California - Sculptures

Calling all baseball lovers - this massive wood baseball bat measures over 47" long and is in impeccable condition. Fun piece of pop art and an ode to New England. Wood glistens as...

Fantastic hand-painted wood Santo. Hand-carved and hand painted. Great coloring. Excellent condition.

Bronze sculpture entitled "Reconnaissance" by French sculptor Eugene Marioton, circa 1940s. The sculpture stands on an octagonal marble slab, is in very good condition and maintains ...

Dan carved wood prestige spoon or ladle, from the Dan people of Ivory Coast, West Africa. Spoons like this were used by the most prominent woman in the village as a sign of her powe...

This cast stone female torso was purchased in 1983 from the Karl Springer showroom in 1983. We have the original receipt for the purchase which where the torso was displayed in Honol...

"The Three Graces" sculpture by Erté made with cold-painted bronze depicting three beautiful ladies with graceful wear in different blue tones. Signe...

Modern Figurative Brutalist bronze sculpture of a robust man in motion, with a bucket in its hand. The statue rests on its original base in variegated white or gray marble There is n...

Ceramic swan sculpture on travertine base by Ports-Celi, circa 1970s.

Striking chrome-plated steel sculpture of the famous McDonnell Douglas F/A-18 Hornet fixed to a black onyx-colored granite base. This sculpture embodies the power and agility of the ...

Heron bird sculpture made with rock crystal, rose quartz, agate, amethyst and metal limbs. Stands on a gorgeous amethyst base with flower details made of tiger's eye petals.

This set of Chinese Jade carved horse drawn carriage are hand crafted with exquisite detail. They were carved with a "thallium tool" and jade-resolving sand by skilled craftsmen in t...

Beautiful solid walnut hand carved sculpted bowl or catch all. Signed on the bottom. 1950s Emil Milan (1922 – 1985) was an American woodworker celebrated for his sculptural bowls, b...

Beautiful classic Rimini blue ceramic Whimsical elephant sculpture by Aldo Londi for Bitossi, Italy, 1980s.

Great California Design studio pottery ram figurine sculpture by Frank Matranga and dates from the 1960's. Wonderful design and form. Has glaze accents....

Silver plated nude act, sign but not readable. Black lacquered wood base.  

Beautiful combination of wood and metal in white and Yves Klein blue. Indoor or outdoor sculpture.  

The “Space Box” was designed by Ernesto Duran, as a creative way to enhance the uniqueness of meteorites and could also be use as a decorative piece. Its an acrylic box with a magnet...

A very fine and large Italian 19th century carved Carrara marble figure of a fisherman boy with a straw-hat titled "THO PRESO!... (The catch) dep...

This lovely little lamp depicting a gilt bronze bust of a maiden looking into a stone room with bars certainly is an allegorical tale. Her distinct rich free flowing hair commands your attention. The room does light...

A very fine and large Museum Quality french, 19th century Versailles Style Figural Torchère with two side-by-side Putti in a Brown and Parcel-Gilt Patina Holding a Four-Light gilt bronze Candelabrum with Frosted glass flame shades, by Lacarrière Delatour...

Seguso AV Murano Controlled Bubbles Glass Hedgehog Sculpture, Italy, c.1965.

Miguel Berrocal, master of the puzzle sculptures, made this Torso, titled Marzotto signed and number 240/1500, made of parts as shown in pictures.

Brutalist zodiac mirror by Finesse Originals, circa 1970. Cast resin with a custom silver finish.

Pair of 800 silver pheasants. Gold vermeil. European (probably Austria).   

A very fine French 19th century brown and parcel-gilt patinated bronze sculpture titled "La Sécurité" (The Security - Protection) after a model by Eugène Delaplanche (French, 1836–1891). Depicting a sitting young Maiden in a gilt-decorated armored suit and helmet, a lion skin on her back, holding a resting child on her arm. Raised on Rouge-Royal marble plinth inscribed "La Sécurité - Par E. Delaplanche - Salon des Beaux-Arts de Paris". Signed: E. Delaplanche and stamped with the importer's seal - Alberto Vignes y Ca - Buenos Aires, circa 1890. Measures: Height: 28 3/4 inches (60.3 cm). Width: 16 inches (40.7 cm). Depth: 14 inches (35.6 cm). Eugène Delaplanche (February 28, 1836 – January 10, 1891) was a French sculptor, born at Belleville (Seine). He was a pupil of Duret, gained the Prix de Rome in 1864 (spending 1864-67 at the Villa Medici in Rome) and the medal of honor in 1878. His "Messenger of Love" (1874), "Aurora" (1878), and the "Virgin of the Lillies" (1884), are in the Luxembourg. Other works by him are "Music - La Musique" (1878, Paris Opera House), called his masterpiece; "Eve After the Fall" (1869); "Maternal Instruction" (1875, Square of Sainte-Clothilde, Paris). He is also noted for his decorations in relief on vases of Haviland faience. His best work is naturalistic, but at the same time dignified and simple in line and shows sound mastery of technique. He is represented by 15 works in the Glyptothek, Copenhagen and in many other French museums and in churches. This sculpture of La Sécurité is after his 1884 sculptures...

Rare pair of 1960’s triangular concrete planters designed by Swiss neo-functionalist and industrial design pioneer Willy Guhl for Eternit in Switzerland. Each multifaceted planter...

Carved wood standing female figure with projecting stomach, attached horn on top of head, and hair in form of small hand shaped copper pieces. Old glass beads...

This very special large bronze was done by the highly respected artist of the Art Deco period, Pierre le Faguays (1892-1962). His works have always been some of the of the most sough...

Hand painted porcelain collectible Fitz and Floyd resting Nubian camel figurine. Beautifully detailed Arabian camel, the camel is kneeling in rest and ...

A unique piece of ceramic art that also serves as a vessel. It features a textured ochre glaze and a 'U' shape with two openings that are connected at the bottom. Perfect for Ikebana...

Charles Massé (1855-1913) Gilt bronze sculpture depicting a naked lady, on a brown marble pedestal Art Nouveau period.   

Ceramic figure 1960s Signed hat the Artist on the back . This is a very outstanding and unique decorative figure. Chic and understated.

Statement piece! beautiful freeform mesquite wood live edge organic centerpiece bowl by artist Norman Harrison. Signed and dated from 2003 on the bottom. Made in Yuma, Arizona. Wonde...

Wonderful statue of the Arc De Triomph made of bronze and marble. It has so many details. It is in good vintage condition and reminds in its original patina. The marble has no chips ...

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...

Handcrafted Moroccan Moorish amber painted glass perfume bottle or rose water sprinkler with raised embossed silvered metal floral design over amber glass. The pressed glass bottle in Art Deco, Art Nouveau style is oval shape with curved sides and hand decorated with embossed metal silvered overlay. This has a long metal top spout that unscrews. This is a recycled vintage French perfume...

Colorful set four hand-painted porcelain figurines depicting different types of animals: a dormouse on top of an apple, a squirrel, a ram, and a pair of love birds. Made by Herend Hu...

An undulating Italian midcentury clear and salmon colored triton-shaped art glass sea shell with gold inclusions, small air bubble on outer shell. ...

Pair of brass and wood bookends by Walter von Nessen for Chase, c.1930s, USA. The pair of bookends feature two brass figures with curved tubular bodies and geometric shaped wood head...

Large Abstract Geometric Solid Quartz Bowl was carved from a solid slab of the finest Quartz by master artisans. The abstract quartz bowl is a piece of art and can be lit either from...

Incredible Abstract Sculpture by Barbara Hult Lekberg, American, 1925-2018: Sea Wind II. Bronze, signed and numbered 6/9 Provenance: The Estate of Dr. Richard Auhll, Santa Barbara, CA

"Strum to Hum the Boomerang of Sound" is a sonambient sculpture by Val Bertoia consisting of 50 beryllium copper rods which strike together and chime when touched by hand or by the w...

19th C. Santos Hand made statue Saint Joseph and child Antiques Los Angeles CA LA . Mid 19th Century Rare Hand made terracotta Clay “ Santos “ saint Joseph with Child baby Jesus . ...

A fine French early 20th century Art Deco white marble figure of a kneeling nude beauty, attributed to Affortunato Gory (Gori) (Italian, 1895-1925). The kneeling nude figure of a you...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

Purchased in Rome in the 1980's, the well-carved chubby winged putti in opposing stances and poised on one foot over a rock-work base; depicting the grape harvest also known as the a...

This Demétre Chiparus gilt bronze sculpture is a charming representation of movement and grace. It depicts a hoop girl dancer elegantly twirling her hoop around her body. The sculptu...

Republic of Ireland Bronze Sculpture Madonna and Child Rock Base stamped made in the Republic of Ireland, hard to read. 11 x 5.5 w x 4 d Preowned original...

Modernist TOTEM mask abstract aluminum sculpture standing 4 feet tall. Artist unknown.

"The Mystic" is an enchanting cold-painted Art Deco bronze sculpture, part of the esteemed "Theater in Bronze" series. This captivating piece is numbered 357/375. The sculpture portr...

Late 19th century articulated figure with a nicely detailed carved face, navy overalls and red-painted shirt, tie, and shoe.

Traditional Late 19th Century Italian sculpture. Carved with fine marble and pink alabaster, this piece depicts a beautiful young woman draped in a flowing robe dress that cascades i...

Art Deco Plaster Sculpture of a Pair of Recumbent Lions on the Front and Back as well as Elaborately Detailed Battle and Construction Scenes

Very early abstract assemblage wall sculpture by listed artist Joseph Kurhajec, circa 1963. The assemblage is signed in the lower corner and then on th...

A beautiful pair of luminous murano glass sculptures by Salviati. These are made of glass with Uranium deposits that allow the glass to 'Glow" in UV light. Similar to American made V...

A fine detailed casting of a dancer by the artist dh Chiparus, has the mark on the base plate. All solid marble base. After the original and is super detailed and patina finish. A he...

Pair of Neoclassical style column ornaments made of marble and onyx, along with a malachite sphere on top of each piece, while also having a small amethyst on the bottom base. Made i...

"Panama Bronze" is an art and design project, the result of the collaboration between the artist Mattia Biagi and Promemoria. The artist has poured hot tar on a real Panama chair, to bring the object closer to the material and to make it melt in the ground. Mattia Biagi has created what he himself called the "polarity of destruction and conservation". "Although the melted tar destroys the object it touches, in this case, the Panama chair - an elegant and finely crafted object - it simultaneously preserves it in its new and very different form". This is how the original silhouette of the Panama chair was turned into its new incarnation. Thanks to its experience in working with bronze, Promemoria has helped Mattia to refine his work of art, transforming the iconic Panama chair, designed by Romeo...

ABOUT A pair of original bronze clad dog bookends with original felt on the bottom. Designed and stamped Paul Herzel. Both bookends are in good condition and have retained their fin...

Welded steel Brutalist sculpture by Paul Kasper, circa 1960s. Was purchased from the estate of Paul Kasper. Biography Paul Kasper. Paul Charles Kasper was born in Whiting, I...