Metal Figurative Sculptures

Elegant Art Deco style sculpture of a woman with hoop signed by the French artist C. Charles, cast at the Max Le Verrier foundry. The art metal sculpture has a lovely green patina an...

The sculpture is modelled as a nude man and woman embracing, 35cm high, each signed R Cameron Like Asian Yin and Yang, this large sculpture merges masculine Renaissance and mythologi...

Art Deco style sculpture woman with spear AMAZONE signed by Fayral, Pierre Le Faguays for Max le Verrier. Patinated Art Metal. Black marble base. Design 1930. Posthumous contemporary...

A wonderful Mid-Century Modernist Abstract sculpture of a female figure in the style of/attributed to renowned South African sculptor/ artist Sydney Kumalo...

This rare and damaged copper repoussé relief 18 people in erotic play involving French soldiers of various rank and state of undress. The artwork has a horizontal crack across the center of the scene. The relief is backed by a sold bronze...

Art Deco style sculpture of a dancer with ball Jeu signed by Max Le Verrier. With the Le Verrier foundry mark. Design 1930. Posthumous contemporary cast of the Le Verrier foundry. ...

1758 Bronze golfing sculpture made of bronze on wood base in a full backswing positin.

This late 17th-century Portuguese Baroque sculpture in polychromed wood depicts the Madonna holding the Christ Child, carved with exquisite detail and spiritual grace. The Virgin is...

A fine quality therapeutic musical automaton clown toy in wonderful vintage condition. Features porcelain head, hands and feet. Made in France during the ...

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 ...

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...

The beautiful bronze sculpture is of The Tibetan Amitayus, the Bodhissatva/Buddha of infinite life. Adorned with necklaces, crown and sashes decorated with rosettes, pearls and medal...

Falconer on horseback after the original model by the French master, Pierre Jules Mene (1810-1879), measuring 28 in tall, 29 inches wide and 9 in deep.

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 ...

Introducing the breathtaking Bronze Sculpture by Antonio Kieff Grediaga, Signed & Numbered 1/6. The piece is titled "Sombra" or Shadow. This extraord...

A beautiful art deco merman sculpture, designed by Just Andersen in 1930s and produced by his own company in Denmark. Made from Disko metal (an alloy of different metals invented by ...

the first was modelled as a female nude with a robe draped over her shoulder, 44cm high, signed R Cameron Like Asian Yin and Yang, this large erotic sculpture merges masculine Renais...

Known for his steel furniture, Jim Rose was an avid collector and scoured salvage yards for unique, interesting items. Here he has paired various repurposed finds together to create...

In an era when artists were capturing the exoticism and athleticism of modern dancers, such as Richmond Barthé's depiction of Féral Benga dancing with a large, curved sword or Paul Colin's drawings of Josephine Baker with her skirt of bananas, this sensuous presentation of a nude male dancer with a long spear stands out. The bronze was sculpted in 1926 by Brenda Putnam, who is best known for a series of bronzes showing children at play, often placed in gardens and parks. However, Putnam was ambitious to do more, leaving academic sculpture behind as she collaborated with architect Paul Philippe Cret to create the Puck Fountain for the Folger Shakespeare Library in Washington, D.C., executed a number of portraits in bronze, exhibited at the 1932 Olympics in Los Angeles, and created "The Crest" -- consisting of a a large male nude swimming...

Franz Bergman - Vienna Egyptian Bronze Female Nude in Sarcophagus Erotic Ca1900 A patinated and gilt bronze metamorphic figure of a 'Nuremberg Iron Ma...

A rare and superb depiction of modern dance in the era of the Ballet Russe de Monte Carlo and modern dance pioneers such as Martha Graham, this figure of a modern male dancer, his ar...

Striking and detailed bronze relief sculpture from Benin, now known as Nigeria, in Africa. This piece was modeled after ancient Benin bronzes, but is from the 20th Century. The intri...

1930s Art Déco chryselephantine bone and bronze mounted knight sculpture with marble base by Alexandre Kéléty, France By: Alexandre Kéléty Material: bronze, bone, marble, stone, met...

A late 19th Century 'Grand Tour' bronze sculpture by Isaak Duchemin. After the original by Massimiliano Soldani (1656-1740) which can be found in the Tribuna of the Uffizi.

Vintage solid brass unicorn sculpture circa, 1970s. The piece is in good vintage condition with a great patina and measures 3"W x 5.5"D x 7.5"H. Super co...

Wonderful abstract bangle cuff. All in enameled chromium metal by Pierre Cardin haute couture - iconic and sculptural, this bangle is from the height of Cardin's creative output, 'Fu...

Edouard Drouot (French, 1859-1945) "Daphne" Patinated Bronze Sculpture, late 19th century, the standing nymph clad in reeds with flowing hair and upholding branch, on conforming base...

This is a stunning antique pair of patinated bronze reclining Classical semi-nude sculptures of young ladies mounted on carved marble bases, circa 1880 in date. These exceptionally ...

Perseus or the Birth of Pegasus: large group in patinated regular representing Perseus and the winged horse Pegasus Large sculpture signed E Picault and bearing the mention 'Salon d...

A beautiful Art Deco Revival sculpture of Diana the Huntress with Hounds, after Josef Lorenzl, dating from the 20th Century. The decorative sculpture of silvered cast-bronze features a naked Diana the Huntress, with bow and a pair of hunting dogs, standing on a sloping naturalistic base raised on a rectangular black marble plinth. This high-quality hot cast solid bronze was produced using the traditional "lost wax" process, otherwise known as the "cire perdue" method. This is a splendid bronze sculpture and it will no doubt become the centrepiece of your collection. Condition: In really excellent condition, please see photos for confirmation of condition. Dimensions in cm: Height 30 cm x Width 11 cm x Depth 18.5 cm Weight 3 kg Dimensions in inches: Height 1 foot x Width 4 inches x Depth 7 inches Weight 6.6 lbs Josef Lorenzl (1 September 1892 – 15 August 1950) was an Austrian sculptor and ceramicist of the Art Deco period. While at the Vienna Arsenal, Lorenzl produced many bronze and chryselephantine sculptures, and captivated by the female form he became famed for his shapely dancing girls with long, elegant legs and closed eyes. These pieces of his were signed "Enzl", "Lor", "R. Lor", "Renz" or "Renzl". Occasionally the name "Crejo" appears on his pieces, Crejo having been a painter and one of Lorenzl's friends, and who sometimes applied colour to the pieces. These joint works are sought-after items. The large majority of Lorenzl's figurines were attached to Brazilian green onyx plinths. Lorenzl's talents also extended to being a gifted ceramicist. He produced pieces for Goldscheider, working from a studio on company grounds. As with his chryselephantine pieces, his ceramic works were in great demand and became the embodiment of the Art Déco period. Famous amongst these is "The Butterfly Girl" after the famous dancer Niddy Impekoven...

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 ...

Pair of table decorations, of metal, having a distressed finish, each fashioned as a leafy pineapple, set upon a classical fluted urn, on round foot and square plinth. Can be made in...

Signed cast bronze sculpture by Irma Stoloff and numbered 236/300. Having textured finish figurative abstract sculpture of a upright Jazz bass player resting on painted wood base.

Model supersonic concorde aircraft with structure and base in polished aluminum.

After Etienne-Maurice Falconet (French 1716 - 1791) La Baigneuse (Bathing Woman, The Bather) Patinated Spelter sculpture of Diana at the well. Signed and dated 1765 Measures 6" in w...

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

A stunning antique French art nouveau bronze sculpture of the personification of night (La Nuit) (woman sitting on a moon with a star crown) by Henri Louis Levasseur (1853-1934), sig...

18th century Italian crucifix with gold-plated kyanite, calcite crystals in matrix, and baroque pearls. The crucifix is originally from a church in Liguria. It is hand-carved and pai...

A lovely bronze antique sculpture of a fisherman after the antique excavated in Naples in the early 19th century. These Grand Tour Souvenirs were extremely popular in the 19th and ea...

Midcentury Swedish fireplace screen by Olle Hermansson for Husqvarna. Note. This screen is wall-mounted, unlike the freestanding ones. A cast...

This exquisite 19th-century French bronze sculpture captures the essence of rural life through the figure of a young peasant boy. The boy is depicted with a charming, rustic appeal,...

Unique and highly decorative wall coat rack with at least ten hooks. One of the main reasons for people wanting to own antiques is for their decorative appeal and this hand-crafted work-of-art wall rack certainly fits that bill. This good condition wall coat-rack with the finest quality cast iron wall hooks...

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...

High quality bronze sculpture signed Hedy Miller 92'. 1/9. Heavy bronze bust mounted on a marble base, the base measures 10 1/4'' wide by 9 1/8'' deep by 2'' tall. Unknown subject o...

Impressive pair of Art Deco figural table lamps of a standing nude holding a glass shade, Lumina. H. 65 cm or 25.6 inch tall. Designed by Max Le Verrier in France, 1928. Original pos...

Rare Large Edition of "Clarté" by Max Le Verrier – A True Art Deco Masterpiece Discover an extraordinary and exceptionally rare large edition of "Clarté" by the legendary Max Le Ver...

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....

Sculpture circa 1920 in spelter entitled "The Wounded Bird". Executed by Hippolyte François Moreau. Signed H Moreau. Small chip on the marble, see on the l...

A group of three fruit sculptures by Monique Gerber, French sculptor, ca' 1970's. Done is solid patinated bronze. Each one signed with engraving.

Carl Auböck model #3603L large brass and leather bell. Designed in the 1950s, this incredibly refined and sculptural bell is executed in polished brass an...

Boleslaw Biegas was one of a large number of Polish artists working in fin-de-siecle Paris. There he found a more kindred artistic environment in which...

A monumental nude sculpture of a femme torso in bronze by Hattakitkosol Somchai, signed, circa 1970. A striking rarity of Somchai’s oeuvre, this piece stands at nearly twenty-six inc...

Bronze by Max Le Verrier that makes a great key holder/vide-poche. The balance symbols are absolutely beautiful, they represent the Libra zodiac sign as is indicated on the bottom...

19th Century Fernando De Luca, After Furietti, Bronze Centaur Sculpture is a fine example of the Grand Tour tradition. Furietti, an Italian sculptor, was known for his skill in creat...

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 set of 3 strong and spectacular plants in pots, contemporary brutalist sculptures, unique pieces by artist ESOJ, France 2020. These pieces allow to be presented independently, as well as together (recommended) allowing various esthetic compositions. They are made to be set up indoor as radical sculptures, as well as outdoor on a terrasse or in any garden or even wild nature to create a trouble illusion between wildness and modernity. We represent ESOJ and organized his exhibition "Metal Spirit", November 2022, in our gallery in Paris, and this unique piece was presented during this event. Esoj's work is rooted in a direct link to daily life, to the visual value of consumer objects. Whether they are elements of nature or products of pop culture, he fixes them in the metal to give them a definitive appearance, a form of immortality: a box of opened chocolates will be there forever, nothing will not erase Mickey's sluggish smile, nor his middle finger; a succulent plant frozen in iron will no longer need water... A parallel world under construction, a world of avatars springing from a metallic quintessence which confronts man with himself, with matter, with progress, to the flow of time. Beyond their symbolic force, Esoj's sculptures express as much the visceral gesture of the artist in a world losing meaning, as they catalog his universe in a subjective archive. For his first collaboration with us, Esoj looks away from his Barbie dolls, Playmobils and bags of M&Ms, to sketch a sort of return to Nature and vibrate an ancestral wisdom evident in his new series of cacti, succulents, vases and masks murals with shamanic connotations. A wisdom that he draws from his Portuguese origins, this saudade: “tension between opposites, on the one hand the feeling of a lack, on the other hand the hope and the desire to find what we lack”, embodied here by a particularly inhabited desert; where cacti are next to agaves, aloes, prickly pears, plants which are certainly ornamental but also hallucinogenic and healing, sometimes fatal; where the series of containers suggests an almost medicinal link between these inert objects, even more obvious in the wall piece inspired by Korean shaman...

A patinated bronze sculpture after German sculptor Otto Schmidt Hofer (1873-1925). Titled, "The Enemy Below." A figural work featuring a handsome nude male Greek...

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.

Art Deco sculpture nude dancer Tourbillon by Fayral, pseudonym of Pierre Le Faguays. Cast at the Max Le Verrier foundry in Paris, ca. 1930. The Art metal sculpture has a green patin...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Elevate your living space with this exquisite mid-century modern sculpture, standing at an impressive 118 cm in the style of Karl Hagenauer. Crafted from a harmonious blend of brass ...

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

Fine French orientalist bronze statue of David after the battle with Goliath by Antonin Mercie. This subject received the Medal of Honour when it was shown at the Paris Salon des Beaux Arts. Late 19th century. 42" high. Please, contact us for shipping options. Presented by Joseph Dasta Antiques Antonin Mercie(1845-1916) Mercié entered the École des Beaux-Arts, Paris, and studied under Alexandre Falguière and François Jouffroy, and in 1868 gained the Grand Prix de Rome at the age of 23. His first great popular successes were the David and Gloria Victis, which was shown and received the Medal of Honour of the Paris Salon. The bronze was subsequently placed in the Square Montholon.[2] The bronze David...