Bronze Figurative Sculptures

A fabulous pair of architectural Art Deco figures, probably solid bronze, the woman with a water jug, and the man with stonecutter’s tools, each with flowing robes behind them, loose...

Large 19 century French Silvered Bronze Sculpture of a Spanish Cavalier. Apparently unsigned.

"The Mystic" is an enchanting cold-painted Art Deco bronze sculpture, part of the esteemed "Theater in Bronze" series. This captivating piece is numbered 357/375. The sculpture portr...

Bronze statuette of St. Jerome, or St Hieronymous, in the manner of the Venetian sculptor Alessandro Vittorio (1525-1608) by the lost wax technique of bronze casting, which leaves a ...

Khadim Diop, the Senegalese artist renowned for his bronze sculptures that adorn many private collections worldwide, has crafted two captivating and expressive pieces that showcase his mastery of the medium, a rare find in the market outside Africa! The first sculpture portrays a dynamic figure playing the Djembe drum...

A charming early 20th Century Art Deco cold painted bronze figure of a young girl in period attire standing holding a hoop behind her back , raised on a shaped marble plinth and sign...

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

Signed Clodion "Bacchanalia" patinated bronze sculpture from the 19th century. This exquisite piece was cast by the renowned Raingo Freres foundry, known for its high-quality bronze ...

This is a fine antique pair of French Grand Tour patinated-bronze sculptures of the Marly Horses, Circa 1850 in date and signed to one base. The original Marly Horses were commissi...

This is an extraordinary black bronze sculpture of a male Muay Thai fighter t by artist Dean Kugler. Attention to detail and complete understanding of the hu...

Grand Tour 19th century bronze sculpture of Narcissus after the original found in 1862 at Pompeii. When first found in Pompeii it was identified as Narcissus. Years later it was identified as Dionysus. Mounted as a lamp. Early 20th century. Beautiful marble finial.

A very cool set of three 9.5" tall bronze Japanese geisha figurines, circa 1960s. The pieces are very heavy and solid and have a gorgeous dark patina; they would make a great mid-cen...

Green patinated bronze sculpture of an archer by Michel Decoux (1837-1924). This petite Art Deco sculpture beautifully captures the elegant formal language of the period. Crafted in ...

After Frederic Remington (American, 1861-1909), The Buffalo Signal, cast bronze signed in the base, on a black marble plinth with brass Remington Art Museum plate. This is a genuine ...

Unique table crucifix and a wonderful work of religious art. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from th...

This German nude strongman archer is one of the finest examples of a nude male figure that I have seen in my 50 years of selling antique bronzes. His musculature is perfect and rema...

This pair of French chenets from the Early 1800s is a stunning example of Egyptian Revival design. The chenets feature a stately dark patina bronze sphynx...

The nude from Ancient Roman art is a conceptually perfected ideal person, each one a vision of health, youth, geometric clarity, and organic equilibr...

Grand tour circa 1860s bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers...

Stylized Art Deco standing sculpture of Jesus Christ (may be influenced by Christ the Redeemer "Cristo" in Rio de Janeiro, Brazil) by Austrian desig...

A wonderful example of a hollow-cast bronze octopus. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to...

Good size and remarkable, antique bronze and brass five-arms snake pendant light. This rare and remarkable five-light chandelier is yet another recent great find and offering such a piece in our gallery always is a point of pride. Step into a world of timeless craftsmanship with this breathtaking antique bronze snake chandelier...

This is a Girl with Wheat bronze sculpture by Hippolyte F. Moreau. He is famous for his bronze statues of young women. He is also the son of another renown French sculptor named Jean Baptiste Moreau. It depicts a young lady with long curly hair who is dressed with a see-through robe. She is holding a basket of wheat with one arm and some branches of them with the other one. She appears to be in the countryside and is observing a pair of doves that are on the ground. The bronze sculpture is standing over two...

OPPOSING PAIR OF BRONZE FIGURES Form our Bronze Sculpture collection, we are delighted to offer this French opposing pair of Bronze Figures Allégorie du Printemps by Ferdinand Barb...

This is a truly stunning large bronze 'Lady Justice' statue set upon a bronze base, dating from the late 20th century. This high quality bronze was hot cast using the 'lost wax' pro...

Art Deco bronze sculpture nude girl with dove by Henry Arnold. Première offrande. With foundry seal & signature Susse Frères éditeurs Paris. France 192...

Beautiful tall bronze & marble base by listed artist Charles Renee Masse, signed title Jeune Arabe, this piece its part of a series that have many auction results. Signed dated " Ch....

'Bohemienne' An Art Nouveau bronze sculpture by Emmanuel Villanis (1858-1914), depicting an elegant young woman holding a lyre with her other arm raised behind her head with robes fl...

Emile Henri Laporte (French, 1858-1907) "King of the Gauls and his Son" also known as "Vercigentorix with His Son" Patinated Bronze Sculpture, late 19th century, depicting the King o...

This beautiful Art Deco figural sculpture of a female dancer made in France during the vibrant Art Deco era of the 1920s, captures an Orient...

This work, cast in the last quarter of the 19th century, is a type of souvenir called GRAND TOUR, the great trip that many Europeans made as the last educational trip that brought th...

This exquisite bronze bust represents a child from the late 19th century, capturing the essence of the period's artistry and attention to detail. Crafted with remarkable precision, t...

Victor Heinrich Seifert (1870–1953). A finely detailed bronze sculpture of a young nude woman holding a fishing spear by the German-Austrian sculptor Victor Heinrich Seifert. The s...

A beautiful, brightly gilded bronze statue of Tibetan Bodhisattva Manjushree. Seated in vajrasana on double lotus base, his right hand holding the sword of wisdom and his left hand i...

At the base of a staircase, or in front of a fireplace, the silhouettes of this pair has a lifelike quality. Pharaohs light the way from atop their geometric base. The bronze Egyptian-style statues will dominate the entryway and the conversation. The silhouettes are stunning, on or turned off. The Art Deco style parcel verdigris bronze figural floor lamps...

A vintage Greco-Roman style bronze nude statue from the 20th century with verde patina and wooden pedestal base. Created with the traditional technique o...

Surrealistic Pomme Bouche brooch by Claude Lalanne, created in 1975. Bronze with a dark brown patina and a verdigris leaf and stem, signed with editions mark and monogrammed Arthus-B...

Representing the mythical figure of a foo dog, this incredibly ornate figure packs detail and beauty in a compact form. Beautifully patinated piece from the 1940s. Four character sea...

A remarkably fine example of Archaic sculpture.  A figure of a discophoros, or discus bearer, standing with his right leg forward, gripping a discus in his right hand, the left arm raised with an open palm. Described with admiration in Münzen und Medaillen's 1961 auction, "The figure is a masterpiece and illustrates with rare vividness the essence of good Etruscan sculpture...

At once strong and sensuous, this large bronze of a fully nude triton figure, his right arm raised high with his trident, ready to strike, was sculpted in the 1920s by Hubert Netzer....

Shot-putter in bronze, Italy, circa 1930

Large bronze sculpture by Auguste Moreau, 19th century, Napoleon III period. Bronze sculpture of a young woman with a bird by Auguste Moreau, red marble base, Napoleon III period, 1...

A well cast vintage Khmer, Angkor Wat style, bronze head of Shiva, circa 1970's, Thailand. Shiva, the Hindu god of creation, change and destruction, is identified by the third eye in the center of his forehead. His highly stylized face features alluring almond shaped eyes, a flattened nose, and broad mouth. Shiva is adorned with ornate earrings and an elaborate crown. The heavy earrings...

Sir William Hamo Thornycroft (British, 1850-1925) A Patinated Bronze Statue Of Teucer The standing figure of the male nude holding his bow in his outstretched left hand, raised on a...

MAGNIFICENT! BENIN OBA 19TH CENTURY BRONZE WARRIOR SCULPTURE! SUPERB EXAMPLE OF OBA METALWORK! DIMENSIONS: APPROXIMATELY 13" TALL CIRCA 1860-1900 Offered is a rare 19th cen...

This beautiful young woman is a fine example of the creations of the noted French sculptor, Emmanuel Villanis (1858-1914). You will find his works to be predominantly art nouveau wo...

1980s Bronze Buddha Sculpture.

Great female statue of Judith in bronze with brown patina and white marble from Carrara. This young woman holds in her hands, stretched over his head, a scimitar in its scabbard, ready to draw it. The weapon is fitted with a hilt decorated by a stylized lion on the top of the sword guard...

20th century Indian sculpture. Bronze object depicting an Indian deity of small size. Bronze richly finished with numerous details, in beautiful patina....

Art Deco bronze panther sculpture by Georges Lavroff. Signed G. Lavroff in the bronze, on a Belgian Black marble base. France 1945. This panther is illustrated in the book: George...

Art Deco figure lamp, showing a seminude bronze female figure standing on a podium and leaning towards a frosted glass screen. The figure can al...

Although America's sculptors interested in African American life and Black subjects, including Elizabeth Catlett, Richmond Barthé, Sargent Johnson and ...

Beautiful miniature version in gilt bronze of one of the most famous Belgian monuments and the symbol of the city of Brussels. 'Manneken Pis'. On a marble plinth. Stamped on the back...

Rare Mid Century "Gemini" Zodiac sculpture by Fred Press, bronze.

Finely detailed antique bronze of three Chinese figures with a wonderful patina. A beautiful and bold conversation piece for any home. Measures: 7 3/4" H x 5" W x 2 3/4" D Delightfu...

An attarctive early 20th Century Art Deco cold painted bronze figure of a young dancer in a striking pose holding her arms out with her leg raised wearing an all in one. The bronze e...

20th century Indian sculpture. Bronze object depicting an Indian deity of small size. Bronze richly finished with numerous details, in beautiful patina....

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Maitland-Smith bronze sculpture depicting the Goddess of Peace, Aurora, after Jules Felix Coutan. The winged figure is adorned with a helmet and holding a sword, mounted on a marble ...

Clearly influenced by the geometric forms and exaggerations of French Cubism, this rare and striking bronze presents an African mother nursing her child,...

Large and remarkable, phoenix arms, five-light chandelier with unique, stylish and multi-colored alabaster shades. This rare and stunning antique chandelier is made in France and it embodies everything that European craftsmanship stood for in the early 1900s. With all its ancient and less ancient châteaux, its many Gothic churches and with all the monasteries, France is the country where most of the European Gothic Revival art and antiques were created. This sizeable, Medieval style chandelier is very impressive for two very good reasons. First of all, the design is unlike anything you ever saw. The five large and flying phoenix sculptures with their detailed wings, their long necks, their fierce looking heads and their pointy-flame-tails truly make this chandelier a work of lighting art. Secondly, when you realize that this chandelier is entirely handcrafted and put together with bronze parts only then you get an idea of the workmanship that it took to create this work of art. To make it even more impressive and special, this antique bronze light fixture...

This highly detailed casting of an American Indian was done by one of the noted artists of the old American West, Carl Kauba. The figure also shows off Kauba's attention to detail ...

Venancio Blanco (1923-2018) was a Spanish sculptor. His work is dedicated to bull, horses, and their rider. The title of this work is "Ride it" It is signed and numbered 2 on 6. It...

A Large Figural Bronze Sculpture of Salammbô By Marcel Début The patinated figure representing the character from Gustave Flaubert's titular novel Salammbô, as evidenced by the cart...

A highly coveted Franz Bergmann Vienna Cold Painted Bronze Figure of an Arab Snake Charmer on an alluring carpet of alluring colors and patt...

This very detailed Vienna bronze was made by the premier foundry of this genre, Franz Bergmann, and does bear his seal on the underside of the rug. The man praying is delicately pai...

A stunning sculpture of a cherub holding a cornucopia, after Auguste Moreau. French, early 20th century. At 35" high, this is a beautifully substantial bronze in excellent condition....

The lion-headed deity seated on round base over a stepped platform. Lakshmi seated on his left thigh, his principal hands holding a mace and lotus bud and upper hands holding a chakr...

An extraordinary and wonderfully rendered 19th century Italian cast bronze depicting a seated Hermes, the Greek god of messengers, travelers, and merchan...

Great sculpture after the antique "The danicing faun of Pompeii". Made in bronze with beautiful details.

American bronze figure on horse gong down a steep incline on green oval-shaped base (later 20th Cent.recast of "Mountain Man" by Remington) Condition: Good; Wear consistent with age...

Rare bronze "Crest of the Wave" (1925) Beaux Arts style nude sculpture by Harriet W. Frishmuth and produced by Gorham Co. Founders. Signed.

Well Made Cold Painted Orientalist Merchant Sculpture, attributed to Hans Xaver Bergman, Vienna, Austria, circa late 19th Century. It is stamped "Austria", see last photo. Excellent ...