Sculptures

Attr. Bertel Thorvalsden (1770-1844) WINGED CUPID, Italy, 19th Century Provenance: Private Collection, Vienna

Rare and imposing reduction of the famous statue of JP Molin, inaugurated in 1867 in front of the National Museum of Stockholm. This version in black enamelled stoneware was produced...

Italian Portrait White Marble Bust in a Heroic Attitude. Carrara statuary Marble. Tuscan school. Circa 1850.  Bust depicting a young man with bare shoulders. This model draws inspira...

A fine & large (34" tall) antique French gilt-bronze on marble column of Diana, cast by Ferdinand Barbedienne (1810-1892) after a statue by Jean Antoine Houdon (1741-1828), the bronz...

A mid-nineteenth century Chinese 'famille rose' (also referred to as 'rose medallion') porcelain vase with applied gilded dragons to the shoulder, handles and to the neck, decorated ...

Lion and snake n°3 by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark greenish brown patina signed "Barye" on the base old edition cast – probably from the Bary...

Very fine large Neoclassical white marble bust of Arianna wearing a diadem with grape vine in her hair after the antique in Vatican Museum . Ariadne, in Greek mythology (Latin Aria...

Bust of a young woman wearing a shawl by Albert-Ernest Carrier-Belleuse (1824-1887) Terracotta bust Raised on a in blackened wood pedestal signed "A. Carrier " France circa 1860 total height 41 cm width 24 cm depth 17 cm Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart...

Superbly carved white statuary Carrara marble bust of Flora, the goddess of flowers. Flora was often associated with the coming of spring and the fertility of the land. She also sy...

Reclining Doe by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Barye's workshop (...

Bear Bagpiper by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Old edition cast France mid-19th century height 10,5 cm Biography ...

Bear Dentist by Christophe FRATIN (1801-1864) Bronze with nuanced old gilt-light brown patina Signed on the base "Fratin" Old edition cast France mid-19th century height 15 cm A s...

Self-portrait "Fratin by himself" by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Raised on a wooden base, with an old collector s...

Antique Horse Bronze: Mare in the Stable Playing with a Dog (Good Companions) Jument à l'écurie jouant avec un chien Pierre-Jules Mene (French, 1810-1879) Bronze 19 x 10 inches One of Mene's most beloved bronze, well-loved early example with beautiful rich patina. A sensitive portrait of a horse nuzzling his companion while the terrier is giving kisses to the horse’s nose. Cast by Mene’s own foundry and is very well detailed with a medium brown patina. Pierre-Jules Mêne (1810-1879) was one of the most successful and prolific animalier sculptors of the 19th century, known for his naturalistic representation of animals. Mêne received no formal education in sculpture but was taught to draw and model by his father and later began casting his own sculptures. He was largely self-taught, possessing a keen observation of nature that enabled him to capture the essence of his animal subjects with remarkable accuracy and vivacity. His work debuted at the Paris Salon in 1838, and from that point onwards, he exhibited his sculptures regularly. Mêne specialized in small-scale domestic animals, his subjects often including horses, dogs, bulls, and sheep. Interestingly, almost no big game are found in Mêne's ouevre. Beginning in 1837 as orders started coming in, Mêne worked as Antoine-Louis Barye before him, opening his own foundry where he personally oversaw the manufacture and production of his art. The work produced there bears the hallmark of extraordinary attention to detail and thoughtfulness shown in every element of presentation and assembly. His mastery in the technical aspects of casting bronze without relying on professional founders for the completion of his models gave him a significant advantage in producing his pieces with fine detail and at a lower cost. This operation was expanded in 1852 to handle the casting of models for his new son-in-law, Auguste Cain. Mêne’s sculptures...

Antique Porcelain Dog Portrait: Cavalier King Charles-Edmé Samson According to the model created by Johann Joachim Kaendler (MEISSEN around 1770). By the famous factory of Edmé Sams...

Antique Bronze Dog Bulldog Playing with a Mouse on Sheaves of Wheat Henri Émile Adrien Trodoux (1815-1881) 6 1/8 x 3 7/5 inches Signed on the terrace Henri Émile Adrien Trodoux (Fre...

Bronze sculpture with a nuanced dark brown patina signed on the base "A. Carrier" inscribed on a front plaque "Charmeuse de Serpents par Carrier-Belleuse" France circa 1860 height 80,5 cm Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois...

John Leopard (1800-1883) Pottery Rusk County Henderson Texas Pottery (1850-1883) 5 or 6 Gallon Ovoid East Texas Churn 18 inches tall 11 inches at widest point Utilitarian John Leopard (1800-1883) Pottery Rusk County Henderson Texas Pottery (1850-1883) One natural resource found in Rusk County provided an abundance of raw material for the development of industry in the county. When pioneers arrived in Rusk County in the early 1800's, they found a variety of clays suitable for brick making, tiles, statuary and pottery. Pottery making is one of the world's oldest crafts, with examples of pottery traced back as far as the 7th century BC. Amongst the earliest finds are artistic figures, images of people and animals, and household implements including breakers and dishes. Anthropologists often use the techniques and patterns found in ancient burial sites to form an accurate picture of society through the ages. Earthenware (jugs, churns, and vessels of all kinds) made in Rusk County found a ready market. Some of the early potters were Brown, Leopard, Rushton, Prothro and Russell. Many of Henderson's downtown buildings were made from bricks baked in the kiln of the Howard Brothers...

Antique Horse Bronze "Saddled Horse Playing with a Dog" Pierre Lenordez (1815-1892) Bronze, circa 1860 11 x 7 inches Painter and sculptor, professor...

Sculptor active in Italy Marble sculpture depicting study of female beauty Second half of the 19th century Measurements: 46x26 cm - height 74 cm Great state of conservation We ship ...

Isidore Romain Boitel (French, 1812 - 1861) "Jeune fille aux colombes et à la corbeille de fleurs". Young girl with doves and basket of flowers Bronze ...

Donato Barcaglia (Pavia, January 10, 1849 - Rome, 1930) Little girl with clasped hands Statuary white marble sculpture Measurements: height 55 cm, width 39 cm, depth 25 cm Last Quar...

JEAN-BAPTISTE CARPEAUX 1827 - 1875 Le Chinois N°1 (study for Asia) (1868). Model from the observatory fountain. Sketch Height ca.60 cm A similar copy auctioned on June 22, 2023, at ...

For sale is the great looking large male nude bronze sculpture of Orpheus by German Artist Professor George Mattes (1874-1945). Orpheus is seen along ...

American Indian with beaded buckskin dress and moccasins. Part of Artist's Private Collection.

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

Magnificent hand carved Carrara marble sculpture of a lioness head from Rome. Mounted on a metal base. Base 13.75"W x 12.25"D.

Pietro Bazzanti (1842-1881) specialized in allegorical and genre subjects as well as copies of Antique and Renaissance sculpture. Regarded as one of the most talented sculptors of h...

Charles Cumberworth (1811-1852) Indian Huntress Bronze with double patina Vittoz chiseller Old cast France circa 1850 height 52 cm Biography: Charles Cumberworth (1811-1852), son...

A rare complete set of “Four seasons of life” in Bisque porcelain, in an outstanding diameter 34cm without frame and 46 cm framed. After Bertil Thorvaldsen’ marble médaillons...

ALFRED STEVENS (1817-1875) Judith Bronze 22 cm., 8 ¾ in. high Provenance: Handley-Read Collection; Fine Art Society, London, 1979; Collection of Peter Rose and Albert Gallichan. ...

Parcel gilt and patinated bronze figural statue of a Nubian Water carrier with a pitcher on her shoulder. The contrast between the deep bronze and bright gilding is incredibly striking. The woman drips in gold jewelry and drapery, wearing arm bangles, a large necklace and outrageous earrings. Beautifully casted, the piece's details are crisp and well defined, with beautiful even patinas and gilding. She stands atop an exquisitely carved, two toned, wooden base made of three sections. A fluted column with a small garland nestled within each flute makes up the main body, while a bellied band carved to mimic tufted cushions or upholstery is sandwiched between the column and a black hexagonal ped. Attributed to the Graux-Marly Foundry. Based at 8 rue du Parc-Royal in Paris in 1860, started by Jules Graux-Marly and continued by his sons into the later 19th Century. The firm exhibited at the 1878 Paris Exhibition and was well-respected for both their figurative sculptures and decorative ornaments. Dimensions: Statue: 53.5" x 13" Base: 25.5" x 17" Overall: 79 in x 17" Circa 1870 Sold with a carved wood pedestal plinth...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...

Jim Miller-Melberg (1929 - 2017) was a mid-century industrial designer and sculptor known for his ubiquitous playground sculptures. Jim studied at the University of Michigan, Cranbrook Academy of Art in Bloomfield Hills...

Beautiful reduction of the famous marble masterpiece by J.A. Houdon, exhibited at the Goulbekian Foundation in Lisbon. The cast bronze, probably from NapoleonIII period, is heavy and...

Very fine large Neoclassical white marble bust of Arianna wearing a diadem with grape vine in her hair after the antique in Vatican Museum . Ariadne, in Greek mythology (Latin Aria...

"Daytime" by James PRADIER (1790-1852) Rare sculpture made in white Carrara marble France circa 1840 height 100 cm diameter of base 29 cm Listed in "Catalogue raisonné, James Pradi...

Alfred Jacquemart 1824-1896 Le General Bonaparte en Egypte Bronze, Barbedienne Foundry 10 1/4" high x 8" wide x 4" depth Henry Alfred Jacquemart (1824-1896): born the February 22,...

A signed, dated, 1855 terracotta, classical style sculpture of the robed figure of Fate holding the thread of life by listed, Austrian-born artist, Franz Melnitzky (1822-1876) whose ...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

An acute observer of nature Barye was fascinated by the dramatic depiction of animals in the wild. These anomalies bronzes can sit on mantles and desks and elevate a room tremendousl...

"Pair Recumbent Stone Lions" after Antonio Canova (1757-1822) Italian (possibly Florence) Mid 19th Century Alabaster, marble 6 x 9 x 4 inches This is an exquisite pair of Italian alabaster lions on marble bases based on the monumental lions carved by Antonio Canova (1757-1822), the greatest Italian neoclassical sculptor. Canova sculpted the marble lions for the monumental tomb of Pope Clement XIII in St. Peter’s, Rome in 1792 Canova Lions refers to the pair of copies of lion sculptures by Antonio Canova. When Canova created the sculptures in 1792, he installed them on the tomb of Pope Clement XIII. The marble sculptures are some of the most prominent features in St. Peter's Basilica in Rome. Given the intricacies of creating the original Canova lions, some artists created molds and replicated them. A good example is the pair of lion sculptures...

Antique Bronze Miniature Barnyard Scene (Cow, Sheep & Goat) Christophe Fratin (France, 1801-1864) Sand cast bronze 5 3/4 x 4 1/4 x 2 1/4 inches Highly refined and sensitively modeled miniature bronze representing a small herd of cattle, sheep and cattle on the terrace. Despite its small size, this bronze offers a complete view of a small herd of livestock: a bull is lying in a landscape near a sheep and a goat climbing a tree above a rocky mound. Here we find the skillful hand of the animalier sculptor Christophe Fratin (French, 1801-1864), immensely famous in the 19th century for his thoughtfully crafted animal...

Very fine large Neoclassical white marble bust of Arianna wearing a diadem with grape vine in her hair after the antique in Vatican Museum . Ariadne, in Greek mythology (Latin Aria...

Antique Horse Bronze Exceptional Bronze of a Draft Horse Pierre Jules Mêne (French, 1810-1879) Circa 1860s 4 3/4 (W) x 3.25 (H) As Mêne personally ov...

A fine classical form marble sculpture of a young boy with robe by Irish / American artist Martin Milmore (1844-1883). Milmore was born in Sligo, Ireland and was brought to Boston, Massachusetts in 1851, where his training began with his brother, Joseph, a stonecutter, who later became his assistant. Milmore was apprenticed to Thomas Ball from 1858 to 1862 working mainly on his equestrian "George Washington" (1858-61, Boston Public Gardens). After Ball departed for Italy, Milmore became Boston's leading sculptor. Realistic in his style, he is best known for his Civil War monuments and sculptures of prominent Bostonians including Wendell Phillips...

GIOVANNI BATTISTA LOMBARDI (ITALIAN, 1822-1880) A fine marble statue titled Susanna al Bagno sitting on a revolving pedestal carved in relief with...

French bronze of Sappho Leaning Against a Column Holding Her tortoise Lyre, Original rich brown patina intact. Artist: Jean Jacques Pradier (Swi...

Untitled #10 (female bust), 2016 from Los Infortunios De La Virtud series Antique porcelain bust with the intervention of oil, gold, silver, lea...

Neoclassical bronze sculpture of a young Bacchus and fawn making an offering Elias Hutter. Very fine casting with a rich patina. Early to...

signed 'A. CARRIER-BELLEUSE' (on base)

Artist: After Pierre Jules Mene (French, 1810-1879) Title: Cheval Libre (Free Horse) Year: 1868 Medium: Cast bronze sculpture with dark brown patina Edition: Unknown Size: Inclu...

Grand tour circa 1860s bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers...

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt,...

Attributed to Etienne-Édouard SUC (Lorient, 1802 – Nantes, 1855) Bust "in Hermès" of General Cambronne Plaster H. 59 cm 1842 Provenance: probably Madame Cambronne (1773-1854), widow...

Antique Bronze Dog Portrait of a Terrier Pierre-Albert Laplanche (French, 1826-1873) Signed in script to base "Laplanche" Stamped "E.V 3753" 8 x 2.75 x 8 1/4 inches This is a super...

Dominique (Johann Dominik) MAHLKNECHT (Kastelruth, 1793 - Paris, 1876) Full length portrait of René Descartes Terracotta with brown patina Height: 40cm ...

The two patina bronze sculpture by Auguste Moreau showing a winged boy with another child. Set on a stepped black marble base. Signed AUG. ...