Victorian Figurative Sculptures

On offer is a 19th-century Italian Orientalist alabaster bust of a woman with a serene, downcast gaze, a coin necklace, fringed headscarf, and carved roses at the base. Likely modele...

Melanie Sherman Vintage Moth I (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches Sig...

Well modeled 19th century French bronze of a standing naked woman. Signed Cartinet, this piece is a wonderful example of the skill of a Sculptor. The piece retains all its origina...

Whimsical 19th century Italian hand decorated glazed earthenware centerpiece crafted in a fantasy composition with seashells and mermaids.

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chapu (1833-1891) and Marius Jean Antonin Mercié (1845-1916). Dalou was hugely influential and was a founding member of the Société des Artistes Français and later a founder of the Société Nationale des Beaux-Arts. He was officially rewarded with the highest rank of the Légion d'Honneur two years before his death, with the inauguration of the Triumph of the Republic, in 1899. He started his artistic training in 1852 at the Petite Ecole after being encouraged to do so by Jean-Baptiste Carpeaux, where he studied drawing and modelling. Carpeaux continued to support Dalou throughout his career and influenced his sculpture greatly. Dalou began employment in the field of decorative sculpture working for two companies in Paris, Lefèvre and Favière goldsmiths. During this time he contributed towards the architectural features of Hôtel de la Païva, the then home of the infamous French courtesan Esther Lachmann known as La Païva. Dalou's unique approach lay in his broad range of subject, painterly and sculptural source material, though which he absorbed an impressive spectrum of inspiration. The work of an eighteenth-century sculptor, Louis-François Roubiliac, played a significant role in Dalou's artistic development, whose sculptures he studied whilst in London. Dalou's work includes friezes, maquettes, reliefs, and individual bronze figures. He is known for Baroque-inspired allegorical group compositions, as much as for his depictions of the French rural labouring classes. Dalou encouraged students of art to free themselves from the constraints of established traditions, with his style and teachings thought to have awakened a new generation of young British sculptors whose work was later aligned to the New Sculpture movement. Dalou’s first public commission in England was to create a large public fountain which still sits behind the Royal Exchange in London entitled Charity, featuring a mother and two children. This maquette is an early sketch, modelled in 1877. During his time in Britain, Dalou’s artistic focus shifted to increasingly domestic scenes that celebrated mothers and children of all social backgrounds. During a time when the Industrial Revolution was making life increasingly frenzied, more pastoral, idealised visions of a simpler life became an increasingly popular escape. It is thought that the shrinking of Dalou’s social circle during his exile to encompass his family and close friends prompted him to focus more on intimate family scenes such as this one. In Charity the mother and her children are fused together in their embrace. Dalou creates a sense of intimacy by focusing the mother’s gaze away from the viewer - the trio are entirely in their own world. Charity’s intended position at one of the city’s key financial centres would have acted as a provocative reminder of what Dalou considered the responsibilities owed to the poor of London by the ruling elite, as aligned with his socialist leanings. Provenance: Alfred Drury...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Melanie Sherman Vintage Moth II (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches Si...

Amusing true pair of 19th century English Staffordshire porcelain poodle figures hand decorated and featuring a confetti coat.

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Franz Xavier Bergman Austrian, (1861-1936) Whirling Dervish Bronze, cold painted, signed 'B' in a vase Height: 6¾ inches Width: 2 inches Depth: 2 inch...

Alfred Drury's (1856-1944) body of work locates him as a leading figure in the New Sculpture movement, yet his position as an innovator and conduit betwee...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Standout 19th century majolica pedestal handcrafted in terra cotta. In an orientalist theme with a woman and an ostrich under a palm tree, decorated and glazed. Signed G & S 1847 on ...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chapu (1833-1891) and Marius Jean Antonin Mercié (1845-1916). Dalou was hugely influential and was a founding member of the Société des Artistes Français and later a founder of the Société Nationale des Beaux-Arts. He was officially rewarded with the highest rank of the Légion d'Honneur two years before his death, with the inauguration of the Triumph of the Republic, in 1899. He started his artistic training in 1852 at the Petite Ecole after being encouraged to do so by Jean-Baptiste Carpeaux, where he studied drawing and modelling. Carpeaux continued to support Dalou throughout his career and influenced his sculpture greatly. Dalou began employment in the field of decorative sculpture working for two companies in Paris, Lefèvre and Favière goldsmiths. During this time he contributed towards the architectural features of Hôtel de la Païva, the then home of the infamous French courtesan Esther Lachmann known as La Païva. Dalou's unique approach lay in his broad range of subject, painterly and sculptural source material, though which he absorbed an impressive spectrum of inspiration. The work of an eighteenth-century sculptor, Louis-François Roubiliac, played a significant role in Dalou's artistic development, whose sculptures he studied whilst in London. Dalou's work includes friezes, maquettes, reliefs, and individual bronze figures. He is known for Baroque-inspired allegorical group compositions, as much as for his depictions of the French rural labouring classes. Dalou encouraged students of art to free themselves from the constraints of established traditions, with his style and teachings thought to have awakened a new generation of young British sculptors whose work was later aligned to the New Sculpture movement. This rough plaster model was kept in the studio of Alfred Drury...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Alfred Gilbert (1854–1934) was probably the greatest and best known sculptor in pre-20th century British art. Works such as The Shaftesbury Memorial (Eros) located at the southeaster...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Fine pair of 19th century Austrian bronze figural sculptures, a male and female in classic Bedouin attire and active stance, both cold paint and gilt decorated now with a charming ti...

Unusual 19th century English Staffordshire musical figures crafted in porcelain and hand decorated depicting a female figure with an accordion and a male with a barrel piano.

Leonard Wells Volk was a famous American sculptor. He went to posterity after making one of only two life masks of United States President Abraham Lincoln. I...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

This statue is of Prince Albert Edward, eldest son of Queen Victoria, Prince of Wales, future King Edward VII (1841-1910) dressed in a sailor suit. After a very popular painting of the young prince done in 1846 by Franz Xaver Winterhalter (1805-73) that is in the collection of the British Royal Family.

Albert-Ernest Carrier-Belleuse (French, 1824-1887) "Leda and the Swan" c .1858 Bronze w/Gold Patina 18 x 24 x 14 Signed "A. Carrier" Based upon a c...