Marble Animal Sculptures

Striking and finely polished Stone Sculpture. Carved and polished deep green stone figural group of a doe nursing her fawn. Brown inclusion on...

A lost wax watch holder bronze, depicting a standing Borzoi greyhound, fully detailed. Circular green veined marble base. A hook holds the pocket watch. France circa 1880.

Small gilded bronze sculpture depicting a dog chained. Marble base. France circa 1890.

A late 19th century equestrian bronze of a jockey on horseback by Pierre Jules Mene (1810-1879) signed "P.J.Mene" on the bronze base and mounted on r...

1980s Oversized, Heavy Marble Seal Sculpture Signed: Joan Israel 1983.

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

Sculpture of a stand grayhound that licks his wound. Patinated antimony over green marble base. France circa 1890.

JOSEPH GOTT (1785-1860) ‘A GREYHOUND BITCH AND HER PUPPIES’ Statuary marble. Signed J. GOTT. Ft.

Amazing and rare set of three Carrara white marble sculptures. Fratelli Mannelli designed this fantastic set in Italy during the 1970s. There are three elements in this set: an elephant, a giraffe and a camel. This set is extremely rare because of the material. For this set high-quality white Carrara marble was used, while normally, the Mannelli sculptures were made in travertine marble. A wonderful set of sculptures...

Poignant bronze sculpture of nurturing mother elephant and her calf. Rich brown patina with hints of verdigris. By American sculptor Dan Ostermiller. Signed and dated 1992. Casting number 14 out of 30. Mounted on marble and wood base. One of America's foremost wildlife sculptors, Dan Ostermiller works in a realist style and is admired for his extensive knowledge of animal anatomy, high level of craftsmanship, and compassionate treatment of his subjects. He is committed to studying animals in their own environments and strives to put character into his pieces. His is a fluid style that conveys grace of motion, and he quite often works on fifteen to twenty pieces at a time. Ostermiller has also taught animal anatomy and the animal characteristics around the world. Ostermiller was raised in Cheyenne, Wyoming, and his father, Ron, was a highly respected taxidermist. As a result, Ostermiller was working with clay at an early age. As a teenager, he became his father's assistant and learned the basic skills of making an animal look life-like, from facial expressions to body language. Breaking away from taxidermy because he wanted to be more creative, Ostermiller spent time in Texas as a hunting guide, and worked on sculpting, moving to Loveland, Colorado to be close to foundries. During this period he was estranged from his father, who was exceedingly bitter about his son's decision not to become a taxidermist. The two united in the late 1980's when the father was dying of cancer. Ron Ostermiller lived long enough to see his son honored for his accomplishments, including the 1987 recognition by the Wyoming governor at the dedication of his monumental sculpture at the state capital. By the late 1990's, Ostermiller had created nearly 250 different pieces of sculpture. He had made several trips to Africa, accompanying hunters to Rhodesia, but lost his interest in hunting animals for any purpose other than photography. He has great feeling for his subjects, and no desire to harm them. Ostermiller works from a large studio complex in Loveland, Colorado where he is surrounded by a park of his sculpture, a stream, waterfall, and grounds with wild birds. In addition to sculpting, he enjoys hiking, gourmet cooking, and collecting cars...

A pair of tall faux tusks in tessellated marble mounted on dark marble plinths with brass accents. A tessellation or tiling is the covering of a surface, often a plane, using one ...

Unmarked bronze bird pitcher sculpture. Open back with spout on the head and loop on top. Interior painted blue. Mounted on marble base. Dimensions: (Overall) H 5" x W 6" x D 3.7...

French Art Deco sculpture of lady and gazelle, 1930 A delightful original figural group depicting a young lady and a gazelle. They are both cast i...

The expressive model featuring a toy cannon at the child's feet, all set on a circular marble base The cannon signed 'Adriano Cecioni', with cartouche to the base inscribed 'ENFANT AU COQ...

A decorative hand made pair elephant sculptures or statues. Some wear but this is old-age. Made of brass or bronze. We think it is from Asia and was mad...

Cast bronze and marble shepherdess with sheep sculpture signed D. Alonzo. France, early 20th century.

A tropical fish sculpture in Italian Emperador marble and brass. The fish covered in marble using the tessellation technique. A tessellation or tiling is t...

Maurice Prost (1894-1967, France) : "Walking Black Panthera" / "Panthère noire en marche" Black patinated and varnished bronze on a black fine Belgium marble base (Pure black colour stone with no veins) / Sculpture en bronze...

cane di pho - scultura cane di pho - occhio di tigre - legno di rosa. Descrizione : Cane di pho realizzato a mano in pietra dura occhio di tigre. la scultura e appoggiata su u...

An antique sculpture of a dog made of nickel-plated spleter (zinc alloy). Sitting on a red “Griotte” marble plinth. Made in France, circa 1910-1920....

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

Superb gold patina bronze of a seagull flying above green patina bronze waves by the sculptor A. Van Kote, signed. Belgian school, late 19th century. Good condition with one oxida...

Joffa Kerr bronze sculpture of a pair of Swans on a round marble base and wood base. Beautifully done, small series. This one is numbered 3/15 in great shap...

Art Deco sculpture Paul Philippe Origin France Signed on its base Materials Marble and bronze Lioness and naked woman original patina, very good condition wear and tear.

Bofill silvered bronze owl - Hibou Desk Paperweight / Car Mascot / Hood Ornament. France 1910-15. Silver plated bronze, signed. Excellent original conditions. HIBOU Par Antoine ...

Magnificent hand carved Carrara marble sculpture of a lioness head from Rome. Mounted on a metal base. Base 13.75"W x 12.25"D.

American Art Deco Polished Brass Bull and Bear Bookends Paperweights 1950s. Polished Brass Bull and Bear Bookends Paperweights. Vintage American...

Large French Eagle on a Belgian Black Marble Stand, circa 1880-1900. This amazing Eagle sculpture is made in a solid bronze that still has the original patina, with a unbeatable age-...

A wonderful Art Deco original decorative pair of cold painted Alsatians. Lovely details on both dogs, one seated and one laying down. These are in excellent original condition with n...

Bronze statue with dark brown patina featuring an elephant and its two baby elephants. The group rests on a black marble base. This bronze animal sculpture is signed: Caputo Bronze. Art Deco period. Ulisse Caputo (1872-1948) is a Neapolitan painter who lived in Paris. Student of Domenico Morelli and Gaetano Esposito...

Very stylish and rare matching pair of Art Deco bookends. These are a great find and in exceptional condition. Originating from France and dating to the 1930s both stand on marble ba...

Sculpture of a girl with a bird by Jacques Limousin Régule, with original colorful patina Marble base Original Art Deco, France 1930s Measures...

Our monumental marble sculpture of a standing buck deer and fawn at his feet measures 53 inches tall and dates from the late 19th century. Apparently unsigne...

Maikosi Kanyeredza marble shona carved bird. Beautifully carved, signed to bottom edge.

Art Deco bronze pheasant sculpture by André Vincent Becquerel, Bronze, patinated on a Belgian Black marble base. France 1925.

CHARLES KORSCHANN Czech, 1872-1943 Putto Riding a Doe Medium-brown patinated bronze over an original marble base Signed "CH. KORRSCHANN." and sealed with foundry cachet for Louchet Item # 301LCJ14L A very fine lifetime casting of Charles Korschann's Putto Riding a Doe, the model is steeped in the elements of the Art Nouveau with a distinct celebration of the naturalistic. The putto grasps a simple harp in his hand while a loose garment bound in a belt encircling his waist billows in the unseen wind. The doe looks on with disinterest, unconcerned about its surroundings and almost at one with its rider. It is a carefully composed idealization of the natural world and the potential for harmony between man and beast. The casting is exquisite, typical of work from Louchet, and is finished in a medium-brown translucent patina. Charles Korschann Born in Brno, Monrovia in 1872 as Charles Korschmann, later dropping the "m" to appear less Germanic, he studied at the fine arts academies of Vienna, Berlin and Paris before finally establishing himself in Paris in 1894. He spent his entire career working in Paris, exhibiting at the 1900 Exposition Universelle where he was awarded a Bronze Medal and from 1894 through 1905 at the Société des Artistes Français. His work is very distinctive and immediately recognizable, a most important trait as an artist and a particular accomplishment in light of the output of his contemporaries. He was to sculpture what Alphonse Mucha was to graphics, both men originating from the same province in Czechoslovakia and having similar influences in Paris. It is rather fitting that he would execute a bust of Alphonse Mucha for the Museum of Brno in honor of his accomplishments. Artist Listings...

A Whimsical English 19th-20th century white marble figural fountain with dogs fountain. The Baroque Revival six-sided tripod marble base surmounted with three upright seated Yorkshire Terriers resting on a leaf and acanthus center stem, topped with a semi-circular scalloped carved basin...

Ireneé Rochard Art Deco bronze representing the flight of a bronze stork with green patina on a black marble base. In very good shape. Stamped I Rochard on the base. Measures: heigh...

This unusual and rarely found vintage signed Curtis Jere sculpture has enameled butterflies coming from 3 wire points that sit in the original marble base. The colors of shades of se...

Art Deco parrot bookends by Georges Van de Voorde with Foundry seal Brig, Paris. The birds are in patinated Art metal and stand on green marble bases...

A very fine Art Deco metal and brass animalier sculpture of a stag and doe by Louis Albert Carvin, mounted on a stunning moulded Italian black and orange Margraf marble stepped base ...

Art Deco bronze sculpture lady with panther signed by C. Charles. The sculpture has the foundry mark of Patrouilleau and is marked Bronze. The lady and panther stand on a Portor marb...

Bronze sculpture with green and dark brown patina image of a young woman embracing a lamb, signed by Ary Bitter, on a green black marble stand. Ary Bitter (1883–1973) was a French artist, best known for his animal sculptures. He was a designer, painter, and sculptor in various mediums including plaster, stone, terracotta and bronze. His work was also produced in biscuit by the Sèvres factory. Ary Jean Léon Bitter was born in Marseille in 1883. In 1895 he enrolled at the Marseille Beaux Arts and was taught by Émile Aldebert...

Art Deco Mandarin Duck sculpture in brass by Georges H. Laurent.. The sculpture is signed G.H:laurent, number 51,. The bird mounted over a black brown port...

Neoclassical panther sculpture Material: Pewter and marble base (alpe green) Origin Germany Circa 1900 Perfect condition natural wear No visible...

18th-19th ( or older) century Italian bronze sculpture of a seated she-wolf. Similar to the Capitoline Wolf /Lupa Capitolina without, Romulus and Remus, with two front paws raised, ...

A pair of rare french Art Deco lamps by Max le Verrier. The lamps are signed in the metal ) L.Artus, a pseudonym that Max le Verrier used only in the Twenties.The high quality proces...

For your consideration are these very attractive matching Art Deco bookends which date to the 1930s. Originating from France the figures are made from plaster and sit on solid tri co...

Fully sculpted horse sculpture on marble. Detailed horse sculpture, zinc patented on oval profiled marble base.

Highly decorative and quality carved, winged eagle table lamp. All handcrafted out of natural materials, this rare eagle table lamp is a marvelous work of art in the daytime and a...

Unusual, fun, pair of art deco, marble and bronze, mouse, sculpture bookends. One mouse is absorbed acquiring knowledge reading a book and the other is curiously looking towards the...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Antique bronze sculpture from a design by Eugene Lanceray, showing an equestrian scene with a Russian / Cossack soldier seated on a horse, giving his lover / wife a kiss goodbye. Signed in Cyrillic along one edge. Foundry mark not visible. Mounted on a green and white marble base. Attributed to Kasli Haldin. “Yevgeny Yevgenyevich Lansere, also spelled Eugene Lanceray, was a Russian graphic...

Art deco style gilt metal horse.

A rather charming, novel mid century bronze hippopotamus on a marble base with gilt border.

Art Deco Silvered Bronze Tiger Bookends - France 1930´s Tigers are mounted over Belgium Black Marble.

Cubist Art Deco Bookends with Cats. These animal bookends have gold patinated metal – spelter cats mounted on marble bases. Both bookends with cat sculpt...

Classic 20th century Bull statue on a marble base with a pen holder. Desktop accessory, made of metal, chrome and marble. Nice addition to your wri...