Busts

Antique Victorian Carved Alabaster Woman Bust Statue attributed to Adolfo Cipriani. Circa Late 19th Century. Measurements: 21.5" H x 10" W x 10" D.

Elegant polychrome plaster bust of a woman signed by Peter Ipsen, the renowned Danish manufactory celebrated for the quality and refinement of its artistic creations during the late ...

Antique statuary Carrara marble bust depicting a male in the classical Roman portrait style. Life-sized and beautifully carved in the purest of white statuary marble. The bust is of Sir Aubrey DeVere Hunt, 2nd Baronet (1788-1846), with stylized beard and wearing a Roman toga. Hunt was an Anglo-Irish...

In continuity with her signature explorations of the female form, Marcela Cure introduces a new sculptural memento that sheds light upon the mulling yet beauteous intricacies in woma...

For your consideration is this very attractive solid brass profile of an Art Deco female head surmounted on a stepped solid marble base. She dates...

IDEAL TERRACOTTA HEAD OF A WOMAN - GREEK/ROMAN SCULPTURE, 20th Century Portrait of an ideal woman from a Roman copy, 1st century AD The Roman copy was based on a Greek original from...

A very fine and large Italian 19th-20th century Carrara marble group "Allegory to Music" depicting five Bacchic putti musicians playing various instruments. The finely carved Palatia...

In continuity with her signature explorations of the female form, Marcela Cure introduces a new sculptural memento that sheds light upon the mulling yet beauteous intricacies in woma...

Now thirty, Sabattini moved from Blevio to Milan, where he found a small laboratory with all the essential tools of his Craft. His contacts with “Domus” became more frequent. This be...

THE COLLECTION This collection offers ideas for contemporary décor through sophisticated revelations of art bound to the tradition of ceramics of Caltagirone, objets d’art that combine history and design. The extreme attention to details, supported by twenty years of experience of master craftsmen, is the company’s strength. The production technique hides secrets and art mixtures that make the product unique and exclusive. Mosche Bianche chooses to combine art and design to recall history through ceramic artworks in doing so, history revives, as in a fairy tale, an incredible civilization that is the sicilian culture. The moorish heads in ceramics, tribute to the beauty of ancient Sicily...

Hermes plaster head A classical sculpture of the Greek god Hermes, the god of commerce. A beautifully weathered head. Crafted from plaster. Dimensions: 44H x 27W x 30D cm

Elegant marble bust depicting Mercury, known in Greek mythology as Hermes, carved in Italy during the 1950s. Inspired by the celebrated sculptures of Classical Antiquity, this refine...

Angel Botello sculpture "Denise". Made with bronze. Very decorative. Signed and numbered 6/6. Certificate. Circa 1970, Spain Angle Botello was born in 1913 in the small town of...

A pair of Greco-Roman style vintage bronze young satyr candle holders from the mid 20th century, holding circular vessels. Created with the traditional technique of the lost-wax (à la cire perdue) which allows for great precision and finesse in the details, this pair of bronze candle holders features two young satyrs with goat legs and floral garlands wrapped around their waist, raising their arms to hold a vessel. Often associated with Bacchus, god of grape-harvest, they are likely carrying wine-filled vessels. Showing perfect movement with their right paw lifted up, the other one firmly planted on a circular base, this pair of Greco-Roman style bronze...

Art Nouveau golden patinated bronze bust model/seal with acrylic base 'La Poésie' signed by Lecci, exhibited at the Salon des Artistes Français, Paris 1910 By: Lecci Material: coppe...

A sculptural ensemble composed of two neoclassical-style busts in white-painted ceramic, mounted on rectangular pedestals of the same material and finish. The figures, idealized repr...

Modern Flute Column, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. The Flute column is a bold statement of contrast and rhythm, bringing depth and character to a...

A fine Art Nouveau period patinated bronze bust of Diana, signed A. Falguiere, for Jean Alexandre Joseph Falguière, also known as Alexandre Falguiere for short, and stamped with the ...

Continental German (19/20th Century) bronze bust depicting a dignitary / military officer with prominent mustache, wearing several medals, mounted on a beveled black marble rectangul...

Clearly influenced by stylized Etruscan and African sculpture, this heavy-lidded female head is a classic example of Art Deco design. The artist was Jean de Marco...

Pair of English Regency framed ormolu portrait plaques of St. Paul & Socrates Exceptional quality and casting, beautifully framed with convex glass. Each plaque is mounted in a circu...

An Imposing fine and large French Art-Deco Spelter (Petit-bronze) figure of a standing semi-nude orientalist maiden in a brown patina, attributed to Louis Hottot (French, 1834-1905). The smiling young topless beauty, posing with her arms outstretched, her hair wrapped with a headscarf centred with a green art-glass bead and a scantily scarf tied around her waist, standing barefoot among tropical shrubs and flowers and raised on a circular mottled green marble base. A brass plaque reads "TYPHA", Paris, circa 1900. Louis Hottot was a French sculpture who mainly specialized in Orientalist female figures and other Orientalist subjects and themes, most of his works were produced in spelter. He exhibited his works at the Paris Salon from 1885 to 1898. Hottot is best known for his Orientalist-themed sculptures, including Almie du Caire, circa 1887 and Fille d'Egypte, circa: 1885. He was a member of the Socie´te´ des Artistes Franc¸ais. Literature: Les Bronzes du XIXe Siecle, P. Kjellberg, Les Editions de L'amateur, Paris. S. Richemond, Les Orientalistes...

Buste in relief from a young Roman emperor. On the head the emperor wears a laurer wreath.

This antique bust or figurative sculpture is unsigned by the artist, but is identified as originating from Italy and dates to approximately 1920 and done in the period Art Deco style...

Disko metal bust of a Fanø girl designed by Carl Emil Ruge for Just Andersen in the 1930s. * Disko metal bust depicting a young woman in the traditional folk costume of the Danish i...

Exceptional 19th-century marble bust of Antinous, executed by the Roman School and inspired by one of the most celebrated figures of Classical Antiquity. Carved in fine white marble,...

A very large and stunning hand painted French Art Deco necklace and/or camisole display mannequin bust of a chic woman. Her expression is not ...

Marble bust of a Middle Eastern gentleman with white marble turban sitting on a dark green pedestal with white veining. Some small chips to the backsid...

An antique Regency white statuary marble bust of a young Roman man. Dating to 1820, this is an impressive sculpture of a young man, wearing a Roman toga on a round socle base in Reg...

Pair of late 19th century Terracotta Busts featuring Orientalist figures, both busts wearing a headscarf and a necklace.

Whimsical French pantomime pierrot head or bust sculpture mounted on a stand by artist Ira Yeager (American 1938-2022). One of several Ira created from pain...

Pair Antique French Terracotta Busts Signed "Houdon" on Marble Bases, Circa 1860. Male Bust: 17 3/4" H x 9 1/2" W x 8 1/2" D Female Bust: 19 1/4" H x 10" W x 6 1/2" D

Bronze Thailand figurative buddha sculpture bust, 20th century with patina. Offered for sale is a large and substantial bronze Buddha bust from T...

Sculpture of Apollo in gilded bronze, 20th century.

Sculpture paying tribute to African women in a bust with traditional headscarf. The culture, symbolism and color of Africa are the sources of inspiration. The facial features of the woman depicted in this bust are exquisitely sculpted in matte porcelain while the headscarf is one of the most widely used and recognizable accessories in African clothing...

Exceptional pair of large antique (late 19th century) patinated bronze busts mounted on rouge marble bases depicting lovely female maidens after the original models by the French mas...

Female Wicker Sculpture, Made in Italy, 1970s.  Made of natural wicker and painted with white lacquer.  He has an elegant charm with this unique pose that gives him something bizarre...

Roman philosopher Lucius Annaeus Seneca the Younger, usually known as Seneca, was a Stoic philosopher of Ancient Rome, a statesman, dramatist, and in one work, satirist, from the pos...

Superb 1930s Art Deco large female nude figure made from underwired plaster, Totally authentic. This is NOT a modern reproduction . A lovely lady who...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - a fantastic quality and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble...

Porcelain sculpture inspired by the connection between humans and nature. This female porcelain bust portrays a woman in a pensive inner-looking pose. It reminds us of the essential ...

French bronze life size bust of a military officer in uniform raised on a square plinth (19th Cent.)

Elegant Carrara marble bust representing Juliette Récamier, the famous Lyonnaise socialite and emblematic figure of early 19th-century French society. This sculpture is executed aft...

Good plaster bust of the Venus de Milo. A good plaster bust of the Venus de Milo this is a good quality bust, it is made in plaster and has a good aged patina The Bust shows in...

This striking vintage bust of a youthful Marcus Aurelius is a masterful example of Neoclassical revival design. Crafted from high-quality cast marble, the sculpture captures the serene expression and iconic, deeply textured curls synonymous with Greco-Roman antiquity. The smooth, polished finish of the bust provides a sophisticated contrast to the heavily distressed black wooden plinth upon which it rests. This intentional juxtaposition of classical form and rustic weathering makes it an ideal statement piece for those who appreciate a curated, academic aesthetic with a hint of bohemian flair. Measuring 8.5" wide, 8.5" deep, and 14.5" tall, this sculptural head is perfectly scaled to anchor a curated bookshelf, an entryway console, or an executive study. It is in great vintage condition, displaying minor surface scuffs and an authentic patina that only serves to enhance its storied character. The distressed finish on the base adds a layer of historic depth, suggesting a piece that has been cherished across generations. Whether anchoring a traditional gallery or adding a timeless touch to a modern home, this Marcus Aurelius bust...

Bust of 'Marie Antoinette' After the original by Felix Lecomte Constructed in Carrara statuary marble, the bust of the Queen is set on a truncated ...

This pair of 19th century busts are after noted French sculptor Albert Ernest Carrier-Belleuse (1824 - 1887). The pieces are exquisitely detailed and depict the head and torso of a ...

Bronze character head bust in neoclassical style, after Franz Xaver Messerschmidt, based on an 18th century model. This sculpture represents a male head with a tense expression, deep...

Florence Fiore (American, 1905-1999 A from-life plaster bust of American poet Edwin Markham, circa 1930s. 17 inches wide by 11 inches deep by 17 inches tall Florence Reeve Fiore w...

Wooly Chaps, a cast bronze sculpture after American artist Frederic Remington on marble base. A variation of his most famous sculpture, The Broncho Buster, Wooly Chaps is filled with a tremendous dramatic tension and depicts a scene from the American Old West...

A plaster bust depicting a young man, signed at the bottom by Stina Edman

A Roman style gesso over plaster carved head of the god Jupiter on circular base. Emanating the grandeur of ancient Rome, this verist representation of the god Jupiter, intricately c...

Bronze resin sculpture depicting a Classical type female having long braided hair with her eyes closed. The piece is not signed. Acquired originally in London at the Fieldborne Galle...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

This is an antique portrait bust. A French, decorative bronze female statue, dating to the late Victorian period, circa 1900. Striking portrait bust with superb tonality and charact...

A striking and high quality French 19th century Louis XVI st. patinated Bronze and Ormolu bust of Pericles. This handsome bust is raised on a square Ormolu base below the tapered soc...

A graceful Italian marble bust depicting the Roman emperor Marcus Aurelius, finely carved in luminous Carrara white marble and dating to the late 19th century. The sculpture reflects...

Porcelain sculpture made in collaboration with the Nigerian artist Laolu. A conceptual creation with the personal stamp of a committed artist. This porcelain sculpture decorated with...

Master Italian Glass Artisan Ermanno Nason (1928-2013) created this smoked glass young female bust with ponytail sculpture in 1975. The only other example I found in my research was in his own gallery /museum, now temporary closed. Some minor surface scratches, mainly to bottom. Etched signature E. Nason '75 to base. Ermanno Nason was born in Murano in, from one of the oldest families of glassmakers on the island and appeared at his father Italo’s furnace at the age of ten. Ermanno left elementary school spending his time between the furnace and the school for Apprentices Masters “Abate Zanetti” (managed by Professor Vittorio Zecchin) and made his first experiences in more realities, including Pinzan & Cimarrosti where he was proclaimed Master at age of eighteen. In his youth, Ermanno also worked at the Mazzega I.V.R. collaborating on the great project of Egidio Costantini, which contemplated extraordinary artists of various types brought together: painters, sculptors and master glassmakers, to whom, in 1958, Jacques Cocteau gave the name of “Fucina degli Angeli”. This experience gave him the opportunity to start his personal search and the opportunity to meet with renowned painters and sculptors. Ermanno worked with all the greatest contemporary artists, from Marc Chagall to Oscar Kokoschka, from Pablo Picasso to Renato Guttuso, from Jacques Cocteau to Braque, from Jan Arp to Max Ernst, from Autun Motika to Alexander Calder. From 1953 to 1959 he was at I.V.R. Mazzega , assigned to carry out artists' designs for Egidio Costantini 's Fucina Degli Angeli , including ones by Georges Braque , Marc Chagall , Jean Cocteau , Pablo Picasso , and Gio Ponti. Around 1955 begins to collaborate with the Yugoslavian sculptor and painter Antun Motika, also the Kristal-Samobor glasworks in Maribor. Then he carried out designs by the painter Aldo Bergamini, which are exhibited in Warsaw in 1965. From 1958 collaborates with Fulvio Bianconi . During 1959-61 had his workshop in Murano Campo San Bernardo; continues for Bianconi, Costantini and Motika, as well as for Raoul Goldoni, among others. He has been partner in and designer at the Scarpa & Nason factory for utilitarian glass. From 1964 to 1971 he has been first master glassblower at Gino Cenedese . Makes works based on his own designs and in close collaboration with the leading designer Antonio Da Ros . In 1969 he carries out monumental glass sculptures...

This 20th century Polish plaster bust presents a compelling blend of classical influence and expressive realism. Modeled with careful attention to proportion, the sculpture depicts a...