Guillaume Coustou Furniture

Bronze sculpture by Artiss Dimensions: L 67 x W 30 x H 57 cm Materials: Mlachite, Bronze Artiss is named from artist, whose two -S" stands for natural gem and natural mother shell. ...

A very impressive pair of 19th century bronze Marly horse, having a good patina, after Guillaume Coustou the elder 1677-1746.

Pair of 19th century French bronze marly horse statues after the original models by Guillaume Coustou (1677-1746).

Bronze sculpture by Victor Roman. Signed and numbered 2/8.

20th Century bronze depicting a saddled race horse. After Jules Moigniez (French, 1835-1894). Signed along the top by the hind legs. The bronze is...

Grand Tour 19th century bronze sculpture of Narcissus after the original found in 1862 at Pompeii. When first found in Pompeii it was identified as Narcissus. Years later it was identified as Dionysus. Mounted as a lamp. Early 20th century. Beautiful marble finial.

A good quality pair of 19th century French bronze statues depicting a male and female dressed in robes, carrying vases of flowers and fruit, mounted on square bases with claw feet.

Bronze statue in the style of Guillaume Marly. The horses of Marly were commissioned by Louis XV to sculptor Guillaume Coustou to decorate the entrance of the park of Marly castle. ...

This is a beautiful antique Grand Tour pair of French patinated-bronze sculptures of Marly Horses, Circa 1880 in date. The Marly Horses were commissioned by Louis XV of France scul...

Guillaume Coustou is best known for his two pieces of marble sculpture, each called Horse restrained by a Groom (1739-45, Louvre Museum, Paris), known jointly as the Marly Horses. Or...

A 19th century French very well cast Allegorical Bronze of Music and Poetry After Guillaume Coustou II.

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...