Neoclassical Sculptures

A handsome and high quality French Turn of the Century Neo-Classical st. Ormolu and Onyx statue of Aquarius, signed Antonin Carlès, Paris 1903. This handsome statue is raised on an oval Onyx base which follows the contours of the Ormolu statue...

A beautifully carved antique statuary Carrara marble statue of Adonis. The male figure is depicted in the nude leaning against a tree. Adonis was the mortal lover of the goddess Aph...

A striking and high quality pair of Continental 19th century neo-classical st. patinated bronze and Rouge Griotte marble statues, signed J. Feiffer. Each statue is raised by a fine t...

On a round base stands the figure of the God of Love, Cupid. The sculpture in bronze, with the iconographic attributes corresponding to this figure in classical mythology, was made b...

Marble sculpture (bust of a child) F. Gerth Origin Italy, Rome circa 1900 perfect condition without restorations Artist: F. Gerth.

American 1940s bronze green patina bust of a gentleman wearing a jacket and tie raised on a square plinth

This nice and decorative pair of herons is made of silvered bronze. This is a French work, in the style of the famous Maison Bagués, circa 1940.

This refined modernist neoclassical sculpture was realized in Germany. The piece depicts a bacchanal featuring Greek goddesses; young cherubic children; and even a bear, executed in ...

Psyche revived by Cupid’s kiss. After Canova. Beautifully carved in fine statuary marble. The winged young man who has just landed on a rock where a ...

A 20th Century Italian white marble bust of a smiling girl, a carved Carrara marble figural sculpture, signed on the base by the Italian artist Aurelio Bossi, 1884-1948, whose sculptures are displayed at Pinacoteca di Brera in Milan, whereas at the Duomo Milan Cathedral there is his Statue of Cardinal Borromeo, while two busts adorn the facade of the chapel of the Niguarda Hospital. This antique female...

Exotic carved teak sculpture. The sentinel with his sword drawn. 19th century architectural artifact.

An exceptional French 19th century neo-classical st. ormolu and black Belgian marble statue of Cupid offering a rose to the Psyche. The statue is raised by an impressive black Belgia...

Pair of fine porcelains (couple dignitaries) circa 18th century origin Europe possible restoration in your hand (old) one of them has the letters L.G...

Antique Patinated Bronze Sculpture of Diana by Ferdinand Barbedienne French, late 19th Century Dimensions: Height 60cm, width 22cm, depth 22cm This...

Lucite piano and hands sculpture, circa 1980s. Similar style to Eugene Brignola exquisite details. Measures: 8” long, 8” tall, 1.5” wide signed by artist...

19th Century polychromed terracotta pair of Angels. The pedestals shown in the photos are not included. Measurements: Angels figure: 69 cm (23,6...

A pair of porcelain allegorical figures of neoclassical style ladies, on scroll-molded bases by Aelteste Volkstedter Porzellanfabrik Triebner & Co....

Carved marble fragment from a bust of a young boy, 20th century, his face depicted with a happy smile, unsigned, with associated white marble base. Mea...

Couple of children. Polychrome pine wood, Century XVIII. Pair of polychrome pine wood carvings that represent two children in an attitude of playing a musical wind instrument, both seated, with their hands towards their faces, and slightly raising one leg to add some movement to a posture that, otherwise, it would be perhaps too static. Due to their postures and attitudes, they would be part of a large and quality altarpiece, judging by the size, the details, the hair, the proportions, etc., elements in which the musical angels were not something strange. Note that those present do not have wings, calling themselves in these cases "putti" and being, in the same way, figures of habitual presence in religious environments despite having emerged from Renaissance classicism and its sources from Antiquity. The proportions of the sizes, the anatomy, the symmetry, the certain plasticism of the hair, etc. are elements that speak of an influence of Neoclassicism in these sculptures. Likewise, a certain resemblance to works from the 18th century of the Castilian school can be appreciated." Size: 22 x 42 x 85 cms / c/peanas 37 x 37 x 180 cm. Weight is merely orientative. Bases and wooden instruments...

Great Thorwaldsen bust. Marble figure of the sculptor Thorwaldsen Extremely expressive characterization, which, in an extraordinary detail, also reflects the facial expressions of hi...

A pair of very finely carved 19th century alabaster figures of muses, in classical dress, each standing on circular pedestals intricately carved with flowers and beading, Italian, c....

This is an assembled pair of very early 19th century English Staffordshire Pearlware Obelisks that have been fitted as lamps. Minor restorations have been made to the obelisks over t...

Circular top and tapered fluted tapered faux marble column with swag, square base. Ex collection William Hodgins Interior Designer.

Neoclassical cast stone equestrian statue circa 1950.

Nice sculpture by Austin Production, in plaster stamped 1969.

19th century biscuit porcelain figurine featuring a young woman holding a bunch of flowers in her skirt. This figurine is representative of ...

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

Carved marble figure of a draped woman and urn as a clock --Moving and rare --Ex Collection at Boscobel, Boscobel is an estate overlooking the Hudson River built in the early ...

Pair of cast bronze lions, France, late 19th century.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). In terracotta with black marble medallion centered by a white marble profile...

A charming pair of patinated bronze infants cast in the 19th century. One of the babies is happy, while the other one is crying, perhaps corresponding to an 18th century poem by Vota...

French Neo-Classic (19th Cent) silver plated bronze figure of classic Greek woman on steps (signed ALBINET & COULON/ AIZELIN, sculp.)

Attractive pair of Italian neoclassical style parcel-gilt and patinated bronze opposing figures of artistic maidens surmounted by moulded glass shades made into lamps, all standing o...

Bronze sculpture with marble base. Signed Comolera. France, late 19th century.

An mid-20th century bust of a woman on a wooden base. Signed with on brass sign "M.Rossie".

A vintage cast iron doorstop showing a geranium plant set inside a woven checkered flower pot on an iron plinth. Retaining the original painted finish. Beautiful patina. Circa 1930 ...

A vintage Hubley cast iron doorstop showing a bouquet of yellow and pink roses along with blue and pink colored phlox, held by a pink, handled...

Neoclassical marble sculpture bust after Joseph Chinard French, late 19th century Measures: Height 65cm, width 34cm, depth 55cm Portraying Madame R...

Pair of Italian gilt carved wood, gesso, and painted hanging wall cherubs . Early 19th Century.

This composition bust of a classical figure has been enhanced by the modern application of shells, circa 21st century.

Large marble sculpture of an amorous couple by Antonio Frilli Italian, late 19th century Measures: Height 130cm, width 68cm, depth 46cm Thi...

A magnificent Carrara marble bust of Ajax. Exquisite rendering of the Greek hero featuring elaborate helmet. On an associated square base. After Gian Lorenzo Bernini...

German brass figure of General Bruchner standing with hand on hip on square shaped pedestal base (19th Cent)

An extremely well carved pair of Statuary Carrara marble busts on marble pedestals, by important sculptor Odoardo Fantacchiotti.  Odoardo Fantacchiotti (11 May 1811–4 June 1877) was an Italian sculptor of the late-Neoclassic period. He was born in Rome, but his family moved to Florence. In 1820, he enrolled in the Accademia di Belle Arti di Firenze. At the Academy, he studied under S. Ricci, and first started exhibiting in 1828. Gaining the patronage of the Grand Duke, he continued his studies, following the ideas of Aristodemo Costoli of depicting the "bello naturale". In 1839 at the Academy, he exhibited the work of the Massacre of the Innocents. In 1840 he was named professor at the Academy. Among his public works are the statue of Boccaacio and dell'Accorso for the ground floor niches of the courtyard of the Uffizi, medallions commemorating Francesco Redi and the bust of Ferdinando II de Medici for the Museo della Specola, a statue of Sallustio Bandini (now at the Accademia dei Georgeofili, but initially planned for the loggia of the Uffizi. A marble Virgin...

A fine quality 19th century bronze group, depicting three children playing with a Lioness. Measures: 14"(35cm) Signed: Victor Paillard Victor Paillard was one of the most highly ...

Carrara marble sculpture "Ariadne on the Panther" signed A. Frilli, Firenze, Italy, circa 1890. Dimensions green marble pedestal: 114 cm.

This Italian Neoclassical white marble sculpture is signed by the Neopolitan artist Giacomo Cali. The sculpture is of Aristedes (530–468 BC), the ancient Athenian statesman and general in the Greco-Persian Wars...

Lost wax casting. Marble base. The god of love is distinguished from classical mythology by the quiver of arrows on its back and by the wings that are butterfly instead of feathered...

A Napoleon III bronze figure of Diana after the antique, showing the goddess of hunting bearing the fragment of a bow with a quiver at her waist. The base bearing the stamp for the B...

Neoclassical style marble female bust after Joseph Chinard French, late 19th century Measures: Height 63cm, width 33cm, depth 20cm Portraying Madam...

A fabulously hand carved antique neoclassical style Italian Carrara marble bust of Daphne. This bust is of immaculate quality and craftsmanship. Daphne's hair is beautifully hand car...

A very fine bust of a classical lady on wooden base signed Cognel. Dated 1884 Dimensions: Height 26.5", width 19.5", depth 13". CW4125.

A very fine and larger-than-life and very realistic museum quality patinated bronze bust of President William H. Taft (1857–1930) by Frederick Ernst Triebel (American, 1865-1944) cast by Nelli Foundry in Rome, Italy. William H. Taft, the 27th President of the United States and Jurist, is depicted with his renown thick mustache and wearing a bow tie, vest and coat. Inscribed on the back: F.E. Triebel. Sculp and Fond. Nelli, Roma, circa first quarter 20th century. Due to its size, subject and high quality, this bust was probably commissioned for a Museum or public exhibition, such as an embassy or government building, the same way as other similar works by the sculptor. The Roman foundry operated by the Nelli family during the last quarter of the 19th century cast works for many leading sculptors of the day, including Alfred Gilbert and Anton van Wouw...

A fine quality late 19th century French marble statue of a classical female nude reclining on a tigers skin and bronze daybed. Signed: G Gomlags.

18th Century, Italian Bronze Sculpture with Venus Removing Her Sandal This bronze sculpture represents Venus as she takes off her sandal. Made in the neoclassical era in Italy, it consists of the bronze sculpture of the Greek goddess Aphrodite, Venus for the Romans. The naked goddess, getting ready for the bath, makes the very human gesture of loosing a sandal. The left arm is raised, as if to compensate the position while maintaining the balance. Next to her, wrapped around a rocky spur, is a dolphin, an animal iconographically linked to the goddess because of his birth from the foam of the sea. The figure rests on a cylindrical and concave bronze base, with finely chiselled reserves. The bronze element is in turn resting on a africano marble cylinder with black of Belgium marble base. Venus is one of the major Roman goddesses primarily associated with eros and beauty. It is traditionally understood as the equivalent of the Greek goddess Aphrodite, goddess of beauty, physical and passionate love, among the major deities of Olympus. His birth is due to a dramatic event: Uranus, Heaven, is mutilated by his son Cronus, who punishes him for the wrongs inflicted on his mother. The torn limbs of Uranus fall into the sea and fertilize the foam of the waves of the island of Cyprus. From the waves emerges in all its splendor Aphrodite. Since the 4th century, Aphrodite begins to be represented with characters more human and less heroic. Praxiteles with the 'Aphrodite Cnidia,' for the first time in the history of sculpture, depicts her naked, as she prepares to take a ritual bath. From the Pressitele’s model descend the Capitoline Venus (Capitoline Museums of Rome) and the Venus de’ Medici (Uffizi Museum of Florence) accompanied by Eros on the back of a dolphin. This vein also includes a subject frequently attested in the Hellenistic and then Roman Ages, with examples in bronze, marble and terracotta: the Aphrodite who fastens the sandal. The luck that this type of representation had in the following centuries is demonstrated by the vast number of sculptures that represent it. In this bronze work the goddess resumes the position of Oplontis’s Naked Venus: here Venus holds an apple in her left hand, a reminder of her victory in the beauty contest in which she prevailed over Minerva and Juno by judgment of Paris. In our bronze instead, the hand seems to want to shake the apple, which however has not been molded. Perhaps the bronze is inspired by another work, such as the bronzes kept in the archaeological museum of Padua. Another example is the famous 'Venus in bikini" found in Pompeii, so-called because it depicts the goddess in the same pose, but with the breasts and hips covered by bands painted in gold. The dolphin depicted next to it could be inspired instead to the Medici Venus...

Large pair of patinated and gilt bronze Atlas figures French, 20th century Figure with globe: Height 135cm, diameter 46cm Figure with armillary sphere:...

A, near life-size, 19th century French cast iron statue depicting the Venus de Medici. This statue is a high quality cast after the antique marble Ven...

A vintage Hubley cast iron doorstop showing a bouquet of lilacs and daisies set inside a woven basket with a top bow. The basket sits on a hea...