Sculptures on Sale

Monumental sculptural head of President George Bush. Made of foam, paste and hand-painted. Very unique piece of sculpture. Massive scale. President Nixon...

A fertility figure from Teotihuacan in Mexico. Depicting a pregnant woman decorated in red triangles. In good condition with minor flaws. Approximately 14 1/2 inches tall.

An iconic elongated sculptural wooden bowl in Walnut by Mid-Century master Emil Milan.

Pink-Red, Blue, & Clear Oball Murano Glass Fish Sculpture with Original Label. BeFirstBoldy com The sculpture still has its label, though very worn, which says Made in Italy Murano...

EGO Lidköping, Stoneware, Sweden. Ceramic figure of a poodle. Glazed in brownish-green hues. 1970s/80s. Marked. Perfect condition. Dimensions: L 11.0 cm x W 8.0 cm x H 18.0 cm.

Murano, Italy. Large sculpture in art glass. A religious official. Pink and light blue mouth-blown glass. 1960/70s. Perfect condition. Dimensions: H 42.0 cm x D 10.0 cm.

Bronze sculpture of boy playing with a blown glass balloon by Curtis Jere. The bronze boy measures 13.5 inches tall, from the base to the top of th...

Set of five miniature brass pigs, circa 1970s. Great vintage set with a well-worn patina; the largest pig is 3.5" H x 6.5" W and the smallest one is 2" H x 3...

Goldscheider, Austria. Art deco wall figure in glazed ceramics. Madonna. Beautiful glaze in turquoise shades. 1940s. Measures: 36 x 11 cm. Depth: 5.5 c...

Elio Schiavon wizard figure, dates to the mid-1950s in excellent condition! Born in 1925 in Arzergrande, Padua, Italy. Studied at the Nove School of Ceramic Art. Opened his own Studi...

Antique John Rogers Cast Plaster Sculptural Group, "Weighing the Baby", 19th C Measures - 21"h x 16"w x 13"d Catalogue Note: Ask about DISCOUNTED DELIVERY RATES available to mo...

Antique 19th century Staffordshire porcelain flatback figurine depicting Saint George and the Princess in bright clothing riding together on a galloping horse. Dimensions: 7" x 3.5"...

Bought from an Antiques shop in Sweden, this charming, richly patinated tripod bowl table is hewn from a solid log of Rosewood - weighing in at 7kg, it's an incredibly extravagant us...

Turtle sheriff, handmade blown sculpture by Roberto Beltrami. Part of a comic and pop collection in Murano glass, the 'PUPI' are 100% mouth-blown and entirely handmade, offering com...

Vintage mid century, victorian couple statue looks like Nor-leans ceramic figurine , Lady with fan staying near arch with leaves, most likely Made in ...

Antique Meissen figure in hand-painted porcelain. Boy playing the flute. Marcolini period 1774-1814. Measures: 20 x 9 cm. In excellent condition. Stamped.

Italian, 20th century. Introducing a captivating pair of Vintage Chinoiserie & Partial Gilt Wood Decorated Obelisks, each a testament to timeless elegance and artistic finesse. Stan...

Unique lacquered wood slab roman numeral clock. This beautiful piece of wood features a rich vibrant grain pattern, roman numeral lettering and orn...

15th century Italian carved wood, polychromed and gold gilded sculptures of four Pillars of the Christian Faith (Saint Peter, Saint Paul, Saint Luke, Saint Matthew).

Wonderful and rare example of this early McCobb design in original unaltered tobacco finish. Small remnants of original label remains. Measure: Seat H 17.5 in. / arm H 27 in.

Per Lütken for Holmegaard. Sculpture in green art glass. On a base. Organic shape. Denmark, 1960s. Perfect condition. Dimensions: W 11.0 cm x D 6.0 cm x H 19.5 cm.

"Defending Yourself from destruction," a striking sculpture by the gifted artist Elvio Becheroni, stands as a poignant chapter in his "Amazonia" series of the disenchanted forest, born in the year 1992. Crafted with noble Pau Brazil...

Glazed Ceramic Pear Sculpture with Wood Stem Attributed to Bijan circa 1980s Offered for sale is a glazed ceramic pear sculpture with a wood stem attributed to the artist Bijan in t...

A self-framing portrait medallion of Oliver Cromwell, MP: rebel, regicide, suppressor of Ireland, persecutor of Catholics, and Dictator. He was posthum...

Per Lütken for Holmegaard. Sculpture in green art glass. Organic form. Denmark, 1960s. Perfect condition. Dimensions: Height 20.0 cm x Width 11.0 cm x Depth 5.0 cm.

Miniature in 925 sterling silver depicting a saddle, boots, hat and whip for a jockey resting on a wooden fence. The workmanship is in fusion and finished with chisel. The object c...

Trelleborgs Glasbruk, Sweden. Sculpture in the form of a cobra snake in art glass. Yellow and clear glass. Mouth-blown. Approximately from the 1...

This is a wonderful pair of Egyptian revival obelisks done in the French empire style with carved wreathes on each side of the base. The obelisks are made of oak and cerused for a mo...

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 fine and charming French 19th-20th century carved white marble whimsical group sculpture depicting two putti (Children) playing with a dolphin, fitted for use as a fountain, Paris,...

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...

Theodor Madsen for Royal Copenhagen. Rare porcelain figurine. Colossal elephant. Dated circa 1910. Model number 447. Measures: 42 x 30 cm. In very good condition. Stamped.   

From Tsumeb Mine, Otavi-Bergland District, Oshikoto, Namibia Rich cluster of lustrous deep royal blue azurite crystals on malachite-duftite-calcite matrix. All of the azurite crys...

This is a Royal Copenhagen porcelain of small bright and colorful bird figurine known as a Blue Tit. At the base is the Royal Copenhagen hallmark with the num...

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.

Scolecite on Stilbite From Nasik District, Maharashtra, India. Large acicular spray of transparent scolecite crystals on pink stilbite crystal cluster matrix in large lustrous pin...

Danish ceramicist. Large unique ceramic bear. Glaze in red-brown shades. Signed and dated 1970. Perfect condition. Dimensions: L 29.0 cm. x W 13.0 cm. x H 20.5 cm.

Signed 24k gold infused Crystal Fish Sculpture by Josef Marcolin. original label visit BeFirstBoldy com In addition to the signature on the bottom, the piece still has both of its original labels as well. In Murano glass work, fine gold dust inside the glass is called gold polveri. Perhaps this term was dropped by Marcolin due to the inclusions being more notable gold flecks rather than gold dust. Josef Marcolin (1933-2015), who originallly lived and was trained as a glassblower in Murano, Italy, moved to Sweden with his brother Benito in 1954. They made beautiful blown glass/crystal sculptures such as this one, which are known for their unique blend of Murano and Swedish style. In 1991 they moved back to Italy and continued to create for a short time under the name Sardinia Crystal...

Midcentury, signed artist proof, figurative bronze "runner" statue on travertine base by noted Mexican sculptor Victor Salmones, circa 1960's. The piece is in excellent condition wit...

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...

Vintage modernist abstract tree sculpture designed by Curtis Jere for Artisan House c. 1960's. Features a dramatic focal point to any space adding texture and dimension. This stateme...

Big and beautiful 1960 Grumman Avenger TBM3 Royal Dutch Navy airplane model. This beautiful replica once flew with remote control and it comes without remot...

This sculpture in fine white P marble, black Belgian marble and rock crystal is a tribute to the famous car manufacturer Lamborghini, specifically the Aventador LP700-4. The Lamborghini Aventador is a mid-engine sportscar produced by the Italian automotive manufacturer Lamborghini launched on February 28th, 2011, at the Geneva Motor Show five months after its initial unveiling in Sant’Agat Bolognese. The first model, the Aventador LP 700-4, was designed by Filippo Perini. It was inspired by Lamborghini's limited-edition Reventón and the Estoque concept car and is the successor to the Murciélago. Among the design features were its signature scissor doors...

Set of six shot\café glasses color Millefiori - Murano glass - Made in Italy. These individual Murano glasses are inspired by the classic "Goto Botte" Murano glass. Other colors av...

The piece is a unique representation created by our designer. The creations are completely made by hand. Ceramic and paint are water resistant.  

We are always on the lookout for bronzes with a sports theme. Here we are offering a rare example of a field hockey player. Well cast with a beautiful war...

Lull No15 Solid Wood Artistic Feature – NONO’s Decorative Object for Modern Homes ——— Balance and tension are at the core of these sculptures. The interplay between the smooth, roun...

A great bronze wonderfully patinated and mounted on a slate base. It is signed Schumacher and dated 1989. We were lucky to acquire a number of this artist's works. From a 2012 article the following provides some insight into the artist: Gloucester TWP, Camden County College’s Marlin Gallery will present works by the late Cherry Hill sculptor Frederick Schumm in the show “Retrospective” starting March 21. Schumm was a native of Colorado Springs, Colo., who served in the United States Marine Corps during World War II. Driven by an interest in whittling and sculpture, he used G.I. Bill funds to develop his talents with study at the Colorado Institute of Fine Arts. In the early 1960s, he developed an original method for casting small bronzes at the same time that he was designing and helping to construct a sculptural playground for the Colorado Springs Parks Department. The playground pieces were featured in "Woman’s Day" magazine and can viewed online at you tube His bronze-casting innovations led to his receipt of a Fulbright Scholarship and two years of study in Florence, Italy. Upon his return to the United States, Schumm lived in New York...

Beautifully cast and patinated, this set of three Art Deco appliqués or sconces may have been used to decorate a door or building element, or been hu...

Hand Carved Stone Possible malachite Paperweight office Desk Sculpture object . A nicely hand carved Hardstone paperweight sculpture frog object decorative...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. The heart collection is inspired by the ...

Peter Strang (b.1936) for Meissen. Figure in hand-painted porcelain. Conductor from the clown orchestra. Model No. 60650. Late 1900s. Measurements: H 9...

Large Terracotta relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta 91 x 85 x 11,5 cm This event in the early life of Christ is recounted i...

A very fine French antique gilt bronze figural group titled "Pro Patria" meaning "For one's country" in Latin. by Edouard Drouot (French, 1859-1945) l The statue depicts a female figure of winged Victory supporting a soldier ready for battle equipped withj a sword and shield...

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...

Fritz Heidenreich for Rosenthal, Germany. Large standing porcelain poodle. Approximately from the 1930s. Model number 5155. Marked. In perfect condition. First factory quality. Dimen...

3-761 oversized brass ibex sculpture on marble base.

Music historian, art critic and collector, and one of the most eminent men of culture in his days: Luigi Magnani Rocca has been a key feature in Italian modern history, and amassed a...