Cast Figurative Sculptures

A monumental and emotionally resonant bronze sculpture by renowned Mexican artist Victor Salmones (1935–1989), titled “El Primogénito” ("The Firstborn"). Sculpted and cast in the ear...

Vintage bronze sculpture depicts an infant girl standing on a cushioned stool, holding her left shoe in her hand while pressing one finger of her right hand to her lips. Beautifully...

Well-loved and richly worn, this petite bronze traveling shrine from North India depicts the Hindu god Ganesha. Attributed to 17th century or later, the palm-sized icon reveals its a...

Large Magnificent plated Flying Lady on Marble Base After the Rolls Royce Mascot In the Charles Sykes Manner Spirit of Ecstasy Very Striking

An Exceptionally Fine Museum Quality Example of a Well Cast Parian (unglazed porcelain) Figure depicting Jesus Christ nailed to a plain black marble standing Cross of impressive prop...

A striking bronze sculpture by Mexican artist Victor Salmones (1937–1989), mounted on a polished black marble base and signed along the lower edge. Marked Prueba de Artista (Artist P...

Large, bold and provocative, this very rare bronze sculpture depicts a powerful, muscled nude male figure endeavoring to lift an enormous rock, his legs splayed and his body tensed t...

Contemporary Paolo Giordano Hermes abstract sculpture concrete cement cast grey Hermes is concrete sculpture. It's part of a large work that is also photographic: 'Digital Journey i...

Bronze Figure of Narcissus Italy, late 19th century After the Antique Cast in bronze with a rich light verdigris patina, this finely modeled figure represents Narcissus, the beaut...

A Beautiful Cast Bronze Cupid Bird Bath in the Manner of Franz Von Stuck The Cupid Holding the Decorated Shell shaped bowl Ideal for outdoors or in

A German Expressionist bronze sculpture "Polospielers" (Polo Players). Signed and marked 'Fred Voelckerling, 1919' on the base. In very good condition, normal wear and patina. Dimensions: 45x28x36.5 cm The aesthetic composition is depicting two polo players on horseback, in full competition. The horses' movement has a special elegance and sobriety, and the finish is of remarkable sensitivity, the anatomical elements are distinguished, without the stylization becoming of a trivial naturalism. The polo players are caught in a moment of maximum tension, struggling to keep both the horses in check and the clubs in play. The whole ensemble exudes the emotion of movement and competition, being a perfect example for the expressionist sculpture. Alfred (Fred) Hans Voelckerling (1872-1945) was a German artist who worked as both a sculptor and a painter. He has created many works of art that have been exhibited in different countries. His works are very impressive and often show people or animals in different situations. Voelckerling's art is well known and admired by many people around the world. After graduating from the Dresden school for arts and crafts where he worked in the studio of Robert Diez...

Ornate cast bronze bookend depicting Indian Chief in full headdress. It was made in the US or continental Europe circa 1930-60. Measurements: H: 14.5 cm, W: 12 cm, Dept: 8 cm.

This grand tour bronze sculpture depicts the version of Venus so important to the history of art and literature in the U.S. that the original was temporarily loaned to the National Gallery of Art from the Capital Museums in Rome in 2011. Mark Twain visited Rome and upon his return home in 1867 he published "The Capitoline Venus" and he described the work as the “most illustrious work of ancient art the world can boast of". (with credit to the National Gallery of Art catalog...

An interesting and well made bronze sculpture by Nelide Bertolucci, Brasil, ca' 1980's. Depicting a man and woman in a stylized abstracted way.

Nice old bronze Grand Tour figure of the ancient Greek discus thrower. This version with the head facing forward, probably based on the Roman marble copy in the British Museum. Circa...

Tom of Finland. Bookend ‘Pekka’ Bookend, painted cast resin, height 12.8 in., base 6 x 6 x 0.8 in. Always Ready to Handle the Heaviest Load - Get Your Books Sandwiched and Add Some ...

This is a dynamic female nude sculpture by Auguste Rodin. This suggestive sculpture is beautifully executed in the impressionist style. This museum restrike stands on a black marble ...

Art Deco Roman Archer Statue by Hermann Eichberg Dramatic statue of a Roman Archer with bow and arrow in the Art Deco style by German sculptor Hermann Eichberg. The finely detailed ...

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...

This dramatic, highly streamlined bronze with a nude male figure angled toward the sky illustrates a genre of Art Deco sculpture that was pioneered by Frederic Focht (this example is...

Dramatic in scale, huge cast bronze sculpture of King Tut holding two scepters that are removeable. Great detail and patina.

Rare & fabulous Antique Napoleon lll clock garniture with incredible quality bronze sculptures. You will rarely see a clock garniture with bronzes of this quality and detail. The bearded thinker/philosopher on top of the marble clock is simply astonishing. His natural poisture, his hair, face and hands, but also his clothes, it is all of a quality and detail that only a master sculptor can achieve. And the patina also is just perfect. The philosopher is marked on the back and it reads 'BE x'. The two bronze female (classical maiden) sculptures are in fact two stunning candle holders and they too stand on beautifully shaped black marble bases with cartouches. These majestic candle holders are marked on the sides 'L.V.E. ROBERT' (Louis Valentin Elias Robert) and on the back they read 'AD x'. The black marble clock comes with a circular dial face with gilt Roman numerals and this clock has a well working movement. The movement is stamped 'DENIERE / A PARIS' and '2165'. On the bottom it reads A.Blacher and there also is a cachet with 'MEDAILLE D'OR / Paris / 1827'. If you like this one of a kind, clock set as much as we do then you will love our price. Especially, since perfect packing (in a custom made crate) and worldwide delivery from our store to your door in just 4 days are complimentary. Maximum clock height x width x depth: 22 x 17 x 8.5 inches. The large figure candle holders...

Outstanding Benin Oba and his Queen, Lost Wax 'Bronze' Sculptures from the late 20th century Superbly cast and highly decorative contemporary pieces, not historical The centuries ol...

Tom of Finland. Bookend ‘Durk’ Bookend, painted cast resin, height 12.8 in., base 6 x 6 x 0.8 in. Always Ready to Handle the Heaviest Load- Get Your Books Sandwiched and Add Some Pl...

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

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...

Introducing our stunning Nude Male Sculpture in Solid Lucite, Circa 1970's. This one-of-a-kind piece of furniture is a true masterpiece, expertly craft...

'Cavalier Arabe'  (Arab Huntsman on Horseback) After Alfred Barye  Alfred Barye (1839–1882) A magnificent 20th-century posthumous casting of "Cavalier Arabe" (Arab Huntsman on Horseb...

This very rare rendition and unique small edition of the vintage Robert Indiana love paperweight sculpture is captivating. This rarely seen version i...

A large 19th century Italian 'Grand Tour' bronze model of seated Hermes (or Mercury) after the Antique. The original sculpture, which was found at the Villa of the Papyri in Herculan...

19th C. Italian Bronze Grand Tour Sculpture Nude Discuss Athlete, in Repose Attributed to the Naples Foundry, mid-19th century or older casting A 19th-century Italian Grand Tour ...

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...

19th Century French Ormolu & Patinated Bronze Sculpture of a Seated Satyr France, Circa 1875 A good quality 19th Century French Ormolu & Patinated Bronze Sculpture of a Seated Saty...

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

Superior quality large scale Italian Grand Tour bronze of the god Silenus after the Roman original excavated at Pompeii in 1864. This very fine cast shows the god holding aloft a coi...

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

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 ...

An attractive early 20th Century Art Deco cold painted silver bronze figure of a young energetic beauty in a stretched pose, raised on a decorative black and green onyx base and sign...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

American bronze cowboy sculpture resting on oval molded marble base depicting cowboys on horses coming in to town from cattle drive. Bronze sc...

Concorde Model Scale 1/36 sculpture, in resin fiber, on aluminium polished base. From Air France Agency. On base: height 110cm.

FREE WORLDWIDE SHIPPING FRENCH 19TH CENTURY BRONZE OF CROUCHING VENUS AFTER COYSEVOX From our Bronze Sculpture collection we are delighted to offer this French Bronze of Crouching...

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...

A very good antique French bronze & marble Grand Tour model of the Column de Vendome, Paris, circa 1860. A fine cast bronze model of the fa...

Vintage chalkware cherub statue by Borghese of Italy, circa 1950s. The piece is in very good vintage condition and measures 3.5"W x 3"D x 8.5"H. Ret...

Lovely antique weathered solid cement garden statue of a woman in a thoughtful pose, circa 1890-1910. She displays the patina of many years spent in an English garden. With her pens...

Extraordinarily powerful, and very rare, this large bronze sculpture of a nude male figure by Arthur Dupagne shows him stretching and straining upwards,...

This bronze standing Buddha mounted on a turned wood base has his right palm held outward in the abhaya mudra position, a gesture of fearlessness and reassurance.

An exquisite early 20th Century Art Deco cold painted and gilt bronze figure of a Ballets Russes dancer wearing a two piece outfit and a stylish head dress, exhibiting excellent col...

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...

A large and exceptional late 19th century Italian Grand Tour sculpture of the ‘Seated Hermes’ attributed to the Chiurazzi Foundry, Naples, Italy. The sol...

A celebration of female strength and the subtleties of the human body. Hand-sculpted and hand-cast objects in stone-resin composite. All of Marcela Cure’s collectible design object...

Bronco Buster, a cast bronze sculpture after American artist Frederic Remington on marble base. Filled with a tremendous dramatic tension, this bronze sculpture depicts a scene from ...

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...

Bronze with brown patina of a nude woman, standing, putting up her hair. Wear and tear on the patina. circa 1900 Height 56.5cm. 20 x 15cm.

Large Italian Grand Tour Bronze Sculpture "Dying Galata"/Dying Gaul, C. 1875, Attributed to Naples Foundry  A remarkable large Italian Grand Tour bronze sculpture titled "Dying Galata" or "Dying Gaul," dating circa 1875 and attributed to the renowned Naples Foundry. This exquisite piece, an expertly cast bronze, retains its original black-brown patina and boasts a substantial size, standing 12 inches high, 26.5 inches wide, and 13.5 inches deep. It is a distinguished example of the iconic Grand Tour sculptures, which were popular souvenirs for affluent travelers during the 19th century. The sculpture is a faithful rendition of the ancient Roman marble statue "The Dying Gaul," also known as "The Dying Galatian" or "The Dying Gladiator." The original marble, now housed in the Capitoline Museums in Rome, is a Roman copy of a lost Greek bronze sculpture...

Antoine-Louis Barye (French, 1796-1875) "Guerrier du Caucase" cast bronze sculpture depicting a Caucasian warrior in full armor rendered in fine detail riding on his horse. Cast ci...

Sculpture Stormtrooper Blue Helmet Butterflies with original blue Stormtrooper helmet in matte blue resin ornamented with Morphos butterflies (no cites required for this butterfly). ...

A captivating sculpture after Demetre Chiparus, this striking Art Deco dancer embodies the era’s fascination with movement, theatricality, and opulence. Inspired by the expressive pe...

Sculpture Liberty Statue United States flag painted. Sculpture in melting. Unique and Exceptional Piece.