Germany - Sculptures

Artist: Kuno Vollet Title: Stone Gingko Materials: Cast brass, gold leaf, Stone base This small elegant original brass cast and gold leaf sculpture by German artist Kuno Vollet bri...

Very large Contemporary powder coated aluminum sculpture for inside or garden outdoor spaces. Beautiful spiral dancing and intertwining. This is a large scale outdoor or indoor scul...

This stunning large aluminum sculpture is a statement piece for any contemporary collection. Beautiful for indoor or outdoor installation. The reflective property of the silver ste...

Patricia is an elegant figurative sculpture of the female form by Nando Kallweit. Modelled on modern postures but with a nod to the importance of heritage through the stylised Egypt...

Bruno Zach (1891 Zhitomir - 1945 Vienna), Gladiator ready for battle, c. 1930. Blackish patinated bronze with silver-plated helmet, shield rim and shield pommel mounted on a fluted m...

This beautiful large corroded steel sculpture can be used for indoor or outdoors. It makes for an elegant statement in any garden, lobby or private home. Please specify if you want ...

Artist: Kuno Vollet Title: Light as Air Materials: Bronze sculpture polished to a sparkling gold on granite base Size: 65cm height of upper sculpture, base: 18x 18 cm Takes aroun...

Julian Opie (British, b. 1958) Male Walker - Grey, 2020 Medium: Laser cut acrylic, two-part statuette Figure measures: 25 x 11.5 x 0.5 cm Base measures: 7.5 x 5 x 1 cm Edition size:...

Artist: Kuno Vollet Title: Orbit Contemporary rusted steel sculpture for inside or garden outdoor spaces. Beautiful circle - sign for infinity. Stunning large artwork. Possible to...

Contemporary Minimal Gold Brass sculpture, gilded and then lacquered to keep its shiny surface. Limited edition of 10 Kuno Vollet is a sculptor working with different materials such ...

A large contemporary black powder coated steel sculpture. Beautiful on the floor or a pedestal. A contemporary statement piece full of elegance and movement. _______________________...

Artist: Kuno Vollet Title: Bronze Gingko with 8 leaves sculpture Materials: Cast bronze, white marble base Size: 80 x 10 x 10 cm _________________________________________________...

Artist: Kuno Vollet Title: Brass Gingko with 5 leaves art sculpture Materials: Bronze, black granite base Polished bronze to gold adds highlights to the leaves. Art Deco Mid-centu...

Ernest Rancoulet (1842-1918), Allegory of Progress, around 1890. Bronze-plated metal cast with cast terrain plinth mounted on a wooden base (6 cm high). 64.5 cm (total height) x 28 c...

Teakwood and white lava sand make this beautiful turning globe a real stunning sculpture. Made from a whole piece of wood the way the sculpture is shaped is defined by how the tree g...

Albert Pierre LaPlanche (1854 Sainte-Menehould - 1935 Chäteau-Thierry), Vigilant sitting shepherd dog, around 1915. Brown patinated bronze on cast terrain plinth. 45 cm (height) x 45...

Regule / a metal casting alloy 73 cm signed Vincent Désiré Faure de Broussé, "L'Abondance", large Art Nouveau sculpture, reguleVincent Désiré Faure de Broussé, 1834 - Paris - 19...

Even though Helle Rask Crawford often refers to classic myths in her sculptures, sh is not a classical sculptor in the neoclassical sense. Rather, Helle Crawford could be defined as ...

Marlene III is a tall, elegant bronze sculpture of a human figure. Nando Kallweit is a German sculptor working in bronze and oak. Kallweit carves the original piece from a piece of oak using a chainsaw. The oak marque is then used to create a cavity in clay and sand into which the bronze is poured. The resultant bronze is particularly organic and tactile. The wood grain is apparent, as are the cut marks where the chainsaw has bitten into the wood. As a young boy, Kallweit was inspired by the beauty and antiquity of a bust of Nefertiti...

Seifert, Victor Heinrich. 1870 Vienna - 1953 Berlin "Young Athlete with Slingshot" "David" Large bronze, dark patinated, signed: Prof. V.H. Seifert Height: 71.5 cm, approx. 85 cm h...

Paul III is a tall, elegant bronze sculpture of a human figure. Nando Kallweit is a German sculptor working in bronze and oak. Kallweit carves the original piece from a piece of ...

"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...

Hermann Volz (1847 Karlsruhe - 1914 ibid.), Naked warrior with short sword, c. 1935. Partially (?) patinated bronze with cast plinth mounted on a black marble base (6.8 cm high). 32....

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...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...

"Summer Coolness" is a large free-standing bronze sculpture, suitable both for the inside and outside. Edition 8, signed, numbered and dated on the bottom. Comes with Certificate and...

Takashi Murakami (Japanese, b. 1962) Gargantua on Your Palm, 2022 Medium: Porcelain plate (fine bone china) Dimensions: 10 1/2 in diameter 26.7 cm diameter Edition of 250: Printed s...

Johannes Boese (1856 Ostrog - 1917 Berlin), Mutterglück, um 1910. Goldbraun patinierte Bronze auf gegossener rechteckiger Plinthe, montiert auf zweifarbigem Marmorsockel (9,5 cm Höhe...

Josef Moest (1873 Cologne - 1914 Rath), Crusader with shield and mace, around 1910. Bronze on a black marble pedestal (19 cm high). 57.5 cm (total height) x 21 cm (width) x 12 cm (de...

Anonymous, Sun God Ra (bookend), 16 x 13.5 x 6 cm (depiction), 17.5 x 13.5 x 8 cm (with pedestal), patinated brass, c. 1935. - Nose slightly rubbed, otherwise very good condition ...

A bronze figure with the mythical wings of Icarus. Nando Kallweit's work celebrates the modern human form whilst acknowledging that our individuality is shaped by our heritage. Herit...

Keith Haring 1958–1990 Luna Luna Karussell, A Poetic Extravaganza!, 1986 Medium: Pop-up cardstock multiple (Color offset print on colored cardboard, shaped and carved) Dimensions unf...

A bronze figure with the mythical wings of Icarus. Nando Kallweit's work celebrates the modern human form whilst acknowledging that our individuality is shaped by our heritage. Herit...

Erich Schmidt-Kestner (1877 Berlin - 1941 Nordhausen), The Feeding, around 1915. Gold and black patinated bronze with cast brown patinated plinth mounted on a lightly veined black-gr...

Ludwig Eisenberger (active in Berlin between 1895-1920), Spear Fighter, around 1910. Brown patinated bronze with residual gilding on a cast terrain plinth with marble base (8 cm high...

A late 19th-century French bronze sculpture titled "Fairy with Butterfly" by Franz Rosse (1858-1900), signed and dated "Frosse 93" on the base, depicting a semi-dressed woman floatin...

Wilhelm Andreas Leipzig 1882 - 1951 The Will Bronze, signed Height including base 26.7 cm Authenticity confirmed in writing Wilhelm Andreas studied at the Leipzig Academy of Fine Arts from Easter 1899 to Easter 1903 as a full-time student and was again a student of Adolf Lehnert from 1919 to 1920. In the meantime, he spent ten years in Berlin working in the arts and crafts and continued his self-taught education on study trips that took him to Rome and Paris. He then settled in Leipzig as a freelance artist. He lived at Zeitzer Straße 2a (now Karl-Liebknecht-Straße). His studio was located in the Künstlerhaus (artists' house) on Nikischplatz. After its destruction on December 4, 1943, he and Johannes Hartmann used...

Jenny Holzer (American, b. 1950) Inflammatory Essays 3, 1982/2002 Medium: Electronic tri-color mini-LED panel, with anodized aluminium housing, incl. power adapter Dimensions: 10.1 x...

Antique bronze nude gladiator/ swordsman - Signed "Rudolf Marcuse" + "Gladenbeck Berlin" Dimensions: Sculpture: 16.5 cm high Base: 6.5 cm high To...

PROF. ERNST SEGER 1868 Neurode - 1939 Berlin STANDING SEAMSTRESS Very rare bronze with exceptional figure representation. Bronze, dark patinated, on a square marble base (H. 3 cm)....

"Ebb" is a new, large free-standing bronze sculpture, suitable both for the inside and outside. Edition 8, signed, numbered and dated on the bottom. The sculptress Susanne Kraisser...

Anonymous, Bust of a young woman, c. 1900, artificial marble and gray onyx marble. 37 cm (height) x 37 cm (width) x 22 cm (depth), weight 17.2 kg. Signed “GURRINI” on the reverse. -...

LAURENT, Eugene, (French, 1832-1898): Diana the Huntress, bronze, 64 cm high, signed, resting on a black marble base, in an antique dress with her hunting dog. Patinated bronze....

Edouard Drouot, 1859 Sommevoire – 1945 Paris Bronze signed 40 cm hoch Very good state of preservation, expressive design. Édouard Drouot (1859–1945) was a French sculptor known for ...

Bronze 48 cm hoch signed Jules Moigniez (1835–1894) was a French sculptor best known for his highly detailed bronze animal sculptures, especially birds. Born: 1835 in Senlis, Fran...

Paul Dierkes (1907 Cloppenburg - 1968 Berlin), Vegetative Form. Mahogany, 1958. 142 x 16 x 10 cm (sculpture), 21 x 17.5 cm (base), monogrammed "PD" on the reverse. - Grown Art - ...

"Milan" is a new, large free-standing bronze sculpture, suitable both for the inside and outside. Edition 8, signed, numbered and dated on the bottom. The sculptress Susanne Kraiss...

Eugène Marioton französisch, 1854 - 1933 Muscular Nude Male Bronze Eugene Marioton - Bronze Statue, um 1900 A handsome and very fit partially draped young nude male with rippling mu...

Even though Helle Rask Crawford often refers to classic myths in her sculptures, sh is not a classical sculptor in the neoclassical sense. Rather, Helle Crawford could be defined as ...

Teakwood and black lava sand make this beautiful turning globe a real stunning sculpture. Made from a whole piece of wood the way the sculpture is shaped is defined by how the tree g...

Eutrope Bouret Bronze Spyche Eutrope Bouret (French, 1833-1906) Late 19th century. Signed on the base Bouret (French, 1833–1906) was an important 19...

FRANCOIS-RAOUL LARCHE 1860 SAINT-ANDRÉ-DE-CUBZAC - 1912 PARIS Signed on the base with "RAOUL LARCHE," foundry mark "SIOT DECAUVILLE PARIS FONDEUR," and number "R 276." Total height...

Bronze patinated bronze, H 69 cm Signed on the bronze base bornJean Didier Début (Moulins 1824 - 1893 Nimrod) Mythological or allegorical subjects Fine detailing and smooth fini...

Bronze Sculpture 'PELA' by Carola Eggeling Abstract sculpture with beautiful curved lines. German bronze sculpture Bronze Polished Certificate of authenticity Numbered and signed a...

Bronze Emile Louis Picault "Charity-Bien Faisance," a French bronze figure by Emile Louis Picault. 50 cm Bronze signed Emile Louis Picault. With cast stamp. Wonderful work with a ...

Elevated Geometry - Stunning rusted steel sculpture, ideal for indoor or outdoor spaces. Its weathered look adds a unique charm, making it a bold and durable statement piece for any...

Bronze Sculpture 'Rosenmontagsstele' by Carola Eggeling Abstract sculpture with beautiful curved lines. German bronze sculpture Numbered and signed artwork Limited edition of 6 Meas...

Teakwood and white lacquer make this beautiful turning globe a real stunning sculpture. Made from a whole piece of wood the way the sculpture is shaped is defined by how the tree gre...

"My Heart is Like the Ocean" is a small, free-standing bronze sculpture with a femlae in a dress in the wind carrying a starfish. Edition 18, signed, numbered and dated on the bottom...

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...