Cast Figurative Sculptures

This antique bronze sculpture was done by R. Bahnert and made in France in circa 1890 in the Victorian style. The cast bronze figures are extremely detailed and depict a large man we...

An attractive early 20th Century gilt bronze figure of a young beauty in a reclining position with a large blanket covering her, which is hinged to reveal a raunchy outfit with excel...

An eyecatching limited edition bronze of an elegant woman dressed in an impressive coat lined with fur collars and decoration with gilded flames. The figure raised on an integral ste...

Truly fine and extraordinary, this large and heavy bronze bookend, beautifully sculpted, cast and chased, depicts a sleeping male nude figure, his arm resting on a Classical mask, his body curled around an owl, and his left arm clasped by a small child. Given that the owl represents knowledge and wisdom, and the mask indicates art and theater, the sculpture is suffused with allegory and meaning. The sculpture is not signed, but is stamped 530/101 and shows an engraved inventory number, probably added by the first owner. The bronze has a lustrous patrina, and sits on an oxblood marble...

Well done, very sharp detailed cast bronze figure with inlay of silver metal on scroll, 1920s- 1930s. Beautiful golden patina on head and bottom from years of handling. 8.3 lbs.   

Mysterious and unique cast lucite sculpture "The Things that go Through You" by New Jersey based artist, Karen Brown. A female torso is surrounded by curved orange rods, all of which...

American bronze figural sea mariner bracing in wind against a rope piling and mounted to an oval molded edge base. Late 19th century.

Sculpture by Odette, 1968. The sculptor captured many emotions in her face, and infused lots of texture. Supported by wood base. Cast in Los Angeles.

Standing man is an abstract sculpture in bronze titled 'Compass' with a green patina by the Dutch sculptor Lies Gronheid, 1982. His profile is divided into in four directions like a ...

1960s Painted Cast Terracotta Zen Buddha Head Statue With Base.

Large and spectacular, this gilded bronze trophy cup in the Art Nouveau style was sculpted by Eugène Bourgouin for Christofle, and is richly decorated wi...

Bookends Pragma Sculpure Set of 2, with all structure in solid bronze in green finish. A/ L30xD17xH27cm. B/ L33xD17xH28cm.

This exceptional quality bronze study is by the master sculptor Alfred Dubucand (1828 – 1924). It depicts an Egyptian young man simply standing next to his mule, wearing an elaborat...

Eros, who is considered the god of love in Greek mythology, also appears as a savior. It is not only a symbol of love, but also of everlasting creative reproduction. The original of ...

A Bronze Figure of a Csikós by Hungarian Sculptor László Beszédes, Early 20th Century ...

1920s Art Déco glazed ceramic sculpture with base 'La Femme voilée de Marrakech' by Céline Lepage, France By: Céline Lepage Material: ceramic, paint, enamel, clay Technique: cast, p...

A decidedly charming small cast bronze figure of the Buddha, 18th century, Shan Tai Yai peoples, Burma (Myanmar). The small image of the Buddha is portraye...

Cast bronze wall sculpture with seven children chorus. Europe, early 20th century. Signed M. Raúl Couceiro.

This detailed bronze patinated figurine is unmarked but believed to have been made in France in approximately 1930 in the Art Deco style. This sculpture depicts a female Thai dancer ...

Finished with a gorgeous, deep green-black patina with mossy highlights, this rare pair of bronze bookends depicting seated female nudes was sculpted by Max Kalish, best known for his series of sculptures celebrating the American worker...

A charming bronze by Marcel Andre Bouraine, circa 1930, of a seated faun with grapes and flowers, beautiful patina and elegant marble base with brass na...

A vintage lost wax cast bronze statuette of a Chinese ancestral figure with textured patina. Created with the traditional technique of the los...

Cast Bronze work by Paris based artist and sculptor Manuel Fernandez entitled “The Walker” cast in 2001. The original single work, done in 2000, has a solid cast bronze slab base as ...

Julius Schmidt-Felling Olympic torch bearer bronze sculpture on marble base, circa 1910 Julius Paul Schmidt-Felling was a German sculptor. He designed ...

19th century Belle Époque bronze sculpture with greenish patina of a boy walking into water by sculptor Ruffino Besserdich By: Ruffino Besserdich Material: bronze, copper, metal Tec...

This pair of Art Deco bronze figural bookends are signed, but the artist could not be identified. It is presumed this pair of bookends was made in Austria in approximately 1920 in th...

This is a vintage figural nude bronze, wrought iron and wood sculpture, circa 1960s-1970s. Patinated bronze women with a wrought iron hoop between the...

An excellent French late 19th Century bronze sculpture of a Tunisian man carrying two jugs, one on each arm. With good detail and a rich red/brown patina. Raised on top of a fitted bronze base signed 'Debut' and stamped with 'Bronze Garanti' Seal. Also with plaque to the fore inscribed “Prix de Rome”, attesting to this model winning the top prize at the Exhibition in Rome in 1890. ADDITIONAL INFORMATION Height: 32 cm Width: 14 cm Depth: 12 cm Condition: Excellent Original Condition Circa: 1890 Book Ref Bronze of the 19th Century by Pierre Kjellberg Materials: Bronze SKU: 8730 ABOUT Marcel Debut (French, 1865 ~ 1933) French sculptor, son of the sculptor Jean Didier Debut (1824-1893). He studied under Henri Chapu at the Ecole des Beaux-Arts in Paris. He exhibited at the Paris Salon from 1883 until the outbreak of the First World War. He is best known for his sculptures of...

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...

This is a heavy and large patinated bronze sculpture of an Art Deco kneeling nude young woman playing with a goat that is jumping in front of her. They are attached to a heavy rectan...

Late 19th century french patinated bronze sculpture of violinist 'Sans Souci' with marble base by Léon Tharel for Susse Frères By: Léon Tharel, Susse Frères Material: bronze, metal, marble Technique: cast, patinated, hand-crafted, metalwork Dimensions: 6.5 in x 9 in x 9.5 in Date: late 19th century, circa 1890 Style: Belle Époque, Romanticism Place of origin: France Antique reclining...

A silvered figure of Manjusri seated in dhyanasana on a Pala style Indian base, wearing an ornate crown and wearing body jewelry, Manjushri holds the sword of wisdom in his right hand and above his left shoulder is a lotus flower upon which rests a volume of the Perfection of Wisdom Sutras. Manjushri - Tibetan Buddhist Deity...

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...

Large Stylized Arts & Crafts Quarter sawn Oak and Cast Bronze Crucifix measuring 52" x 32", Amazing bronze detailed super stylized castings, depicting Christ,, Alfa Omega.. and P A...

Impressive large early 20th Century Austrian bronze study of a stag with outstretched neck as he is 'calling' to dominate his ground. The surface of the bronze with rich cold painted...

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.

Medusa: bronze with a brown patina, relating the myth of the gorgon or Medusa According to mythology, Medusa is a beautiful young woman who made a vow to serve the goddess Athena, ...

This pair of antique bookends are unsigned, but presumed to have originated from the United States and date to approximately 1920 and done in the peri...

Part human-part monkey, Hanuman is a central character in the Hindu epic Ramayana. He is generally depicted as a man with the face of a monkey and a long tail. Often described as t...

Cross walk cased glass lens. Kopp Glass, Swissville, Pennsylvania. One of 10 available. Unused condition. Endless possibilities.

Carl Auböck #4068 sculpture "Leaning on Treestump", Austria.

A large 20th century bronze laughing Budai originally from the New York apartment of John Legend, an American singer and songwriter. Budai, Hotei or Pu-Tai is a semi-historical monk ...

Beautiful and unique cast lucite sculpture "Damocles" by New Jersey based artist Karen Brown. This piece is a modern take on the ancient Roman parable, the...

Sculpted by one of the greatest innovators in Art Deco sculpture in 1930s Europe, this nickeled brass figure of a boxer, his right arm reaching out to jab at his opponent, was made b...

A fabulous cold painted Art Deco bronze figure of a naked beauty in a revealing pose with very fine colour and excellent detail, raised on an onyx base and signed Adolph Additional information Height: 27 cm Condition: Excellent Original Condition Circa: 1930 Materials: cold painted bronze & onyx SKU: 7692 ABOUT Josef Adolph Josef Adolph ~ Austrian, created many small figural models in the Art Deco period around 1910-1939. Typical for Adolph and at the same time characteristic of the Art Deco era, was the depiction of the concept of modern life - in particular, that of the “modern woman” in rhythmic, sensual and aerodynamic poses taken from the new forms of dance, for which there was a lot of enthusiasm at that time. The Art Deco Period: although Art Deco derives its name from the great 1925 Paris Exhibition, ‘L’Exposition Internatlionale des Arts Décoratifs et Industriels Modernes’, the term is now generally applied to the typical artistic productions of the 1920’s and 1930’s. It might best be characterised as an attempt to unite arts with industry, embracing the machine age and repudiating the old antithesis of ‘Fine’ and ‘Industrial’ art. The sources of the Art Deco movement include Egyptian and Mayan Art, Cubisim, Fauvism and Expressionism, heavily influencing the chief force underlying all Art Deco...

This sensuous, languorous female nude, cast in bronze and designed to serve as a candle base, was probably sculpted by Edith Barretto Stevens Parsons, given that the artist did anoth...

Study of a Satyr Bronze, cast using the lost-wax (cire perdue) method Italy, early 19th century 14 x 7 x 10 cm This evocative bronze sculpture represents a satyr, the half-human, h...

Large sculpture in bronze, contemporary of( Dianna the Huntress). Multi-colored patina finish mounted on deluxe Onyx and Black marble. Depicting Dianna the huntress hunting with two ...

A remarkable and rare work by Susan Bush from the 1970s, this piece, to quote the artist, "is very archetypal and the carved forms of the head and hair are ...

"Girl and Fruit" by Franz Bergman An excellent early 20th Century cold painted bronze study of a young Arab girl sat beside her basket of fruit with excellent naturalistic colours a...

Wonderful decorative and heavy cast brass of a warrior horse or beast rider. The horse and warrior are very modern tribal elongated form. The tribal ho...

A very fine model of Cleopatra cast in bronze with multi-patinas. Mounted on an oval marble base bears the signature of the Artist ( M Turner ) on the base plate. Not many of these e...

One of the most exquisitely beautiful bronzes sculptures we have ever offered, this extremely rare bronze centerpiece features a mother with her child standing on her shoulder, each figure beautifully modeled and executed. The sculpture is flanked by a set of four candleholders...

Pair of English large cast iron Punch & Judy matching doorstops . Late 19th century.

Artist’s Statement – Warriors Ceramic Collection - White ceramic, Brass. The Warriors collection is the second body of work by Roché Dry, created in her Lisbon studio. This 17-piece...

This large and substantial antique cast spelter sculpture is unsigned but presumed to have been made in France in circa 1880 in the neoclassical style. This very detailed cast sculpture depicts a robed neoclassical woman...

The quality in workmanship in casting is almost perfect. The Marble base is superb. Never seen one this nice. From a private Art Deco Collector. Has been very well kept. This will re...

French Art Deco Sculpture signed S Melani A well-observed sculpture by the Italian artist Salvatore Melani (1902 - 1934) depicting a reclining lady and grey...

Carl Auböck #4061 Sculpture "Architect", Austria.

Moorish Turkish man dressed in Ottoman Empire-style costume and turban. An orientalist Moorish patinated cast bronze figure of a standing guard on stand. (Missing something in his ha...