SCULPTURES
Curated by ECLECTIC COLLECTORS, this page represent a selection of sculptures, showcasing diverse styles, periods, and artistic traditions. Each piece reflects the collectors’ refined taste and passion for preserving remarkable works of art.
LORENEZ BERTOLINI 1842
Dimensions: 65 × 55 cm
Bust of a Woman with Laurel Wreath
A finely carved white marble bust represents a young woman in the neoclassical style, notable for its idealized features and serene expression. Her head is adorned with a laurel wreath, a traditional emblem of triumph, intellectual achievement, and poetic inspiration, suggesting the subject may symbolize Victory, the Muse, or an allegorical figure of Virtue. The sculptor has paid meticulous attention to the drapery, with deeply cut folds that convey both weight and fluidity, creating a lifelike sense of movement across the garment.
The woman’s partially veiled head and the soft waves of hair flowing over her right shoulder evoke a balance of modesty and grace, while the absence of carved pupils lends her gaze a timeless, contemplative quality. The smooth finish of the skin contrasts with the crisp treatment of the laurel leaves and fabric, highlighting the artist’s technical skill in manipulating texture. Likely produced in the 19th century, when European artists frequently drew on Greco-Roman motifs, this work embodies the period’s admiration for antiquity and the enduring ideals of beauty, honor, and intellect.
The Cell Opens from the Heart
Hermann A. Mejer (contemporary)
White refractory terracotta
Dimensions: 70 × 50 cm
Powerful sculpture depicting a seated male figure, rendered in white refractory terracotta, with his knees drawn tightly to his chest and his arms clasped firmly around them. The posture conveys both containment and introspection, as though the body itself forms a protective enclosure. The figure’s head is encircled by an open band resembling the bars of a cell, a striking metaphor for the human condition—caught between confinement and release.
Fernando Botero (b. 1932)
Bailarina, date unknown
Silver-plated bronze sculpture
Dimensions: 55 × 30 cm
This sculpture by Colombian artist Fernando Botero depicts a ballerina in the artist’s instantly recognizable style—voluminous, rounded forms that celebrate abundance and presence. Botero’s exaggerated proportions, far from caricature, imbue the figure with a monumental grace and a playful dignity. The reflective surface enhances the tactile quality of the work, inviting viewers to engage with its sensuous curves and to reconsider traditional ideals of beauty and balance in art. Through this piece, Botero combines humor, tenderness, and a quiet critique of societal norms surrounding the body.
Philippe BOSIO
JIM MORRISON inspired by Leonardo Da Vinci,
Bronze sculpture with green patina
Dimensions: 115 × 100 cm
This bronze sculpture reinterprets Leonardo da Vinci’s iconic Vitruvian Man, translating the Renaissance master’s study of human proportions into three-dimensional form. The figure stands within a large circular frame, arms and legs extended to convey balance, symmetry, and the harmony between man and the universe. Cast with a textured surface and green patina, the work evokes a timeless quality, bridging classical ideals with modern sculptural expression. It serves as both an homage to da Vinci’s pursuit of knowledge and a meditation on the enduring quest for human perfection.
Carl Andre (American, b. 1935)
Untitled, c. 1970s
Aluminum on board
Dimensions: 32× 32 cm
Carl Andre, a leading figure of Minimalist art, is renowned for his radical reduction of form and material. This work exemplifies his geometric rigor and devotion to industrial surfaces. Constructed from brushed aluminum panels arranged in a precise square composition, the piece emphasizes symmetry, repetition, and the inherent qualities of the material itself.
Andre rejected traditional notions of sculpture as modeling or carving, instead presenting raw materials in simple configurations that highlight their physical presence and spatial relationships. The subtle tonal variations across the metallic surface reveal the tactile quality of aluminum while also engaging the viewer in quiet contemplation of order, proportion, and structure.
This work encapsulates Andre’s belief that sculpture should not represent or symbolize, but simply be. Its clarity and restraint embody the essence of Minimalism, transforming industrial matter into an object of profound visual and conceptual intensity.
Lucio Fontana (1899–1968)
Concetto Spaziale, Renove, 1965
Bronze with incision, mounted on base
Dimensions: 48 × 50 cm
This minimalist yet striking sculpture by Argentine-Italian artist Lucio Fontana embodies his pioneering Spatialism movement. The work features a single, deliberate incision in a square steel plate, transforming the flat surface into a space of infinite depth. By cutting through the metal, Fontana rejects traditional sculptural volume, instead inviting the viewer to contemplate the void and the space beyond the object itself. The raw, weathered surface contrasts with the clean precision of the slit, reflecting Fontana’s interest in the dialogue between materiality and the metaphysical.
Fernando Botero (b. 1932)
Mujer recostada, date unknown
Patinated bronze sculpture
Dimensions: 21 × 29 cm
In this sensuous reclining figure, Colombian master Fernando Botero explores his signature volumetric style, rendering the human form with exaggerated curves and a serene presence. The woman’s relaxed posture, supported by soft folds of drapery, conveys both intimacy and monumentality. Botero’s treatment of surface—smooth, rounded, and uninterrupted—invites tactile appreciation while reflecting light in a way that enhances the sculpture’s organic warmth. Through this work, Botero challenges conventional notions of proportion, instead celebrating a body language that radiates confidence, sensuality, and timeless grace.
O. CHENE
Charging Bull, date unknown
Bronze sculpture
Dimensions: 20 × 37 cm
This dynamic bronze captures the raw power and tension of a bull poised to charge. With its lowered head, flexed muscles, and raised tail, the animal is depicted in a moment of concentrated energy, embodying themes of strength, determination, and defiance. The textured surface enhances the sense of movement, while the robust proportions convey the physical force of the animal. Rooted in both naturalistic observation and expressive stylization, the sculpture pays homage to the bull as a timeless symbol of vitality and endurance.
Max Cartier (Italian, b. 1935)
École de Nice, 1987
Painted on a fried pan with wire and mixed media, dedicated with delight to a special chef friend.
Dimensions: 40 × 25 cm
Work by Max Cartier showcasing the artist’s inventive use of industrial materials to create bold, expressive forms. The sculpture, fashioned in 1987, takes the shape of a stylized mask, painted in vivid red with accents of blue, green, and white. The face is punctuated by exaggerated, wide-open eyes, linear markings, and a dramatic central opening.
Cartier’s integration of painted steel, wire bindings, and coiled spring-like structures emphasizes the raw materiality of the object while simultaneously imbuing it with playfulness and theatricality. The mask is mounted on a robust base, its vertical support wrapped in metallic spirals, reinforcing a sense of tension and energy.
