Face Figurative Sculptures

A superb smaller version of a large scale commission work that stands in Bordeaux at the Hotel Fruges! Lovely patina - a lighter but rich and warm brown tone that is rare to see in ...

Ad Dextram Bronze Sculpture Nude Boy Male Figure Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Nex...

A very fine large, rare and charming, French, 19th century. Belle Époque carved white marble whimsical figural urn fountain depicting children climbing on an urn with flowers and gar...

RENZO COLOMBO Italian, (1856-1885) Bust of Napoleon Bonaparte Patinated bronze; Signed R. Colombo 1885 on Right Side 22 x 15 inches Notes: The...

An Art Deco bronze relief in the style Swedish Graze by an unknown artist inspired by Carl Milles modern classicism. The concept of Swedish Grace was introduced by the English archi...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

The unique contemporary figurative sculptures of William Hung often express the human condition and are imbued with emotion. This striking piece, cast in ...

A Monumental, Richly Patinated Bronze Bust of Beethoven by Gaston Veuvenot Leroux (1854-1942) Eugène Blot, Fondeur This magnificent sculpture powerfully captures the iconic composer...

Terracotta 19 x 25 ½ inches; 480 x 650 mm Signed and dated: ‘W Tyler Excu. 1765’ Collections: Cyril Humphris, London; Humphris sale, Sotheby's, New York, 10-11 January 1995, lot 74...

19th century French finely chiseled bronze figure of Hermes . Signed Pigalle G . Cuspinera Hermes , the messenger of the gods, is sitting on a rock, ready to leap up. He is att...

Boxwood figure of Christ

Albert Wein was born in New York in 1915 and was the only son of an accomplished woman artist, Elsa Wein. Her influence and intense commitment to nurturing the young Albert's seeming...

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says, ...

In German, the meaning of the word "niemand" ranges from nobody, none, and no one to anybody. Apply that to Viktor's unique sculptures and a dose of humorous social commentary meets...

Bufo Contemporary Bronze Sculpture Nude Boy Marble Stone Male Figure Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high school, he intensively practises his profession as a sculptor. Only when his work would measure up to his own standards, he decided to present it to the rest of the world. In 1995, he exhibited for the first time with Morren Galleries. Van der Kant desires to sculpt young people who still stand uninhibited and curiously in life. The reason he chooses to sculpt boys is, because he is one himself, this way the subject is closer to him. The anatomy of his figures testify of perfectionism. Van der Kant's subjects show similarities with the sculptures from the Greek and Roman antiquity...

San Francisco-based folk artist Tim Weldon, fresh off a showing at Scottsdale’s annual Celebration of Fine Art, is a man in touch with his lovable inner child. He declares himself a ...

"Herself" by Frederick Hart is an acrylic figurative sculpture of a woman's face numbered 176/350. Hart began to equate light and spirit, the medium itself conveying the meaning, bey...

Italian Portrait White Marble Bust in a Heroic Attitude. Carrara statuary Marble. Tuscan school. Circa 1850.  Bust depicting a young man with bare shoulders. This model draws inspira...

Leonard Baskin (1922-2000) Jewish Matriarchs, Sarah, Rebecca, Rachel and Leah with Hebrew calligraphy Bronze, 1998 9.5 X 9 inches Judaic biblical bronze of Jewish mothers. Leonard Baskin (August 15, 1922 – June 3, 2000) was an American sculptor, illustrator, wood-engraver, printmaker, graphic artist, writer and teacher. Baskin was born in New Brunswick, New Jersey. While he was a student at Yale University, he founded Gehenna Press, a small private press specializing in fine book production. From 1953 until 1974, he taught printmaking and sculpture at Smith College in Northampton, Massachusetts. Subsequently Baskin also taught at Hampshire College in Amherst, Massachusetts. He lived most of his life in the U.S., but spent nine years in Devon at Lurley Manor, Lurley, near Tiverton, close to his friend Ted Hughes, for whom he illustrated Crow. Sylvia Plath dedicated Sculpto to Leonard Baskin in her famous work, The Colossus and Other Poems (1960). The Funeral Contege (1997) bronze, Franklin Delano Roosevelt Memorial, Washington, D.C. His public commissions include a bas relief for the Franklin Delano Roosevelt Memorial and a bronze statue of a seated figure, erected in 1994 for the Holocaust Memorial in Ann Arbor, Michigan. His works are owned by many major museums including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Museum of Modern Art, the Art Institute of Chicago, the Boca Raton Museum of Art, the British Museum, the Honolulu Museum of Art, the Udinotti Museum of Figurative Art and the Vatican Museums. The archive of his work at the Gehenna Press was acquired by the Bodleian Library at Oxford, England, in 2009. The McMaster Museum of Art in Hamilton, Ontario owns over 200 of his works (some religious and biblical), most of which were donated by his brother Rabbi Bernard Baskin. Contemporary Religious Imagery in American Art. Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Arman, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others.In 1955, he was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery, they showed many great artists, Chaim Koppelman, for many years, headed the gallery's Print Division; printmakers such as Will Barnet, Leonard Baskin, Robert Conover...

The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from life-size to hand-size. Ballard says...

Émile Louis Picault (French, 1833-1915) Fisherwoman Bronze Stamped "E. Picault" 30 x 15 x 12 inches Subject depicting a young woman holding fishing line in one hand a basket of fis...

18th Century Italian Carved Neoclassical Semi Nude Female Busts Wood affixed to wood plinths "Leone Della Torra / Italy Country of Origin" labels on b...

Orientalist African Hunter Leaning on His Shield Black Forest, School Switzerland  19th century Carved Wood 21 inches This is an exceptionally beautifu...

"Stingaree" by artist David Everett is polychromed mahogany, and measures 43 3/8 x 40 1/4 x 21 1/2 inches. It is signed "© D EVERETT 2017". It depicts a mother and child, pelican and...

Antique marble head of the roman emperor Tiberius. 43cm without the base. 18th Century.

Bronze Numbered 1/10 66cm × 26cm × 36cm (incl. base) Ian Rank-Broadley is one of the foremost sculptors working today. His effigy of the late Queen Elizabeth II appears on all UK an...

A very beautiful antique Art Nouveau bronzed Carrara marble sculpture bust of a young maiden circa 1900, by Gustave Van Vaerenbergh (1871-1927). The sculpture portrays a beautiful young maiden made from Cararra marble, she is wearing a laurel wreath in her hair. She wears a bronzed bodice with leaf decoration in relief and is raised on a varigated grey & white socle base. The sculpture is signed to the rear " G. V. Vaerenbergh" and numbered "1173", the bust is in excellent condition. Gustave Van Vaerenbergh attended classes at the Academy of Fine Arts in Ghent, Belgium from 1888 to 1890. Like many artists from a modest background (he was the son of a shoemaker) , Gustave Van Vaerenbergh went to work in companies where he could use his artistic talent and education for commercial purposes. In 1901 he moved to Saint-Josse-ten-Noode , and a year later to Schaerbeek where he would live for the rest of his life. He went to work there as a " mouleur en plâtre " (modeller or maker of matrices for plaster statues) at the company A. Carli Frères in the L'Olivierstraat in Schaerbeek, a company that produced commercial statues. This successful company, which was active from the beginning to the middle of the twentieth century , initially had about 20 employees and at its peak about 100 employees. The statues were distributed worldwide. Antonio Carli, a sculptor, was the founder of the Atelier A. Carli Frères, together with family members. They came from Bagni di Lucca...

Head of a warrior. From the Totonaca culture (state of Veracruz) created about 1982. Modern Pre Columbian style clay, terracotta sculpture artist signed on the right bottom. Walter...

'Preoccupied' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamombe's w...

Bronze bust with brown patina depicting the pseudo-Seneca, Italy, early 19th century. The Pseudo-Seneca is a Roman bronze bust from the late 1st century B.C.. discovered in 1754 in ...

Zacharie Rimbez (active between 19th and 20th centuries). White marble Orientalist bust depicting Armida, second half of the 19th century. Armida is a Muslim sorceress, a charact...

A beautiful street art, abstract Mannequin Bust decorated by artist Angel Ortiz. Here we find this stylish bust figure with the artist signature tag...

A very large 24" (61cm) Franz Xavier Bergmann (1861-1936) cold painted bronze group statue, signed, Austria, circa 1910. The bronze in the Orientalist manner & depicts a young slave ...

Corpus Christi around 1150/70 Southern France or Catalonia carved oak wood

 height 109 cm, width 96 cm Remains of polychromy

Petite tête de l'Homme au nez cassé Small head of the Man with the broken nose by Auguste RODIN (1840-1917) Sketch for the Gates of Hell Variant with symmetric neck Bronze with blac...

Who Wants to Play Baseball? is a lighthearted and playful work that captures the simple joy of childhood. Cheng-Hsiung Chen uses refined carving techniques to highlight textures, fro...

Artist: Hippolyte Moreau, French (1832 - 1927) Title: Hero Medium: Bronze Sculpture on Marble Base, signature inscribed Size: 19 x 11 x 9 in. (48.26 x 27.94 x 22.86 cm) The tale of ...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

Subrata Biswas - Think Green - H: 13 Inches x W: 12 Inches X D: 4 Inches Bronze Sculpture. Subrata Biswas’s three sculptures ‘Think Green’, ‘Amigo’ and ‘City Bred’ a conscious selec...

One of a kind pair of cherub high reliefs dating from the 18th century, probably belonging to the Castilian school. These are two rectangular high reliefs in carved, polychrome, an...

Important patinated plaster bust representing the Faun of Vienna. the original of which is in the collections of the Louvre museum (marble statue discovered in Vienna in 1820 and dat...

Growing up in the fishing village of Anping, Cheng-Hsiung Chen was deeply influenced by the lives of local fishermen. Their struggles at sea and their humble joy in a good catch beca...

A sculpture by Tom Wesselmann. "Bedroom Brunette with Irises" is a contemporary wall sculpture, oil on cut-out aluminum by Blue Chip, Pop artist Tom Wesselmann. The work is unsigned. This piece was conceived in 1988 and frabricated by Lippincott Sculpture studio in 2004. Tom Wesselmann was born in Cincinnati Ohio on February 23 1931. He attended college from 1945-1951, first at the Hiram College in Ohio and then the University of Cincinnati, where he majored in psychology. He was drafted during the Korean War in 1952, and it was during this time that Wesselmann did his first cartoons. After he was discharged and had finished in degree in psychology, Wesselmann began to study drawing at the Art Academy of Cincinnati. He sold his first cartoon strips to two magazines, 1000 Jokes and True. In 1956, he was accepted to Cooper Union in New York and he continued his studies there. It was while he was studying in New York, specifically on a trip to the MoMA that Wesselmann became inspired by Robert Motherwell and Willem de Kooning. In 1958, a landscape painting trip to Cooper Union’s Green Camp in New Jersey brought him to the realization that he could make his career in painting, rather than cartooning. After graduation, Wesselmann became one of the founding members of the Judson Gallery, along with Marc Ratliff and Jim Dine. Wesselmann also began to teach art at a public school in Brooklyn and later at the High School of Art and Design. In 1961, Wesselmann began the series that would bring him to the attention of the art world, Great American Nude. After a dream concerning the phrase “red, white and blue”, Wesselmann decided to limit himself to a palette of only those colors (including colors like gold and khaki that are associated with patriotic motifs). This series incorporated representational images along the same patriotic theme, including American landscape photographs and portraits of the founding fathers. Wesselmann often collaged these images from magazines and discarded posters which required him to work in a much larger format than he was used to. As his works became larger and larger he approached advertisers directly to acquire billboards. Wesselmann’s first solo show was held in 1961 at Tanager Gallery. In 1962, Richard Bellamy gave him a one man exhibition at the Green Gallery. In 1962, Wesselmann participated in the group exhibition “New Realists” at the Sidney Janis Gallery and kicked off his international career. In that same year his first pieces with the title of Still Life, came about. In these works, Wesselmann concentrated on the juxtaposition of different elements, i.e. a cigarette ad...

Fine Quality Patinated Bronze Figural Sculpture of King Menthuophi and Queen Nitocris. Signed on base, "E. Picault" Maker: Emile Louis Picault (1833-1915) Origin: French Date: 19th...

Wonderful Italian sculpture representing a seated maiden. The artwork rests on a square marble base Signed on the base “Gaetano Martinez Roma” According a written opinion by Prof. Al...

Chul-Su (Monotone) By KAWS 2025 AllRightsReserved x Netflix, for the return of Squid Game Season 3 Vinyl 38 cm / 15 in Open Edition (Sold Out)

BRONZE FIGURE OF MARS, 18th Century gilt bronze on marble base 35.6 x 8.9 x 7.6 cm 14 x 3 1/2 x 3 in

Presenting a magnificent early Art Nouveau bronze by Belgian artist Jef Lambeaux(1852-1908.) “Leda and the Swan”, is an original Art Nouveau Bronze,...

The series "Venus Nostalgia" is a collection of sculptures inspired by the famous Venus de Milo, an emblematic work in the history of art that has had a great impact on Castello's wo...

Presenting an original carved wood sculpture by American WPA artist Avis Zeidler Nemkoff. "Isabella", is a hand carved wood sculpture measuring 18.5 inches tall, exceptional original condition, originally acquired from the estate of the artist who resided in Northern California. This is a magnificent one of a kind hand carved wood sculpture, c.1938. Please contact the gallery for additional information •Avis Zeidler was born in Madison, Wisconsin, in 1908. •It is not known when Zeidler moved to California. However, in the 1930s she majored in art at the University of California. •Later, she enrolled at the California School of Fine Arts after receiving a scholarship for her studies there. She studied with Ray Boynton, Lucien Labaudt, Karl Eugen Neuhaus, and Ralph Stackpole...

Late 15th Century Florentine School Madonna with Child Bas-relief Pietra serena (a blue-gray sandstone) 85.5 x 60.5 cm Provenance: - via Stefano Bardini purchased in 1896 by Prince ...

A Rare and Important American White Marble Sculpture of Thomas Jefferson Holding The Declaration of Independence. Circa 1870, in the Manner of Horatio Stone (1808 –1875). Inscribed on scroll: 'The Declaration of Independence, It becomes necessary for one people to dissolve the political bands which have connected them with another. etc. etc. T. Jefferson. The present work is unsigned but is reminiscent of Horatio Stone's life-size marble figure of John Hancock...

This superb French Art Deco wooden panel or wall-mounted sculpture features a spectacular Venetian mask and was hand-crafted in the 1930s. The sculpted panel boasts finely detailed c...

"At the Water" is a larger free-standing bronze sculpture, suitable both for the inside and outside. Edition 18, signed, numbered and dated on the bottom. Certificate. The sculptress Susanne Kraisser is to be considered as part of the great modern figurative tradition. She was born in 1977 in Rosenheim, Southern Germany. She studied both at the Academy of Fine Arts Nuremberg and the University of Arts in Bremen. She graduated with distinction in 2007 in Nuremberg and received her Diploma with distinction in 2008 in Bremen. She has won numerous awards and exhibits nationally as well as internationally. Artist Statement: For me, sculpture is particularly shape and material, volume and size, space, movement and statics. I focus on the ‘female body’, presenting it either as an intimate miniature or on a monumental scale – each time as a solitary figure. In terms of content, my work focuses on identifying and combining polarities, such as instability and strength, fragility and solidity, activity and passivity, movement and statics, balance and volume, and dependence and autarchy. I work predominantly with the materials bronze, aluminium and wood. The small miniatures are made from wax and are then cast in bronze as part of what is known as the wax smelting process. Large-scale pieces are similarly cast in aluminium or created directly out of wood. The various work processes and tools determine the appearance of the surface; for wax, it’s my hands, and for wood, it’s my chainsaw. Each material is a new challenge for me. My previous wood-sculpting studies involved respecting the material’s limits to create craft of solid quality in keeping with the material. But this is where the intense discussion and its limit become clear. I fight with the material, and a lot of things go wrong. It becomes my opponent, whose limits I test out and reset if necessary. Cautious movements requiring a lot of physical tension are maintained without losing their inner dynamics. Amidst the often harmonious external form is a harsh dissonance evidenced by the rough, fragmented design...

The portraits, loaded with symbolic imagery, gaze out at the viewer, with a variety of intensities and emotions. This is to say, each woman has a story, which may not be directly evi...

ANCIENT ROMAN MARBLE RELIEF FRAGMENT Rome, 1st Century b.C. marble 23 x 15 x 5 cm without base 9 x 6 x 2 in

Magnificent and Monumental 16th Century Renaissance Carved Oak Bust of Christ, Flemish Netherlandish, C. 1550 A powerful and deeply expressive Renaissance carved oak bust of Jesus C...

A very unique bronze that touches upon the classic, female strength in form and the details beaux arts style in America. A work that really is for a collector and to be put in a spo...

Franz Bergmann, Austrian (1861 -1936) - Traveler with Camel, Year: circa 1900, Medium: Cold painted Bronze sculpture, Size: 4.75 x 6 x 3 in. (12.07 x 15.24 x 7.62 cm)

Female Painter's Manikin Mid-1800s jointed and articulated, life-size Italian sculpture, 167 cm tall 66 Inches, made of beech wood with traces of lacquer preparation. This extraordi...