Sculptures on Sale

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Polished aluminum sculpture of three organic shapes, possibly leaves or flower petals, mounted on a pyramidal base. Signed and dated 1977. ...

Maqueta de avión vintage en acero cromado, sobre peana de hierro

Carved from reddish brown hardwood, the hollow form rises from a cylindrical neck, the lowest part being a rounded base, then surrounded by diagonal sections. The neck is surrounded by nine rows of coral beaded necklaces (odigba) that extend to a thread motif on the back of the head. Face in full relief with straight lips, flared, flattened nose and oval eyes with set shell (nut) for the pupils. Along the forehead are six frontal scars treated with rectangular cavities in which should have inserts nutshells. In this case there is only one left Small ears on each side of the head, each C-shaped. A headband consisting of three rows of almost completely distroyed. On the right side of the head, a single feather extends upward from a beaded rosette. Behind the ear, two long braids of hair hang down to the beaded collar and then become bows that reach the roots. The left side of the head has a long, single braid behind the ear that hangs down to the beaded collar and becomes a bow that ends at the base. On each side, three strands of hair appear at the temples under the headband. Featuring an open hole with a circular motif on the top of the head and a rectangular open slit down the back. Insect damage in different areas; very old worn finish showing a lot of age. Very heavy insect damage in all areas; very old worn finish showing a lot of age. “Wooden shrine heads were permitted to sit on the altars of chiefs and important figures, in contrast to the copper alloy heads used exclusively by the kings of Benin. (Frederic Backlar, Bonhams, New York, 2012, lot 172) Osemwede (reigned 1816-1848) was the first Oba to decree that human heads could be carved for the altars of chiefs of royal lineage, rather than just wooden antelope and perhaps goat heads. Therefore, chiefs of blood enjoyed in Benin City (but not throughout the Kingdom of Benin, where antelope heads continued to be placed on the altars of their ancestors well into the 20s. Thus, the (wooden) human heads are said to be later than ca. 1816, but the actual age depends condition, insect damage, etc." (Fagg, William, Christie's, London, 1988, lot 206) "Feathers were worn by chiefs as a sign of status. The heads have a hole at the top intended to hold a large carved ivory tusk...

A whimsical shell-covered cat figurine. Delicately applied seashells cover this feline figurine in an array of browns. Great for the kitten lover, or for ...

Original Abstract Marble and Glass sculpture signed “G.G. Rivers 2006”. Perfect for Hallway decoration or Home office decor.

In Particle table lamp, on.entropy mines the modern design potential of this classical material, by transforming the austerity of raw marble into a warm and...

Exceptional patinated bronze sculpture depicting King Henry IV of France by sculptor François Joseph Bosio (Monaco 1768–Paris 1845) One of a Kind "Henri IV" patinated bronze sculpture, French, signed by Bosio Unique patinated bronze sculpture depicting King Henri IV of France by sculptor François Joseph Bosio (Monaco 1768–Paris 1845). The sculpture represents King Henri IV as a child, wearing period clothing with a ruff around his neck. He carries the royal sword...

A classic example of Art Deco design heavily influenced by Cubism, this ceramic sculpture depicts two highly stylized Chinese figures in a curving rowboat upon an Art Deco sea, all e...

This is a bust of Moses shown carrying two stone Decalogues after the giving of the Torah on Mount Sinai. The piece has a wonderful natural carved appearance that brings out Moses's countenance and attire. Arnold Henry Bergier (1914-2007) * A sculptor, collagist, and caricaturist; his sculptures include portraits from life of prominent persons, works for synagogues and churches, and public buildings. Bergier sang in the Metropolitan Opera chorus as a young man and in 1938 he went to Paris where he studied art with Camilo Egas...

Spodumene from Nuristan Province, Afghanistan. Double terminated crystal of translucent to transparent, colorless spodumene with isolated cluster of albite, smoky quartz and black...

Exquisitely sculpted, probably by an Italian artist, this lovely and beautiful marble sculpture depicts a nude Venus figure emerging from a scallop shell,...

Gem Apophyllite from Pashan Hill Quarry, Poona District, Maharashtra, India. Lustrous transparent bi-colored apophyllite crystals long with translucent pink stilbite crystals in a...

Cavansite on Stilbite with Stilbite from Wagholi Quarry, Maharashtra, India. Lustrous spherical aggregates of vibrant royal blue cavansite crystals lined up across a bed of quartz m...

Unique wire rod sculpture with asymmetrically placed " bow tie " enameled ornaments. Most likely by Jere at Artisan house. Rods do show patina. Some bent or t...

Here is a charming pair of French ceramic horse figures most likely by Colette Gueden for Atelier Primavera. Both have a textured glaze with hand-painted manes and tales. The size li...

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...

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...

A rare example of the Danish toy-design-master Kay Bojesen work. This lion in braided natural rope was designed I collaboration between Jorgen Bloch and K...

Govert Heikoop’s floor sculpture *From past to present* (1988) features bold geometric shapes and a subtle interplay of soft pink, green, and white tones. The pastel hues interact dy...

This expressive 18th century marble portrait bust is of Marie-Madeleine Guimard (1743-1816), a successful dancer and one of the most famous courtesans of pre-Revolutionary France. The bust is unsigned, but identical to one in the collection of London's V&A museum carved...

Enameled bronze elephant incense scupture, figure. Either Japanese Cloissone or French Champleve . No makers markings.

Two hand-carved and colorfully painted 20th century wood workmen. A whimsical pair with expressions we can all understand. Decorative and interesting!

This is a heavy alabaster bust sculpture of Judith after the painting of August Riedel. It depicts the bust of a light brown wavy hair female who is wear...

Hill tribe healing figure carved of solid wood. 19th-early 20th century Golden Triangle area, Southeast Asia Indochina. This is a healing figure used to aid in healing. Arms folded ...

Table top and of a diminutive size, signature stamped on underside of top. Margery worked during the mid-20th century at the Met in NYC.

Hand-Carved Black Stone Stair Sculpture by Ricard Casabayó, Barcelona-Based Sculptor This unique sculptural object, carved from natural black stone sourced from Aragon, Spain, blends...

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...

1950s Hand-Carved Wooden Painting - Black & White Statement Piece Make a bold artistic statement with this 1950s hand-carved painting, rendered in striking black and white. Crafted f...

This small charming abstract bronze figure stands on its own with a curious look on its face. This piece would make a great desk accessory or a ...

Wonderful and very detailed handcarved neoclassical angel standing on clouds, Italy, circa 1780-1820. Weathered, small losses and old repairs. Measurements include the wooden base. H...

Jorge Marin 20th Century Terracotta Sculpture, Colombian Influenced A terracotta sculpture by well listed Mexican artist Jorge Marin (b. 1963). Made from ...

Purchased in Rome in the 1980's, the well-carved chubby winged putti in opposing stances and poised on one foot over a rock-work base; depicting the grape harvest also known as the a...

Wonderful marble bust of the Roman God of the water Neptune. Gorgeous piece standing on a black marble pedestal base. We've pictured it on a marble column which is not part of the li...

This depiction of a youthful figure, perhaps a street urchin from the alleys of New York, with his or her hair blowing wildly, is a rare or unique sculpture by Fred Press...

Large head of Dionysus sculpture in white marble, 19th century.  

Made in Czechoslovakia Made of Ceramic Original Condition

A gorgeous porcelain obelisk on a marble base. The lovely white color porcelain obelisk with highly crated white, hand painted love birds on the top. Great condition. Italy 1950s. ...

A life-size hand carved 20th century Roman Torso. The torso is carved from weathered statutory marble on a travertine base. One of the most striking objects on display in the Mary a...

Mario Dal Fabbro sculpture No. 2 Signed Mario Dal Fabbro 1990 Multi-disciplinary artist Mario Dal Fabbro was born in Cappella Maggiore, Italy in 1913. He trained in his family'...

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...

MCM stoneware lion bank sculpture by David Gil for Bennington Pottery of Vermont, circa 1960s. This unique piece is in very good vintage condition and measu...

Pair of Geometric Chrome Lamps, American, circa 1960's. These lamps show excellent attention to detail. They would be right at home with the design...

Cat in Murano glass by the glass master Franco Moretti.

Incredible Abstract Sculpture by Barbara Hult Lekberg, American, 1925-2018: Sea Wind II. Bronze, signed and numbered 6/9 Provenance: The Estate of Dr. Richard Auhll, Santa Barbara, CA

A very fine pair of late 19th century, opulent gilded brass fire chenets in the rococo taste. Depicting seated baby fawns holding candles within fancy scrolls. Highly decorative exa...

Modernist TOTEM mask abstract aluminum sculpture standing 4 feet tall. Artist unknown.

Ruler Selenite with an 18th century Italian gold leaf fragment. Mica, and natural forming baroque pearls on a lucite base. Ruler selenite or "selenite logs" are single, prismatic selenite crystals from Morocco that were formed in extensive beds by the evaporation of ocean brine. This mineral is characterized by a silky, pearly luster called satin spar. The piece is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the piece but the Italian fragment is originally 18th century. Interi transforms Italian artifacts...

Italian Ceramic Woman Art Deco Style naked african woman enamel and gold Excellent condition Origin Italy Circa 1950 mid century Sealed in its ba...

Original Chuck Dodson Erotic Figurative Sculpture circa 1975 Offered for sale is an erotic figurative sculpture titled "Penetration" by Florida arc...

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...

Uncommon form. Nice example of Emil Milan's sculptural work. Signed, EMilan Walnut.  

1902-1914 Art Deco flute dancer woman bronze with green patina signed by the French sculptor Paul Philippe (1870-1930). Some scratches and traces.

This collection of lucite jewel toned sculptures in orange, red, sapphire blue and purple are two pyramids and one abstract form. They glisten with gorgeous colors and make a great s...

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

19th century English pair of cast iron mounted lion masks circa 1890. Price is each. Measures: Large H 49 x W 19.5 x D 11cm Small H 43 x W 18 x D ...

Great Thorwaldsen bust. Marble figure of the sculptor Thorwaldsen Extremely expressive characterization, which, in an extraordinary detail, also reflects the facial expressions of hi...

Rosenthal bronze sculpture. 1965, untitled. Stamped "Rosenthal, 1965." Nice original patina.

Four striking brutalist bronze sculptures of heads, incredibly well executed by a talented and likely well trained hand but are unsigned by the artis...

16th Century Italian carved-wood and polychromed sculpture of Jesus Christ the conqueror raising the flag after his resurrection.