19th Century Figurative Sculptures

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 (...

Vincent Desire Faure de Brousse (French, 1876-1908) "Mephistopheles and Monkey" Patinated Bronze Sculpture, late 19th century, the standing figure in Renaissance costume and accompan...

Walking deer N.2 by Antoine-Louis BARYE (1796-1875) Bronze with a dark greenish brown patina signed on the base "Barye" old cast probably by Brame France circa 1880 height 16,4 cm...

Eutrope Bouret (French, 1833-1906) "Sans Famille" [Without Family] Patinated Bronze Sculpture, late 19th century, the standing musician carrying a harp, on a rockwork base, signed, a...

PIETRO BARZANTI Italian, 1825-1895 Allegory Of Spring Signed ‘P. Milanes/Galleria/P.Bazzanti/Florence.’ Carved White Italian marble circa 19TH C...

Hunting mare strapped by a lad by Arthur Marie Gabriel comte du Passage (1838-1909) A rare bronze group with nuanced dark brown patina Signed on the base "A. du Passage" Period cast...

ARISTIDE PETRILLI Italian, (1868-1930) Flora (Allegory of Spring) Signed Prof Pedrilli; Galleria Bazzanti Firenze 49 inches high (Statue); 32 3/4 x 19 1/4 inches (Pedestal) Notes: Finely carved Italian carrara marble of a nude beauty signed Prof Petrilli...

Superbly carved white statuary Carrara marble bust of Flora, the goddess of flowers. Flora was often associated with the coming of spring and th...

Jean-Léon Gérôme (1824-1904) A Rare Antique gilt bronze bust of Jesus French Signed J.L. Gerome  Siot-Decauville Paris foundry mark 23”H x 16"W x 10" D

This exquisite patinated bronze group, "Duo Difficile," is the work of French sculptor Adrien Étienne Gaudez (1845-1902). Circa 1880, the sculpture showcases Gaudez's exceptional abi...

ITALIAN MARBLE FIGURE OF A GRIFFIN Italy, early 19th Century marble 87 x 54 x 20 cm 34 1/4 x 21 1/4 x 7 3/4 in

Diana with an arrow by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with a dual light and dark brown patina signed on the base "Carrier-Belleuse" inscribed on a front plaque "Diane à la Flèche par Carrier-Belleuse (Sculptr)" France circa 1870 height 83 cm arrow added probably in the 20th c. 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...

Antique Horse Bronze Portrait of a Trotting Stallion Isidore Jules Bonheur (France, 1827-1901) Cast bronze mounted on a rectangular plinth with dark brown patina, Signed: I. BONHEUR 17 x 11 3/4 A brilliant exploration of a stallion in full trot. The patina is a deep, warm walnut brown with honey-colored tones. Isidore Bonheur was best known and the most distinguished of the 19th century French animalier sculptors. Isidore, the younger brother of Rosa Bonheur and older brother of Auguste, began his studies of painting initially with his father, who was friends with Francisco Goya. By 1848 he debuted at the Paris Salon having discontinued animal and landscape painting to concentrate on creating sculptures and in 1849, Bonheur enrolled at the Ecole des Beaux Arts. He won medals at the Paris Salon in 1859 and did so again in 1865 and in 1869. After entering the Exposition Universelle 1855, he won the Gold Medal in 1889. In the 1870s exhibited in the London at the Royal Academy of Arts where he earned great prestige and won the coveted Medaille d’Or. After winning numerous other medals and prizes, Bonheur was awarded the Legion d' Honneur in 1895 and he was Knighted in Portugal, Spain and France. Bonheur continued exhibiting at the Paris Salon until 1899. Many of his bronzes were fabricated at the foundry owned by Hippolyte Peyrol, Bonheur's brother-in-law by marriage to Isidore’s youngest sister Juliette Bonheur. The Peyrol casts for both Rosa and Isidore are exceptionally well executed which suggests a strong working relationship between the founder and sculptor. There is little doubt that Isidore Bonheur was an acute observer of nature; his animals were not anthropomorphized but modelled to catch movement or posture characteristics of the particular species he was sculpting. He achieved this most successfully with his sculptures of horses which are usually depicted as relaxed rather than spirited. These figures are among his most renowned works and his equestrian models became very popular, particularly among the British aristocracy. An acute observer of nature, his sculptures reflect his commitment to the Realist school - with precise detailing of the movements of animals in their natural habitats. Ultimately, His naturalistic studies of animals are now some of the most highly sought after works by any of the animalier. He was possibly inspired by his many visits to the Buffalo Bill Wild West Show...

Antoine-Louis BARYE (1796-1875) Pair of Candlesticks Pair of neo-Greek candlesticks Bronze with a dark patina signed on the underside "Barye" Old cast France circa 1890 height 27 c...

Grand Tour Bronze Italian, (19th Century) Silenus Wrestling a Serpent Bronze, stamped with foundry mark for Sommer of Naples, C1880 Height: 26.25 inches (67cm) Width: 9.75 inches (25...

Monkey Match Holder by Christophe FRATIN (1801-1864) Bronze with nuanced brown patina Signed on the base "Fratin" Old edition cast France circa 1850 height 14,5 cm width 10 cm dep...

Half-blood Horse, head raised by Antoine-Louis BARYE (1796-1875) A bronze sculpture with a dark brown patina Signed on the base " Barye " Cast by " F. Barbedienne fondeur " (with th...

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...

Mounted as lamps and cast by Ferdinand Barbedienne after models by Alexandre Falguiere and Paul Dubois. Both statues are signed on the bases. These fine torchères are reductions of...

Signed 'E. Picault' inscribed and titled ‘Reveil de la Nature’ on self-base Artist: Emile Louis Picault (1833–1915) Origin: French Date: Late 19th century Dimension: 34 1/2 x 17 inc...

HIPPOLYTE FRANÇOIS MOREAU French, (1832-1927) ‘Eaves Dropping’ and ‘Consolation’ Patinated bronze; signed ‘Moreau’ 25 x 11 inches

Bear standing by Antoine-Louis Barye (1796-1875) Rare bronze sculpture with a nuanced dark brown patina Probably cast by Brame (old edition) France circa 1880-1890 height 24 cm A ...

Paul Eugene Mengin (French, 1853-1937) A female figural bronze statue of a soprano mandolin player. Rendered beautifully, the soft folds and drapes of her clothing and hair are cri...

Franz Xavier Bergman Austrian (1861-1936) Bronze, signed ‘Nam Greb’ & ‘B’ in a vase. Height: 13½ inches Width: 7¾ inches Rare, large sized version of ‘Windy Day...

Bear carrying a basket, with a dog Match holder by Christophe FRATIN (1801-1864) Cast in bronze with a dark brown patina Signed to the front of the base "Fratin" Old edition cast F...

A beauty sits on a rock, pouring water from a jug onto the rock beside her. Two birds play in the water as it cascades down the rock. The woman wears a crown of foliage and a piece o...

ALBERT ERNEST CARRIER BELLEUSE French, (1824-1887) Silvered Figural Bacchante Torcheres on Pedestal Silvered and Gilt bronze; one figure inscribed ...

Dubucand Alfred 1828-1894 Two Hunting Dogs, Bronze on a Marble Base The bronze with the monogram 'E.V.' and the number '2958' Two Hunting Dogs, Group Signed Alfred Dubucand, Fren...

L. TOLDUCCI (ITALIAN SCHOOL) 19th Century La Lezione Di Lettura Finely Carved Italian Carrara Marble Sculpture of a Girl Reading. S...

Encounter the resonant blend of motion and music in 'The Nomadic Virtuoso,' a captivating painted metal sculpture by Arthur Waagen. This art piece from the late 19th century depicts ...

Small bronze ornament - Bust of a woman. Italy, early 19th century. 8 x 8 x h 29 cm, without base h 23 cm. Made entirely of patinated and gilded bronze. Depicting a female figure i...

Grand Tour Marble Bust of a Young Apollo (Late 19th Century) Marble bust on a swivel marble base Unsigned 24 ½" high x 21" wide x 9 1/2 " deep...

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...

La Rieuse napolitaine (The Laughing Neapolitan Woman) by Jean-Baptiste CARPEAUX (1827-1875) Bust in terra cotta, in "Propriété Carpeaux" Signed on the side " JBte Carpeaux " Marked...

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...

WILLIAM-ADOLPHE BOUGUEREAU (French, 1825-1905) Signed ‘W. Bouguereau & A. Itasse’ Circa 1887 30 in. x 14 in. x 13 1/2 in. Notes: A magnificent French patinated bronze sculpture of cupid and psyche is entitled "L' Amour Vainqueur". The bronze is mounted upon a revolving rouge marble plinth adorned with bronze decorations & an enamel face key wind clock...

Marble-based bronze statuette depicting Cupid, holding an arrow in his hand, walking caressing a lion's mane, lowered in the act of affectionately licking his little foot. The subjec...

Nice, 19th-century gilt bronze cast by Emile Francois Carlier Exhibited: Salon, Société des Artistes Français, Paris, 1865 (another cast) Salon, Société des Artistes Français, Pari...

Louis-Ernest Barrias (1841-1905) "The Hunt. Impressive bronze sculpture with brown patina, 98 cm tall. Signature "E. Barrias" on the rock; "F. Barbedienne fondeur Paris" and mechanic...

A late 19th century bronze of a hound, seated on a naturalistic base, after Prince Paul Troubetzkoy. Incised to base 'Paolo Troubetzkoy 1893', with a dark brown patina. Born in 1866...

French Bronze high shine Orientalist Bust of Young Turkish Woman in Traditional Dress. Common for Orientalism, the bust is rendered in such high detail it feels as though the young woman sits before you. The gorgeous modeling showcases multiple textures and patterns throughout the piece, from the softness of her skin, the string of tassels across her brow, and the dynamic drapery of her scarves, to the hard chains with flat, disc-like links and two cloak pins...

JEAN-BAPTISTE CLÉSINGER (French, 1814-1883) SAPPHO AND HÉLÈNE 19th Century A Fine Quality Pair of Patinated Bronze Statues Depicting Sappho and Hélène Inscribed ‘J. CLESINGER.; F...

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...

Pair of 19' century Italian Marble imitation painted Terracotta . Bust of Emperor Caracalla and Cicero . Measurements : cm 71 H x 60 Available also a pair marble imitation colum...

ITALIAN NEOCLASSICAL MARBLE BAS-RELIEF PLAQUE Italy, 19th Century marble 22 x 29.5 cm 8 3/4 x 11 1/2 in

Eugène Marioton (1857 - 1933) was a French sculptor, medalist, and pupil of Jean-Marie Bonnassieux.

EDMOND LOUIS AUGUSTE LEVÈQUE French, (1814 - 1875) Les Deux Esclaves Gilt bronze, signed Leveque 30 x 14 1/2 inches

White marble sculpture - The Kiss. ​​19th century. 15 x 20 x h 20 cm including base, 12 x 17 x h 18 cm excluding base. Entirely in white marble, some small breaks and repairs. - ...

After Francois Christophe Armand Toussaint (French, 1806-1862) "Dancing Indian" Patinated Bronze Sculpture, circa 1880, cast by Graux-Marly Freres Foundry, on a circular base inscrib...

A. BATACCHI Italian, (XIX-XX) Nymph Italian Carrara marble. H 10.50 in. x W 17 in. x D 31.50 in. Signed A. Battachi, Florence in verso. Note: Batacchi was active in Flore...

Agathon Leonard (French, 1841 - 1923) Art Nouveau Silvered Bronze A French Art Nouveau gilt bronze sculpture, "Marguerite", by Agathon Léonard of Margeruite, placing a flower in her...

MATHURIN MOREAU French, (1822-1914) Silvered Bronze Figure of Psyche Silvered bronze; Signed ‘Moreau Mathurin’ 30 3/8 x 15 x 13 inches

Ferdinand Barbedienne (Saint-Martin-de-Fresnay 1810 – 1892 Paris) after Lorenzo Ghiberti (Florence, 1378 – 1455) Signed at the lower right of the principal relief: F. BARBEDIENNE Provenance: Private Collection, USA. Barbedienne’s “Gates of Paradise” reliefs are one of the triumphs of nineteenth-century bronze casting and patination. The nine panels that comprise our example are half-size reductions of the famous originals by Lorenzo Ghiberti, made for the Baptistery of Florence and now housed in the Museo del Opera del Duomo. Mounted in an impressive, mullioned frame surround, our work is an exceptional exemplar of the Renaissance Revival, the broadly influential style and movement that infused architecture, design, and artistic culture in the latter half of the nineteenth century. The central scene, The Story of Joseph, is perhaps the most celebrated of the entire series depicting as it does seven episodes from the Biblical narrative integrated into a single composition: Joseph cast by his brethren into the well, Joseph sold to the merchants, the merchants delivering Joseph to the pharaoh, Joseph interpreting the pharaoh’s dream, the pharaoh paying him honor, Jacob sending his sons to Egypt, and Joseph recognizes his brothers and returns home. The surrounding reliefs—two vertical figures in niches, two recumbent figures, and four portrait heads in roundels—are as well faithful reductions of Ghiberti’s original bronzes on other parts of the doors. The maker of these casts was the renowned 19th-century French fondeur Ferdinand Barbedienne. Gary Radke has recently written of this great enterprise: “The Parisian bronze caster Ferdinand Barbedienne began making half-sized copies of ancient and Renaissance sculpture in the 1830s. His firm benefitted enormously from the collaboration of Achille Collas, whom Meredith Shedd has shown was one of numerous pioneers in the mechanical reproduction of sculpture. Their competitors largely devoted themselves to reproducing relief sculpture, but Collas devised a process for creating fully three-dimensional copies. A tracing needle, powered by a treadle, moved over the surface of a full-sized plaster cast or bronze of the original and triggered a complementary action in a cutting stylus set over a soft plaster blank…He signed an exclusive contract with Barbedienne on November 29, 1838, and won medals for his inventions in 1839 and 1844. Barbedienne’s half-sized copies of the Gates of Paradise were famous not only for their fidelity to the original, but also for the way their gilding…suggested the glimmering surface that was hidden under centuries of dirt. Some critics even saw Collas’s and Barbedienne’s work as ‘philanthropic, an exemplary adaptation of industry to the requirements of art, the artist, the workers, and the public alike.’ At 25,000 francs, Collas’s and Barbedienne’s reduction of the Gates of Paradise was singularly more expensive than any other item for sale in their shop. All the reliefs, individual statuettes, and busts were cast separately and could be purchased either by the piece or as an ensemble. Fittingly, Barbedienne’s accomplishment earned him the Grand Prix at the 1878 Paris Exposition Universelle, along with numerous other medals.” Three complete examples of the Barbedienne-Ghiberti doors are known. One, first installed in a chapel in the Villa Demidoff of San Donato near Pratolino, was later acquired by William Vanderbilt...

John Edward Jones (Irish – 1806-1862) “Portrait of Lady Lucy Henderson” Signed and dated London 1858, and inscribed, “Lucy Henderson, Nee Durham” 28 ½” high x 20 ½” wide x 11” deep Provenance: Collection Saratoga Springs, NY About John Edward Jones was born in Dublin on May 2nd, 1806. He was the son of a miniature painter Edward Jones. He was trained as an engineer under Alexander Nimmo and worked with him on many important works in Ireland, including the building of the bridge at Waterford between 1829 in 1832, of which he was in charge. A taste and an aptitude for sculpture induced him to relinquish his prospects as an engineer and he commenced practice in London as a sculptor. He achieved considerable success, especially in portrait busts, and was employed by many notable persons of the time. He first exhibited at the Royal Academy in 1844 and continue to do so until his death. He executed a considerable number of bust of Irish personages. He paid occasional visits to Dublin where he contributed to the Royal Hibernian Academy in 1847, 1852,1853 and 1854. A full-length statue by him of Sir Robert...

Female figural bronze by Etienne Henry Dumaige (1830-1888) of Psyche with lit Oil Lamp, perched on a stump. Her gaze is incredibly striking, commanding the eye of the viewer. The lam...

Edwin Willard Deming (American, 1860-1942) Man with Flute and Cougar Cast bronze sculpture with golden brown patina Signed, numbered 9/100, with Fenn F...

Image of Jules Moigniez Bronze Sculpture of a Pointer and Pheasant, 19th Century Jules Moigniez Bronze Sculpture of a Pointer and Pheasant, circ...

Bust of an Oriental woman by Emile GUILLEMIN (1841-1907) Orientalist bronze sculpture with triple patina, gilded, dark reddish brown and silvered. France circa 1880 total height 63 ...

A Fine Quality Polychrome-Patinated Bronze Bust of an Orientalist Princess. The Princess wears a luxurious gold and silver brocade vest, with patinas that skillfully imitate gold an...

ÉMILE CORIOLAN HIPPOLYTE GUILLEMIN French, (1841-1907) Pair of Female Gypsies Both signed ‘Ele Guillemin’. 22 1/2 ...