Ferdinand (Fritz) Preiss of Berlin actually began his career as an ivory carver, but he became known for his almost action-figure-like female athletes such as archers and tennis players, who were usually perched on marble or onyx bases. Other Preiss subjects included women in cabarets, some spreading their costume bat wings, others cradling a delicate mandolin.

While Preiss worked in a style that strikes us as cartoony today, Marcel-Andre Bouraine and Pierre Le Faguays were truer to Art Deco. Bouraine’s mythical figures are similar to the Paul Manship sculptures in front of Rockefeller Center in New York City. Le Faguays, who often signed his pieces Fayral, was perhaps more influential than his contemporaries, but the artists he inspired, including Preiss and Chiparus, achieved more success in their careers.

In the United States, upscale shops in New York City such as Alfred Dunhill did a brisk business selling these and other imported bronzes. This prompted U.S. silver manufacturer Gorham to open an entire bronze division in Providence, Rhode Island, to capitalize on the trend. One of Gorham's most successful artists was Harriet Frishmuth, who was known for her small nude statuettes and table fountains.

While many of the best known sculptors from France and Austria were men, Gorham gave women an opportunity to design. In addition to Frishmuth, there was Maude Sherwood Jewett, Mabel Conkling, Edith Parsons, and Bonnie MacLeary, whose cute “Ouch” depicted a small turtle nibbling a child’s finger.

When looking at Art Deco bronzes, make sure it's clear whether the piece is in the Art Deco style or actually from the Art Deco era. Objects from the 1920s and ’30s often show evidence of wear, especially surfaced that have been cold-painted. If the paint looks too new, it probably is. Pieces that are excessively polished are also suspect—real vintage bronze will have a greenish patina.

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