London - Sculptures

This is an excellently sculpted composite marble statue of the famous ancient Greek statue, Venus de Milo, late 20th century in date. As exactly in the original sculpture by Alex...

Vintage ceramic egg figure from Atelier Madoura, Vallauris, France (circa 1960s). This egg-sized ceramic figure is painted with a stylized suited man w...

An attractive early 20th Century Art Deco cold painted silver and blue enamel bronze figure of a young energetic beauty in a dancing pose with a scarf draped around her midriff. The ...

This is a superb antique Grand Tour patinated bronze figure of Narcissus, dating from the last quarter of the 19th Century. Narcissus was a hunter in Greek mythology and he was di...

This is a stunning half geode with a shape often referred to by collectors as a “chapel” or “cathedral”, due to the elongated shape that occurred millions of years ago when trapped b...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

An impressive skull of an Edmontosaurus, a large herbivorous dinosaur that lived during the Late Cretaceous period, 68-66 million years ago. The three rows of sixty or more teeth on either side of the jaw, known as the ‘dental battery’, mark the Edmontosaurus as part of the Hadrosauridae, or duckbill family of dinosaurs. It belongs to the flat-skulled, or solid-crested, Hadrosaurinae, which replaced the older hollow-crested hadrosaurs. Edmontosaurus was one of the last non-avian dinosaurs to ever exist, living shortly before the Cretaceous-Paleogene extinction event. The Edmontosaurus was named in 1917 by Lawrence Lambe, after a partial specimen from Edmonton in Alberta, Canada. The existence of large Edmontosaur bone beds...

French glazed ceramic stylised bird vase by Dominique Pouchain (circa 1980s). Quirky and original, these ceramic birds are by the son of Jacques Pouchain, well-known French ceramicis...

This spectacular cross section of petrified cedar wood comes from Saddle Mountain, Washington. It is remarkably large with a wonderful and highly aesthetic shape, exhibiting vibrant ...

Impressive pink gold concave mirror with brass wall bracket other colors are available. Bronze, blue, green, copper Some colours available im...

The dog is in gilt carved wood We believe to be an Italian greyhound sitting on its haunch. It has a gold buckled dog collar around the neck. The dog attached to cartouche shaped b...

Wonderful 19th Century animalier bronze group of a standing ewe with her feeding lamb beneath her, the bronze with excellent rich brown patina and very fine hand chased surface detai...

Finely hand-spun brass plates make up this pendant light. One side of the shade is finished in a dark bronze patina and the other in a gently brushed brass gradient. The light is pro...

Behold the dazzling beauty of this multi-colored fluorite specimen from the USA, featuring a rich palette of violet hues interspersed with transparent areas and edges adorned with a ...

Hallmarked in Edinburgh in 1997 by Hamilton & Inches, and designed and modelled by Victor Hayton for the World Wildlife Fund, this incredible, Elizabeth II period, Limited Edition St...

A beautiful large Japanese Meiji Period patinated bronze study of an elephant with tigers, signed on the belly, Meiji period, 1868-1912, and late...

Very fine mid-19th century French Animalier bronze study of a standing Setter with excellent hand chased surface detail and rich brown patination. Raised on a stepped naturalistic base, signed J Moigniez. Additional information: Height: 19 cm Width: 34 cm Condition: excellent original condition Circa: 1870 Materials: bronze Book reference: Les Animaliers by Jane Horswell Page no. 237 About Jules Moigniez (French, 1835 ~ 1894) Moigniez was a French animalier sculptor of the 19th century. He worked primarily in bronze and frequently exhibited his sculptures at the Paris salon. He was best known for his bronzes depicting birds, although his skill and versatility enabled him to produce quality horse sculptures (primarily racehorses), dog sculptures and hunting scenes. His bird sculptures were among the finest ever created in his time. Moigniez was born at Senlis, Oise, France in 1835, the son of a metal gilder. Moigniez’s father bought a foundry to cast his sculptures, which was of great benefit to Moigniez as he didn’t have the added foundry costs that most of his contemporaries had to pay. Moigniez studied sculpture under the tutelage of Paul Comoléra (a student of François Rude) in Paris. It is quite likely that Moigniez’s attraction to bird sculpture was a direct result of his education under Comoléra, who was himself a bird specialist. Over the course of his 40-year sculpting career Moigniez exhibited thirty works at the Salon between 1855–92. His first submission in a major art exhibition was his plaster, Pointer Stopping at a Pheasant, at the Exposition Universelle of 1855.[1][2] Moigniez was known for the fine detail and chiseling of his sculptures. His bronzes—usually cast using the lost wax method—were always immaculately chased and patinated, and were especially popular in England and Scotland.[2] More than half of his output during his lifetime was sold in the United Kingdom. By the end of the 19th century, his sculpture had become popular in the United States as well. In contrast with other animaliers of the period such are P.J. Mêne and Antoine-Louis Barye, Moigniez’s bird sculptures often incorporated highly detailed bases complete with bushes, extensive foliage and undergrowth. His castings were generally of excellent quality with a variety of patinas, the gilded and silvered patinas being the most desirable and sought after by collectors. His bronzes could be reproached for an excess of detail, a result of overly-finicky, over-worked chiseling. Moigniez received redemption, however, by portraying in his sculpture a certain “elegance of attitudes”. His Chien braque...

The sculptural head shaped water features hand-turned in ceramic, produced by Mobach in Utrecht during the 1960's. Mobach produced this unique mat bronze lustre glaze has a result of...

A captivating amber glass sculpture of a standing tang horse with excellent contrasting clear and frosted coloured glass and fine detail, signed Lalique France with original sticker ...

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

An unusual scrolling glass sculpture of an octopus, with animated tentacles, the glass with agate colouring. Made by a talented English glassblower, trained in Murano and now working...

"Taureau Debout" by Rosa Bonheur. An excellent late 19th Century French animalier bronze study of a standing bull with fine hand chased surface that accentuates the muscle definition of the subject, signed Rosa B. ADDITIONAL INFORMATION Measures: Width: 32 cm Height: 18 cm Depth: 11cm Condition: Excellent Original Condition Circa: 1870 Materials: Bronze Book reference: Animals in Bronze by Christopher Payne Page no. 174 DESCRIPTION Bonheur, Rosa (1822-1899) The most popular artist of nineteenth-century France, Rosa Bonheur was also one of the first renowned painters of animals and the first woman awarded the Grand Cross by the French Legion of Honor. A professional artist with a successful career, Bonheur lived in two consecutive committed relationships with women. Born on March 16, 1822 in Bordeaux, Marie Rosalie Bonheur was the oldest of the four children of Raimond Oscar Bonheur (1796-1849) and Sophie Marquis. Bonheur's father was an art teacher who came from a poor family, while her mother, a musician, had descended from a middle-class family and had been her husband's art student. Bonheur's father, who taught drawing and landscape painting, was an ardent member of the utopian Saint Simeon society. The group held idealistic beliefs about the reform of work, property, marriage, and the role of women in society. Most importantly, for the artist's future, the Saint Simeons questioned traditional gender norms and firmly believed in the equality of women. While teaching artistic techniques to his oldest daughter, Raimond Bonheur also encouraged her independence and taught her to consider art as a career. In 1828 Raimond Bonheur joined the Saint Simeons at their retreat outside Paris. Sophie and the children joined him in Paris the following year. Four years later, however, Raimond abandoned his family to live in isolation with his fellow Saint Simeons. Sophie Bonheur died in 1833 at the age of thirty-six. Rosa was only eleven years old when her mother died, but she was aware of the heavy price her mother paid for married life with a man who was more dedicated to his own ideals than to meeting his family's needs. Rosa also saw that her mother's marriage led to poverty and her death from exhaustion. After her mother's death, Bonheur was taken in by the Micas family who resided nearby. Mme Micas and Bonheur's mother had been friends. When Mme Bonheur died, the Micas family paid Raimond Bonheur's debts and cared for Rosa. Their daughther, Nathalie, who would later become an amateur inventor and unschooled veterinarian, and Rosa became enamored with each other. When Rosa Bonheur began her career as a professional artist, she had already been trained by her father who had allowed her to study in all male classes. Rosa also learned by sketching masterworks at the Louvre from the age of fourteen, and later, by studying with Léon Cogniet. From the very beginning, Bonheur's favorite subject was animals. She learned their anatomy completely by dissecting them in local slaughterhouses. She also visited the horse market two times a week. Study of animals by direct observation led to the formation of the realist style in which Bonheur worked. It was for such work that Bonheur obtained written permission from the French government to wear men's slacks. Her working attire also consisted of a loose smock and heavy boots that protected her feet from the dangerous environment in which she painted. The style of dress that the artist adopted for work and home may well have been influenced by her father's attire, which was based on St. Simeonian clothing experiments. Bonheur also cropped her hair, perhaps to facilitate her work. She did, however, always wear dresses for social occasions because she knew that appropriate dress would further her career. Bonheur earned a successful living as a painter of animals. She exhibited at the annual Paris Salon regularly from the age of nineteen in 1841 through 1853, when she was thirty-one. She won the salon's gold medal at the age of twenty-six in 1848 and was commissioned by the French government to paint Plowing on the Nivernais in 1849. In the same year Bonheur and her sister Juliette became directors of l'École gratuite de dessin pour les jeunes filles, a post their father had once held. Bonheur completed her most renowned work, The Horse Fair, in 1855. The successful representation of percherons (a breed native to Normandy) was purchased by Ernest Gambart, a London art dealer whose gallery specialized in work by French artists. He exhibited The Horse Fair in London where Bonheur visited with Nathalie. Queen Victoria requested a private viewing of the painting at Windsor Castle. It would later be purchased in 1887 by Cornelius Vanderbilt and donated to the new Metropolitan Museum of Art in New York City. Bonheur's trip to England allowed her to meet Charles Eastlake, then President of the Royal Academy, John Ruskin, the English writer and critic, and Edwin Landseer, the British animalier. She also toured the English and Scottish countrysides and executed some paintings based on her observations of new breeds of animals found there. Gambart made engravings of Bonheur's work, including The Horse Fair, and sold them in England, Europe, and the United States. Bonheur became one of the most renowned painters of the time. Little girls, such as Anna Klumpke in the United States, even had dolls in her likeness, much as American girls played with Shirley Temple dolls...

This is a large stunning bronze abstract sculpture of a dancer from the last quarter of the 20th century. The naked female figure is represented in a dancing pose on a stepped cyl...

Cryptograph 4102721 (in Pale Turquoise & Hyacinth) is a unique solid glass sculpture created by the British artist, Louis Thompson. Employing a variety of glass techniques, the encas...

A captivating early 20th Century cold painted Austrian bronze study of a walking lizard with excellent cold painted colour and very fine hand finished surface detail, signed with th...

This is a superb Vintage model of a Ferrari Hydroplane 1954, late 20th Century in date. Ferrari's cars are adored on all corners of the globe and are seen as the ultimate status sym...

Explore the extraordinary allure of this mesmerizing quartz sphere, featuring stunning golden rutile inclusions from Brazil. The perfectly polished surface accentuates the intricate ...

An attractive modern limited edition bronze study of a resting rabbit with excellent smooth tactile surface and good colour, signed, numbered and stamped Landowski Foundry ~ Cire Per...

Beautiful study of Venus, direct carved into solid afromosia. It shows a stylized and simplified female torso, focusing on the flow and curves of the human form rather than on realis...

This is a wonderful antique French Empire Revival ormolu mounted and patinated Verde Antico marble inkstand, Circa 1870 in date. Of rectangular form with a pair of raised inkwells h...

Bronze cast with delicate serene features, very refined detailing throughout. Featuring bow-shaped mouth and downcast eyes, flanked by pendulous pierced ...

Mid-century French ceramic flower vase by Albert Thiry (circa 1970s). A charming piece with a chalk-white glaze which is complemented by a delicate, pale blue on the bird's feathers....

Two calcite “towers” grace the centre of this impressive piece, which also has large peaked amethyst crystals and quartz and goethite covered calcites. The exterior has been kept i...

Vintage French ceramic pitcher / vase (circa 1950s) by Jacques Blin. The pitcher in the form perhaps of a proud French coq is in a subtle hue covered in Blin's trademark misty glaze....

This stunning piece is a light violet/lilac amethyst with unique stalactite formations, presented as a mesmerising half geode on a stylish decorative metal stand. The edges of this b...

Finely hand-spun brass plates make up this pendant light, finished with a gentle gradient patina. Both sides of the brass shades are bronzed and gently brushed to reveal bright brass...

A beautiful patinated Art Nouveau bronze study of a young Art Nouveau beauty sat upon a wall wearing chains with excellent variegated rich brown patina and excellent hand chased surf...

An iconic early 20th Century Art Deco bronze figure of Diana the huntress dressed in a tunic with her hand lifted above her head releasing her bow. Exhibiting excellent rich green pa...

Abstract ceramic coral sculpture by Bryan Blow. His hand formed sculptures and drawings that echoed a voyage of discovery in not just the visible natural...

This substantial one of a kind abstract sculpture depicts a seated woman, hand crafted, molded and cast in stone resin. The piece features a beautiful patina in shades of mossy grey...

A magnificent pair of Antique Continental Silver Pheasants of notably large size. The pair of Silver Pheasants comprises of a Cock Pheasant and Hen Pheasant...

Large organic floor sculpture sculpted by the South American artist Fernando Marquina looks like an armoured creature from the natural world of the Jurassic period. It is characteriz...

An eye catching late 19th Century French cameo glass vase decorated with raised deep burgundy trees against a blue mountainous landscape against a variegating yellow field. Exhibitin...

A very large split geode, the interior graced with the finest quality deep purple Uruguayan amethyst. The amethyst-lined stalactite walls of the ge...

'Individual Twist in Aquamarine & Grey' is a unique glass sculpture by the British artist, Nina Casson McGarva. Casson McGarva firstly casts her glass in a flat mould where she intr...

This is beautiful antique French marble shoulder length bust of a beautiful maiden, signed Auguste Moreau, circa 1890 in date. The face and body has been sensitively modelled in Carrara marble with her head tilted to the right, her loose hair falling on her bare shoulders. There is no mistaking its unique design and superb quality, which is certain to attract attention and make it a talking point in any room of your home. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 53 x Width 33 x Depth 23 Dimensions in inches: Height 20.9 x Width 13.0 x Depth 9.1 Louis Auguste Moreau, 1855-1919, was a French sculptor best known for his bronze-cast figurines. His allegorical Art Nouveau works often depicted women, children, cherubs, and historical figures adorned with floral motifs and ornaments, and were influential to other artists working at the time. Born in Dijon, France in 1855 to a celebrated family of sculptors, including his father Auguste Moreau, he went on to regularly exhibit his work at the Paris Salon from 1861 on. The artist died in 1919 in France. Carrara marble - is a type of white or blue-grey marble popular for use in sculpture and building decor. It is quarried at the city of Carrara in the province of Massa-Carrara (Tuscany, Italy). Carrara marble has been used since the time of Ancient Rome; the Pantheon and Trajan's Column in Rome are constructed of it. Many sculptures of the Renaissance, such as Michelangelo's David, were carved from Carrara marble. For Michelangelo at least, Carrara marble was valued above all other stone, except perhaps that of his own quarry in Pietrasanta. The Marble Arch in London and the Duomo di Siena are also made from this stone, as are the interiors of Manila Cathedral, the cold-white marbles of the Sheikh Zayed Mosque and the campus of Harvard Medical...

A charming pair of decorative silver plate geese or mallard ducks, made in Spain in the twentieth century. The geese are very finely modelled with excellent details to the faces, f...

'Goat' bronze sculpture created by Studio Rinat Design, molded and cast in bronze in the lost wax process. The sculpture is available to order in other patinas and in gold finish. Li...

A beautifully sculpted marble bust of the famous Greek god Apollo, on it's original fabulous decorative pedestal, dating from the mid-20th century. The attention to detail throughout the piece is second to none and the figure is extremely lifelike. This high quality bust and pedestal...

Two 1960s bronze sculptures from the Maasai tribe in Kenya and Tanzania in everyday motherhood figures. The elongated and brutalist-like effect figures evoke a Giacometti-like aest...

This is a striking large antique gilt bronze figural sculpture titled "The Water Carrier" (L'acquaiolo) by Vincenzo Gemito, (Italian 1852-1929), dating from Circa 1880. The bronze i...

Beautiful green-grey coral-like stalactites emerge from the interior lining of this round geode. The borders polished to reveal the celdonite shell with the exterior basalt still v...

An excellent mid 20th Century limited edition bronze figure of the Venus de Milo incorporating multiple drawer compartments to her head, breasts, torso and left leg to symbolise the ...

This is an elegant monumental Grand Tour bronze sculpture of Michelangelo's David, circa 1880 in date. The full-length portrait statue is of David, the 14ft marble statue depicts the Biblical hero David, represented as a standing male nude, David looks tense and ready for battle after he has made the decision to fight Goliath, but, before the battle has actually taken place. His brow is drawn, his neck tense, and the veins bulge out of his lowered right hand and holding his slingshot over his shoulder. This impressive scuplture is 107cm (3ft 6" ) tall and weighs over 36kgs (79lbs). This high quality hot cast solid bronze was produced using the traditional 'lost wax' process. The attention to detail of this sculpture is absolutely fantastic. Condition: In really excellent condition, please see photos for confirmation. Dimensions in cm: Height 107 x Width 41 x Depth 24.5 Weight 36.3 kg Dimensions in inches: Height 3 foot, 6 inches x Width 1 foot, 4 inches x Depth 10 inches Weight 80.0 lbs Michelangelo's David This astonishing Renaissance sculpture was created between 1501 and 1504. It is a 14ft marble statue depicting the Biblical hero David, represented as a standing male nude. Originally commissioned by the Opera del Duomo for the Cathedral of Florence, it was meant to be one of a series of large statues to be positioned in the niches of the cathedral’s tribunes, way up at about 80mt from the ground. Michelangelo was asked by the consuls of the Board to complete an unfinished project begun in 1464 by Agostino di Duccio and later carried on by Antonio Rossellino in 1475. Both sculptors had in the end rejected an enormous block of marble due to the presence of too many “taroli”, or imperfections, which may have threatened the stability of such a huge statue...

Highly Decorative Leather Elephant Sculpture This Leather Elephant dates from Mid C20th with Superb Patina This Elephant is Stood With its Trunk Raised and very much in the Liberty S...

Unique French chiselled cubist abstract sculpture. The sculpture is hand carved from porous stone and boasts a myriad of chiseled artful divots, markings and grooves. A one of a kind...

This raw bronze sculpture has a natural golden brass finish. The female and male Giacometti-influenced portraits are individual objects and can be positione...

'Individual Twist in Green' is a unique glass sculpture by the British artist, Nina Casson McGarva. Casson McGarva firstly casts her glass in a flat mould where she introduces all o...