Cast Figurative Sculptures

A very fine early 20th Century cold painted Austrian bronze figure of a young Arab boy dressed in full period orientalist attire seated with his head resting upon his hands in deep t...

Antique John Rogers Cast Plaster Sculptural Group, "Weighing the Baby", 19th C Measures - 21"h x 16"w x 13"d Catalogue Note: Ask about DISCOUNTED DELIVERY RATES available to mo...

A young woman in a long dress with short sleeves, softly enveloping her body, with a scarf covering her hair and falling well over her face to protect her from the burning sun, walking across the field at a leisurely pace, holding out her apron with the seeds spread out in front of her with her left hand and making a sweeping gesture with her right. On a narrow, elongated natural plinth with rounded corners, with the artist's signature ‘Schork 99’ incised on the side, as well as the Goldscheider manufactory's pressed stamp, pressed model number and incised monogram ‘AH’ on the back behind the figure. This motif is particularly well known in France, where it adorned all French franc coins and postage stamps for many years and was continued in a stylised form on all cent coins of the euro after 2001. Louis Oscar Roty (1846 - 1911) This sower is very familiar to the French: she was depicted on the fifty-centime coin and on the one-, two- and five-franc coins until 2001, when a stylised version of her appeared on the ten-, twenty- and fifty-centime coins of the euro. The figure dates back to 1887, when Roty designed a prize medal for the Ministry of Agriculture, a project that was not pursued. When the Minister of Finance commissioned new coins in 1896, Roty was among the selected artists. He drew on the Sower of 1887, but transformed his robust farmer into a slender Marianne, who wore the Phrygian cap of freedom. The traditional profile of the Republic was abandoned in favour of a more active, standing figure. This effigy was criticised, but generally very well received: ‘The seeds she generously throws into the earth are the countless ideas that may one day germinate and flourish when we are no longer here’ (La Liberté, 8 October 1898). The gesture is more symbolic than realistic – we do not sow against the wind, which nevertheless makes the hair behind the sower flutter – but it makes the composition more dynamic. Originally, ‘The Sower’ was used on the fifty-centime to two-franc coins introduced in 1897 and 1898, before appearing on postage stamps in 1903. It is thus the most widely circulated work of art in France. Although not included in the Musée d'Orsay's medal collection, this wax drawing on slate, typical of the technique of a medallist, is one of the most beautiful pieces and demonstrates the virtuosity of Roty. (Musée d'Orsay, The Collections) Design by HANS SCHORK...

A lost-wax bronze tabletop statue of a putto poised on one foot holding a frog up in the air. This classic bronze tabletop sculpture is mounted on a modern round custom base, making ...

A very fine and detailed Tokyo School cast bronze okimono (decorative sculpture) of a smiling farmer, Meiji period, late 19th century, Japan. The e...

This famous statue always brings a smile, as a young boy with hands in pockets is whistling and is titled "Mousse Siffleur". Nicely cast, and signed by the Polish artist Victor Szcze...

This remarkable pair of "faun" and "nymph" sculptures memorializes the legendary performance of Vaslav Nijinsky as the Faun in Ballets Russes' renowned production of "Afternoon of a Faun" in 1912. Sculpted by Fred Press several decades later -- in the 1930s or 1940s -- the Faun captures the bold and sensual costume and headpiece of Nijinsky's character as designed by Léon Bakst, complete with spotted, form-fitting tights, a bare torso and a headpiece with horns in gold. Press was a kind of Renaissance...

A cast bronze statue of a young Japanese maiden standing on a fish base. Created with the traditional technique of the lost-wax (à la cire perdue) which allo...

A large 19th century Samson et Cie faience figurine depicting either Venus & the Golden Apple or a rendition of Eve with the Apple. We seen this figure called both. This nude Venu...

One of the most joyous and charming sculptures we have ever offered, this large, unique sculpture of a young boy riding a seal through the waves is a superb example of a genre of Beaux Arts & Art Deco sculpture that featured children and animals at play. Edith Parsons' "Frog Baby...

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 mid-twentieth century bronze sculpture depicting a Greek warrior, mounted upon a chariot with stylised horse.

Entirely charming and whimsical, this Classic -- and rare -- pair of bronze candlesticks depict male and female sprites, each standing on a gilded sphere and carrying an Amphora. The...

A large metal sculpture of a Native American man riding a galloping horse. Entitled "Indien au Lasso" by Antoine Bofill (1875-1939) a Spanish sculptor who lived and worked in Paris. ...

Nymphenburg Porcelain exclusive one of a kind butterfly skull - the perfect item for the modern man that is no longer fears mento mori. This hand cra...

A very nice figurative "Mother and Child" bronze sculpture on a rotating marble base by Sy (S.F.) Rosenwasser circa 1990s. The sculpture is in very good vintage condition with a grea...

A pan boy standing on a ball supported by Fish around the base. Has the two flutes. Signed on the base Frederick William Mac Monies and dated 1890 and with the Foundry seal. Has the ...

Fine quality gilt and silvered bronze bust of Amazonian Queen Penthesilea by Emile Hebert. Original 19th century bronze bust mounted on a period Belgian b...

Beautiful and whimsical brass paperweight that adds personality and style to your office or décor. The weighty piece is signed “Made in England” and adds style to any place. A great ...

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

A Bronze Figure of the 1st Century CE Roman ‘Fisherman’, 19th Century Provenance: Private Australian Collection. Description: The male figure cast wearing a tunic and...

This turn of the century marble composite cast version of Venus after Bertel Thorvaldsen is in a wonderful state of decay. Over time she has lost both hand...

Stormtrooper With Bent Arm Life Size Star Wars, Licensed Figure, Lucas Film, in Limited Edition 333 pieces. In Fiberglass.  

1900s Art Nouveau bronze sculpture of a girl with a doll by Leo Laporte-Blairsy, France By: Leo Laporte-Blairsy Material: bronze, copper, metal Technique: cast, molded, metalwork, p...

This large antique Meiji period Japanese patinated and polychromed bronze is signed by an unknown artist and presumed to have been made in approximately 1880 in the period Meiji styl...

Art Deco Pair Pineapple Antique Decorative Rustic Finials Sculpture Los Angeles . Pair of Pineapples Metal Hand forged Cast and hand made Garden fini...

Measures: height: 56 cm / Weight: 4 kg As a fertility god, Artemis was particularly revered in Ephesus, close to Ortygia, believed to be his birthplac...

Reclining female nude bronze with baby deer at her feet, mounted on variegated green marble base by Ary Bitter (1883-1973).

An exceedingly rare Javanese cast silver figure a Transcendent Buddha, probably the Dhayani Buddha Akshobhya, early classical Javanese period, 9th - 12th century, Java, Indonesia. ...

A very fine early 20th Century bronze study of a muscular Olympian athlete about to cross the finishing line. The bronze with excellent rich brown patina and very fine hand finished ...

Set of 4 Classical cast sterling silver figures. Made by Buccellati in Italy. Adroitly draped Bacchus babes wave garlands and leaves. Vaguely allegorical and wholly buck naked with c...

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...

A rare and unusual Chinese Ming Dynasty bronze figure of the Buddha as an infant. The young Prince Siddhartha, who would grow up to become the Buddha, is portrayed standing, one hand pointing to the sky, the other to the ground. He is naked, save for a baby apron...

Ayutthaya Lacquered and Gilt Copper Bronze Buddha Head Circa 15th Century A beautifully lacquered and gilt bronze Buddha head from the Kingdom of Ayutthaya, Thailand, circa 15th ...

One of the most popular Art Deco figurines designed by D H Chiparus . This is a Ballerina seated on absolute Black Marble stepped base 8" wide and 26" long, tying up her ballet shoes...

James Patrick Maher (20th Century), bronze Sculpture of a nude woman. James P. Maher, was a renowned artist whose drawings, paintings and sculptures reflected an innate appreciation ...

Representing the fascination that so many French and Belgian sculptors had in the people of the colonies established by their nations in West and Central Africa, culminating in the e...

A vintage lost wax cast bronze statuette of a soldier holding a horn in verde patina. Created with the traditional technique of the lost-wax (à la cire perdue) which allows for great...

English figural lead fountain with a young man blowing a conch shell while standing on a rocky plinth. Fountain is in working condition, Mid-19th century.

A beautiful figure of the historical Buddha Shakyamuni seated in bhumisparsha, signifying the moment of the Buddha's enlightenment, Laos, 17th-18th century. Well cast and displaying a beautiful patina, the Buddha sits upon a separately cast high pedestal, legs folded in vajrasana, one hand held in his lap, the other draped gracefully over his knee, long fingers reaching down to touch the earth, calling it to witness his enlightenment. The Buddha's heart-shaped face is simply divine, with high, arched brows over downcast eyes, a broad nose, and full lips pursed...

Well cast and impressive sculpture of a nude woman entitle "The Vine" numbered 9/100. Bronze cast on solid marble base. Measures: 24" high.

A very cool set of three large (9.75" tall) iron Japanese geisha figurines, circa 1970s. The cast iron with gold gilt pieces are very heavy and solid a...

A rare and large pate de verre molded sculpture of the mythological God Pan. Very thick and heavy; this glass piece is primarily bluish green with yellow, reds and orange. The likeness is uncanny with perfectly modeled facial features and traces of his goat horns. This piece was said to exhibit at the Brooklyn Museum in 1971 but there is no documentation. The mask is stamped Decorchemont on his right cheek. For serious collectors of Art Deco - Art Nouveau rare and beautiful glass, circa 1915. Measures: Height: 7.75 inches (19.75 cm) Width: 5 inches (12.8 cm) AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. François-Emile Décorchemont...

Carl Auböck #4061 Sculpture "Architect", Austria.

A dramatic early 20th century Art Deco bronze study of a muscular male athlete lifting a heavy weight above his head with one arm. The bronze exhibiting stunning rich brown patina an...

Miniature in 925 sterling silver depicting a saddle, boots, hat and whip for a jockey resting on a wooden fence. The workmanship is in fusion and finished with chisel. The object c...

A very good quality classical Italian bronze statue of a mother and child.

An extraordinary bronze pear from the “Le Jardin Extraordinaire" by the collaborative French artists Jean-Claude Mazel and Yann Jalix. The large pear balances on a fruit box and has ...

Late 19th C Effigy of Mephistopheles on a bronze dresser tray. Leaning into the tray with a contemplative pose and conniving expression. Best known for his role in Faust. Caught in h...

This antique whimsical cast bronze figural bell is unsigned and has no foundry mark, but is presumed to originate from the United States and date to appro...

An antique figural child cast bronze sculpture depicts portrait of young girl Antique in hat, seated on marble base, circa 1910. Measures: 6" H x 2.75" W x 2.13" D. Catalogue Note:...

One of the most popular hood ornament that they ever made. Has been in demand for ever. Fantastic details and cast in Bronze with Antique Silver patina...

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.

Frederick Hart Sculpture "The Divine Milieu", #292/395 Cast Acrylic Resin Offered for sale is a Frederick Elliot Hart signed and numbered cast acrylic resin sculpture titled "The Di...

An English Lead Fountain Feature of a Bacchic Putto, Late 19th Century Provenance: Private Western Australian Collection. Description: The youthful figure with a draped animal skin...

A very attractive 19th century Egyptian Revival bronze furniture mount, cast in the form of a bust of a goddess wearing a tasseled robe, and ado...

Viennese cold-painted bronze of an Arab merchant Austrian, c. 1910 Height 19cm, width 11cm, depth 14cm This exceptional figurative sculpture depicts an Arab merchant selling his wares. The figure stands holding a piece of jewellery, with an inquisitive expression as if he is trying to entice potential buyers. He is expertly cast, with the ruffled texture of his beard a particularly fine detail. The viewer’s eye is drawn to the figure’s vibrant clothing: a shimmering gold robe is complemented by a green-toned cloak which hangs loosely...

N.004 Floor Lamp from the Biomorphic Series by Studio Chora is inspired by the nature of human experience. This is a second-generation light sculpture that is hand crafted from a com...