Metal Figurative Sculptures

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...

FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched f...

Karl Hagenauer Style Art Deco Bronze, Europe, 1930s. This is a wonderful Karl Hagenauer style art deco bronze, made in the early 20th century. Very well designed - somewhat abstra...

Elegant Art Deco sculpture of an athletic scouting / watching male figure by Jean de Roncourt from France around 1930. Very good original condition, greenish patinated Spelter / Zinc...

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...

An amazing earthenware Kwan Yin statue with lamp and reverse incense burner by master potter Liu Li Hui. Seated dhayana asana on wood ledge, Kwa...

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...

This dramatic tusk was realized by the esteemed Mid Century American design firm Maitland Smith, circa 1975. It features an elegant tusk in cream hued tessellated stone whose organic...

Abstract bronze figural sculpture depicting lovers. Signed and dated 1993. Artist unknown.

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...

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...

Fabulous Mexican Taxco abstract modernist .970 silver bracelet by Antoñio Pineda, circa 1960s. This piece is not only a ready to wear creation but also a dynamic piece of modern scu...

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...

Beautiful pair of brass spread-wing eagle bookends by Virginia Metalcrafters, stamped 1952. The eagle is shown with its wings fully spread and a laurel branch and bundle of arrows clutched in its left talon. The eagle clutches a Union shield across its breast. The Union shield has a chief with three stars and six stripes completing the design. The eagle motif in décor and Folk Art has been widely used throughout our nation's history, most notably as part of our Great Seal. The founders of the United States were fond of comparing their new republic with the Roman Republic, in which eagle imagery, usually the golden eagle, was prominent. On June 20, 1782, the Continental Congress adopted the design for the Great Seal of the United States depicting a bald eagle grasping 13 arrows and an olive branch with its talons. When Charles Thomson put together the final design for the Great Seal, he placed a bundle of arrows in the eagle's left (sinister) talon. The official description specifies the bald eagle holding "in his sinister a bundle of thirteen arrows." The thirteen arrows are tightly aligned – a symbol of "strength in unity" that's found in the traditional cultures everywhere, from the Romans to the Iroquois— in this case a nod to the unity of the original 13 colonies. William J. Loth founded Virginia Metalcrafters in 1890, under the name Waynesboro Stove Company. The company, which made ornately cast Cook...

Original Curtis Jere 3-D Brass Copper Flower Cart Sculpture Circa 1960's Signed with brass tag on edge of base as well as original label on bottom.

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...

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 ...

Large bronze dancer with a brown patina, on a green marble base: she bears the name of Pompeian Dancer on a cartouche. She plays delicately with her veil, balanced on one foot, on a ...

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...

Important Gripoix Floral Arrangement, from the former YSL Showroom on West 57th St in New York City. One of an important trio that were used for decoration within the Lalanne designed iron showcases...

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...

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....

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...

Vibrant, sleek and full of character, this vintage pedal plane was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars an...

This finely cast bronze sculpture, made in France in the late 19th century, is a striking representation of a classical Greek warrior — likely a hoplite — caught in the dynamic motio...

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....

This is a bronze sculpture, in the style of the antique statues and figures of the Etruscans is a gorgeous interior furnishing item. it is an incredibly stylized Etruscan horse with ...

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...

Victor Gutierrez (Mexican, Born 1950). A limited edition cold painted bronze statue. A figural work produced in a modern style depicting a seated fema...

A pair of cast metal Sculptures, male and female. The finish is newly finished in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make...

A beautiful patinated Art Nouveau bronze study of a young Art Nouveau beauty sat upon a wall wearing chains with excellent variegated rich brown patina and excellent hand chased surf...

Antoine Louis Barye Theseus Slaying the Centaur Bienor Black Patinated Bronze Group. A French bronze group entitled 'Thesee combattant le centaure Bienor, esquisse' (Theseus slaying...

Art Deco bronze sculpture bust young Achilles. The bronze bust is signed by Constant Roux with foundry mark Les Neveux de Lehmann and stamped number. The sculpture is fixed on a g...

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 ...

This striking Art Deco cast iron panel is a recast of an original design by Heinrich Moshage, a renowned artist known for his industrial-inspired works. The panel captures the dynami...

Art Deco sculpture bronze panther signed by Charles Conrad. Foundry seal of Deroyaume fondeur. Model designed ca. 1935. Cast in 2008. Bronze with black patina. Literature: Dictio...

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...

This exquisite brass snail sculpture captures the beauty of nature with remarkable craftsmanship and elegant form. The spiraled shell is adorned with delicate, swirling etchings that...

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

Signed brass sea gull sculpture by Curtis Jere. C Jere’ works are made and marketed by the corporation Artisan House. Curtis Jere is a compound nom de plume of artists Curtis Freiler...

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...

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. ...

Fantastic reproduction of the famous saltcellar of Benvenuto Cellini, symbol of the world goldsmith's art. The master goldsmith made only very few copies of this wonderful object that makes it a unique piece in the world. 6.641 grams of solid silver. Some information on the original piece by Benvenuto Cellini: The Cellini Salt...

A figurative Art Nouveau "Sea Nymph Galatea" bronze table sculpture by Italian artist Eduardo Rossi (1867-1926). Etched signature on base. An elegant composition with curved lines an...

Carl Auböck model #4273 'Foot' brass paperweight. Designed in the 1950s, this incredibly clean and refined Viennese paperweight is hand fabricated in polished brass by Werkstätte Car...

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 Vienna bronze clearly shows off the quality of the Bergmann Foundry. The detailing is top grade and the cold painting is exceptional. Please note how carefully the man's clothi...

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...

Austrian Jugendstil bronze centerpiece with country girl figure, circa 1900. Step into the poetic world of late 19th-century Austria with this captivating bronze jardinière, an exquisite marriage of function and artistry. Sculpted in the romantic spirit of the Jugendstil movement, this rare piece features a serene country girl, clad in traditional dress, resting effortlessly against a broad, rounded vessel, her poised posture and delicate features immortalized in warm patinated bronze. The girl holds a pair of modest pails, subtly referencing the pastoral rhythms of daily life, while the vessel itself, with its softly aged surface and understated curves, echoes the organic sensibilities of the Art Nouveau period. Together, they form a visual narrative that celebrates simplicity, femininity, and timeless craftsmanship. This jardinière is more than decorative, it’s a statement piece. Whether placed on a grand console, as a centerpiece on a dining table, or displayed on a marble plinth, it invites conversation and admiration. A museum-quality object with both soul and presence, perfect for collectors of fine Viennese bronzes or aficionados of decorative arts from the turn of the century. This antique objet d’art...

Stylish and quite rare heavy gauge silvered chisel Cast Iron Victorian Door Stop of exceptional quality, last half of the Nineteenth Century of English origin. Depicting a standing pose of an Irishman the Duke of Wellington in full uniform attire, holding a sword and standing on a magnificent, stepped platform with a ball foot at each corner. Condition: Good overall condition, with no restoration anywhere, professionally re-silvered by our restorers in London. Doorstop is constructed by bolting together in three areas, see image. Casting is exceptional, study face area. Height: (entire as per image one) 14.75" (37.5cm). Width: (at base area). 6.5" (16.5cm). Depth: (at base) 3.25” (8.25cm). Location: Dublin City, Ireland. Affordable fixed charge Worldwide Store to door shipping offered by Seller. Arthur Wellesley 1st Duke of Wellington is today more famous as a soldier than as a politician. In fact, as the Prime Minister, he was known for his measures to repress reform, and his popularity sank a little during his time in office. The Duke of Wellington was born in Dublin to the Earl and Countess of Mornington. A leading political and military figure of the 19th century, the Duke of Wellington is best remembered for his defeat of Napoleon Bonaparte at Waterloo in 1815. As a general, he was renowned for his stunning defensive skills. His battle plans...

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...

Amazing and highly decorative wall relief by Heinrich Moshage (1896-1968), 1929. Cast by the foundry 'Buderus', Germany, 1930s. This piece is part of a series of six works 'Unsere Ar...

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

Antique Sicilian Opera dei Pupi Theater Marionette, ca. 1930s A large Sicilian theater (Opera dei Pupi) marionette, which is made of tin, wood and canvas ca. 1930s. The Sicilian Pu...

Jean Jacques Pradier (1790-1852) Bronze Napoleon Bonaparte James Pradier (born Jean-Jacques Pradier, 1790–1852) was a Genevan-born French sculptor best known for his work in the neoclassical style, one of the primary artists of Napoleon's tomb, Les Invalides.  This exceptional 19th-century French bronze full-length portrait of a standing Napoleon Bonaparte bronze...

This beautifully patinated bronze figure of Yoga Narasimha, the fourth incarnation of Vishnu as a man-lion is from Kashmir in North India. Nara means man and simha means lion. He is ...

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...

Sculpture red coral handcrafted sculpture with more than 800 red cabochons hand-placed. With structure and base in solid brass gold-plated 24-karat. Except...

French Art Deco Sculpture “Pierrot,” France, 1920s Spelter & Onyx Figure This charming French Art Deco sculpture, titled “Pierrot,” dates from the 1920s and beautifully embodies the elegance and style of French Art Deco. Crafted from spelter with an onyx base, the piece captures the playful yet melancholic spirit of the iconic Commedia dell'arte character. With clean lines and a graceful silhouette, this sculpture is a striking and timeless addition to any art collection or decorative display. Its refined craftsmanship highlights the artistic innovation of early 20th-century French design. Dimensions: Height: 11.2" (28.5 cm) Width: 8.7" (22 cm) Depth: 4.5" (11.5 cm) In very good condition, this “Pierrot” sculpture...

'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...