Sculptures in Los Angeles

Fantastic sculptural clay mask candle sconce made in Italy. Hand made in an aged adobe color with a place for a single candle inside. Mask has a metal frame which gives the piece a n...

Large Blown Glass Syringe on Metal Stand Hand Signed 2011 on Base Can Be Turned On Base To Change Appearance

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...

Classic pair of bronze figurines of a man and a woman. Great addition to your classic inspired interiors.

Rare ornament by Arthur Court. Signed "ARTHUR COURT DESIGNS" and dated "1976" on the base.

Lima bean sculpture Brass Hand Repoussé Limited edition Repoussé is the traditional art of hand-hammering decorative relief onto sheet metal. The ...

This large work of art molded during the early 1900's is signed by the artist. The winged bearded man is in good condition for its age, and on a solid wood structure. The sculpture...

A wonderful Brass or Bronze Claw grasping a ball resting on a marble base. A compliment to any desk or work station. the pieces does have one chip to a corner but we believe it ad...

Crafted in homage to the ancient Jaguar Zoomorphic pot from Tabasco, this replica captures the essence of Olmec craftsmanship dating back to 1200-400 BCE. Primarily utilized for cere...

Beautiful pair of French cast stone Pan and Putti musician sculptures. We have two pairs available in stock.

Pair of chrome bookends by Walter von Nessen for Chase, c.1930s, USA. The pair of bookends feature two chrome plated brass elephants with curved tubular bodies and geometric shaped h...

Pair of rare Chinese carved wood foo dogs.

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...

Hand polished agate onyx stone paperweight in black, brown, and red intricate layered patterns Measures: length 4.25 inches, width 3.25 inches, height 2 inches This piece makes for a...

Beautiful life sized plaster sculpture by Estelle Tieman. An elderly woman named Sadie with a donut and coffee in hand. She's wearing a Haw...

A very fine French Sevres biscuit (Bisc) porcelain figure of a recumbent nude lady titled "Le Repos" after a model by Alfred Boucher (French, 1850-1934) Sensually depicting a young w...

Superb Marcel Marti (1925–2010) attributed abstract patinated bronze sculpture that is unique from every angle. This is a striking postwar piece of art fr...

SIMANEK SAGIATUK (1930-) Stone Walrus, Lake Harbour / Kimmirut - Signed Simanek Sagiatuk is an Inuit art sculpture carver from the Lake Harbour community. He used to work mostly with serpentine, a very hard stone which is originally from Nunavut, and from the same family as jade. For some of his pieces, the walruses in particular, Simanek Sagiatuk was also accustomed to add details made of caribou...

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...

Zong Bi sculpture on steel stand Han Bai Yu stone Hand carved Limited edition.

Large Pop Art wood sculpture of a Queen of Hearst. Entire piece is made of wood. Super unique object. Great scale. Excellent vintage condition.

Abstract expressionist bronze sculpture on wood base. France, 1930s.

Sheep sculpture (Male) Black lacquer Antique copper Hand repoussé Limited edition Repoussé is the traditional art of hand-hammering decorative relief onto sheet metal. This techniqu...

Organic Modern Quadripod Wood and Glass Coffee Table. Sculptural natural bog wood base contrasting with the simple glass top (1/2 in. thickness).

Great sample of the well known Austrian artist, Erna Kopriva. She was assistant of Joseph Hoffman and worked at Wiener Werkstatte . Similar pieces are now...

Organic Modern Quadripod wood and glass coffee table. Sculptural natural bog wood base contrasting with the simple glass top (1/2 in. thickness).

Nice modern abstract Face, by the well known artist, Emerson Woelffer. Signed, numbered 1/4 and dated 1947.

A Fine Bronze Bust of a man in the manner of Sir Jacob Epstein (British, 1880-1959), artist unknown. This beautifully executed green-patinated bronze somewhat resembles the style of ...

French crackle ceramic dove mortar & pestle France, circa 1940s This petite mortar & pestle set is both delicate and darling Beautifully scu...

Beautiful and elegant sculpture in bronze with black patina and carved wood canoe . marks in bottom HWH , hand made Austria . and Logo

Mushroom sculpture (Set of 2) White bronze Hand repoussé Measures: S: 29 1/2" W x 30 1/2" D x 28" H L: 38" W x 37" D x 32 1/2" H Limited edition Contemporary Each piece is ind...

Folk Art Studio Pottery Bunny - We shop a lot and this bunny is one of our favorite finds. A precious little thing with a great spirit and energy. A compl...

Water Ox sculpture Antique copper Hand repoussé Contemporary Limited Edition Each piece is individually crafted and is unique. Repoussé is the tr...

This is an amazing murano glass sculpture by the well known murano Master, Roberto Anatra. title "Lovers" in a beautiful clear and lavender colors.

A wonderful pair of frosted Horse Head sculpture bookends. The pair could be used as decorative pieces but also are perfect for bookends, especially in a Childs room. They are molded...

Brutalist steel sculpture, signed D. Malken, France, 1950's.

Organic modern Quadripod wood and glass coffee table. Sculptural natural bog wood base contrasting with the simple glass top (1/2 in. thickness).

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...

Fabulous Harvey Weiss (1922-2007) Figural bronze Brutalist sculpture. Laying on her side this nude is a unique blend of shapes, textures and layers. Weis...

A magnificent pair of very large Meissen putti representing Day & Night by Heinrich Schwabe. Each figure wrapped in a cloth, float above the earth's atmo...

Polished & shaped petrified & mineralized wood created using diamond abrasives to achieve a “Scholar’s Stone”, an alluring Form. A rare coloration greatly...

A 19th C. French Patinated Bronze of a Standing Peasant Women After Eug Marioton Depicting a standing peasant woman holding a branch, raised on a circular naturalistic base Fra...

Cast lead bones handmade for Merit. Extremely heavy and unique tabletop object and sculpture. Made in England. Only one bone still available.

This magnificent Italian marble figure depicts a woman sitting atop a stone, The details on her dress show it flowing carelessly by her feet, as she rests on an intricately designed...

Large and striking brass tree sculpture by Curtis Jere. This floor piece has metal leaves attached to a painted natural wood tree trunk. Mid-Century Modern Brass Tree Sculpture

Nice pair of brass and lucite specimens holders , marked Arthur Court

A Whimsical English 19th-20th century white marble figural fountain with dogs fountain. The Baroque Revival six-sided tripod marble base surmounted with three upright seated Yorkshire Terriers resting on a leaf and acanthus center stem, topped with a semi-circular scalloped carved basin...

A charming Continental 19th/20th century whimsical white glazed porcelain group of four putti playing with a goat, probably after the depiction of The Goat Amalthea with the Infant Jupiter by the Italian artist Gian Lorenzo Bernini, (Italian, 1598-1680), depicting four playful putti, one riding the goat, another feeding it, a third one holding on to it and the forth one, Jupiter, feeding from it. Stamped (unknown). Probably Italian. Circa: 1900. Measures: Height: 14 3/4 inches (37.5 cm) Width: 15 3/4 inches (40 cm) Depth: 10 1/2 inches (26.7 cm) Myth The goat of Amalthea is a divine goat who fed the baby Zeus with its milk. Its name is translated from the ancient Greek and means “gentle goddess.” Zeus’ father, Kronos (Cronus, Cronos), fearing to lose his power, swallowed up all his newly born children. His wife Rhea suffered greatly from this, and when the next child was born, she slipped a stone wrapped in diapers instead of Kronos. Kronos swallowed the stone, not suspecting anything, so the kid had to hide. Rhea hid him on the island of Crete in the cave of Mount Ida...

Condition: Original Vintage Condition Materials: Patinated Brass

Mixed medium sculpture by Italian artist, Arturo Di Modica. This piece titled 'Love is Life' showcases three materials; red marble, stainless steel and bronze, all on a thick polishe...

A French late 19th century Majolica figural jardinière (planter) modeled as a young Neapolitan vintner boy balancing a weaved basket over h...

The Vintage Italian Decorative Crab Sculpture from the 1980s showcases the creativity and artistry of Italian design. Crafted with attention to detail, this captivating crab sculptur...

This is a new work by Mattia Biagi Sculptural Tar Mikey mouse head created by a metal structure, staffed Mickey mouse head tar, cement.  

An Italian 19th-20th century carved color-alabaster bust of a young beauty. The finely carved two-tone alabaster bust, depicting a young girl posing with a side gaze and wavy hair ti...

A pair of patinated guard dogs for your books. Marble base steadies the books, so dogs appear to be jumping, rather than pressing against the books. A compliment to any bookshelf.  

Intricate hand blown glass shell sculpture with silver specks / Made in Japan by Kurata for retailer Mikasa, circa 1980s Original sticker on the base ...

A fine over-lifesize patinated bronze Greco roman revival style standing half-figure of Andromeda, probably French, probably late 19th century or early 20th century. The heavily fine...

Hand polished agate onyx stone paperweight in black, brown, and red intricate layered patterns Measures: length 4 inches, width 3 inches, height 2 inches This piece makes for a great...