Bronze Sculptures

“Heroine” by Theophile Francois Somme is a dramatic and richly detailed Art Nouveau sculpture in bronze and chryselephantine created, circa 1920. This exceptional piece has finely carved facial features and wonderful use of patinated bronze to create the sweep of fabric. The statue sits on a carved marble base. Somme was born in Nancy in 1871, lived until 1952 and was a frequent participant in the Parisian Salon des Artistes. He won the Gold Medal at the salon in 1924, a silver medal in 1925 and in 1937 he was awarded the Gold Medal at the Paris Exposition Internationale. Today his work can be viewed at the Toulon...

Bronze sculpted figure Athena, Goddess of Wisdom, is seated with two scrolls, one in hand the other placed upon nearby column, is classically dressed in robe with empire bow and hair...

'The Girl and the Giraffe' bronze sculptural table lamp, hand crafted, molded and cast in bronze in the lost wax process. A whimsical sculpture lamp of a young girl and a giraffe, e...

Large and impressive Black Forest rack for hunting guns, circa 1870-1890. If you are looking for the perfect antique to decorate one of the walls in your hunting room, home office o...

A charming and delightful example of the "playful child" genre of bronzes that proliferated in the early decades of the 20th century -- some of the best examples by important sculptors such as Brenda Putnam and Harriet Frishmuth...

Early 20th Century Chinese Fu Lou and Shou beautifully detailed bronze figures. The Chinese three wise men depict the attributes of a good life....

This bronze was most likely acquired while on the "Grand Tour" of Europe. It is signed M Amadoi N (Napoli) on the backside of the base. The Dying Gaul, also called The Dying Galatian[1] (in Italian: Galata Morente) or The Dying Gladiator...

A rare model of what we believe is an adolescent turkey by the important American Animalier Sculptor, Albert Laessle. The dynamically modeled young bird is straining to scratch ...

Fine Bronze of a small bull on a black belgian marble base. The Original Bronze figure propably dates from the Art Nouveau or early Art Déco period in France. These small bronzes wer...

J.Laugerette (XXth c., France) : " Bull" Silver plated bronze sculpture on a balck and grey veined marble base showing a very strong french breed standing bull Dimensions Height =...

Beautiful life size bronze statue by artist and sculptor Mario Jason. For the artist, dance is his muse. Since the 1980's, Mario Jason's sculptures have ...

Attributed to french sculptor Pierre Robert CHRISTOPHE (1880-1971, France) : "Ewe" Black-brown dark patinated bronze sculpture showing a standing ewe Marked on both long slices of t...

Bronze Sculpture Lioness / Roger Godchaux Jewish Artist & Susse Lost Wax Bibelot . An important bronze sculpture By the great Jewish Bronze Master animalier , Estampille 1- Cire perdue Lost Wax Stamp "La Lionne" by Roger Godchaux. See Photo 2- 2- With A Stamp of Susse. See Photo 3- 3- the signature of the Artist on the bronze. See Photo Incredible Executed and very fine details with Dark Brown Patina with a hue of green . The movement of the lionesse is very graceful and sinuous (as most of the lion Sculpture he produced) Mounted on a black stone base 5 1/2" x 11 1/2" Antique Dealer West Hollywood CA Melrose Ave La Cienega Blvd. Godchaux Né à Vendôme le 21 décembre 1878 et mort le 6 mars 1958 à Paris. Roger Godchaux Sculpteur animalier regularly produces animal drawings and paintings. Thus, unlike his sculptures which mainly represent wild animals, especially elephants and felines that he was going to study at the Jardin des Plantes, his paintings are often inspired by farm animals that he could observe in a small village of Brie where lived the mother of his companion. He also paints commissioned portraits or portraits of his family or friends, such as Gaston Switzerland or René Huchet . But it is above all a sculptor. He made some works by direct carving of the wood. However, he mainly worked by modeling the earth. It treats surfaces by smoothing and oblique streaks. In this respect, unlike other animal sculptors like Édouard-Marcel Sandoz , François Pompon or Armand Petersen whose works are smooth, his work is close to the art of Paul Jouve which leaves apparent textures. The lioness is finished with Godchaux’s distinctive surface modeling where the flesh is left textured like a wax model on the artists bench, still being formed and tooled. Godchaux’s animal work is characterized by gentleness and a sensitivity towards his subjects that showcases their playfulness and personality. This is captured beautifully in the present example where her curiosity and intensity of focus are fully developed; the anatomical and muscular realism is noteworthy. The naturalistic base is signed in his standard script “Roger Godchaux” and is also signed “Susse Fres. Edit. Paris” with the Susse cachet; a tiny stamp “France” is impressed into the edge below the cachet. Models in mud are most often cast plaster. It is often in this material that he exhibits in Salons and galleries. The works for sale are cast in bronze. They are entrusted to famous founders like Susse , with whom he signs publishing contracts, or Valsuani . He also works with lesser known smelters like Gatti, Andro or Planquette. Some of his bronzes do not wear a cast iron seal. While there are some large models, most are modest in size, easily finding their place in collectors' homes. Some of his works are terracotta or sandstone. Models were published by Susse both in bronze and terracotta. Terracotta remains raw or is glazed. He also worked at the Sèvres factory in the late 1930s. Roger Godchaux , born in Vendôme on December 21 , 1878 and dead the March 6 , 1958in Paris , is a painter , draftsman and sculptor of animals French . If all domestic and wild bestiary is part of his artistic universe, it is the wild beasts and elephants that have been his favorite subjects. Figurative sculptor, he represents the animal without artifice, in his attitudes of everyday life. Roger Godchaux's father is an antique dealer. His mother, Jeanne Godchaux, is a concert pianist. He has a brother Yvan with whom he studies in Vendôme under the care of his maternal grandparents, music teachers in high school. Having joined Paris, he prepared in 1894 admission to the School of Fine Arts . He soon turned to animal art . He became a pupil of Jules Adler and Jean-Léon Gérôme . In 1896, he is a pupil of the Julian Academy . Great admirer of Antoine-Louis Barye , he will build a collection of works produced in the workshop of the master 1 . In 1905, he began to exhibit in Paris. He regularly participates in the Salon des artistes français . In 1914, he was mobilized in Saint-Lô . Reformed, he is assigned to the offices of the Ministry of War. During this period, he put his drawing skills at the service of propaganda for the Allies. After the war, he saw rue Descombes . He resumes the exhibitions at the Salon des artistes français where, in 1922, he won the bronze medal. The state orders two bronze plates for the Army Museum Library . In 1924, his second companion gives him a daughter, Luce. In 1925, the jury of the International Exhibition of Modern Decorative and Industrial Arts awarded him a silver medal. In 1927, he won the contest of car manufacturer Chenard and Walcker for the creation of an emblem for their cars. In February 1928, the State bought him a bronze sculpture: Elephant , exhibited at the National Salon of animal artists, of which he becomes the treasurer in November of the same year. It was at this time that the Newark Museum in the United States bought him works. It was also in 1928 that he won the silver medal at the Salon des artistes français. In 1929, the state bought him a sculpture ( Pigeon ) again. During the inter-war period, he exhibited regularly in various galleries: Galerie Charpentier , Galerie Georges Petit , Galerie Edgar Brandt , group of animals of the Malesherbes Art Gallery. He has friendly relations with other animals, including Henri Valette and Gaston Switzerland, with whom he regularly works at the Jardin des Plantes . In 1937, he signed a contract with the Manufacture Nationale de Sèvres for the edition of terracotta. During the Second World War , he stayed in Paris and continued to work in his studio on Boileau Street , but was forced to wear the yellow star . He lives with his girlfriend and daughter Avenue de La Motte...

An antique French gold gilt bronze male 'putti' figure sculpture atop a marble column, Belle Epoque, circa late-19th century, France. A substantial patinated gold gilt bronze male 'p...

Pair of 19th century antique silver on bronze busts on marble bases.

The bust resting on a red marble waisted socle, inscibed to the reverse 'DALOU 1888'. Aimé Jules Dalou (French, 1838-1902) trained at the Petite E...

Radiator cap or car mascot in bronze 1930 with cats silver patina base portor model by Henri Molins of dimension height 18 cm for 7x7 cm. Additional i...

Borghese Gladiator, after the antique large patinated bronze sculpture Italy, 19th Century H 20 in. (50.8 cm) Original marble sculpture was found in the early 1600's in the Anzio so...

A masterful large classical statue in cast bronze of a beautiful young woman in stride wearing a flowing ionic chiton. The exquisite casting of ...

Maurice Prost (1894-1967, France) : "Walking Black Panthera" / "Panthère noire en marche" Black patinated and varnished bronze on a black fine Belgium marble base (Pure black colour stone with no veins) / Sculpture en bronze...

The now iconic bronze coupe vase from the Rick Owens bronze relic collection. This is shown in the black patina. Designed in 2012. Each bronze is signed. Can be used as vase or sc...

A 19th Century, black antique French bust of Napoleon Bonaparte made of hand crafted patinated bronze, in good condition. The small sculpture depicts Napoleon in his military outfit and in a commanding stance. The detailed Parisian décor...

Sculpture panther in solid black bronze. With carved relief finish.   

Elegant Art Deco style bronze black panther sculpture (circa 1940s, France). Natural, dark patina. Impressive, high-design objet d'art with int...

1920 head by Erik Cohort bronze sculpture a marble base (lost wax casting by Meroni and Radice foundry France). Erik Cohrt (Denmark, 1902-70) studied at the Academy Reale in Rome, l...

20th century Bronze whippet sculpture. Beautifully executed Hollywood Regency bronze whippet or greyhound statue or figure from the Mid-20t...

Pair of Art Deco silvered bronze bird bookends. Silver plated bronze figures mounted over black and gold italian marble bases. Both signed M. Bouraine and marked france. Very clean...

An Art Deco era reclining nude bronze sculpture by Salvatore Melani, created at the end of his career which began in his early 1920s and ended in 1934 at the age of 32. The serene an...

Finest quality carved and very good condition Swiss black forest stag / deer sculpture. For the collectors of the rarest and best quality Black Forest sculptures we also have this very detailed, hand-carved stag. Looking at the intricate details and the impressively realistic features of this possibly dying stag, this simply can only be the work of a Swiss master carver. Being capable of creating this much detail on a relatively small sculpture takes a god given talent and a lifetime of experience. With the anatomy, the posture AND the balance being perfectly correct, this work of art inkstand is simply devine. An experienced antique seller...

Italian Neo-classic style (20th Cent) bronze figure of a Centaur with raised hand and holding a staff with a dark brown patina (similar to BAS012)

Lucien Charles Édouard Alliot, Bronze Art Deco 1930 black marble base with gazelles, height 47 cm for a length of 85 cm and a depth of 20 cm. Additional information: Material: Br...

Sculpture human love black bronze all in blackened solid bronze, lost wax bronze technic.

This sensual and fabulous 2 part limited edition signed vintage sculpture is molten bronze cascading in a body form perched atop the black metal base. The bronze looks like rose gold...

Bronze representing Roman soldier with child black marble base, 19th century. Note that the marble has been restored to a height of 46 cm for a width of 37 cm and a depth of 18 cm. ...

Italian patinated bronze sculpture of Hercules and Antaeus after the antique by Pier Jacopo di Antonio Alari-Bonacolsi, 1500-1510.

In the style of modernist James Bearden, this 1960s MCM metal with bronze Brutalist cat sculpture, has applied black patina with bronze highlights. In fi...

An incredible art Deco brutalist solid bronze nude, silver plate sculpture signed and numbered,cant read the signature.

A 19th century grand Tour patinated bronze bust of Lucious Verus.

Unmatching pair of bronze dove bird sculptures or paperweights. France, 1930s Art Deco sitting dove bird and standing dove bird figurines on black marble pedestals. Measures: Sta...

Italian Neo-classic style (20th Cent) bronze bearded figure of a Centaur having both hands tied behind his back with a dark patina. (similar to BAS011)

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...

Antique 19th Century French Patinated and Gold Bronze Sculpture, Neoclassical Figures, signed with "A. Carrier" Foundry Mark. French artist Albert Ernest Carrier-Belleuse 1824-1887.

A mid century bronze contemporary cast ( Smoker ). In the manner of J C Leyendecker. From a private collector. Bronze with black patina mounted on an a...

19th century Roman bronze statue of a woman. Italian Grand Tour bronze. Mark and foundry: G. Nisini, Roma. Good dark antique patina, circa 1860-188...

Handsome 19th Century Bronze and Marble Neoclassical Bust, Great Color & Patina. Pristine Condition.

"Reunion", bronze with black patina. Founder J. Simonet Geneva, dated 1881. 19th century.

Bronze by Peter Darro (1917 - 1997). Limited edition casting by Cisco's, 3/50. Peter's studio was in Chicago and, unlike many, he was a painter since boyhood, later being recognized as a designated official American Field Hall of Fame artist, and a member of the Eminent Society of Animal Artists. As a portrait painter, his ability to transmit the essential character of a subject won him national fame. He painted Senator Everett and Mrs. Dirksen for the Dirksen Memorial Library, and Rachel Carson (author of "Silent Spring...

Vintage 1970s Spanish black marble ball on three bronze cats pedestal.  

Elica is another of Portoghesi’s limpid creations, defined by his poetics of the perceptive, dynamic fields of the directional lines. His poetics are, in turn, defined by various inf...

Bronze Sculpture Mastiff Charles Valton Dog Bronze statue animalier Antiques . Signed and stamped . Valton was known for his big cats but probably his most ...

A fine example of the early 20th century artist's fascination with the idealized male figure and virile athleticism, this lovely bronze by Ludwig Eisenberger...

Signed bronze on marble base Italian, b. 1926. Born in 1926 in the village of Fibbiano Montanino, Lucca, Italy, Bruno Lucchesi has been called “the last of the Renaissance scul...

Elephant bell and clapper that rings with a deep rich tone and cast in bronze. Having acquired a verdigris patina and presented on a rustic wood and hide...

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

French Empire style (19th Cent) bronze reclining sphinx figure mounted on a rectangular black marble base

A grand tour bronze sculpture of Spinario. Measures: Height: circa 8 1/4 in. Items purchased from David Sterner Antiques must delight you....

Stunning bronze sculpture representing "Teddy Bear Per Sempre " production n 8 on 50.

A German bronze model of the medieval Brunswick lion, mounted on a black marble plinth, late-19th century, The German prince, Henry, Duke of Saxony an...