Early 20th Century Sculptures

Remarkable, large, hand-carved, tribal-type, teak sculpture of an abstract, female form featuring a mix of refined and rough finishes.

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

The Kiss by Alfred PINA (1887-1966) Bronze group with a brownish dark green patina signed on the base "A. Pina" cast by "A. Valsuani" (foundry stamp) France circa 1927 height 51,5...

French centerpiece from the first half of the 20th century. Finely chiseled terracotta object with masks (faces with different expressions, see photo) and figures of lateral cherubs ...

Untitled Portrait Head (perhaps Arnold Geissbuhler, the artist’s husband), c. 1920s, bronze, signed verso, 11 x 9 x 7 inches (excluding base) Elizabeth Chase was a sculptor, printma...

"The Mother" is a bronze sculpture by the English professor of modeling and sculpture Albert Toft. About the artwork The bronze is covered with dark brown...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Christ with Crown of Thorns, 1902. Brass relief plate in niello technique with raised sections, 38 cm x 40 cm. Monogrammed and dated “hTh 1...

Moshe Oved (aka Edward Good) was a Polish-British, jeweler, artist, sculptor and Yiddish author and founder of the antique jewelry shop Cameo Corner. He left his native Poland for E...

"The Broken Mirror" also named "The Unrecognized Truth" by Aimé-Jules Dalou (1838-1902) Bronze with a very nuanced brown patina cast by SUSSE France circa 1910 height 34 cm A similar model reproduced in "Jules Dalou, le sculpteur de la République", Exhibition held at the Musée du Petit Palais, Paris, 2013, page 391, n°316. Biography : Aimé-Jules Dalou, said Jules Dalou(1838-1902) was a French sculptor, born from Protestants glovers craftsmen who raised in secularism and love of the Republic. Jules Dalou was very young talented for modeling and drawing, which earned him the attention of Jean-Baptiste Carpeaux, who made him entered in 1852 in the Little School, the future National School of Decorative Arts in Paris. In 1854, he was admitted to the School of Fine Arts in Paris, where he studied painting in the workshop of Abel de Pujol and sculpture in the workshop of Francisque Duret...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

Dancer with platform shoes by Agathon LÉONARD (1841–1923) Sculpture made in gilded bronze Signed on the dress "A. Léonard Sclp" Cast by " Susse Frères éditeurs Paris " (with the fo...

Luis Domenech y Vicente (Spanish, 1873-1920) "Aui Victori" [Hail to the Victor] Patinated Spelter Sculpture, circa 1920, the standing figure with outstretched arm holding a sprig of ...

An Art Deco bronze with a rich chocolate brown patina of a figure of a goalkeeper. The figure is stretching up to parry away the football, on an integral hexagonal base. C. 1925, sig...

Maximilien Louis Fiot (French, 1886 - 1953) A very large bronze animalier sculpture of combatant eagles in flight above an outcropping or rocks. The Eagles are fighting for their li...

Piccola terracotta a soggetto mitologico firmata sul retro sulla base "Zambini", che per la grafia (in particolare la Z che ricorda una F) permette di identificar...

Young girl from Bou-Saada by Louis-Ernest BARRIAS (1841-1905) Bronze sculpture with a nuanced dual patina with blue enamelled jewels Signed on the base " E. Barrias " Cast by " Suss...

Bronze Sculpture with Black Patina dated 1929 Signed G.L.BADEAU and dated 1929 on the corner of the base Seal of the founder BISCEGLIA on the base Put on an independent marble Pedest...

Genet by Gaston LE BOURGEOIS (1880-1956) A bronze sculpture with a nuanced brown patina stamped on the tail with the artist's monogram " GLB " and numbered " 4/25 " Art Deco period...

UNKNOWN ARTIST Spanish, Early 20th Century ALHAMBRA FACADE MODEL PLAQUE polychromed stucco plaque 11 x 7 inches (28 x 17.8 cm.) framed: 17-1/2 X 13-1/2...

Peacock Vase by Léopold SAVINE (1861-1934) A rare vase made in gilded bronze in form of two peacocks with their raised plumage. Signed on the base " L....

The Vanquished by Alfredo PINA (1887-1966) A bronze sculpture with a dark brown patina signed on the base "A. Pina" old edition cast France circa 1925 height 29 cm width 20 cm d...

Maurice Bouval French Art Nouveau Gilt and Silvered Bronze Figural Vide Poche Cast from a model by Maurice Bouval, cast by Jollet & Cie., Paris, circa 1900 Modeled as a maiden in a ...

"New Growth" by Hudson Valley artist, Peter Hoffman, made in 2020 74 x 9 x 9 inches A Vertical Wooden sculpture created with multiple sections of painted wood segments, cut at angl...

A classical marble sculpture depicting three nymphs arranged in a circle in a dancing pose, sculpted and signed Cipriani. The graces are positioned in a circle and jointly hold a cro...

Original bronze sculpture of Salome by the Swiss sculptor Alfred Jean Foretay. Circa 1925. Condition is excellent. Signed in the base. Overall height which includes the green ma...

L'alsacienne Or Bretonne aux Rameau silver overlay patina by Leo Laporte Blairsy (French, 1867-1923). Depicting a woman in robe holding a garnet of flowers with a L'alsacienne or Bre...

Seagulls by Léo LAPORTE-BLAIRSY (1865-1923) Sculpture made in white Carrara marble signed on the base "Léo Laporte-Blairsy" France circa 1904 height 60 cm width 41 cm depth 25 cm ...

EMILE-ANTOINE BOURDELLE (French, 1861 - 1929). La Nuit de profil (The Night in profile) Conceived 1900-1904 Cast 1972 Patinated bronze Interior signature "BY BOURDELLE." Foundry st...

Bathed in the ethereal glow of Carrara marble, Baigneuse by Cipriani Ugo di Meneville (1887-1960) stands as a delicate meditation on the female form, a synthesis of classical refinem...

Diana and the Hounds by Giuseppe Joseph D’Aste is a finely executed silvered bronze sculpture from the 1920s, cast using the lost-wax (cire perdue) metho...

Dancer with platform shoes by Agathon LÉONARD (1841–1923) Sculpture made in gilded bronze Signed on the dress "A. Léonard Sclp" Cast by Susse Frères (with founder stamp) Stamped wit...

"Dancer with a tambourine" by Agathon LÉONARD (1841–1923) Rare sculpture made in gilded bronze Signed on the dress "A. Léonard Sclp" Cast by Susse Frères (with founder stamp) Stamped with a foundry reference letter "M" France circa 1905 height 57 cm Biography: Léonard Agathon Van Weydeveldt, said Agathon Léonard (1841-1923) was a sculptor of Belgian origin naturalized French. After studying art at the Lille Academy of Fine Arts and then at the École des Beaux-Arts in Paris, Agathon Léonard settled in Paris for a long time, where after having exhibited at the Salon of 1868, he joined the Society of French artists in 1887, then to the National Society of Fine Arts in 1897. Very involved in the artistic movement of the Art Nouveau style, he exhibited many pieces (medallions, bronze statuettes and ceramics) finely worked. Following an order from the Manufacture Nationale de Sèvres, dating from 1898, Agathon Léonard exhibited at the Universal Exhibition of 1900 in Paris his famous table centerpiece "Game of the scarf" in porcelain biscuit, composed of fifteen statuettes representing dancers with pleated dresses reminiscent of Loïe Fuller's choreographies or Neo-Greek dancers...

La Posada by François-Rupert CARABIN (1862-1932) A bronze group with a silvered patina Signed on the base "R. Carabin" Old cast Numbered "5" France circa 1901 height 24 cm length ...

Persian Cat by Théophile-Alexandre STEINLEN (1859-1923) A bronze sculpture with a nuanced dark brown patina Titled on the base "Chat de Perse" Signed on the base "Steinlen" Old pos...

The present work personifies high-end Art Deco. It has a wonderful deep, rich green patina and commands the eye in any room. It looks better in person and is quite heavy. signed an...

Susi Singer-Schinnerl (Austrian-American, 1891-1965) Man with Two Dogs, c. 1925 Ceramic Manufactured by the Wiener Werkstätte, model number 682 Stamped on bottom 13 x 5.5 x 4 inches...

This is one of Antoine Bofill's best models, being a signature Art Nouveau nature form with a beautiful nude nymph gazing upon a bumble bee insect. The patina on this statue figure i...

FRANZ BERGMANN Austrian, (1838-1894) an Arab Riding a Camel Austrian Cold-Painted Bronze Figures of a an Arab riding a camel. On marble base, signed "Nam Greb”. 10 1/2 inches high

Studio of Raffaello Romanelli Early 20th Century Italian Clio Inscribed "Executé sous la Direction du Prof. Romanelli" (on base) Marble Clio, the muse of history from Greek mytho...

Signed 'G. Flamand' for Georges Flamand (French, 1895-1925) and created circa 1920. Standing on a later striated, jade-green marble base. Base dimensions: 1.25 H x 4.25 D x 7.5 W In...

Circle of Henri-Gaudier-Breska 1891-1915 Reclining Figure Carved marble Height 5 inches Born Henri Alphonse Séraphin Marie Gaudier near Orléans in France, Gaudier-Brzeska started using his hyphenated name in 1910 when he met the Polish writer Sophie Brzeska. They moved to London together in January 1911 and adopted their new names and the identity of brother and sister in order to make their cohabitation respectable. Gaudier-Brzeska started to establish himself as a sculptor in 1912. Initially influenced heavily by Rodin, he later assimilated more influences from the modernist movement of cubism and from examples of non-European art he saw in London’s museums. He met the sculptor Jacob Epstein in June 1912, who further encouraged him to break with classical Greek tradition. While working from 25 Winthorpe Road in 1913–14, Gaudier-Brzeska became increasingly involved in London’s avant-garde art scene. He exhibited at the London Salon in July 1913, where he met the poet and arts patron Ezra Pound. Pound described Brzeska as ‘like a well-made young wolf or some soft-moving, bright-eyed wild thing’. Gaudier-Brzeska subsequently became associated with the vorticist movement led by Wyndham Lewis, contributing two important articles to Lewis’s magazine Blast and signing his name against the vorticist manifesto. He was also a founding member of the London Group, which formed when the all-male Camden Arts Group joined with independent artists to challenge the dominance of the Royal Academy of Arts. Other founding members included Walter Sickert, Robert Bevan and Spencer Gore...

Louis Armand Bardery (French, 1879-1952) Muse of Dance Bronze with green and brown patination Signed and stamped with foundry mark 18 x 6 inches Louis Armand Bardery was a student o...

She’s certainly no beauty, possibly in her 30s, but there’s a strength and clarity about this woman. She does her long hair into a complex chignon, a practical style in those years p...

A lovely hand modelled sculpture in bas relief, depicting the head of a smiling young Parisian lady with a gleam in her eyes. The work dates from from the Belle Epoque, the art nouv...

Signed on base. This was exhibited at the Goldscheider Pavilion at the 1925 Paris Exhibition Marble base has loss to right edge and very small lose to center edge. , Bronze is in ve...

Lady with caskets by Léo LAPORTE-BLAIRSY (1865-1923) Bronze a nuanced brown patina signed on the side of the base "Léo Laporte-Blairsy" old cast Stamped with a number "60765 / 6" F...

Diosa. Original bronze multiple. Esculpture Modernist Julien Caussé (also given as Cadet-Julien Caussé, Cadet Julien Caussé and Julien Cadet Caussé) (1869–1914) was a prolific French...

"Pioneer Family," 23 1/2 x 16 1/4 x 10 3/4 inPlaster. c. 1927. Unsigned. Realism The Smithsonian has a cast of this sculpture in its collection. Pictured on the cover of “The Sculpt...

Very rare Art Deco three dimensional terracotta sculpture of Adam and Eve by the Austrian artist, Virgil Rainer. Hand painted by the artist. Signed bott...

Questa maschera guatemalteca del inizio del XX secolo, scolpita in legno e utilizzata per la danza della Riconquista (Baila de la Conquista) , raffigura vividamente un uomo europeo, ...

“Charging Mountain Goats” by Anna Hyatt Huntington (American, 1876-1973) A wonderful casting of Huntington’s bronze bookend sculptures, executed by the Gorham foundry, these models ...

Oscar Lenz Echo, 1904 Signed and dated on base: Oscar L Lenz 1904 Bronze 70 1/4 x 25 x 25 1/4 inches Oscar Lenz was an American sculptor born at Providence, Rhode Island. He receiv...

Presenting an original inlaid marquetry wood tray/sculpture by French artist Pierre Lardin. Pierre Lardin executed his work in wood, creating ...

Margarett W. McKean Sargent Stepping Out, 1916 Signed and dated on base Bronze 14 x 6 x 8 inches Provenance Private Collection, Hingham, Massachusetts Walker-Cunningham Fine Art, St. Louis, Missouri, 2007 Exhibited New York, Hawthorne Fine Art...

Peter Winter-Heidingsfeld Heidingsfeld 1871 - 1920 Allach near Munich Young Man with Mirror Bronze, signed 77 x 41.5 x 25 cm Winter-Heinigsfeld studied at the Munich Academy under...

Franz Iffland (1862 Tempelhof - 1935 Berlin), Javelin thrower, after 1910. Olive-black patinated bronze with cast plinth mounted on a white-veined black marble base (7 cm high). Tota...

Dog in the style of Tang/Sancai, Early 20th Century Drip glaze ceramic 9.5 x 13 inches Sancai is a versatile type of decoration on Chinese pottery using glazes or slip, predominantl...

William Zorach (American 1891-1966) First Steps, 1918 Bronze 8.5 x 5 x 4 inches, including base Born in 1887 in Lithuania, William Zorach immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this new-found stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of wood-block prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jack-knife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptors tools...

Bronze signed 45 x 56 cm Thomas François Cartier, he was a French sculptor, best known for his animal sculptures — especially expressive bronzes of dogs, lions, and other wildlif...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculpt...