Florida - Figurative Sculptures

Jean-Baptiste Baujault (1828-1899). Portrait of a Bearded Man, ca. 1880's Cast bronze on bronze base. Measures 12.75 x 5.25 x 4.5 inches. Created by the Ferdinand Barbedienne foun...

Diosa. Original bronze multiple. Esculpture Modernist Julien Caussé (also given as Cadet-Julien Caussé, Cadet Julien Caussé and Julien Cadet Caussé) (1869–1914) was a prolific French...

Ceramic parrots atop wood perches, each is handmade Our objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, s...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

Élie-Jean Vézien (1890-1982). Art Deco Era Women's Tennis Player, ca. 1930. Cast Bronze. Measuring 9.25" h., 11.25" w., 4.5" d. Signed by artist on base with LeBlanc Barbedienne f...

Standing Feline, ca. 1930. Carved Wood, measuring 18" high; 6.25" wide; 4" deep. Unsigned. Wood base painted flat black.

Salvador Dali (Spanish, 1904-1989) Alma del Quijote Bronze with marble base Edition: AB 52/100 Signed by Dalí This Surrealist sculpture depicts a dynamic and fragmented Don Quixote...

Warthog Divining Figure. Kuba, DRC. Late 19th century. Carved wood with palm oil patina, 12.5 incehes (l), 3.25 inches (h), 2 5/8 inches (d). Loss evident at tip of right ear and on snout. Provenance: Ex. collection Martin and Faith-Dorian Wright; J.J. Klegman; Angelo Caggiula-Carulucci, chief magistrate in Belgian Congo for King Leopold...

Mimi Gross (American 1940-) Jewish Orthodox Scholar 1983 Aluminum and Paint Assemblage Hand signed, numbered 130/135 Dimensions: 24 X 12 X 9 inches From a great art collection of ...

Waylande Gregory (1905-1971). Nude Reclining, ca. 1950's. Painted composite cast from original sculpted in 1930's. Casting sanctioned and approved by the artist during his lifetime in partnership with MPI, Museum Pieces Incorporated. Very few examples were produced and even fewer survive. Waylande Gregory was considered a major American sculptor during the 1930's, although he worked in ceramics, rather than in the more traditional bronze or marble. Exhibiting his ceramic works at such significant American venues for sculpture as the Whitney Museum of American Art in New York City and at the venerable Pennsylvania Academy of the Fine Arts in Philadelphia, he also showed his ceramic sculptures at leading New York City galleries. Gregory was the first modern ceramist to create large scale ceramic sculptures, some measuring more than 70 inches in height. Similar to the technique developed by the ancient Etruscans, he fired his monumental ceramic sculptures only once. Gregory was born in 1905 in Baxter Springs, Kansas and was something of a prodigy. Growing up on a ranch near a Cherokee reservation, Gregory first became interested in ceramics as a child during a native American burial that he had witnessed. He was also musically inclined. In fact, his mother had been a concert pianist and had given her son lessons. At eleven, he was enrolled as a student at the Kansas State Teacher's College, where he studied carpentry and crafts, including ceramics. Gregory's early development as a sculptor was shaped by the encouragement and instruction of Lorado Taft, who was considered both a major American sculptor as well as a leading American sculpture instructor. In fact, Taft's earlier students included such significant sculptors as Bessie Potter Vonnoh and Janet Scudder. But, Taft and his students had primarily worked in bronze or stone, not in clay; and, Gregory's earliest sculptural works were also not in ceramics. In 1924, Gregory moved to Chicago where he caught the attention of Taft. Gregory was invited by Taft to study with him privately for 18 months and to live and work with him at his famed "Midway Studios." The elegant studio was a complex of 13 rooms that overlooked a courtyard. Taft may have been responsible for getting the young man interested in creating large scale sculpture. However, by the 1920's, Taft's brand of academic sculpture was no longer considered progressive. Instead, Gregory was attracted to the latest trends appearing in the United States and Europe. In 1928 he visited Europe with Taft and other students. "Kid Gregory," as he was called, was soon hired by Guy Cowan, the founder of the Cowan Pottery in Cleveland, Ohio, to become the company's only full time employee. From 1928 to 1932, Gregory served as the chief designer and sculptor at the Cowan Pottery. Just as Gregory learned about the process of creating sculpture from Taft, he literally learned about ceramics from Cowan. Cowan was one of the first graduates of Alfred, the New York School of Clayworking and Ceramics. Alfred had one of the first programs in production pottery. Cowan may have known about pottery production, but he had limited sculptural skills, as he was lacking training in sculpture. The focus of the Cowan Pottery would be on limited edition, table top or mantle sculptures. Two of the most successful of these were Gregory's Nautch Dancer, and his Burlesque Dancer. He based both sculptures on the dancing of Gilda Gray, a Ziegfield Follies girl. Gilda Gray was of Polish origin and came to the United States as a child. By 1922, she would become one of the most popular stars in the Follies. After losing her assets in the stock market crash of 1929, she accepted other bookings outside of New York, including Cleveland, which was where Gregory first saw her onstage. She allowed Gregory to make sketches of her performances from the wings of the theatre. She explained to Gregory, "I'm too restless to pose." Gray became noted for her nautch dance, an East Indian folk dance. A nautch is a tight, fitted dress that would curl at the bottom and act like a hoop. This sculpture does not focus on Gray's face at all, but is more of a portrait of her nautch dance. It is very curvilinear, really made of a series of arches that connect in a most feminine way. Gregory created his Burlesque Dancer at about the same time as Nautch Dancer. As with the Nautch Dancer, he focused on the movements of the body rather than on a facial portrait of Gray. Although Gregory never revealed the identity of his model for Burlesque Dancer, a clue to her identity is revealed in the sculpture's earlier title, Shimmy Dance. The dancer who was credited for creating the shimmy dance was also Gilda Gray. According to dance legend, Gray introduced the shimmy when she sang the Star Spangled Banner and forgot some of the lyrics, so, in her embarrassment, started shaking her shoulders and hips but she did not move her legs. Such movement seems to relate to the Burlesque Dancer sculpture, where repeated triangular forms extend from the upper torso and hips. This rapid movement suggests the influence of Italian Futurism, as well as the planar motion of Alexander Archipenko, a sculptor whom Gregory much admired. The Cowan Pottery was a victim of the great depression, and in 1932, Gregory changed careers as a sculptor in the ceramics industry to that of an instructor at the Cranbrook Academy in Bloomfield Hills, Michigan. Cranbrook was perhaps the most prestigious place to study modern design in America. Its faculty included the architect Eliel Saarinen and sculptor Carl Milles. Although Gregory was only at Cranbrook for one and one half years, he created some of his finest works there, including his Kansas Madonna. But, after arriving at Cranbrook, the Gregory's had to face emerging financial pressures. Although Gregory and his wife were provided with complimentary lodgings, all other income had to stem from the sale of artworks and tuition from students that he, himself, had to solicit. Gregory had many people assisting him with production methods at the Cowan Pottery, but now worked largely by himself. And although he still used molds, especially in creating porcelain works, many of his major new sculptures would be unique and sculpted by hand, as is true of Kansas Madonna. The scale of Gregory's works were getting notably larger at Cranbrook than at Cowan. Gregory left the surface of Kansas Madonna totally unglazed. Although some might object to using a religious title to depict a horse nursing its colt, it was considered one of Gregory's most successful works. In fact, it had a whole color page illustration in an article about ceramic sculpture titled, "The Art with the Inferiority Complex," Fortune Magazine, December, 1937. The article notes the sculpture was romantic and expressive and the sculpture was priced at $1,500.00; the most expensive sculpture...

Figure of a Chanting Warrior Ceramic with bitumen highlights 300-600 CE (Classic Period) Mexico, Veracruz, possibly Nopiloa Veracruz Culture Pre-Columbian, Mexico, Vera Cruz culture...

Beautiful Khmer head of Buddha. Angkor period, style of the post-Bayon. 14th century. Carved sandstone. Height 12 5/8 inches, width 5 5/8 inches, profile 5 ...

William King (1925-2015). Reclining figure, ca. 1965. Cast and welded bronze, 7 x 9.5 x 5 inches. Unsigned. William King, a sculptor in a variety of materials whose human figures traced social attitudes through the last half of the 20th century, often poking sly and poignant fun at human follies and foibles, died on March 4 at his home in East Hampton, N.Y. He was 90. His death was confirmed by Scott Chaskey, who is married to Mr. King's stepdaughter, Megan Chaskey. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses -- a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. But for all its variation, what unified his work was a wry observer's arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. Mr. King's work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. But the comic element of his work probably caused his reputation to suffer. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder. and Elie Nadelman. The critic Hilton Kramer, one of Mr. King's most ardent advocates, wrote in a 1970 essay accompanying a New York gallery exhibit that he was, "among other things, an amusing artist, and nowadays this can, at times, be almost as much a liability as an asset." A "preoccupation with gesture is the focus of King's sculptural imagination," Mr. Kramer wrote. "Everything that one admires in his work - the virtuoso carving, the deft handling of a wide variety of materials, the shrewd observation and resourceful invention - all this is secondary to the concentration on gesture. The physical stance of the human animal as it negotiates the social arena, the unconscious gait that the body assumes in making its way in the social medium, the emotion traced by the course of a limb, a torso, a head, the features of a face, a coiffure or a costume - from a keen observation of these materials King has garnered a large stock of sculptural images notable for their wit, empathy, simplicity and psychological precision." William Dickey King...

Handmade Benin sculptural tribal bronze figural judgement throne chair. The base of the chair with two tiers of standing figures. The back of the chair with two more tiers of standin...

Marcelo Morandin 1933-1996 Untitled (Embracing Couple, Lovers) Bronze 1988; ed. P/E; Hand signed, dated and editioned to lower edge DImensions: 48.5 x 32 x 21 cm / 18.8 x 12.5 x 8.2 inches (approximately) PAREJA, Bronce, patinado Marcelo Morandin (1933 - 1996) was active/lived in Argentina, Mexico. Argentinian, Mexican Postwar & Contemporary sculptor Morandin is best known for his monumental sculpture. This is a wonderful, art deco inspired nude couple, the woman appears pregnant). Marcello Morandín (Marcelo Román Morandín Paroni) was born in 1933 in Argentina. He was an important plastic artist and Argentine architect, distinguished in Mexico for being an excellent sculptor and furniture designer. At the end of his studies at the Faculty of Architecture of Buenos Aires, Argentina, he traveled to Mexico and settled in Xalapa, Veracruz. In this city he was part of several artistic projects and noted for being one of the founders of the Department of Aesthetic Research and Applied Design at the University of Veracruz, as well as the Department of Aesthetic Research at UNAM. Between the years 80 and 90, he carried out several monumental works, among them "La pigeon de la paz" a project for the UN; "The foundation of Tenochtitlan" located in front of the Official Residence of Los Pinos; and "The Kinetic Tower" Of the government of Veracruz that combines the light and the sound with diverse moving parts to the compass of the music of Arnold Schoenberg. (Lily Kassner. Dictionary of Mexican sculptors of the twentieth century. Volume II. Mexico. Conaculta, 1997). Similar in style to Israeli artists Aharon Bezalel and Isaac Kahn. He has shown with Jose Villalobos, Nicolas Moreno, Pedro...

The Age of Bronze After Auguste Rodin (1840–1917) Renaissance Bronze Company, New York Nelson A. Rockefeller Collection Number 36 of 150 1979 41 inches tall A museum-quality bronze a...

Bronze sculpture with three different patinas. Conceived in 1977 and first cast in 1984. Incised Salvador Dali signature on top of the base. Stamp numbered 264/350 on the back ed...

Paint and gold paint on wood Circa early to mid 20th century. This is not signed A treasure from a proud congregation. It is a hand-carved wooden sculpture showing the Tablets of the Law flanked by two Lions of Judah. Their paws held the tablets. Their roaring mouths faced outward, protecting the commandments from threats. In a foliage design with gold and silver paint. Circa 1920-1940's. This Neoclassical, Judaic, Art Deco, Egyptian revival, Shul, Aron Kodesh hand carving, wood with gilding, Hebrew lettering ten commandments sign sculpture, was produced probably in New York. There was a show at the Folk Art Museum titled “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” That featured these antique magnificent pieces. From gilded lions to high-stepping horses, the sacred to the secular, and the Old World to the New, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” traces the journey of Jewish woodcarvers and other artisans from Eastern and Central Europe to America and the unsung role they played in establishing a distinct Jewish culture in communities throughout the United States. The exuberant artworks stand as a testament to a history of survival and transformation and provide a surprising revelation of the link that was forged between the synagogue and the carousel as immigrant Jewish artists transferred symbolic visual elements into this vernacular American idiom. The first major study of this important aspect of the Jewish contribution to American folk art, the exhibition features approximately one hundred artworks and objects, including rare documentary photographs of Eastern European synagogue arks and carved gravestones, sacred carvings, papercuts, and carousel animals. Some of these same Jewish European carvers worked on Coney Island amusement park rides and carousel horses and other carnival and circus carvings.

Magda Watts (Israeli, b. 1928) Handmade Folk Art Sculpture Old Folks with a newspaper Hand signed to underside, Dimensions: 12"h x 14.5" l x 7.5"d. Mag...

gymnast Original Steel Sculpture He has exhibited individually since 1970, having performed more than a hundred, being the main ones in: L'Hospitalet; Ibiza; Seville; Terrace; Rome...

Beautiful late 15th-century Burgundian Netherlandish portrait of a woman. Carved walnut. Original polychrome has been removed with traces at base and lower portions of figure. Minor ...

ARTIST: Salvador Dali TITLE: Lincoln in Dalivision Platinum Bas Relief MEDIUM: Bas Relief SIGNED: Embossed Signature. The Bas Relief bears the artist signature toward the bottom...

The Thinker After the iconic model by Auguste Rodin Nelson Rockefeller Collection Renaissance Bronze Company, New York Dated 1979 Edition 15 of 150 Bronze 28 inches high Approx. 120 ...

Here for your consideration is a vintage bronze statuette from the mid-20th century depicting Quan Yin. Created during the midcentury period, this bronze statuette features the Quan ...

Whimsical mid century Italian lemon tree handcrafted in metal with hand decorated leaves and fruit in a wall mount tole planter.

Marc Quinn 18k Large Gold Orchid Ring Measurements: Ring size 7, ring top is 38mm x 37mm Hallmarked: MQ PE 750 Weight: 26 grams Quinn has used orchids repeatedly and thematical...

We have not located any markings on the piece and it does not appear to be signed. it bears similarities with works by Wilfredo Lam and other Cuban and Latin American masters and it ...

Chiurazzi Bronze of the Dancing Faun, Naples, After the Antique Pompeii Original, 32 Inches Description A superb and highly expressive bronze reduction of the celebrated Dancing Faun...

Artist: Sijan, Marc Title: Security Guard Date: 2024 Medium: Polyresin with oil paint and mixed media Signature: Signed lower leg Edition: Unique ...

Mid century Italian Leopard in life-like repose, crafted in terracotta, hand decorated and glazed. Stamped "Made in Italy" on the underside.

Torso. Original resin esculpture Fili Plaza reflects in his work the emotional world of Mediterranean culture, with its sensuality and luminosity. The nature of this universe offer...

Pasquale Napolitano (1901-2001) Seted Figure of a Man, ca. 1935. Carved hardwood, measuring 22" h., 9.75" d., 14" w. Signed bottom right side. Natural wood shrinkage cracking on...

Tip of the iceberg, handmade ceramic and wood Our objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, sculptu...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied...

Osiris, French School, Circa 1900 Patinated Bronze Statuette 12.25 in. (31 cm) High A striking and highly decorative bronze depiction of Osiris, the ancient Egyptian god of resurrec...

French sculptor Georges Colin depicts Icarus in an idealized pose, featuring a handsome, fit, semi-nude male with an acutely delineated musculature. Mod...

Artist: Jack Graves III (American, 1988-) Title: "Dying Achilles" Series: Sculpture *Signed, titled, and dated by Graves on bottom Year: 2026 Medium: Original Acrylic and Enamel Pain...

White earthenware ceramic pitcher painted in black, white and grey patina with knife engraving and partial brushed glaze. Inscribed 'Edition Picasso' in black and with the Edition P...

Sculpture by the Spanish artist AMANCIO GONZALEZ Artist well known for his large format works on the street. Iron and bronze. AMANCIO Gonzalez ( Leon 1965 ) Amancio González is a s...

"Untitled" bronze sculpture of a female nude by artist Felipe Castañeda. Inscribed F. Castañeda 1984 P/A on base.

Signed bronze from small edition of 8. plus 4 artists proofs Dominik Albiński (born 1975, South Africa) He started carving at the age of twelve. When he was eighteen he went to Pari...

"Longing (añoranza) is a sculptural group formed by four elements and cast in bronze, which arise, grow and expand to generate what is a metaphor of life, and through longing finding...

Seated Mercury (Hermes) — Grand Tour Life-Size Bronze Italian School (possibly Naples) Italy, Late 19th–Early 20th Century This commanding life-size Grand Tour bronze depicts Mercury (Hermes) seated in quiet repose upon a rock, rendered with classical authority and exceptional refinement. The youthful god’s finely modeled anatomy, serene, introspective expression, and distinctive winged sandals draw directly from the celebrated ancient prototype, creating a sculpture of enduring presence and balance. Fully restored and ready to place, the bronze presents beautifully for interior display or garden installation, where its patinated surface responds richly to natural light. The composition derives from the renowned Seated Mercury discovered on August 3, 1758, in the peristyle garden of the Villa dei Papiri at Herculaneum. The ancient original—now housed in the Museo Archeologico Nazionale di Napoli—became a touchstone of classical taste and a must-see for Grand Tour travelers of the 18th and 19th centuries, admired for its harmony, restraint, and technical mastery. Cast in richly toned bronze and finished with a nuanced patina, this example exemplifies the Neapolitan tradition of Grand Tour bronzes, prized for archaeological fidelity and sculptural finesse. Its impressive scale and poised silhouette make it a significant focal point in both modern and classical settings—an object that bridges antiquity and the cultivated collecting culture of the Grand Tour. Notable Related Examples: Getty Villa · Kunsthistorisches Museum · Villa San Michele...

The series "Venus Nostalgia" is a collection of sculptures inspired by the famous Venus de Milo, an emblematic work in the history of art that has had a great impact on Castello's wo...

Antique Middle Eastern Judaic Birth Amulet Buckle with Kabbalistic Inscription. On woven silver chain. Most likely from Iran, Persia, (possibly from Afghanistan or Bukharian Jews) Ci...

Seated Shaman Colima culture Mexico ca. 300 BCE - 300 CE Pre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A hollow-cast and highly-burnished terraco...

The series "Venus Nostalgia" is a collection of sculptures inspired by the famous Venus de Milo, an emblematic work in the history of art that has had a great impact on Castello's wo...

Florencio Gelabert Y Perez (Cuban, 1904-1995) Hand carved, signed; 1979 Materials: Cuban wood (mahogany?) Dimensions 23 X 4 X 4 inches Label affixed to underside: National Registry of Cultural Assets of the Republic of Cuba Ministry of Culture. Provenance: Art Master Collection, Miami, Florida. Florencio Gelabert, with a style reminiscent of Art Deco and Art Nouveau in a Latin American Expressionist stylization. Carved wood sculpture. Depicts a modernist stylized form of a man in a streamline moderne style. José Florencio Gelabert Pérez (Caibarien, 1904 - Havana, 1995) Cuban musician, sculptor, draftsman and teacher. He graduated from the San Alejandro National Academy of Fine Arts in 1934. He received numerous awards, mentions and recognitions in Fine Arts Halls and Circles. His works are in the permanent collection of the National Museum of Fine Arts. Florencio Gelabert is a renowned sculptor, who made more than twenty solo exhibitions beginning in 1929, several in the National Museum of Fine Arts, and participated in more than thirty collectives in Cuba, Spain and Brazil, the latter in the Sao Paulo Biennial. he traveled from Caibarién to Santa Clara in 1928 to audition to enter the famous San Alejandro Fine Arts School in Havana. He obtained one of the five vacancies. Already in the Cuban capital, he combined fine arts and music. When he graduated, he became a professor in San Alejandro and the academy’s principal in 1960. With a calling common to wood sculptors –which began with his primary school carving carpentry classes and the active life of his home town’s shipyards, his chisels and gouges feverishly turned mahogany, “ácana” and ebony into female heads with black African features dating back to 1930. In 1938 he used his savings to explore Europe: France (Paris, Marseilles), Italy (Naples, Rome, Florence, and Venice), Belgium (Malina). His encounter with the works by Aristide Maillol, Auguste Rodin, Ossip Zadkine, Constantin Brancusi and even with Wifredo Lam, who was also born in another Cuban coastal area, Sagua la Grande, and his encounter with the nude marble David sculpture...

Bust Of A Young Woman Bronze sculpture signed by the artist inside the cast and dated 1988, 1st cast in London. Kevin Berlin is an international arti...

Milton Hebald (American, 1917-2015) Lion of Judah menorah bronze on a white marble plinth base signed in bronze 12" H x 10.5" W x 2.5" D Milton Elting Hebald (1917 – 2015) was a s...

American sculptor Joseph Martinek was born in Chicago in 1915. He was a second generation apprentice to Auguste Rodin. He studied sculpture at the State Industrial School of Art, Pra...

A striking and highly refined bronze reduction by the celebrated Fonderia Chiurazzi, this sculpture faithfully reproduces the famed Roman marble athlete discovered at the Villa dei P...

KAWS Five Years Later Companion Vinyl Figure Black

Antique Grand Tour Plaster Cast after Antonio Canova – Life-Size Figural Group This impressive, life-size antique plaster cast represents one of t...

Amanti (Lovers) Tribute To Chagall Signed, artist logo stamp, and title. Walter Furlan was born (1931-2018) in Chioggia, a small town near Venice. He started to work in a furnace c...

Moshe Oved (aka Edward Good) was a Polish-British, jeweler, artist, sculptor and Yiddish author and founder of the antique jewelry shop Cameo Corner. He left his native Poland for E...

Salvador Dali (1904-1989) – The Two Nikes, Lilith, The Double Victory of Samothrace, Homage to Raymond Roussel Literature: Descharnes, Robert, Salvador Dalí, and Nicolas Descharnes....

Bronze embossed bas relief cover for the Moise et Monotheisme portfolio. Hand signed in felt pen lower front by Salvador Dali. From the edition of 195 (not individually numbered; t...

19th Century Grand Tour Bronze Figurative Sculpture Benedetto Boschetti, Roma, circa 1875 This exceptional 19th-century Grand Tour bronze sculpture is a rare and highly refined examp...

American sculptor Joseph Martinek was born in Chicago in 1915. He was a second generation apprentice to Auguste Rodin. He studied sculpture at the State Industrial School of Art, Pra...