Sculptures in Los Angeles

Very unique abstract indoor/outdoor sculpture by Paul Kasper. Welded steel, 1960s.

Italian Murano glass vase or sculpture hand blown in Sommerso technique to form elegant layers in clear, smoky and red / Made in Italy by Salviati, circa 1980s Original sticker on th...

Fabulous and stylish pair of Brass Franz Hagenauer style figural sculptures, one left facing and one right facing. The hair on the left facing female s...

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

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...

American red painted cast iron talon, 1900s.

1928 - 2005 Original artwork. Armand was an artist who used found objects as his medium and encased them in resin form. This rare scale of his work appears to be a token example for an exhibition given out to patrons for a show. No two are alike. It's stamped within "Arman Galerie Lawrence 11 Mai 1965 De 5 A 8". Mixed industrial metals encased in resin. Great jewel of an art object for collections of modern art. The size is 1 1/8"h x 1 7/8" x 2"... From the estate of the late Naomi Caryl...

A wonderful pair of iconic C2 Design bookends. The pair combine a combination pop Nose and Ear. The resin has a stone look and are very popular. The pai...

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...

Nice and traditional cast glass sculpture for the well known contemporary artist Hank M Adams .

A wonderful hand blown art glass sculpture from Teign Valley Glass in England. The shop has been around since the early 20th C. and is renowned for ...

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

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

Gigantic baby bottle made in the 1970s. Hard plastic bottle with removable top and rubber nipple. Yellow bottle with ounces on one side and milliliters on ...

From a beautiful home in Santa Barbara. Not sure if paint is original, but it is definitely old. Finely carved with a lot of character.

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...

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

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...

Beautiful stylized Murano glass bird made by Salviati , and attributed to Luciano Gaspari . 

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

A Large and Impressive Continental 19th Century Patinated Bronze and Giltwood Carved Crucifix Former property of Siegfried & Roy, the renown German-Ame...

Unique hand-carved folk art-style wood gazing ball. A friend of bookshelves and coffee tables. A lovely garden accent. An organic doorstop. A compliment to any room-- great suppo...

This plaster sculpture captures the classical male form in a headless, armless torso that echoes the refined beauty of ancient Greco-Roman statuary. Rendered with anatomical precisio...

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

A wonderful pair of bookends with jumping fish. The pair would be a nice compliment to any office or den and especially those who are fishing enthusiasts ...

A fine pair of French 19th century Rouge-Royal marble and figural gilt bronze-mounted flambeaux urns surmounted with four ormolu figures of dolphins supporting the center urn with th...

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...

A Monumental French 19th Century Patinated and Parcel Gilt Cast-Iron Bust of 'Head from a Statue of Antinous as Dionysus' Wearing a Wreath of Ivy ...

A pair of reclining lion bookends, a stunning pair with the look of limestone, but a composition material. The pair are of good weight for those larger bo...

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

Jetboard motorized aluminum surfboard by Jetboard by Sergent Fletcher Co., USA, 1965-68. Painted aluminum with steel wall mounting brackets.

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...

Sculptural metal mobile signed and dated '92. Made up of 5 semi-circular metal pieces. Black, blue, red, yellow and white. Each level slowly rotates while hanging. Great piece of art.

A fine French 19th-20th century Art-Nouveau patinated bronze bust of "Marie Antoinette" (Queen of France 1755-1793), after the model by Agathon Léonard or Léonard Agathon van Weydeve...

A pair of early 20th century French gilt bronze and cut crystal compotes. France, circa 1900.  Dimensions: Height 9", width 12.5", depth 9.5...

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

Rare turtle shaped ottoman by Swiss designer De Sede. Circa 1960s. Very heavy and well made. This fun and unique turtle shaped ottoman can be used as a sit...

Bronze mounted abstract sculpture. The sculpture showcases a square base and narrow stem that expands outwards to the right and left showcasing a layered look. One side appears to be...

Glazed Whiteware ceramic mug sculpture by Peter Shire, 2016. Approx: 8 3/4" high x 13" wide x 23" long (to handle). Peter Shire: Peter Shire is an LA-based artist whose work elu...

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

Glazed whiteware ceramic mug sculpture by Peter Shire, 2015. Approximate measures: 11 3/4" high x 16 1/2" wide x 29" long (to handle) Peter Shire: Peter Shire is an LA-based art...

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

Solid bronze sculpture. This piece features the female form. A beautiful display piece for a shelf or paperweight. Signed G. Shaw. Dimensions 2" width x 2.25" depth x 4.75" height. ...

Beautiful bronze leaf centerpiece sculpture is handmade by a French artisan. Please see our additional listings of this design as they are all unique. Amazing details and aged finish...

A magnificent 19th century French Louis XVI style gilt and patinated bronze clock depicting mother and child, by Raingo Frères, Paris. The dial marked: Raingo Fres, A Paris. Circa ...

Beautiful abstract bronze sculpture. France, 1930s,

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...

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 ...

Large Vintage Glazed Earthenware Teapot by Peter Shire, 1982. Earthenware and Enameled Metal construction, Hand-Built. Approx: 15 1/2" high x 12" wide x 25" long Peter Shire: ...

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...

Monumental and impressive Chinese carved serpentine sculpture depicting a continuous forest landscape with a cave, richly carved with all manner of f...

Original artwork. California design. One-of-a-kind. From a Laguna Beach estate. Original fine vintage condition, no damage or repairs. The objects and handle protrude out roughly 3...

Pichet gravé gris Ed. 500 pcs, 1954 White clay with grey engobe painting, partially glazed in white and black with incised decor. Dimensions Height: 11.8" H. 30 cm Stamped underside ...

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...

20th C original painted Hubley Boston Terrier doorstop.

This antique Japan gold-gilt good luck elephant censer is a captivating blend of artistry and symbolism. crafted with intricate detail and adorned with...

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...

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

A very fine Italian 19th century carved carrara marble sculpture Group Titled "LA GIOIA NELL'INNOCENZA DOPO IL LAVORO" (The Joy of Innocence After Labour) by Professor Raffaele Belliazzi (Italian, 1835-1917). The slender figure of the young boy, seated and resting on a rock with his hanging legs crossed and joyfully eating a cluster of grapes picked from his hat that is resting on his lap. The intricate carving of his shirt, jacket, pants, hat and boots with fine attention details such at the stitching, buttons, the hem on his pants, the wear on the soles of his boots and the features on his face makes this one of Belliazzi's finest known works. The sculpure rests on a dark green serpentine marble pedestal with a rotating top. Signed: Profor. Belliazzi, Carrara. Florence, circa 1870-1880. It may be possible to identify the present marble sculpture of a boy eating grapes...

Stunning bronze sculpture envisioned and executed in Puerto Vallarta, Mexico by the listed sculptor, Victor Salmones. This limited edition Bronze Sculpture is titled "La Cuerda Floj...