Bowman Sculpture will present Echoes in Form: Sculpture Across Time at Frieze Masters 2025, a major showcase of sculpture spanning more than 150 years. Recognised internationally as the leading experts in Auguste Rodin, the gallery will bring a curated selection of the finest works by the modern master available on the market today, alongside an outstanding array of nineteenth, twentieth, and twenty first century sculpture.
Within this expansive presentation, six highlights embody sculpture’s enduring role in expressing movement, memory, and identity. These include Edgar Degas’s Danseuse saluant (Deuxième étude), a rediscovered bronze of museum calibre from the artist’s heirs; Ossip Zadkine’s Sculpture pour Jardin, where Cubist fracture collides with mythological tradition; and Sarah Bernhardt’s unique plaster Autoportrait, a singular self portrait that collapses the boundary between performer and subject. The narrative continues with Dylan Lewis’s Leopard Sleeping in a Tree, an exceptional big cat sculpture from his most sought after series; Arnaldo Pomodoro’s Giroscopio, studio, an endlessly rotating cosmic mechanism and the ultimate executive object; and Emily Young’s Lunar Form I, carved from white onyx and sourced from the finest years of her practice, offered by Bowman Sculpture as the leading secondary market authority for her work.
Highlights
Ossip Zadkine — Sculpture pour Jardin (1943–44)
Zadkine’s Sculpture pour Jardin reimagines the reclining nude in the fractured language of Cubism, inscribing the body with echoes of a lyre. At once ancient and modern, it evokes both the mythological archetypes of garden statuary and the ruptures of post war Europe. This rare lifetime cast captures a moment when sculpture became a medium of renewal, reassembling memory and tradition into a new identity for the modern age.
Dylan Lewis — Leopard Sleeping in a Tree (1999)
Lewis is internationally recognised as the foremost sculptor of the animal form, and his large scale big cats remain his most sought after works. Following a landmark Christie’s auction, demand for these pieces has only intensified. Leopard Sleeping in a Tree is an exceptional example from this celebrated series, merging acute anatomical mastery with expressive modelling. By presenting the predator at rest, power contained in stillness, the sculpture epitomises the enduring appeal of Lewis’s oeuvre. Bowman Sculpture specialises in securing only the finest examples from an artist’s mature practice, situating works like this at the intersection of artistry and market connoisseurship.
Arnaldo Pomodoro — Giroscopio, studio (1996)
Pomodoro’s Giroscopio distils his monumental cosmic forms into an intimate, interactive bronze. Unlike his static Sphere within Sphere works, this gyroscope rotates both in its concentric rings and in its inner polished panels, creating an endlessly shifting universe of alignments. For the collector or executive, it is the ultimate prestige object, a sculpture of gravitas and refinement that also invites touch, play, and daily engagement. It embodies movement as metaphor, a cosmos you can literally hold in motion.
Emily Young — Lunar Form I (2007)
Emily Young, often called “Britain’s greatest living stone carver,” is celebrated for her ability to allow geology’s ancient memory to emerge as human presence. Lunar Form I, carved in white onyx, exemplifies this dialogue between the cosmic and the corporeal. Bowman Sculpture has long been a leading source for Young’s work, having represented her during her most acclaimed years in the early 2000s. Today the gallery continues to place only the finest examples, drawn from private collections, offering connoisseurs access to her most resonant pieces at fair market levels. Lunar Form I embodies the timeless fusion of material, memory, and identity at the heart of the presentation.
Sarah Bernhardt — Autoportrait (c.1870)
Sarah Bernhardt, the most celebrated actress of the nineteenth century, also cultivated a parallel career as a sculptor, a rare case of a performer shaping her own legend in bronze, marble, and plaster. Autoportrait (c.1870) is among the most personal of her works: a unique plaster self portrait, the only one of its kind in the world.
Modelled with serene precision, the face is framed by deeply textured hair, presenting Bernhardt not as the exuberant star of the stage but as an almost otherworldly figure, aloof, enigmatic, timeless. Recent inclusion in the Petit Palais centenary exhibition of 2023 reaffirmed its cultural importance, positioning it within the history of both theatre and sculpture.
For collectors and institutions alike, this work represents a once in a generation opportunity: a singular sculpture that unites Art Nouveau aesthetics, theatrical history, and feminist legacy. Rare, deeply personal, and museum worthy, Autoportrait epitomises how sculpture can embody identity, self mythology, and memory in one intimate form.
Edgar Degas — Danseuse saluant (Deuxième étude) (c.1890–95, cast 1920s)
Degas’s obsession with movement found its fullest expression in sculpture, where wax and clay allowed him to capture fleeting instants with unmatched immediacy. Danseuse saluant (Deuxième étude), modelled c.1890–95, preserves the precise moment of a ballerina’s bow, one leg bearing weight, the other poised to curtsy, the whole body balanced in a gesture of transition between stillness and motion.
This cast is exceptional: made in the early 1920s at the Hébrard Foundry as part of the posthumous edition authorised by the artist’s heirs, it carries the rare HER.D stamp reserved for family casts. Long thought “location unknown” in the Degas bronze catalogue raisonné, this example has recently re emerged from the private collection of the painter Félix Vallotton, where it remained for over a century, passed down through the family.
With sister casts in the Metropolitan Museum of Art, the Musée d’Orsay, and other major institutions, the rediscovery of this Vallotton provenance example represents a once in a lifetime opportunity. Rare, historically significant, and museum worthy, Danseuse saluantembodies Degas’s lifelong pursuit of movement distilled into form and stands as a jewel within the Echoes in Form presentation.
“Frieze Masters is the perfect platform for us to show how sculpture connects across centuries,” says Mica Bowman, Director of Bowman Sculpture. “From Degas to Young, these highlights demonstrate not only the rarity and quality we are known for, but also the enduring power of sculpture to capture movement, memory, and identity in ways that still resonate today.” Mica Bowman, Director, Bowman Sculpture
Together, these highlights represent only a fraction of Bowman Sculpture’s Frieze Masters 2025 display. From Degas and Rodin to Pomodoro and Young, the booth becomes a sculptural time machine, a dialogue across two centuries, showing how artists have continually reinvented form to capture the essence of humanity, nature, myth, and the cosmos.
With rare rediscoveries, unique works, museum level casts, and market defining masterpieces, Bowman Sculpture affirms its position as the foremost dealership dedicated exclusively to sculpture, offering collectors and institutions access to the most important examples available today.
Frieze London and Frieze Masters will return to The Regent’s Park, London from 15th to 19th October 2025 bringing together over 280 galleries operating in 45 countries. This year’s fairs will put a strong emphasis on artists and curated programming, reaffirming the city’s cultural leadership on the global stage. Together, the two fairs will celebrate the capital’s defining role as a centre of artistic exchange, shaped by deep expertise across time and geographies and its longstanding position as a meeting point for cultures and ideas. With unmatched international and creative reach, the fairs will once again showcase the best of historic and contemporary art, with a continued focus on artistic discovery, curatorial innovation and an engaging visitor experience.
At Frieze Masters, where thousands of years of art come into dialogue – from rare antiquities and major European paintings to modern icons and contemporary voices – an artist-centred curatorial approach remains at the core, with the return of the much-celebrated Studio and Spotlight sections, joined this year by Reflections, a new initiative encouraging connections across time, media and context.
With over 120 galleries operating in 26 countries, Frieze Masters 2025 reaffirms its status as a destination for historical works of art, from collectible objects to museum-quality works, spanning painting, sculpture and decorative arts.
Frieze London and Frieze Masters are supported by global lead partner Deutsche Bank for the 22nd consecutive year, continuing a shared commitment to artistic excellence. Bowman Sculpture will return to Frieze Masters as the fair welcomes new leadership under the direction of Emanuela Tarizzo.
Bowman Sculpture will exhibit at Frieze Masters in The Regent’s Park from 15th until 19th October, 2025.
