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Sculpture speaks to us in a very special way and its innate physicality enriches our lives quite differently from any other art form.

Stuart Lochhead Sculpture offers the best in all media from antiquity to the 20th century. Whether created by a celebrated or a little-known artist, the sculptures we handle are of the highest quality.
With an intimate knowledge of the sculpture market and dedication to precise research we pursue the acquisition and sale of sculpture with three essential values in mind: Rarity, Integrity and Beauty.

Stuart Lochhead sells important bust by Girardon– watch its journey from TEFAF to its homecoming at Versailles


Gregorio di Lorenzo

Gregorio di Lorenzo (Florence, c. 1436 - Forli, c. 1504)
Virgin and Child holding a bird, circa 1490
This important marble represents a fundamental addition to Gregorio’s catalogue, showing a previously unknown composition of a Madonna and Child group by the artist.


Florence, circa 1600
Cristo Vivo
A beautifully chased gilt bronze from the workshop of Antonio Susini.

Nottingham School

English, Nottingham, 15th century
Mary Magdalene
Nottingham alabasters represent the largest single source of English sculpture to have survived from the Middle Ages. This polychrome alabaster relief retains much of its original paint decoration.


Jean-Joseph Carriès (Lyon, 1855 - Paris, 1894)
A portrait of Frans Hals, 1885-92
A patinated plaster made for the artists' patron Granottier in 1892.


Jean-François Lorta (Paris, 1752 - Versailles, 1837)
Sacrifice to Love & Sacrifice to Jupiter, 1790
Two delightful terracotta reliefs signed by a little-known but evidently very gifted French artist.


Albert Marque (Nanterre, 1872-1947)
A style inspired by Carpeaux and Dalou and infused with Renaissance and classical art. Marque exhibited frequently at the Salons of Paris including the Salon de la Société Nationale des Beaux-Arts where this marble relief was exhibited in 1899.

David d'Angers

David d’Angers (Angers, 1788 - Paris, 1856)
A portrait of Eustache Langlois du Pont de l’Arche (1777-1837), 1838
David d'Angers wrote in 1828 in his Notebooks why he preferred portraits in profile: “I discover the character of a person better in profile than in a face.” With assertively modelled features and tousled hair, these portraits, along with his busts, show the influence of the then fashionable theories of phrenological and physiognomy.

David d’Angers

David d’Angers (Angers, 1788 - Paris, 1856)
A portrait of Jean Racine (1639-1699), 1832
This special plaster bust romanticises the great French writer renowned for his mastery of French classical tragedy.


Jean-Baptiste Carpeaux (Valenciennes 1827 - Courbevoie, 1875)
A portrait of the painter Jean-Léon Gérôme (1824-1904)
An intimate portrait of a fellow artist made of plaster – created whilst both were exiled in London in 1871.


Antoine Etex (Paris, 1808 - Chaville, 1888)
Charging Chasseur & Wounded Cuirassier, 1884
These two bronze reliefs with black patina provide us with a new element in the history of the tombs that Étex devoted to Théodore Géricault’s fame. As a tribute in sculpture to some of the most sculptural painting of the nineteenth century, Étex’s two reliefs express his commitment to bridging painting and sculpture.


Antoine Etex (Paris, 1808 - Chaville, 1888)
Model for the tomb of Théodore Géricault (1791-1824), 1840
“For your honour, sirs, for the honour of our fellow painters, the artist of the painting Medusa must have his tomb”, declared Etex when he discovered the indignity of the painter’s burial. This bronze is a reduced version of Etex’s monument in the Père Lachaise Cemetery in Paris.
The works illustrated here are but a selection.
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Having graduated from the Courtauld Institute of Art in 1994 Stuart joined Daniel Katz at his first gallery in Jermyn Street. During the following 23 years he worked alongside Danny Katz handling some of the greatest European Sculpture to come to the market, enriching the collections of the most distinguished collectors and museums.
© Derek Thompson
© Derek Thompson
Stuart has curated a multitude of exhibitions in London and New York for the gallery. He worked alongside the Ashmolean Museum, Oxford; the Fitzwilliam Museum, Cambridge and the Rijksmuseum, Amsterdam on loan shows of their collections of Renaissance and Baroque bronzes hosted by the gallery and supervised the accompanying catalogues. He was instrumental in creating London Sculpture Week, a commercial gallery initiative now a part of London Art Week. He was a trustee of the Public Sculpture and Monuments Association for 10 years and sat on the Editorial Board of the Sculpture Journal. He was Chair of the Courtauld Association for 7 years and he is now Ambassador for the Samuel Courtauld Society. The Courtauld is an institution he is a passionate supporter of.
© Derek Thompson
© Derek Thompson
A graduate from the Ecole du Louvre and the Sorbonne, Paris, Sophie Richard has worked for art dealers specialised in Old Masters in Paris, New York and London.
© Derek Thompson
© Derek Thompson
Over the last decade she has conducted research and written catalogues for Daniel Katz. In parallel, a lifelong passion for Japan has led her to write "The Art Lover's Guide to Japanese Museums", for which she received an award from the Japanese government in 2015. When she is not researching for Stuart Lochhead Sculpture, she consults on a variety of cultural projects in Japan.
© Derek Thompson
© Derek Thompson