Marble Nude Sculptures

Aquarius Contemporary Bronze Sculpture Nude Male Figure Boy Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high s...

Gallulus Bronze Sculpture Nude Boy Male Figure Green Patina Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profess...

Antique bronze sculpture of male nude reading a letter or proclamation. Marble base, 19th century. Unsigned.

Alia Mihi Mens Est Bronze Sculpture Contemporary Nude Boy Marble Stone This sculpture need to be ordered. We will cast a brand new one for you. The edition is 4 pieces. The next scu...

This is the story of a woman who is always in the spotlight. Refined, light, beautiful, self-sufficient. She knows her worth and is confident in herself. And everyone around her feel...

Carved Carrara marble bust of Augustus Caesar. Italian grand tour. Mid 19th century. #roman classical greek sculpture not signed . rare. museum paris

RYSZARD PIOTROWSKI (born in 1952) Sculptor. He graduated from the Academy of Fine Arts in Warsaw. His works include intimate, small forms in marble, bronze and silver. He specializes...

Beautifully detailed and lifelike, Venus and Cupid share a soft embrace in this remarkable Italian white marble sculpture. The feminine beauty gracefully leans against roughened rock...

Artist/Designer; Manufacturer: Victor Salmones (Mexican, 1937-1989) Marking(s); notes: signed, marking(s); Artist Proof Materials: bronze, stone (base) Dimensions (H, W, D): 21"h, 12...

Outstanding Italian Neoclassical Sphinx Carrara Marble sculpture designed as entrance guardian, this mythical lady sphinx statuary display the head and chest of a neoclassical woma...

A fine abstract marble sculpture of two lovers, unsigned, in the manner of Lithuanian American artist William Zorach (1887-1966). Zorach was born in Eurberg, Lithuania, was brought t...

Artist: Jack Graves III (American, 1988-) Title: "Venus de Milo Sculpture (Alexandros of Antioch)" Series: Sculpture *Signed, titled, and dated by Graves on bottom Year: 2022 Medium...

La Perla; The Pearl  A mesmerizing alabaster table lamp depicting the birth of venus by Umberto Stiaccini. Three winged putti stand on a piece of coral as they carry a scallop shell...

Artist: Jack Graves III (American, 1988-) Title: "The Three Graces Sculpture (Antonio Canova)" Series: Sculpture *Signed, titled, and dated by Graves on bottom Year: 2021 Medium: Or...

A Fine French Patinated Bronze Figure of Young Maiden sitting beside a Peacock surmounted atop a rouge marble plinth by Auguste Moreau. Perfect size for a desk or dresser, or mantle ornament...

This monumental pair of sculptures in "Bardiglio" marble represent Greek Athletes figure , on a cylindrical base . Exaltation of the male strength and beauty, inspired by the trend i...

The sculpture is dedicated to female beauty and grace. The author portrayed a beautiful girl who is a little shy about her nakedness. Her body is stylized. Polished bronze accentuate...

A beautiful rendition of a seated female nude in polished and chiseled marble. Signed and dated 1981 on the back. Stone, wood and ceramics sculptor Lorrie Goulet, who also makes draw...

Demetre Haralamb Chiparus (also known as Dumitru Chiparus) (16 September 1886 in Dorohoi, Romania - 22 January 1947 in Paris, France) was a Romanian Art Deco* era sculptor who lived and worked in Paris. He was born in Romania, the son of Haralamb and Saveta. In 1909 he went to Italy, where he attended the classes of Italian sculptor Raffaello Romanelli. In 1912 he traveled to Paris to attend the Ecole des Beaux Arts* to pursue his art at the classes of Antonin Mercie and Jean Boucher. Demetre Chiparus died in 1947 and was buried in Bagneux cemetery, just south of Paris. The first sculptures of Chiparus were created in the realistic style and were exhibited at the Salon of 1914. He employed the combination of bronze and ivory, called chryselephantine*, to great effect. Most of his renowned works were made between 1914 and 1933. The first series of sculptures manufactured by Chiparus were the series of the children. The mature style of Chiparus took shape beginning in the 1920s. His sculptures are remarkable for their bright and outstanding decorative effect. Dancers of the Russian Ballet, French theatre, and early motion pictures were among his more notable subjects and were typified by a long, slender, stylized appearance. His work was influenced by an interest in Egypt, after Pharaoh Tutankhamen's tomb was excavated. He worked primarily with the Edmond Etling and Cie Foundry in Paris administrated by Julien Dreyfus. Les Neveux de J. Lehmann was the second foundry which constantly worked with Chiparus and produced the sculptures of his models. Chiparus rarely exhibited at the Salon. In 1923 he showed his Javelin Thrower, and in 1928 exhibited his Ta-Keo dancer. During the period of Nazi persecution and the World War II, the foundries discontinued production of work by Chiparus. The economic situation of that time was not favorable to the development of decorative arts and circumstances for many sculptors worsened. Since the early 1940s almost no works of Chiparus were sold, but he continued sculpting for his own pleasure, depicting animals in the Art Deco style. At the 1942 Paris Salon, the plaster sculptures Polar Bear and American Bison were exhibited, and in 1943 he showed a marble Polar Bear and plaster Pelican. Sculptures of Dimitri Chiparus represent the classical manifestation of Art Deco style in decorative bronze ivory sculpture. Traditionally, four factors of influence over the creative activity of the artist can be distinguished: Serge Diaghilev's Ballets Russes, ancient Egyptian art, and French theatre. Early motion pictures were among his more notable subjects and were typified by figures with a long, slender, stylized appearance. Some of his sculptures were directly inspired by Russian dancers. Quite often, Chiparus used the photos of Russian and French dancers, stars and models from fashion magazines of his time. After the tomb of Tutankhamun was discovered in 1922, the art of ancient Egypt...

Sculptor, engraver and medallist. Serge Zelikson received his secondary artistic education in his native country. In 1914 he arrived in Paris, where he studied at the Ecole des Beaux...

Raffaello Romanelli 1856 - 1928 Raffaello e Fornarina signed Raffaello Romanelli Firenze and inscribed Raffaello et Fornarina marble height 38 in.; 96.5cm. diameter 16 in.; ...

MADRE TERRA (Mother Earth) by Lorenzo Vignoli (2012) striking hand carved Carrara marble sculpture by contemporary Italian sculptor Lorenzo Vignoli, incorporating classical referenc...

Ira Bronze Sculpture Contemporary Nude Boy Marble Stone Sitting Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession a...

Donna by Lorenzo Vignoli hand carved marble + oak wood sculpture by contemporary Italian sculptor Lorenzo Vignoli Sculpture dimensions: 30in W x 9 inch H x 19in D 75cm W x 23cm ...

EMBRIONE by Lorenzo Vignoli striking hand carved Carrara marble sculpture by contemporary Italian sculptor Lorenzo Vignoli, incorporating classical references and contemporary Medit...

Reclining nude bronze on black marble sculpture by sculptor Laura Smith. The contrast of the bronze patina on marble makes the figure appear as if floating. There is some discolorati...

RYSZARD PIOTROWSKI (born in 1952) Sculptor. He graduated from the Academy of Fine Arts in Warsaw. His works include intimate, small forms in marble, bronze and silver. He specializes...

DANZA (Dance) by Lorenzo Vignoli striking hand carved Carrara marble frieze relief by contemporary Italian sculptor Lorenzo Vignoli, incorporating mesmer...

Pair of yellow marble vase-holder sculptures - Poseidon and Amphitrite. Italy, 19th-20th century. 44 x 44 x h 90 cm each (not signed). Entirely in yellow marble carved in Baroque style. Depicting Poseidon and Amphitrite holding a horizontal vase...

Bronze of a Nude woman knelling on the pillow. Signed illegibly with initials, posible FL dated '64 edition 1/3. Bronze with dark brown patina on marble base.

Gorgeous Sculpture “Woman blowing bubbles”, Bronze and marble, Art Nouveau, 1920 – Germany Refined antique solid bronze sculpture depicting a woman blowing bubbles. This piece is of...

RYSZARD PIOTROWSKI (born in 1952) Sculptor. He graduated from the Academy of Fine Arts in Warsaw. His works include intimate, small forms in marble, bronze and silver. He specializes...

Finely carved mythological subject in white Carrara marble of Apollo bust .

Felipe Castaneda, signed marble sculpture of Beautiful Nude Woman Felipe Castaneda, Mexican, born,1933, is an internationally renowned sculptor whose ar...

Document from the Nashvile Art Association dated 1925. The marble was purchased in Florence, Italy at an exhibit of The Association of of Italian Artists.

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...

This figurative sculpture by Lutfi Romhein depicts a female nude bust in Belgian black marble mounted on a grey marble base. It has a very fine grain which provides a really soft tou...

Donato Gramegna Figure Of Woman in Bronze with rectangular marble base. Depicts a seated nude woman with legs flexed, in excellent condition except for minimal chipping at the corner...

Sorbe Small Bronze Sculpture Nude Boy Drinking Male Figure Marble Stone Wim van der Kant (1949, Kampen) is a selftaught artist. Next to his busy profession as a teacher at a high sc...

Marble-based bronze statuette depicting Cupid, holding an arrow in his hand, walking caressing a lion's mane, lowered in the act of affectionately licking his little foot. The subjec...

Cast bronze with patina finish on marble base

Andromeda, white marble, female figure, waves, chain, nude, classical sculpture In Greek mythology, Andromeda is the daughter of Cepheus and Cassiopeia, king and queen of ancient Et...