Sandy Graves Art

Ex Nihilo Figure 3 is a full scale plaster from the final stone sculpture of Ex Nihilo, commissioned as part of the The Creation Sculptures at Washington National Cathedral...

Chris Tap (1973, Amsterdam) attended university where he studied economy and cultural anthropology, before he became a full time sculptor. In the last 12 years he developed his passi...

A good antique Italian Grand Tour Bronze and marble bust of Dante Alighieri, circa 1880. The bronze is most likely Florentine and mod...

This piece is entitled Lost in Reverie. It is a large scale outdoor sculpture. The running bear is a common theme in his work as he is remembers his childhood teddy bear. Patrick O’Reilly...

Ed. of 9 Sophie Ryder was born in London in 1963 and lives in the heart of the Gloucestershire countryside with her family. She studied visual arts at the Royal Academy Schools and ...

Ed. of 9 Sophie Ryder was born in London in 1963 and lives in the heart of the Gloucestershire countryside with her family. She studied visual arts at the Royal Academy Schools and ...

Patrick O'Reilly The Gardener with Sunflower Bronze 47 1/4 x 49 1/4 x 15 3/4 in 120 x 125 x 40 cm This piece is entitled The Gardener with Sunflower. It is a large scale outdoor scu...

Very Rare! Ex Nihilo, working model, is the intermediate scale model for the full-scale plaster for the final stone sculpture of Ex Nihilo, commissioned as part of The Creation Sculptures at Washington National Cathedral...

Ferdinand Barbedienne (Saint-Martin-de-Fresnay 1810 – 1892 Paris) after Lorenzo Ghiberti (Florence, 1378 – 1455) Signed at the lower right of the principal relief: F. BARBEDIENNE Provenance: Private Collection, USA. Barbedienne’s “Gates of Paradise” reliefs are one of the triumphs of nineteenth-century bronze casting and patination. The nine panels that comprise our example are half-size reductions of the famous originals by Lorenzo Ghiberti, made for the Baptistery of Florence and now housed in the Museo del Opera del Duomo. Mounted in an impressive, mullioned frame surround, our work is an exceptional exemplar of the Renaissance Revival, the broadly influential style and movement that infused architecture, design, and artistic culture in the latter half of the nineteenth century. The central scene, The Story of Joseph, is perhaps the most celebrated of the entire series depicting as it does seven episodes from the Biblical narrative integrated into a single composition: Joseph cast by his brethren into the well, Joseph sold to the merchants, the merchants delivering Joseph to the pharaoh, Joseph interpreting the pharaoh’s dream, the pharaoh paying him honor, Jacob sending his sons to Egypt, and Joseph recognizes his brothers and returns home. The surrounding reliefs—two vertical figures in niches, two recumbent figures, and four portrait heads in roundels—are as well faithful reductions of Ghiberti’s original bronzes on other parts of the doors. The maker of these casts was the renowned 19th-century French fondeur Ferdinand Barbedienne. Gary Radke has recently written of this great enterprise: “The Parisian bronze caster Ferdinand Barbedienne began making half-sized copies of ancient and Renaissance sculpture in the 1830s. His firm benefitted enormously from the collaboration of Achille Collas, whom Meredith Shedd has shown was one of numerous pioneers in the mechanical reproduction of sculpture. Their competitors largely devoted themselves to reproducing relief sculpture, but Collas devised a process for creating fully three-dimensional copies. A tracing needle, powered by a treadle, moved over the surface of a full-sized plaster cast or bronze of the original and triggered a complementary action in a cutting stylus set over a soft plaster blank…He signed an exclusive contract with Barbedienne on November 29, 1838, and won medals for his inventions in 1839 and 1844. Barbedienne’s half-sized copies of the Gates of Paradise were famous not only for their fidelity to the original, but also for the way their gilding…suggested the glimmering surface that was hidden under centuries of dirt. Some critics even saw Collas’s and Barbedienne’s work as ‘philanthropic, an exemplary adaptation of industry to the requirements of art, the artist, the workers, and the public alike.’ At 25,000 francs, Collas’s and Barbedienne’s reduction of the Gates of Paradise was singularly more expensive than any other item for sale in their shop. All the reliefs, individual statuettes, and busts were cast separately and could be purchased either by the piece or as an ensemble. Fittingly, Barbedienne’s accomplishment earned him the Grand Prix at the 1878 Paris Exposition Universelle, along with numerous other medals.” Three complete examples of the Barbedienne-Ghiberti doors are known. One, first installed in a chapel in the Villa Demidoff of San Donato near Pratolino, was later acquired by William Vanderbilt...

Franco Mauro Franchi was born in Castiglioncello (Livorno) on 9 October 1951. He completed his artistic studies at the Lucca State Institute of Art and the Academy of Fine Arts in Fl...

Dionysisch Big Bronze Sculpture Mythology Classical Contemporary Art The sculptures of Margot Homan (1956, Oss, NL) show a perfect command of the...

Life-size sculpture of three boys walking atop a log.