"Male Nude w/ Aureole, " Bronze Relief Sculpture, Art Nouveau/Symbolist Influence

One of the great, indisputable masterpieces of Marcello Mascherini's career, and one of his relatively early works, this large bronze depicting Apollo with his lyre was made for the ...

Demonstrating his mastery of allegorical subjects and the nude figure, this large octagonal sculptural bronze panel, featuring a nude male figure reaching out to constrain the rising...

One of the largest and most impressive bronzes ever sculpted by Donald De Lue -- one of America's greatest sculptors of Art Deco monuments over the course of 50 years -- this bronze ...

This large, unique sculptural panel demonstrates, in a bold and dramatic way, Jean Mayodon's fascination with the classical nude, interpreted of course in a modern way. Mayodon was o...

Antique Bronze Sculpture Naked Boy

An Italian early 20th century Art Nouveau cast bronze sculpture, a bas-relief depicting a partially nude woman by Goria Lamberto, signed L.Goria Asti (Tortona 1863 – Asti 1927). Mounted on a wooden panel, it is in good age related condition, with a great patina. Painter and sculptor studied in Rome with Professor Allegretti. He received an honorable mention in 1896 in the competition for the monument of Pietro Costa...

Early 20th Century bronze male nude sculpture on wood pedestal base.

Pierre Le Faguays (1892-1962) An Impressive and very large 43" high French Art Deco bronze figure of a young athletic man, adorned in scanty attire, almost nude, standing proudly atop a lofty and stylized rocky plinth. His stance exudes strength and confidence as he balances himself gracefully. With arms outstretched in a fluid movement, the sculptor portrays a sense of dynamic energy and prowess. Beautifully cast in a dark green, brown /black variegated patina. In his elevated grasp, the man holds a laurel wreath, raised high above his head. This symbol of victory and triumph represents the pinnacle of achievement. Through the artists eyes, it further conveys the athlete's exceptional skill and dedication to his craft. The artist's attention to detail and skillful execution breathe life into the sculpture, capturing the essence of athleticism and the human form. This remarkable bronze figure epitomizes the grace, power, and triumphant spirit of Olympic competition. It stands as a testament to the artistic brilliance and mastery of Pierre Le Faguays and serves as a timeless tribute to the pursuit of excellence in art as well as in sports. Bibliography : Bronzes, sculptors and founders by H. Berman, Abage, Vol 11, pg 425 Art Deco and other figures,by Bryan Catley,pgs 192-201 Art Deco sculpture by Victor Arwas, Academy Editions, 1992 pgs.121-127 Art Deco sculpture by Victor Arwas, Academy Editions,1975 pg. 38 Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs” by E. Benezit. Gründ 1999, pg 426 The dictionary of sculptors in bronze” by James Mackay, Antique collectors club Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, by Jean Charles Hachet. --------------------------- Pierre Le Faguays, born 1892 in Nantes, France, gained renown for his innovative approach to sculpting dancers, drawing inspiration from the Tanagra statues. In 1927, he received a prestigious medal of honor for his exceptional work. A close companion of Max Le Verrier, Pierre collaborated extensively with the Le Verrier foundry, which produced numerous pieces of his art. In addition to his given name, he also employed two pseudonyms, Fayral and Guerbe, which were derived from the surnames of his mother and wife respectively. As a leading sculptor, Pierre's creations earned consistent praise for their exceptional craftsmanship and meticulous attention to anatomical precision. His artistic endeavors extended beyond sculpture, as he also designed pieces for Goldscheider in Paris, working under the label "La Stele." Pierre's versatility encompassed various mediums, including ivory, bronze, spelter, stone, wood, alabaster, and ceramics. Notably, he received artistic education alongside his friend Max Le Verrier, studying together at the Beaux Arts in Geneva. Throughout their lives, Pierre maintained strong friendships with both Marcel Bouraine and Max Le Verrier, with the latter's foundry being instrumental in producing many of Le Faguays' statues. The bond formed...