California Figurative Sculptures

A fine French 19th century patinated spelter bust figure of a young wearing a head scarf. The young lady, in a brown-copper patina, posing with a right-side gaze and wearing a beaded...

A fine French 19th-20th century Belle Époque three light patinated, gilt bronze and gilt-metal figural chandelier pendant. The dark patinated bronze figure of a hovering cherub enwra...

This pair of Antique Chinese Emperor and Empress Statues are 100% hand made and hand carved with paint and gilt on them. Some of the paint and gilt has been worn off but overall they are in good condition. Look at the pictures, you can see that they are in many years history with some age wear. Now you can have them on your collection shelf. Size: 6in H x 2 3/4in W x 2in D each Origin: China Circa: Late Qing era Material: Wood Condition: Hand made, hand painted, normal age wear. Disclaimer: Due to differences in monitor/screen settings, product colors may differ slightly between product photos...

1960s student wood carved sculpture from the Scuola di Belle Arti in Venice.

Majestic 18th century Italian baroque polychrome Santos icon sculpture of a young man. The carved icon is depicted standing and wearing a flowing robe with graceful movement. He has ...

Beautiful Italian Murano bubble grass red apple with green stem in excellent condition , no chips or cracks.

A vintage Thai brass snake charmer sculpture, circa 1970s. The piece is in very good vintage condition with a nice patina (there is some discoloration to t...

Beautiful abstract bronze sculpture. France, 1930s,

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...

Belgian Art Nouveau hammered pewter gourd shape lamp by artist Leon Provins (Belgium, 1873-1943). Signed L. Provins on lower half of lamp structure. Stam...

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...

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

Large free-form female sculpture designed in the United States circa 1960. This interesting art piece features two entwined nude women in earth-toned ceramic. Black lines trace their faces, hands, and bodies. Their facial expressions and body language positively contrast with the use of colorful blue brush strokes...

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 ...

Massive industrial ceramic glove mold by Japnese manufacturer Shinko, circa 1970s. The piece is a cool decorative item that is in excellent conditio...

This is a charming figural sculpture of a Putti with trident riding on a tortoise. To the ancient Greeks and Romans, the tortoise was a symbol of love and fertility; the tortoise was...

Ceramic Urchins sourced by Martyn Lawrence Bullard from Paris, France Limited edition, one pair available Solid ceramic, painted in a white matte finish

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 ...

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

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...

Pair of Folk Art lamps - Hand carved African Figures on a black base - A decorative brass rod extend to the top with two custom made Lamp Shades...

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...

High quality antique articulated wood artist nude figural model sculpture dating from the 1940s-1950s. The model is a tough to find version with the original red enamel paint. In ver...

Gorgeous Solid Brass Seahorse Sculpture, Hollywood Regence / Mid Century Modern Decorative Object. Beautiful Dramatic Stylized Sea...

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...

Beautiful pair of 19th century bronze putti's. They each measure 8 inches high by 3 inches wide. Incredible detail in these two beauties.

A large and impressive work by the California or Mexican noted artist Frederco Cantu (1907-1989). It is signed and dated 1986. Quite large and heavy. A brief bio follows from askant: Federico Cantú...

A beautiful, circa 1920, cast bronze Buddha in mid-stride atop a stylized lotus blossom. The figure is clad in see-through drapery, and is surmounted by whirls of hair capped...

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...

Scandinavian Miniature Danish Viking, Denmark, 20th Century.

A large Italian 19th-20th century neoclassical and Greco-Roman style architectural scagliola wall plaque depicting chariots, horses, allegorical maidens and gods, inlaid and painted ...

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...

An exquisite pair of patinated bronze sculptures, after Giambologna, depicting Mercury and Fortuna beautifully hand-cast in fine detail and monumental in scale. Mercury is depicted i...

A fine Italian 19th-20th century lifesize carved marble bust of a lady wearing a hat, the beautifully carved marble bust of a lady posing with a gaze to her right, wearing a bonnet w...

Graceful Art Deco sculpture depicting a female dancer standing on a black marble base. Made with quality bronze, the statue showcases the women wearing long skirts and traditional sh...

A very fine French 19th century neoclassical style silver-plated figural centerpiece, in the manner of Christofle and a design by Mathurin Moreau (French, 1822-1912). The circular or...

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...

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

Pair of French 19th-20th century baroque style patinated bronze figural chenets (Andirons). Each chenet topped with a cherub standing on a stand flanked by styrs and royal goat-heads...

A pair of large French Napoleon III style metal thirteen-light figural torchières.depicting two winged cherubs holding up a thirteen-light torchère, standing on bases with gold highl...

This is a large Sculpture by both Barye and El Guillman cast from the original . Two signatures are visible on the base . Said to be very rare piece! Large 33" in height and 22" long...

Monumental sculptural head of President George Bush. Made of foam, paste and hand-painted. Very unique piece of sculpture. Massive scale. President Nixon...

A Fine Italian 19th-20th Century Carved Alabaster Group of a Child with a Birdcage, depicting an infant boy Seated, naked, on a rocky base. After Jean-Baptiste Pigalle (1714-85) - L'enfant a la Cage. In his outstretched left hand he holds an empty bird cage with an open door. This sculpture is one of the popular motifs of the period among secondary figures in paintings was the Italian putto...

Spanish colonial pair of wonderfully carved, painted and giltwood angel candleholders. Late 18th century.  

Very nice terracotta girl by the well known Austrian artist Susi singer. Made by Gudrun Baudisch. (SS). Made in Austria.

Eugène Blot (French, 1830-1899) "An Evening at The Opera House" a fine and rare French 19th century polychrome and parcel-gilt spelter figure of a lady seated backwards on her knees ...

Neo Art Deco copper-tone female flapper dancer statue dancer fixed to an alabaster base, signed Biess. Circa 1980.

Interesting sculptural nose made of plaster. Cool tabletop object.  

The most famous figure designed by J.C. Leyendecker Illustration Artist . Known as ( The Smoker ) Cast in lost wax bronze and with a polished Antique Silver patina finish . He stands on an absolute Black marble base 5 1/2" by 5 1/2" square . Medium size sculpture...

Large brutalist cast iron & wood crucifix / cross from Italy, circa 1970s. This is a beautiful linear piece in great condition measuring 10"W x 3"D...

Rare postmodern Italian sculpture in graphite ceramic sitting on slate base, not signed .

Highly detailed lost wax Bronze castings made after the Original pieces as a pair of Elegant dressed Lady's all finished in multi-patinas and mounted on absolute Black marble bases ...

A Fine Italian Cast 19th Century Bronze Group Titled "La Tempête" (The Tempest) Probably after Mathurin Moreau (French, 1822–1912), Cast by The Alessandro Nelli Foundry in Rome. The ...

This unusual bronze really caught our attention. The seated female warrior perched high atop a marble base is a rare look in antique bronzes. The bronze...

A topless dancer in Egyptian style dress in a dance pose. Hi cast bronze with fine details and multi patina finish. Mounted on a Pyramid design Black marble base. The base with a gold finished plaque with a musician playing a harp. Has marked name in bottom RH corner. Will require special packing and shipping for safe delivery. Title is ( The Egyptian Dancer...

Beautiful pair of metal footed dish grotto style with men riding giant fish figurines. This pair includes a glass insert. Great carving details.

Grégoire Calvet (French, 1871-1928) A Fine Late 19th Century Life-Size White Marble Sculpture representing "Peace & Love". The beautifully carved white...

Russian bronze sculpture on a marble base. Signed LAAHCEPE.

An elegant Lady walking down the steps cast in bronze with multi-patinas. Mounted on a solid marble grand staircase. Title is ( The Grand Entrance ) in the manner of M.Reviere. One o...

Early Danced Black Wood Mask From the Guro Peoples Ivory Coast Bird on top. Finely carved mask with carved open eyes, and pointed nose and slightly smiling mouth. It is in good co...