Metal Figurative Sculptures

Ashanti cast bronze ceremonial staff top in the shape of a hoe with 3 cast turtles, from Ghana. It is in good condition with a deep patina and polish from traditional use, appropria...

Created in 1969 by the renowned artist Oskar Bottoli, this small cast bronze sculpture captures the timeless allure of the female form. Depicting a standing nude woman, the piece ex...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

Gilt brass sculpture on stand, depicting a celebrating cowboy on a wild horse with great patina.

A functional mirror for a dressing room, or wooden masks and sculpture for your living or your entrance. The drop-shaped mask Bikita is made of solid beech wood stained Canaletto walnut, with a brass element on the mirror. The base is an iron stand black lacquered, but upon request it is possible to have a metal wall hook. The project Wise Mirrors recalls the 3 Wise Men...

After Henri Lechesne (French, active 1869-1878) "Heron and Monkey" Patinated Bronze Sculpture, late 19th century, depicting a monkey riding a stork on a rounded rectangular base cast...

No idol in China is more widely worshiped than Caishen, the God of Wealth. His shrine can be found in nearly every home, his image set beside ancestors a...

Large bronze sphinx. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL Tags: Grande sfinge in bronzo 94 cm. Gran esfinge de bron...

Spanish school of the sixteenth century. "Saint Paul". Carved and polychrome wood. Devotional image of a round piece carved in wood, polychrome and gilded, representing the Apostle ...

After Franz Bergman Vienna Austria bronze with original patina finish to the bronze Buddha. Open the Buddha to reveal a cold painted gold nude female...

We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All ...

Featured a beautiful silvered bronze sculpture of Tibetan Tara with an recumbent goose. The Tara is decorated with flowers, lariats, ankle bracelets and cuffs. She wears an elaborate...

An exceptional and most charming true pair of French 19th century Louis XVI st. ormolu and Rouge Griotte marble statues. Each statue is raised by a Fine circular Rouge Griotte marble...

Fine cast bronze figures created over 400 years ago during China's Ming dynasty are rare and highly appreciated. In this exceptional example, a spirited young boy stands on a lotus b...

This unusual pair of sphinxes resting upon rocky large bases are French we believe. Modeled and cast around the time of Carter's discovery of the tomb of Tutankhamun and showing some...

Depicting the armored and mounted Joan rising over a fallen soldier and horse. Signed 'Th. Gechter'.

Miniature in solid 800 silver reproducing D'Artagnan The miniature was made of solid silver with the fusion technique and subsequently finished with a chisel. The final finish was in natural, burnished silver and with 24kt gold details. Marble base By Geca Silversmith - MIlan - Italy for ARVAL ARGENTI VALENZA Silver statuette representing Charles de Batz-Castelmore, comte d'Artagnan. In 1630, aged about 20, he went to Paris to join the French Guards on the recommendation of a relative of his mother, the lord of Tréville, who also appears in Dumas' novels as his protector . It was at this time that the young Charles decided to adopt the surname d'Artagnan, that of his mother's family. The paternal branch in fact belonged to the bourgeoisie, and Charles preferred to use the surname that would have given him more prestige. Thus it was that the royal d'Artagnan did 15 years of military service until Cardinal Mazarin...

Natural bronze tree midcentury 1950s garden wall sculpture measuring 48 inches high by 39 inches wide by 1.25 inches in depth. Lifelike tree form sculpture of tree...

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...

Alexander Kosolapov (Russian/American, b. 1943) "Mickey Lenin Malevich" Bronze sculpture and wood base ( inspired by Malevich Arkhitektons) Provenance : Galerie Vallois Expo sept/oct. 2010 Model Presented at the exhibition 'Alexander Kosolapov: Lenin and Coca-Cola' at the Moscow Museum of Modern Art. (29 Nov 2017?—?11 Feb 2018 Bronze with a golden brown patina, height 39 cm,H with “Malevich base” 132 cm Signed "A. KOSOLAPOV" and numbered ? on the bronze base on the reverse, title provided by the artist Condition: Bronze perfect, small dirt on the base (certificate of authenticity provided) N.B. Alexander Kosolapov's sculptures, paintings, and prints provoke harsh criticism, sometimes censorship, and often humor. His jokes are not partisan—they poke at both Russia and the United States. He appropriates imagery from Soviet history, pop culture, religion, and art history that he combines in often subversive ways. Taking a cue from Andy Warhol, Kosolapov delights in iconic symbols of American consumerist culture. For Kosolapov, these include Mickey Mouse, Marlboro, and Coca-Cola, images of which he links with political and religious figures central to Russian culture, including Stalin, Lenin, and Christ. He never forgets his place in the continuum of art history, often including some nod to artists who preceded him. In Mickey-Lenin, the major players are obvious: Mickey Mouse and Vladimir Lenin, and the connotations come easily: East-West, Russia-United States, communism-capitalism, good-evil, and high-low. Kosolapov modeled the figure's body after statues of Lenin by the Soviet sculptor Nikolai Tomsky, and its pose is that of a classical Roman figure sculpted in the traditional medium of bronze. Kosolapov developed the idea for Mickey-Lenin shortly after immigrating to the United States in 1975. He found the discarded plastic head of a Mickey Mouse toy, took it home, and placed it atop a small sculpture of Lenin that he kept on his desk. Kosolapov identifies with a movement known as Sots Art. Developed in Moscow in the 1970s by the art duo Komar and Melamid, Sots Art (an abbreviation of "socialist pop art") reacted against the conformist...

Ivan Avoscan, French sculptor (1928-2012) Bronze sculpture, concrete composition. Made of reddish brown patinated bronze. Signed Avoscan. France, late 20th century.

Boldly and brilliantly sculpted in high relief, this depiction of the classic symbol of the Zodiac sign of Virgo. A nude female figure with a sheaf of wheat -- was sculpted by Paul M...

Sculpture Gatsby car all in casted aluminium in polished finish with solid polished brass details. Exceptional piece in limited edition, available on order.

This fascinating bronze sculpture depicts a male head with an expressive and deeply classical face, characterized by thick hair and a beard sculpted with great detail. This is a pati...

This set of two Art Deco nickel-plated Jazz Band sculptures, comprised of an upright saxophone player and a seated drummer, is crafted by Austrian artist Franz Hagenauer. The archite...

Title: Pair of Bronze Sculptures of the Kore of Peplos - Early 20th Century with Modern Bases Product Overview: This exquisite pair of bronze sculptures is a faithful reproduction o...

Sculptural lacquered steel seated figure. Condition as shown with heavy wear. Looks great as a shelf piece, bookend or doorstop. Great style perfect for the post-modern home.

Two almost life-size cast iron statues with great depth of detail and bronze-colored patina. Dimensions left: 153 x 60 x 40 cm Dimensions right: 154 x 50 x 40 cm The statues most likely depict central heroes of the Nibelung saga. The statue on the left is depicted with a bear on its helmet, which means it is probably Dietrich von Bern. This suggests that the hero on the right is Hagen, whose helmet is crowned with a swan. In the Song of the Nibelungs, Dietrich of Bern battles Hagen of Tronje and Volker of Alzey and defeats them both. Julius Schnorr von Carolsfeld's (1794-1872) interpretations of the Song of the Nibelungs in the frescoes of the Munich Residence combine the two characters from the literary source with this variant depiction as German knights...

After Giambologna (Jean de Boulogne, Italian, 1529-1608) "Rape of the Sabine Woman" Patinated Bronze Sculpture, French, late 19th century. 42.5" H x 12" W x 12" D. Note: This bronze ...

Step into timeless charm with our Vintage Boho Brass Victorian Boot. This ornate piece combines Victorian elegance with bohemian flair, making it a unique and stylish accent for any ...

This miniature relief portrait of King Ludwig I. of Bavaria is made out of chased silver. I has been executed by Ludwig Leigh and is signed L.Leigh. The po...

Bronze old car Alfa Romeo.

This fascinating antique wooden statue depicts the Taoist God of Literature and Culture, Wenchang Wang. The statue was likely hand-carved in China in the 1700’s, but it is quite possible that it predates the 18th century. An iron stand has been added to the back more recently, although a portion of the back is excavated, indicating that the statue was once part of a larger installation. Wenchang has been posed in a seated position with his hands clasped in front of his body, which is a common representation of the god in artwork. The hands have a shallow incised section, indicating that Wenchang once held an object. Based on other statues and drawings of Wenchang from this time, it was most likely a hu scepter that once accompanied the statue. Wenchang is clad in an ankle-length robe and a ridged headdress. Although the statue’s color is predominantly natural wood, very old traces of polychrome can be seen throughout the piece indicating that it was once vividly painted. In China, those who study hard, and test well are often rewarded with high-ranking civil service jobs. The common belief is that Wenchang guides these scholars, leading many to seek his assistance. A statue of this size indicates it could have once been commissioned for a Chinese temple. Today, our wooden statue of Wenchang Wang would make a perfect piece of art in a study or library. It would work well with any contemporary interior, or with an interior displaying other very old Chinese artifacts...

Viennese Orientalist cold-painted bronze figurative lamp Austrian, c. 1910 Measures: Height 36cm, width 13cm, depth 16cm This fine bronze l...

Small tinplate bar, with a bar lady, and a dandy customer in front of the bar. Drinking a cocktail together. So much details in this little scenery, 1950s.

Vintage Jose Dunach Bronze Lady Golf Figure. A very nice French Art Deco style sculpture of a lady golfer mounted on a round naturalistic base, the golfer ...

Beautiful vintage Murano hand blown Summerso orange, green and gold flecks Italian art glass bird sculpture. Created in the manner of designer Alfredo Barbini. The pheasant, or roost...

An endearing early 20th Century gilt and patinated bronze study of a naked beauty stood beside a deer with excellent colour and hand finished details, raised on a marble base and sig...

Leon Bronstein's work is intimate, elegant and graceful. A sculptor of remarkable talent, he explores the power and beauty of relationships, magically transforming the human figure i...

Art Deco style sculpture nude dancer with scarf Bacchanale by Janle for Max Le Verrier. Patinated art metal on a black marble base. Signed & with foundry mark. France. This sculpt...

Pair of French 19th-20th century baroque style patinated bronze figural chenets (Andirons). Each chenet topped with a cherub standing on a stand flanked by styrs and royal goat-heads...

A handcrafted group of Frog Musicians, sitting on a bench and two chairs. There is some loss to paint. Otherwise they are very well done.

A unique and highly decorative pair of Brutalist style swan statues in bronze both in a takeoff position. The wings are finely. Carved displaying amazing d...

'Bacchantes', a fine patinated bronze figural group after Claude Michael Clodion, French (1738-1814). French, circa 1870. Signed 'Clodion' to the base and inscribed 'BACCHANTE...

1930s Art Déco cold-painted chryselephantine bronze and bone woman sculpture by Roland Paris, France By: Roland Paris Material: bronze, copper, metal, bone, paint Technique: cast, m...

Unique bronze figurative profile plaque by Thom O'Connor, circa 1966. The piece is in good vintage condition and measures 6"w x 2"d x 8.5"h. It is numbe...

Pair of German 800 silver cast historical figurines, ca 1910. The man in doublet and hose and feathered helmet gestures dramatically. The woman in loose and draped gown stands in a p...

A wonderful bronze of a seated Venus and Cupid. Modeled with a recumbent Venus attended by Cupid on an oval plinth in the manner of Albert-Ernest Carrier-Belleuse. With finely...

A young nude woman on her knees. Cast in bronze and patinated in dark brown. Signed "Berggren". Sigge Berggren (1911-1968) was a Swedish sculptor ...

These fine and large French candelabra date from the Empire period of the 19th century and beautifully contrast the different finishes of gilt ...

A vintage metal kinetic sculpture in the figure of a human body. Set on a weighted chrome base with a figure constructed from heavy gauge metal wire with weighted metal balls for han...

Stunning 6' Mayan totem sculpture in polished brass by renowned sculptor Robert Zeidman (1915-1996). This unique sculpture is double sided with pinned brass hinges and can be used as...

Beautiful bronze sculpture by sculptor Victor-Heinrich Seifert (born 1870 - 1953). This bronze figure is named "Pierrot". A boy in festive costume reaches out his hand to dance. B...

A very impressive large pair of 19th century bronzed spelter French soldiers. Each holding a sword and a riffle.

Late 19th century Meiji bronze erotic sculpture of a nude sitting woman in the style of Okazaki Sessei, Japan By: Okazaki Sessei (in the style...

A very nice decorative painted bronze sculpture of a young girl by Auguste Moreau. The piece has nice detail and is signed; it sits on a 4.5" diameter black marble base.

An Art Deco patinated bronze sculpture of a nude woman with arms outstretched in a striding pose. Set over a marble and onyx base. Signed F. Preiss to base. fine original condition, ...

Sign: Aktien-Gesellschaft Gladenbeck was a foundry located in Berlin, Germany, that operated from 1851 until 1926. During the 75-year period when the foundry was in operation it was...