1880s Figurative Sculptures

A fine & very large antique Orientalist bronze of an Arab/North African, by the French sculptors Eugene Blot (1830-1899) & Anatole-Jean-Guillot (1865-1911). The sculpture dating circ...

Turkish Horse Antoine-Louis BARYE (1796-1875) "Cheval turc, antérieur gauche levé, terrasse carrée" Bronze with nuanced dark brown patina signed "Barye" on the base cast by "F. Barb...

Equestrian Joan of Arc by Emmanuel Fremiet (1824-1910) A very fine bronze equestrian group with a dual dark brown and gilded patina signed "E. Fremiet" on the base old edition cast...

Frederick W. MacMonnies (American, 1863-1937) Pan of Rohallion, 1889-90 (Garden 22) Bronze Signed on base, 'ROMAN BRONZE WORKS NY' at base 14.25 x 4 x 6 inches A sculptor of classical figures, American-born Frederick MacMonnies...

Late 19th century French finely carved white Carrara marble figure of Bathing Venus . The marble base is not included in the price. AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (FRENCH, 1710-1795): A 19TH CENTURY MARBLE FIGURE...

"Cheval turc, antérieur gauche levé, terrasse carrée" A very fine bronze sculpture with a nuanced dark brown patina Cast by BARBEDIENNE, with Gold stamp height 18,1 cm length of the base 19 cm The Gold Stamp (mark highly sought after by collectors) was affixed by Ferdinand Barbedienne between 1876 and 1889. This is the medium size of the "Turkish Horse", which we also offer in small size (height 12.5 cm) and large size (height 29 cm). A similar model is reproduced in "The Barye Bronzes", Stuart Pivar, England, 1974, p.206. Biography : Antoine-Louis Barye (1796-1875) was a French sculptor, known for his animal sculptures. His sketch practice done in the wild, according to the animals of the Jardin des Plantes in Paris, led him gradually to also practice painting. Placed early in Fourier, an engraver on steel manufacturing metal parts for the uniforms of the Great Army, he learned all areas of metal processing and became a peerless worker. He entered the Ecole des Beaux-Arts in Paris in 1818, where he received classical training in the workshop of the sculptor François Joseph Bosio and the painter Antoine-Jean Gros. He graduated in 1820, the second prize for sculpture in Rome for his "Cain cursed by God" .It was in 1831 that Barye became known to the public exhibiting then his "Tiger devouring a Crocodile", tormented and expressive work, which ranked as soon as the first Romantic sculptor, and causing admiration criticism. He now produced numerous masterpieces, often of small dimensions, that will enrich the collections of fans...

Cheval marchant au pas relevé is one of the artist’s most elegant and exacting models of a horse. It underscores Degas’s deep understanding of equine anatomy and his ability to render it with lightness and charm. Known for his focus on contemporary subjects, Degas first began depicting horses in the 1860s. As a member of the prestigious Jockey Club in Paris, Degas was a habitué of the racecourses at Deauville and Longchamps, where he could study the beauty of thoroughbred horses at close quarters. Although the artist was not an active participant himself, equestrian sports fascinated Degas throughout his life, as it allowed him to capture the full range of the horse’s movement in a wealth of poses. Bronze with dark brown patina bearing the stamp of the signature "Degas", numbered IV/IX and dated 1998. Posthumous lost wax casting as of 1998. Stamp of Valsuani. The work is a sought-after rarity in terms of Degas’ sculptures. This bronze is distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these bronzes are second generation, they are smaller and far less detailed than the current bronze. This example, however, was cast by Valsuani from a plaster that was taken directly from Degas’ waxes, according to scholarship by the art historian Dr. Gregory Hedberg. These plasters were created by Degas’ sculptor friend Albert Bartholomé shortly after Degas completed his wax figurines. Thus, they record the earliest versions of Degas’ wax sculptures, before they were damaged by time or handling, and before Degas himself altered the works. The Hébrard bronzes...

19th Century French sculptor Vanet depicts the classic Mother and Child where the child is harmoniously nestled in the arms of the mother. It's executed in the Neoclassical style. ...

Bronze Horse Portrait with a Woman's Saddle Jules Moigniez (French, 1835-1894) Cast Bronze on green marble plinth Marked J. Moigniez Height of 11 ¾; length base 13 ¼; width 5 1/8 inc...

A marvelous bronze picturing the allegory of Jupiter and Hebe, a favorite theme in sculpture during the 19th century. Conceived of in 1886 and originally executed in marble, Coulon l...

A Large French Gilt Bronze & Marble Mantel Clock Depicting a woman on violin with cherubin. Napoleon III period .

Antique Bronze Sculpture, "Tête, étude pour le portrait de Madame S" by Edgar Degas (1834-1917), 1892. Original bronze female bust with brownish gold patina on stone base (cast 1919-37). With the incised signature and numbered 11/S, lower verso. Cast by A.A. Hébrard, Paris, with the foundry mark lower verso. This bronze was featured in the Swann Galleries March 13th 2018 catalogue, page 51. Published in Czestochowski and Pingeot, Degas Sculptures...