby Porcelain factory has its roots in the late 1740s, when Andrew Planché, a Walloon Huguenot refugee, started making simple porcelain toys shaped like animals in his back yard. In 1756 Staffordshire enameller...

An Akari model "2P" by the artist Isamu Noguchi (1904-1988) Original shade in washi Structure in black lacquered metal Hand-made form realized by Ozeki Company, Gifu, Japan Serie...

An exceptional vintage Coastal bust of woman. A beautiful profile of a serene woman. A beautiful collection of shells wrap around her head and neck. Acqu...

Abstract Mid Century Modern Marble Sculpture, in the manner of Jean Arp, unsigned, probably American, circa 1950s.

John Warrington Wood English, 1839-1886 The gentleman wearing a moustache and sideburns Signed on verso of truncated shoulders J.Warrington Wood, Sculpt.Rome 1874

XIX Century Italian Marble Sculpture ELEGANT 19TH CENTURY ITALIAN MARBLE SCULPTURE REPRESENTING A YOUNG MAN WITH A PITCHER. TO HIGHLIGHT THE Y...

Immerse yourself in the beauty of contemporary artistry with our 21st-century Mandrill Mask, a hand-crafted masterpiece made from high-quality ceramic. This mask is in impeccable con...

1970s Original big travertine fish sculpture by F.lli Mannelli. The item is in excellent condition. Made in Italy. Dimension: 5,90 w x 1,18 D x 5,51 ...

An extension to the Ark series, these model sized stoneware sculptures unite a trilogy of elements – classical architecture being reinterpreted into modern design, skilled stonemason...

This sculpture depicts the Virgin Mary, who is known as the mother of Jesus in Christian mythology. Weighing 1.5 kg, this sculpture is produced from pressed marble powder and made using the original molds from the museum. It can be used both indoors and outdoors. This work of art holds a special place for those interested in Christian art. The original depiction of the Virgin Mary makes it an excellent choice for art enthusiasts and collectors. Thanks to the high-quality material used in its production and the quality craftsmanship, it provides durability for many years. It can be used as a wonderful decorative piece in your garden, home, or office since it is suitable for both indoor and outdoor use. This Virgin Mary sculpture...

Large Whimsical mid-century Italian object of art crafted in porcelain depicting a rooster with vegetable body parts. Signed indistinctly on the bottom.

Asclepius is known as the god of "medicine, healing and rejuvenation" in Greek mythology. Asclepius, who was believed to have found immortality, was therefore punished by being killed by Zeus. Weight: 35 kg. -Produced from pressed marble powder...

Coral creation: Measures: 14" x 27" x H 28".

An exceptional vintage pair of Boho plaster bookends. Amazing realistic hearts that rest in a plinth. Tagged Goldman and Belski 1950. The perfect gift for the MD in your life. Acquir...

A late 17th century marble sculpture of a saint, possibly Central Italian. Monogrammed on the marble base "F G F."

Extremely rare Meissen Art Nouveau porcelain group: Girl and child in clothes from around 1900, the girl in a blue, polka-dot long-sleeved dress with a white apron kneeling on the fl...

A Large Meissen Porcelain group of lovers kissing in the Ocean on a Rock. This piece is truly spectacular in both quality and size. The pair of lovers a...

Creamy, rich and uplifting Brazilian clay / goatmilk / indigo leaf Hand-poured in Pinole Valley, CA in collaboration with Tonic Naturals Luscious soap and unique shapes, form an...

Pair of stunning 'New Age' Organic Modern sculptures with faceted natural rock crystal quart wrapped in solid brass bezels on honed marble bases These geometric sculptures are com...

Top AAA-quality, hand polished sphere of natural gem translucent yellow Rose Quartz from Brazil. This piece is hand-polished to a brilliant shine. The ...

Eros is the Greek god of love and desire. In ancient Greek, four separate words were used for love or amity one of which being “Eros” which meant passionate love. Eros, who is accep...

Alabaster table lamp sculpture attributed to Bastiani. Italy, late 19th century Attributed to Ildebrando Bastiani.

Paganini Collection" sculpture by the Italian artist Paolo Orlando. Design sculpture in resin and wood. Measures: H: 78 cm, W: 40 cm, D: 24 cm ref 3314

Extremely rare Meissen Art Nouveau porcelain group: Two barefoot girls in summer clothes, the older one in a striped skirt and white and blue long-slee...

Highly organic, the Majorelle collection evokes flowers of an imaginary garden. Informed by textures found in nature, the collection features a dappled surface made from resin s...

scultura in resina bagnata in argento - firmato sulla base - seconda meta xx sec scultura in resina bagnata in argento - firmato sulla base - seconda meta xx sec Descrizione ...

Very elaborate and lovingly designed group of animal figures: European roller leaning forward, also known as almond crow in German-speaking countries, sitting on a tree trunk with o...

Beautiful and colorful vintage Murano hand blown blue, orange, white and bubbles Italian art glass egg shaped paperweight. Created in the manner...

A wonderfully whimsical collection of vintage Italian Capodimonte hand-painted porcelain fruits including oranges, pears, and apples, perfe...

This beautiful example of the Greek boxer was hand carved of Statuario Marble in Florence during the Grand Tour period after the antique original. The subject has a victorious pose f...

Impressive Goldscheider Vienna Ceramic Figurine of the 1920s: The young lady with artfully pinned up hair and headdress wears only an exotic-looking short skirt in the manner of a ro...

A striking and very high quality Italian 19th century alabaster statue of the Greek goddess Ariadne seated on her panther signed P. Bazzanti Florence. The statue is raised by a rectangular base with a fine wrap around mottled border and wonderfully executed ground like design. Above is the beautiful Ariadne seated on her panther with her hair tied in a richly sculpted updo while holding an exceptional flowing garment. In Greek mythology, Ariadne was daughter to Minos, the son of Zeus. Associated with mazes and labyrinths because of her involvement in the myths of the Minotaur and Theseus. Shown here riding on one of her husband's, Dionysius God of wine and festivities, panthers. Wonderful attention to detail throughout. Pietro Bazzanti (1842-1881), Son of the renowned sculptor Nicolò Bazzanti, was a central figure in the production of Florentine sculpture...

Sterling, Bone, & Semi-Precious Gems Figure of a Court Jester Germany, Early 20th Century A meticulously cast and modeled Medieval / Renaissance Figure of the Court Jester...

Porcelain creation depicting Jaime Hayon’s latest creation. A work that speaks about looking after oneself and harmony. Jaime Hayon’s latest creation in porcelain for Lladró is a new character sure to be another resounding success. Ten years after...

Decorative hand-woven mask from Panama, Nemboro by Ethic&Tropic Extraordinary art and decorative items, these masks come from the shamanic beliefs and rituals of indigenous Embera t...

Cute vintage Murano hand blown red and clear Italian art glass puppy dog sculpture / paperweight. Documented to the Fratelli Toso company. It still retains its original "Murano Glass...

Eye catching hand bown glass orb with amber/honey colred internal glass threads. Signed on bottom.

Carrara marble sculpture "Schiava" attributed to Giacomo Ginotti (1845-1897). Italy, late 19th Century.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

This incredible abstract sculpture was created by the internationally well known designer André Fu, founder of the André Fu Studio, based in Hong Kong. Title "Eternal flame". This intense scultpture can be filled of water in the base and the little brass bowl can be put on, floating. A lit candle completes the scene. This is a one-of-the kind piece, hand made by the Italian factory specilized in brass work who collaborated with the designer to realised it. Wallpaper magazine assigned the Award to this iconic brass sculpture and it was an event focus during the Salone del Mobile in Milan. About Studio Fu: With an extensive portfolio of projects throughout Asia and Europe, Fu has revolutionized the concept of modern luxury with a series of projects that reflect Fu's signature artistic perspective and timeless sensibility. This artwork is the sum of his philosophy. In 2016 was named designer of the year for M&O Asia...

Rosenthal Art Deco porcelain figurine. Ballerina. 1930s. Measures: 23.5 x 11.5 cm. In excellent condition. Stamped.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Circa 1925, an absolutely charming cold painted Spelter figure of a standing greyhound. This elegant lady captured standing head alert, looking fo...

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such st...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Gourmande, is a hand-blown art glass vase in apricot with a removable lid adorned with a hot sculpted black glass crow holding a worm by the British artist Julie Johnson. The crow figurine...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

Striking sea sponge specimen with a dramatic form, sea inspired texture and soothing organic color. Presented on a Lucite base to enhance the sculptural elements.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A beautiful and very high quality Italian late 19th century Trets and white Carrara marble statue by Pasquale Rizzoli. The statue, in the manner of Etienne Maurice Falconet (1716-1791), is raised by a most decorative circular Trets marble base with a superb double mottled and elegantly curved design. The wonderfully executed white Carrara marble statue above depicts a charming winged young man...