Sculptures

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conj...

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conj...

Miguel Rodrigues, who’s celebrated for his distinct and visionary Hyperbaroque style, brings an artistic experience that transcends time and place. Through his masterful golden sculp...

This white tailed sea eagle is depicted here on a rock on the shore of a remote wild Scottish Isle (Outer Hebrides). Hiding beneath the rock is a brown crab...

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conj...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

This neo-classical style sculpture is of Perseus the son of Zues and Danae is ordered by King Polydectes to slay the gorgon Medusa. With the gift of a polished shield from Athena, a ...

This artwork emulates the classical statues from the ancient world, particularly with the head broken off at the base of the neck if carved in marble. In fact I went to the lengths o...

What is unique about this artwork is the grace and elegance of the greyhound but designed in a most difficult stance frought with technical challenges. Yet the result offers a stance...

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque scul...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Tea Set for 12 persons 1949, porcelain, gilding, initials G.D. Cup h 7.5 cm; d 7.3 cm Dish with lid h 17 cm Creamer h 18.5 cm Teapot h 27.5 cm

Laocoön and his Sons Italian Bronze Group after Agesander, Polydorus and Anthenodorus Late 18th Century “The greatest piece of art in the world.” - Michelangelo, Italian sculptor, p...

Melanie Sherman Vintage Peacock III (Wall Piece/Dish (handpainted) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster, Brass Wire (for hanging, can be removed) Year: 20...

Terracotta sculpture - Prometheus - Italy, 18th century. 48 x 50 cm x h 94 cm. Entirely in terracotta. - All shipments are free and professionally packed. - This item is sold wit...

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman Vintage Peacock I (Wall Piece/Dish (handpainted) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster, Brass Wire (for hanging, can be removed) Year: 2022 Size: 4.5x6x0.5in Signed by hand COA provided Ref.: 924802-1330 ------------------------ My ceramics are handmade and painted with the finest overglazes from Europe. The gold luster used is 24k liquid Gold from Germany. Every piece is unique. My imagery is inspired by vintage Meissen dinnerware...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was among a select group of the esteemed Ken ...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was among a select group of the esteemed Ken ...

"Untitled 2" Sculpture 24" x 11" x 7" inch Edition 1/1 by Isaac Pelayo Unique work. Signed by the Artist. Comes with COA. Hand embellished plaster/fiberglass sculpture ABOUT THE AR...

In the world of ceramics, Richard Shaw is a professor and the master of trompe l’oeil (French for “fool the eye”) sculpture, a style often associated with paintings intended to give ...

In the world of ceramics, Richard Shaw is a professor and the master of trompe l’oeil (French for “fool the eye”) sculpture, a style often associated with paintings intended to give ...

In the world of ceramics, Richard Shaw is a professor and the master of trompe l’oeil (French for “fool the eye”) sculpture, a style often associated with paintings intended to give...

In the world of ceramics, Richard Shaw is a professor and the master of trompe l’oeil (French for “fool the eye”) sculpture, a style often associated with paintings intended to give a convincing illusion of reality. Shaw's work replicates everyday objects (such as tin cans, playing cards, and cutlery) in porcelain. He then glazes these components and groups them in unexpected and even jarring combinations. While interested in how objects can reflect a person’s identity, Shaw also poses questions regarding the relationship between appearance and authenticity. Spilling Pepsi Cup with Coffee Lid...

Joan of Arc is depicted here at a solo exhibition in St. Edwards chapel at St. David's Cathedral, South Wales. Hand carved from a solid block of Carrara marble imported from Italy, Davies used traditional tools also used by the master sculptors of the renaissance. She is life size and expresses purity of soul as you see her in Divine contemplation. This portrait bust sits proportionately on a marble socle, the design of which is from the classical Ionic order.

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...

Description: A French Statue of Saint John the Baptist with Staff and Lamb on his Feet, Circa 1700, polychromed wood Statue: Shepherd with Lamb on his Feet Object Type: Religious St...

Description: A Spanish Statue of a Sitting on a Pedestal Angel with Open Arms in polychromed wood, Early 19th Century Statue: Statue of an Angel Object Type: Statuette Artist, Sculp...

Angelo Basso (Italy, 1943 – 2011) Evolution Signed and marked IX / XXXIII Beauty & Mythology Collection Sculpture 23″ inches tall (Base 5″ Siren 18″) Box size 20″ x 17″ x 27″ ...

An extraordinary 17th century, hand-carved, solid Carrara marble, life sized figure fragment on raised base of the same. The subject is swaddled in a luxurious, gathered robe and tun...

A late 17th c. Italian carved figure of Mermaid, Circle of Filippo Parodi (Genoa, 1630 – July 22, 1702) Dimensions: h. 29.13 in, w. 30.31 in, p. 18.9 in (at the base) Magnificent...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

"Untitled 1" Sculpture 23" x 13" x 8" inch Edition 1/1 by Isaac Pelayo Unique work. Signed by the Artist. Comes with COA. Hand embellished plaster/fiberg...

A beautifully hand carved, full size Carrara marble figure of a boy. The robe is elegantly draped with clasps.

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conjunction of the transcendental and the ephemeral; playing elegantly with shapes that veer towards abstraction, and that combine organic cuverneality with the fortrights arrangements of modern formalism. The aim is for these works to open up spaces of potentiality and transformation; To use extroversion and introversion to resonate with the possibility of constructing a future reality according to our shared dreams and desires; To ensue that these constructions and convictions are as real and magnificent as anything. Tartuffe was created in partnership with Mariana Custodio...

Hand carved Carrara marble head of a cherub's face surrounded by wings. Later mounted on metal base.

Llywelyn ab Iorwerth, (Llywelyn the Great) born in Dolwyddelan d.1240AD Aberconwy Abbey. King of Gwynedd and Prince of Wales he dominated Wales for 45 years. In 1200 Llywelyn made a ...

This is a hand-carved wood polychromed sculpture of the Infant Jesus. A baroque figure probably from the 18th century, this religious figure was obtained in Mexico. It appears to hav...

Adriaen de Vries 1556-1626 Dutch Laocoön and His Sons Bronze A remarkable feat of artistry and skill, this bronze sculpture was created by famed Dutch artist Adriaen de Vries. Full of the swelling emotions and dramatic posing so quintessential to the period, the bronze is a masterclass in Baroque sculpture. The original Laocoön marble sculpture, after which this remarkable bronze was modeled, unquestionably influenced the lives and works of countless artists, authors, popes, kings and emperors since its re-discovery in 1506. Famously, Michelangelo declared the sculpture, created circa 35 BC, as the “greatest piece of art in the world.” Adriaen de Vries, an apprentice of the great sculptor Giambologna, undoubtedly sought to prove his skill and creative voice with his own depiction of this most famous scene. Known for his virtuosic casting technique, this rare and important sculpture embodies de Vries’ mastery. The story of Laocoön is one of the most famous in all of literature. As told by the poet Virgil, the Greeks, after an unsuccessful ten-year siege on the city of Troy, the Greeks craftily left a giant wooden horse outside the gates...

After François Girardon 1628-1715 French Pluto Abducting Proserpine Bronze This High Baroque period composition captures the famed narrative of Pluto and Proserpine from Roman mythology. The late 17th-century patinated bronze, created after François Girardon's marble composition, captures the very moment that Pluto seizes Proserpine. The anguished goddess reaches skyward, attempting to escape the god’s grasp while Pluto’s stoic face betrays his knowledge that his ploy will succeed. This pivotal moment in the mythological tale has captured the imagination of many art historical greats, from Bernini to Rubens. François Girardon’s version of the climax demonstrates incredible finesse and artistry, modeled expertly in bronze in the present work by a later sculptor. The statue brings a twist of intertwined bodies into a dynamic frenzy, paralleling the tension of the legendary story. In ancient Roman mythology, Proserpine, the beautiful daughter of Ceres — known as Persephone in Greek mythology — was picking flowers in the fields when she was suddenly abducted by Pluto, the god of the underworld, and taken to his kingdom. Consumed with grief, her mother Ceres, the goddess of agriculture, scorches the earth, stopping the growth of grain and fruit. Jupiter attempts to intervene and secure Proserpine’s return to earth, negotiating a compromise with Pluto and the Fates that allows Proserpine to be released for part of the year before returning to Pluto’s underworld. Proserpine’s journey back and forth is an allegory for the changing seasons; when Prosperine is with her mother, the earth warms and provides bountiful harvests. Upon her annual return to the underworld, however, the earth once again becomes cold and barren. After returning to France after years of training in Rome, François Girardon quickly rose to become one of the greatest artists in France. He was elected a member of the Académie Royale de Peinture et de Sculpture in 1657 and would become Chancellor of the Royal Academy in 1695. The artist was approached frequently for royal commissions and Girardon’s Pluto was originally commissioned by Louis XIV for the gardens at his Palace of Versailles. It was one of four monumental marble groups intended to decorate the corners of Charles Le Brun’s never completed garden at the chateau, the Parterre d’Eau. Each group of three figures symbolized one of the four elements: earth, air, fire and water. Pluto’s association with hell made him the apt...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recu...

19th Century French Bacchanalian Bronze in the 18th century style depicting two Putti, in the manner of Clodion. One putto reclines while another feeds it grapes. The Patina is worn ...

This lamb is also featured in my statue of Saint David. It conveys such character and gentleness that I decided to present it as a sculpture in its own right. I lays on a base of bla...

This statue of Saint David, the Patron Saint of Wales stands 150cm high and is depicted with historical accuracy. Davies created this statue following extensive and thorough research...

The evolutionary lineage of the horse is in palaeontological terms well documented. The natural history of the horse family Equidae began during the Eocene epoch 56 million to 33.9 million years ago starting with Eohippus (Dawn horse) evolving to Mesohippus , Merychippus, Pliohippus through to our modern...

Angelo Basso (Italy, 1943 – 2011) Gabriella  Dimensions 17.0" W x 18.0" H x 7.0" D This sculpture was cast in the Dyansen Studios Foundry in 1991 under...

An exceptionally beautiful antique French wood carving, made in the 17th century. It depicts Madonna standing with open offering arms .The...

Angelo Basso Bronze 1989 Paolo And Francesca- Size: Size: 42 x 12 x 12 in Signed and marked 92/95 "ITALIAN MASTER OF THE MODERN BAROQUE" The story o...

GIOVANNI BATTISTA LOMBARDI (ITALIAN, 1822-1880) A fine marble statue titled Susanna al Bagno sitting on a revolving pedestal carved in relief with...

(MADE TO ORDER) (Sabbath, Kiddush, Ceremonial Vessel) *Lead Time may vary between 1-3 weeks Melanie Sherman "Yunomi" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k German Gold Luster,...

Title: Theseus and the Centaur Artist: Antoine-Louis Barye (1795-1875) Date: 19th Century Medium: Oil on panel Signature: Signed ‘AL BARYE’ and stamped with ...

Saint Erasmus or Saint Elmo (Antioch, ca. 240 – Formia, 303) was an Italian bishop and patron saint of the sailors. His attribute was the capstan, a winch on which the anchor chains were rolled up. He died as a martyr for his faith, and his bones were transferred to Gaeta in the 9th century, where they are kept in the cathedral to this day. The electric phenomenon of Saint Elmus fire is named after Saint Erasmus and the 16th C humanist Desiderius Erasmus. Little is known with certainty about Saint Erasmus' life. However, many legends may have been passed on orally until - no older writings are known with certainty. His birthplace was in present-day Syria. However, the persecution of Christians under Emperor Diocletian forced him to flee to Mount Lebanon...

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman "Small Vase" Year: 2021 Porcelain, Glaze, China...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

The gospel of St. Luke tells how Mary and Joseph took Jesus with them on their annual pilgrimage to Jerusalem. After seven days of celebration, Jesus’ parents returned home, but were...

A pair of carved oak angels, circa 1700, with a lovely warm patina and faint traces of polychrome to the face and gilding to the body. The angels are both kn...

SALE ONE WEEK ONLY “Putti” is a 19th c. terracotta antique of two nude children, babies, as mythical figures. This piece is beautifully rendered with a...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

(MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster) *Lead Time may vary between 1-3 weeks Melanie Sherman "Just A Little Tipsy" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k Germ...