Nude Male Bronze Sculpture Fountain

Antique chain sculpture that defies gravity. The term brutalism — which derives from the French word brut, meaning “raw” — was coined to describe a style and trend that emerged in th...

Handmade female torso sculpture with snake in light pink clay.

19th C Bronze fireplace decor with acanthus leaves urn.

Erte's "Starstruck". Art Deco bronze statue. This is a Limited Edition 320/375 She stands 22" High and is approximately 6.5" wide at the base and stars. She has been boxed for ages. ...

Virginia Metalcrafters Brass 3-61 tobacco leaf by Oskar JW Hansen 1963 Vintage. The leaf sits on three feet. Polished underside, stamped with logo, year & artist info on the undersi...

Goddess of rice and fertility, still widely worshiped in some areas of the world. Her giant reticulated crown features a large carved flower medallion and swirling floral neck breast...

Japan an important 84" Tall life-size sculpture of "Male Reborn" by midcentury master sculptor Koga Tadao (Meiji 36 (1903) to Showa 54 (1979). Classic...

This large and impressive antique bronze fountain was cast by Leon Louis Oury (French, born 1846). It was made during the Art Nouveau period...

Comprising an incredible 189 pieces, this impressive Meissen porcelain dinner service is an exceptional example of the firm's prized dinnerware. The bodies are crafted in the New Brandenstein relief pattern designed by Johann Friedrich Eberlein in 1744, which gives this service a distinct Rococo feel. The hand-painted enamel detailing is known as the Flowers and Insects motif and is executed with stunning vibrancy and intricacy. Since each piece is executed entirely by hand, no two pieces bear the exact same adornments.

Similar, single dining pieces are featured in Meissen Domestic Porcelain by Günther Sterba, 1991, figures 83 through 86.

The pieces bear the Meissen blue crossed swords that date this service between 1850/60-1924.

97 dinner plates, 9 1/2" diameter
44 luncheon plates, 8" diameter
21 soup bowls, 9 1/2" diameter
13 dessert plates, 5 3/4" diameter
2 oval serving platters, 22 1/4" wide x 16 3/4" deep
2 vegetable dishes with lids, 11" diameter
a round bowl, 15 1/4" diameter
a round serving platter, 13 1/4" diameter
an oblong serving platter, 21 1/2" wide x 10 1/4" deep
an oblong platter, 23" wide x 11" deep
an oval platter, 18 1/4" wide x 14" deep
an oval platter, 20 1/4" wide x 15 1/2" deep
a large soup tureen
a large soup tureen platter
a small soup tureen
a small ladle

modern figurative bronze sculpture of a nude athlete 8.5 feet tall and measures 36 inches at the widest point bottom base measures 31.5 x 17.5 inches This sculpture is offered by Ca...

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...

A massive classical theme bronze garden fountain in an olive green patina. The intricate form depicts a putto with headband attempting to ride a grotesque and resisting dolphin while...

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

A Monumental, Striking and "Academic" Patinated Bronze Figure of Two Athletic Male Nude Erotic Lovers Holding Hands Circa 1950 Signed on base by artist "Jahn" Of monumental size and superb quality casting, this academic-erotic bronze is one of a kind. We have not seen another one in all our years. We have sold many sculptures of single male nude figures. Having a monumental sculpture like the one presented here, with two male nude...

Inner Energy is a bronze sculpture by French contemporary artist Yann Guillon. 30 cm × 25 cm × 20 cm. Signed and numbered. Available in limited edition...

Luctatio Bronze Sculpture Nude Boy Male Figure Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teach...

This wonderful patinated bronze work is designed to function as both a water fountain and a superb piece of sculpture. The item will be well-suited to either an indoor or outdoor setting. The piece takes the form of two herons...

Fountain sculpture "Le Colonne" designed by Alessandro Mendini for Mirabili in painted and bronze Majolica. The column is made up of three interlocking segments, at the top three st...

Johannes C. Bjerg, 1886-1955. Bronze sculpture in the form of mermaid fountain with fish and mussel. The water springs from the fish's mouth to th...

A unique bronze fountain of a swan, cast from a 19th century English fountain. The water can be plumbed to come out of its beak. Editioned 1/3.

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Art Nouveau bronze sculptural tray indoor fountain with seated nude holding a vase signed by Suzanne Bizard. Patinated bronze on impressive marble...