Sculptures in Los Angeles

Long Han Gourd Sculpture Cream Lacquer Antique Copper Hand Repoussé Limited Edition Each piece is individually crafted and is unique. Repoussé is the traditional art of hand-...

An intriguing Figurative sculpture in the style of Giacometti. The piece has a very nice harmonious feeling... while the feeling is brutalist, it has a smooth flow. The piece is mo...

Hand blown glass and metal sculpture by Robert Kuo, c.2000s, USA. The globe was produced using the peking glass method which originated in China. The red colored glass is blown into ...

Large Vintage Glazed Earthenware Teapot by Peter Shire, 1982. Earthenware and Enameled Metal construction, Hand-Built. Approx: 15 1/2" high x 12" wide x 25" long Peter Shire: ...

Cunning carved stone lamp of an owl made in France, circa 1970s. Created by French sculptor Albert Tormos. AT initials engraved on the back. Circular cut-outs that allows light throu...

Stunning pair of brass and Lucite table sculptures dating from the early 1970s. Each brass bust depicts a highly stylized ram’s head, with two long acrylic horns attached by a post t...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

Bi Sculpture on steel stand (medium) Crystal Hand carved Steel Contemporary sculpture Limited edition Crystal shapes and inclusions vary.  

Ice carved Bi disc Steel stand Smoke crystal Hand carved Limited edition Each piece is individually crafted and is unique.     

A 19th Century Okimono Bronze Meiji period Japanese Crab. The crab is of good weight and could be a decorative object or a paperweight. The sculpture is ...

Interesting sculptural nose made of plaster. Cool tabletop object.  

Very well known Abstract artist Guy Dill. He works in monumental bronze and marble abstractions.

Great sample of one most important designers of the 20th century, Glazed ceramic, Gio Ponti, made for Richard Ginori and marked S Christoforo, Milano.

A Fine Italian 19th-20th Century Carved Alabaster Group of a Child with a Birdcage, depicting an infant boy Seated, naked, on a rocky base. After Jean-Baptiste Pigalle (1714-85) - L'enfant a la Cage. In his outstretched left hand he holds an empty bird cage with an open door. This sculpture is one of the popular motifs of the period among secondary figures in paintings was the Italian putto...

Nice and traditional cast glass sculpture for the well known contemporary artist Hank M Adams .

Rare ornament by Arthur Court. Signed "ARTHUR COURT DESIGNS" and dated "1976" on the base.

A rare and valuable modernist sculpture of a centaur, 20th century. Hand carved out of solid bronze with felted base. D’après Picasso with clear influence from Giacometti and Henry M...

An Imposing fine and large French Art-Deco Spelter (Petit-bronze) figure of a standing semi-nude orientalist maiden in a brown patina, attributed to Louis Hottot (French, 1834-1905). The smiling young topless beauty, posing with her arms outstretched, her hair wrapped with a headscarf centred with a green art-glass bead and a scantily scarf tied around her waist, standing barefoot among tropical shrubs and flowers and raised on a circular mottled green marble base. A brass plaque reads "TYPHA", Paris, circa 1900. Louis Hottot was a French sculpture who mainly specialized in Orientalist female figures and other Orientalist subjects and themes, most of his works were produced in spelter. He exhibited his works at the Paris Salon from 1885 to 1898. Hottot is best known for his Orientalist-themed sculptures, including Almie du Caire, circa 1887 and Fille d'Egypte, circa: 1885. He was a member of the Socie´te´ des Artistes Franc¸ais. Literature: Les Bronzes du XIXe Siecle, P. Kjellberg, Les Editions de L'amateur, Paris. S. Richemond, Les Orientalistes...

Sea lion sculpture Black Lacquer Antique copper Hand repoussé Limited edition Contemporary Repoussé is the traditional art of hand-hammering decorative relief onto sheet met...

This is a very rare Mari resin cube from the 1950s, it measures in cm 7 x 7 x 7, has a couple of flee bites in 2 corners. Similar sample with black inside i...

Smoke crystal ice sculpture Smoke crystal Hand carved In stock.  

SIMANEK SAGIATUK (1930-) Stone Walrus, Lake Harbour / Kimmirut - Signed Simanek Sagiatuk is an Inuit art sculpture carver from the Lake Harbour community. He used to work mostly with serpentine, a very hard stone which is originally from Nunavut, and from the same family as jade. For some of his pieces, the walruses in particular, Simanek Sagiatuk was also accustomed to add details made of caribou...

Vintage Brutalist Steel Sculpture Attrib. to Paul Suter, Swiss from "Neumann House" by Marcel Breuer, NY

Water Ox sculpture Antique copper Hand repoussé Contemporary Limited Edition Each piece is individually crafted and is unique. Repoussé is the tr...

A lovely pair of signed ceramic fish by Mexican artist Sergio Bustamante. The captivating blue and green body of this fish is dappled with light and comes to an expressive fin an...

Decorative Brazilian Indian ceremonial mask on stand.

Catfish Black Lacquer Hand Repousse Copper Base Limited Edition Lacquer is a technique that dates back to the Shang dynasty, circa 1600-1100 B.C. These pieces are made with at l...

Zong Bi sculpture on steel stand Han Bai Yu stone Hand carved Limited edition.

A beautifully and completely hand crafted and carved from a root, the Holy man, Immortal Li. A complement to the space it finds itself. The hermit Li Tieguai by Huang Shen, 1757 Tr...

Gorgeous Italian ceramic glazed green limes on straw rope. Fabulous art piece for your home.

Emil Kazaz: Bronze sculpture king's toy artist proof I/II year, 2006.

Vintage Italian Murano glass vase with dark red exterior and yellow interior, hand blown with black stripes throughout, infused with gold flecks and decorated with shell like figures...

Intricate hand blown glass shell sculpture with silver specks / Made in Japan by Kurata for retailer Mikasa, circa 1980s Original sticker on the base ...

Standing gourd Cream lacquer Copper Hand repousse Limited edition Lacquer is a technique that dates back to the Shang dynasty, circa 1600-1100 B.C. These pieces are made with at lea...

1929 - Mr. Zajac is a California based artist. He is known for large bronze rams horns and skulls in abstract forms. This piece is from a series called 'Resurrections'. Cast Bronze o...

A French 19th century bronze and marble bust of Marianne in full armor. The nicely cast Baroque Revival brown patinated bronze and carved white marble figure of Marianne, the allegorical personification of the French Republic, presented in her militaristic guise, reminiscent of Minerva, wearing a Phrygian helmet and armored breastplate centered by winged male mask and with lion shoulder armor pads, all raised on a conforming black marble base. Circa: 1890-1900. Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, as well as a portrayal of the Goddess of Liberty. Marianne is displayed in many places in France and holds a place of honor in town halls and law courts. She is depicted in the Triumph of the Republic, a bronze sculpture overlooking the Place de la Nation in Paris, as well as represented with another Parisian statue on the Place de la République. Her profile stands out on the official government logo of the country, appears on French euro coins and on French postage stamps. She was also featured on the former franc currency and is officially used on most government documents. Marianne is a significant republican symbol; her French monarchist equivalent is often Joan of Arc. As a national icon Marianne represents opposition to monarchy and the championship of freedom and democracy against all forms of oppression. Other national symbols of Republican France include the tricolor flag, the national motto Liberté, Égalité, Fraternité, the national anthem "La Marseillaise", the coat of arms, and the official Great Seal of France. Marianne also wore a Cockade and a red Phrygian cap symbolizing Liberty. Minerva and its pendant bust of Mars evoke the classicizing subjects, bust-length formats, and style that originated in France during the reign of Louis XIV (1643–1715) and that concurrently was popularized across Europe. The busts' simple forms, stiff poses, and solemn facial types are consistent with the late Baroque sculptures that were carved in Flanders during this period. In Flanders, especially in Antwerp and Brussels, sculpture and architectural decoration traditionally was carved using combinations of native black marble (noir belge), mottled red marble (rouge belge), and white marble or alabaster. The use of these stones in colorful counterpoint speaks most strongly to the busts’ Flemish origins. The veneration of ideal heroes and heroines in ancient costume and arms took on extravagant form in the 17th century, with countless variations. Within this imaginative tradition, the identification of the pair as Minerva and Mars cannot be certain. The female bust, for example, could be identified as Bellona, Roman goddess of war, who is depicted in 17th and 18th century French paintings wearing flamboyantly plumed helmets and low-cut cuirasses that expose her breasts. Whatever their identities, the female and male warriors are portrayed as calm rather than bellicose beings. The sovereign pair does...

A Unique Italian Marble Sculpture that can stand alone as a piece of art - perfect for any shelf, cocktail table, guest room, also perhaps the kitchen. The piece is a companion to a...

A very fine and charming Italian 19th century carved Carrara Marble Group "Playful Putti with Goat" depicting two young children, one riding the goat whose two front legs are in the ...

Great abstraction sculpture for the well known Colorado artist Gail Folwell, all measures are including marble base. This Piece is numbered 4/9 and signed.Title Synaptic Gap

A wonderful pair of frosted Horse Head sculpture bookends. The pair could be used as decorative pieces but also are perfect for bookends, especially in a Childs room. They are molded...

This finely crafted bust portrays Emperor Septimius Severus (193–211 CE), founder of the Severan dynasty and one of Rome’s most formidable soldier-emperors. Shown with a stern, comma...

A very fine French 19th century patinated bronze figure of the French hero of the Algerian conquest, Jean-Pierre Hippolyte Blandan (1819-1842) after the French Sculptor Jean Gautheri...

Beautiful mounted sculpture from the Puzzle Spanish master Miguel Berrocal, This work is signed in front and numbered 809/1000.

A pair of hand-carved and Hand-Crafted Jade Elephants. Acquired from a prominent estate in La Jolla, California, the pair are large and heavy - Elephants with their trunks up pres...

An untitled sculpture by Joann Patterson.

Fun and playful kinetic sculpture in the style of Calder by California artist Dan Levin. Known for his playful amalgamation-style creations, the...

One of a kind fiberglass male bust collage with hundreds of mixed Murano and other glasses in various shapes and colors covered with resin, including a custom made black stand. Measu...

Fantastic sculptural clay mask candle sconce made in Italy. Hand made in an aged adobe color with a place for a single candle inside. Mask has a metal frame which gives the piece a n...

Blue Ombre Jupiter Vase by Elyse Graham Dimensions: W 28 x D 28 x H 30.5 cm Materials: Plaster, Resin MOLDED, DYED, AND FINISHED BY HAND IN LA. CUSTOMI...

Blue and green venus vase by Elyse Graham Dimensions: W 14 x D 14 x H 38 cm Materials: Plaster, resin Molded, dyed, and finished by Hand in LA. Customization Available. All piec...

A wonderful and gracefully designed Brass Umbrella Stand in the shape of an arched Crane. The piece has a drip pan with a creative repousse swirl of water and Koi. A compliant to any...

Calling all baseball lovers - this massive wood baseball bat measures over 47" long and is in impeccable condition. Fun piece of pop art and an ode to New England. Wood glistens as...

A fine French 19th century patinated spelter bust figure of a young wearing a head scarf. The young lady, in a brown-copper patina, posing with a right-side gaze and wearing a beaded...

Our newest favorite pieces - Three interlocking hand-carved marble links with a brass detail on each one. The trio make a great sculptural decorative detail, or can also be used as ...

Stunning metal wire sculpture resembling a woman's face and hair. Huge impact and presence in person. Substantial metal wire is bent, molded and wrapped in order to give this piece i...

Beautiful bronze leaf centerpiece sculpture is handmade by a French artisan. Please see our additional listings of this design as they are all unique. Amazing details and aged finish...

Beautiful boho chic small metal stork grooming itself freshly lacquered in white. Great addition to your Palm Beach and Boho Chis inspired decor. See our collection of stork statues...

Large and striking brass tree sculpture by Curtis Jere. This floor piece has metal leaves attached to a painted natural wood tree trunk. Mid-Century Modern Brass Tree Sculpture

Hand polished agate onyx stone paperweight in black, brown, and red intricate layered patterns Measures: length 4 inches, width 3 inches, height 2 inches This piece makes for a great...

Very modern and sleek pair of acrylic obelisks. The pair are the perfect compliment to any space - interiors from modern to traditional.