United Kingdom - Sculptures

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...

Unusual large Antique Edwardian Japanese carved linden wood bear having two bears standing on carved rocks next to a tree with one carrying a fish. Dimensions: Height 38 cm (14.96 i...

Fine Italian Carrara marble of a Nymph. The figure stood upon a rocky plinth partially nude with a draped robe seen pouring water from a large urn as she looks on. The beautiful carv...

AES Brass stand series brings you Cambropallas tellesto fossil now transformed with our elegant, innovated-designed stand series, an extraordinary Cambropallas tellesto fossil trilo...

This is a rather rare pair of porcelain figures made by Derby around 1770. The pair was called the "Boy and Girl in Turkish Costumes", numbered 63 in Derby's factory list. They depic...

Bruno Zach (Austrian, 1891-1945), bronze sculpture of a female dancer in patinated bronze on a round marble base, signed Zach in the bronze

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....

The Abraham Lincoln Portrait Bust is a powerful and dignified sculpture that captures the essence of one of America's most revered presidents. Typically crafted in bronze, marble, or...

A scarce Bohemian Curt Schlevogt art deco Ingrid tinted glass zebra designed by renowned ceramicist and graphic artist Vally Wieselthier (Austr...

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...

A varied and fascinating collection of 5 natural mineral specimens, ex. private British collection. Each presented on an exclusive small painted display plinth, this group contains ...

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

A Fine French Gilt Bronze Study of Two German Shepherd Dogs by Louis Riche This impressive bronze is finely detailed. It portrays two w...

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...

This is a truly magnificent antique Victorian patinated bronze sculpture of the famous Greek God Apollo, modelled upon a shaped circular socle, inscribed monogram 'NF' and numbered 2...

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...

Art Deco Turquoise cracked glazed polar bear designed by Edouard Cazaux French ceramist and sculptor know as DAX

Taking inspiration from planetary shapes and textures, the Cosmic collection artfully explores the interplay of metal properties and a curated selection of patina finishes. Handcra...

An antique Carrara marble sculpture “Venus Italica” after Antonio Canova (1757-1822) Made in Italy during the 19th century. When the Medici Venus was forcibly removed from the Tribuna of the Uffizi by Napoleon’s forces, King Louis I of Etruria commissioned Antonio Canova to replace the figure. True to nature, Canova submitted a wholly original figure to rival the antiquity, despite originally being asked to sculpt a copy. Canova’s Venus...

Contemporary Figurative Ceramic Sculpture by Rachel Peters, Grey Clay, In Stock. Untitled Ceramic Sculpture 205. This contemporary sculpture has been hand built from Rokk Grey Ston...

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

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...

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...

An intriguing pair of painted plaster gargoyles in wonderfully worn shades of green. The gargoyles used to hang from small hooks to the base of each so ...

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...

A rare and stunning antique Staffordshire transfer printed pottery model of a cow and milkmaid figure dating from the mid 19th century. The well potted and hand crafted figure stands...

Unbelievably delicate and superbly crafted, Italian bisque porcelain fawn figurine Miniature in size with huge appeal Highly likely to be from the 1980's Hand painted matt finish H...

Counter-balanced mobile sculpture by British artist Julia Condon. "Mars" is a limited edition of 15; each is individually handmade so there will be small variations to each. Materi...

20th century carved mango wood novelty dinner gong circa 1928. Here we present a novelty dinner gong made from mango wood, which was retailed by henry howell & co ltd.  Having made ...

A wonderfully carved hardwood statue of a jumping horse. c.1940 Slightly naïve but full of charm whittled from hardwood. Beautiful detail throughout. Obvious loss of one rear leg. M...

Antique grand tour patinated bronze model of the She Wolf feeding the twins Romulus and Remus who were to become the founders of the city of Rome, the "Lupa Capitolina". The original...

Pair of rare late 18th Century Egyptian Porphyry and statuary marble, circular stands. Most probably cut from a Roman column. Rome, Italy. Circa...

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 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: ...

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

"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...

An unusual Austrian art pottery sculptural figure of St Christopher carrying the Christ child across a river attributed to renowned Austrian sculptor, Ceramist, designer and teacher Michael Powolny (Austrian, 1871-1954) and probably dating between 1920 and 1930. The hand-crafted figure shows St Christopher with the Christ child on his shoulder and a wooden staff...

Art Deco Silver Plated Diana the Huntress Figure circa 1930s Silver plated on Bronze, Sylized Bronze figure of a deer, Chrome Plated Base and Stylized Backround [ some pitting to t...

An abstract equestrian horserace sculpture by the acclaimed British sculptor, John W. Mills. Made from resin, this piece was formerly a sculptural maquette used as a model for a larg...

A large early 18th century carved gilt wood eagle, mounted on a square red velvet covered plinth. Originally used as a lectern adornment, this archite...

Vintage ceramic horse by Bruno Gambone, (circa 1970s). A charming, sizeable ceramic parade horse with groomed mane and tail in Gambone's signature chalk-white glaze. Light brown figu...

GILT WOODEN TANG WAR HORSE An elegant Chinese Gilt Polychrome Wooden Carved Tang Dynasty Style Horse Sculpture. This stunning piece features int...

Pair of antique Victorian quality Staffordshire dogs having brown and white coloured coats with gold collars, chains and padlocks unusual front leg In perfect original condition ...

This is a wonderful antique French Grand Tour bronze model of the Vendome Column, circa 1880 in date. This splendid bronze features Napoleon I standing atop in his 'redingote' coat...

Delightful and stylish Italian mid-century Rimini Blu art pottery sausage dog figure designed by Aldo Londi (Italian, 1911-2003) for Bitossi and dating fro...

18th century French carved statue of Madonna and Child. This charming piece has been rescued from a ecclesiastic clear out in the southern part of France The statue is carved fro...

For sale, Jake and Dinos Chapman's 'Hell Souvenir', a grotesque selection of 1:35 scale figures from the artist's purgatorial dioramas 'Hell', 'F*cking Hell', 'End of Fun' and 'The S...

A charming pair of ebony elephants sculpted out of solid ebony, modelled in a striding stance,  also more unusual having the textured surface giving them better effect. In good condition with no breaks, nicely patinated surface and still retaining the original carved bone tusks...

A large fossil of a prehistoric Cladocyclus fish sourced from an ex private British collection. Discovered in Brazil, this impressive piece of natural history has been preserved by ...

This is an impressive and highly decorative Regency Period ormolu, malachite and Blue John tazza, Circa 1820 in date. It features an ormolu winged cherub holding a Blue John tazza...

Intense yellow - orange limonite formation with inclusions of white quartz. Origin: Benalmadena Trinidad Mine - Malaga - Spain

A Charles Lemanceau Art Deco glazed ceramic peacock for St. Clement, circa 1930 Marks: Lemanceau, St. Clement, 18-5/8 inches high (47.3 cm).  

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

This is a stunning antique Continental silver pheasant with exceptional detailing to the modelling of the bird, marked silver,circa 1880 in date. It is an excellent quality example ...

This is a vintage decorative prayer figure. An Oriental, gilt bronze statue of a Thai deity, dating to the late Art Deco period, circa 1940. Presenting a...

A set of two Grand Tour marble oval medallions depicting the portraits of Roman emperors, reclaimed from an ex private British collection. Dating to the 19th century, the detailed e...

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...

A wonderful and substantial spherical geode is shown here, with deep purple amethyst crystals enveloping a central calcite. A quintessential geode and a striking display piece. ...