Metal Sculptures

This darling bronze of a group of Bacchic Putti playing with a Goat by Denière (1815-1901), takes inspiration from a figural statue by Claude Michel Clodion. The playful Allegory of ...

Akop GURDJAN (après)(1881-1948) Sitting Baboon Bronze Akop Gurdjan (1881-1948) Akop Gurdjan (also Hakob Gyurjyan) was born in Shusha (Nagorno Karabakh)...

Antoine-Louis Barye Dromadaire d'Algérie Circa. 1874 First offered in Barye's 1862 catalogue under the title Dromadaire d'Égypte, the present study became known as Dromadaire d'Alg...

Roman verdigris bronze oil lamp. Flying cranes with running Mercury. After the original found in Pompeii. This lamp base would originally have had small oil lamps...

ÉTIENNE HENRY DUMAIGE French, 1830-1888 Egyptian Princess Signed 'H. DUMAIGE' on the cloak. 23 1/2 x 13 1/2 x 9 inches A Fine Patinated Bronze Group D...

This Hay baler is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with dark brown patina c...

signed 'A. Rivalta' (on the base)

Pierre Jules Mene (1810-1879). Original cast circa 1850 Chien épagneul-griffon attrapant un canard (Spaniel-Griffon canine capturing a duck). Exceptional and large bronze grouping ...

This delightful cast bronze statue depicts Jean-Baptiste Poquelin (French, 1622-1673), known as Molière; a wonderful historical study that captures the playwright and actor as a carefree youth. Reclined in a worn out chair, and judging by the worn out covering and loose fringe and gimp this is likely the chair he is supposed to be upholstering.The young upholsterer's apprentice is spending his afternoon with a small book opened across his lap instead of his assigned task, and hasn't a care in the world, his tacking hammer held loosely in his hand as he is totally enveloped by the text. It captures Molière working for his father, who had purchased the post of valet de chambre ordinaire et tapissier du Roi, and was responsible for maintaining the carpets and upholstery of the furnishings for the King of France, a post that was often hereditary and that his father hoped to pass on to him one day. The sculpture offers a glimpse at Molière's chosen path, much to the chagrin of his father, leaving the world of upholstery unfinished and following the written word into a world of creativity. The modeling of the statue overall is superb. Gaudez is a true master of the genre scene in sculpture, and this this piece perfectly exemplifies his skilled capability to realistically model the human body in relaxed positions. Moreover, the modeling of the carved wooden chair legs, soft dangling tassels, individual book pages, and bunched fabrics is incredibly crisp, almost leading me to believe that we may be able to learn something about 19th century upholstery...

Hindu Birdcatcher A fine quality, a nineteenth-century bronze cast of the Hindu bird-catcher standing on an elephant skull and holding two birds in the air which are sitting on a bambu stick by Auguste De Wever (Belgian 1836-1910). Old cast probably by the Compagnie des Bronzes foundry signed...

Phryne by James Pradier 1790-1852 Beautiful bronze representing "Phryne" a very pretty courtesan of ancient Greece covered with his peplo. Susse frères stamp, signed on the terrace...

Antoine-Louis Barye (French, 1795-1875)Aigle - Ails Étendues, Bec Ouvert (An Eagle with Wings Extended and Open Beak) A powerfully detailed sculpture of an eagl...

ADRIEN-ETIENNE GAUDEZ French, (1845-1902) Gypsy Woman Signed 'A. GAUDEZ' on base. 33 x 15 inches NOTES: Cast in patterned, polychrome dress, wearing a bracelet, stan...

The pair of cast bronze figures displayed on matching slate bases with incised and gilded foliate in neoclassical bronze frame with female mask and raised on paw feet; the figure holding a vessel being a depiction of Pandora incised ‘Pradier scpt.’ The other with incised mark of ‘Marin. scpt’ after a work by Joseph Charles Marin (1759-1834). Maker: after Jean Jacques Pradier...

Presumed portrait of Elodie Blanchet by Paul LANDOWSKI (1875-1961) Sculpture in bronze with a dark greenish brown patina A rare Landowski's early work Signed on the lower side "P. L...

Bear Dentist by Christophe FRATIN (1801-1864) Bronze with nuanced old gilt-light brown patina Signed on the base "Fratin" Old edition cast France mid-19th century height 15 cm A s...

ANTOINE-LOUIS BARYE French, (1796-1875) Manchu Tartar Patinated Bronze; Signed BARYE on base 21 x 8 1/2 inches

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...

Paul Joseph Gayrard French, (1807-1855) Six Tours Bronze, signed, also signed with foundry signature & mark for Boyer Height: 9 inches Width: 9 inches Depth: 6.5 inches Paul Josep...

MATHURIN MOREAU French, (1822-1914) Pair of Bronze Group of Dancing Beauties Patinated bronze; Signed ‘Moreau Math; Math Moreau’ 19 3/4 x 9 inches

Self-portrait "Fratin by himself" by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Raised on a wooden base, with an old collector s...

Woman taking off her shirt by James PRADIER (1790-1852) Bronze with a nuanced brown patina cast by SOYER and INGE France circa 1850 height 28,5 cm Biography : Jean-Jacques Pradier...

LUCA MANDRASSI French-Italian, (1848-1919) Playing the Mandolin Patinated bronze; Signed L. Mandrassi; stamped Tiffany & Co., Cast from a model by L...

An Exquisite bronze figural pairing of two putti with butterfly wings. One putti holds a bow, while his counterpart cowers behind him. A dynamic piece of fabric hovers over the grouping, showcasing expertly modeled drapery, embellishing the composition of the piece. The figural grouping and pose is base off of a painting by William-Adolphe Bouguereau (1925 - 1905), a french academic painter who created realistic genre paintings of modernized mythological scenes. Itasse studied under Belloc and Jacquot and exhibited at the Salon from 1864 to 1893. The artist worked on multiple public commissions for the Louvre (Retour de la Chasse), l Opera (Philidor, Puccini, Cambert), the Trocadero Palace (L Astronomie) and Hotel de Ville de Paris. He specialized in busts, portrait reliefs of contemporary personalities, also sculpting a number of genre and allegorical works, such as The Kiss, The Birth of Love, Astronomy and Science. Amongst other awards he won a medal at the 1875 Salon and an honorable mention at the Universal Exhibition of 1889. Artist: Adolphe Itasse...

CLÉMENT LÉOPOLD STEINER French, (1853-1899) A Maiden in Classical Gown Patinated bronze; Signed ‘Steiner’ 46 1/8 x 22 1/2 x 14 inches

MATHURIN MOREAU (French, 1822-1912) Signed: ‘Mat. Moreau, hors concours’ 19th Century 31 1/2 in. x 15 in.

PIERRE JULES MÊNE French, (1810–1877) A Berber and His Falcon Patinated bronze, Signed ’P.J. MENE’ on base. 26 x 9 inches NOTES: A fine patinated bronze figure of ...

Maximilien-Louis Fiot (1886-1953) Art Nouveau-Art Deco sculpture of Ducks in Flight, patinated cast bronze sculpture mounted on thick Acid etched gl...

PIERRE-EUGÈNE-EMILE HÉBERT French, (1828-1893) Thetis Patinated Bronze; Thetis, goddess of the sea and the leader of the fifty Nereides, mother of Ach...

ARTHUR STRASSER Austrian, (1854-1927) A Musician Smoking Patinated and gilt bronze, Signed ‘A Strasser’ on base. 25 x 15 inches

Jim’s of Lambertville is proud to offer this artwork: Bronze Sculptures of classical nudes

EMILE LAPORTE French, (1858-1907) Jeune Garçon et Chèvre Patinated bronze; Signed ‘Laporte’ on the white marble base. 40 x 17 1/2 inches

ALPHONSE H. NELSON French, (1854-1919) Pair of Figural Sculptures of Seated Cherubs Signed to base H 34 in. x W 18.50 in. x D 18 in.

VINCENT DESIRE RAURE DE BROUSSE French, (1876-1908) Bronze Sculpture of Lovers Inscribed ‘Faure de Brousse’ H 31 in. x W 18.50 in. x D 15.5...

ÉTIENNE-HENRI DUMAIGE French, (1830-1888) Avant Le Combat, Apres Le Combat Pair of patinated bronze; signed 'H. Dumaige' and titled ‘AVANT LE COMBAT, APRÈS LE COMBAT, GRENADIER D...

Jim’s of Lambertville is proud to offer this artwork: Bronze

JEAN-JOSEPH ALEXANDRE FALGUIERE French, (1831-1900) Egyptian Dancer Patinated Bronze; Signed A. Falguiere and foundry stamped 25 x 9 1/2 x 9 1/2 in...

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

CHARLES GEORGES FERVILLE-SUAN French, 1847-1925 Bronze group of a winter scene A winter scene of a man on skates, pushing the woman’s sled ...

A Monumental Gilt-Lacquered Bronze Ornamental Buddha Sculpture of Vajravidarana: A Masterpiece of Sino-Tibetan Craftsmanship, Late 19th Century, Qing Dynasty This monumental gilt-lacquered bronze ornamental sculpture of Vajravidarana is an extraordinary and commanding piece of art, showcasing the pinnacle of Sino-Tibetan craftsmanship from the late 19th century. The figure of Vajravidarana, a powerful purification deity in Tibetan Buddhism, is meticulously sculpted to embody both spiritual authority and artistic excellence. Vajravidarana is primarily known for his role in removing spiritual impurities and negativities. Unlike other deities associated with wisdom or compassion, Vajravidarana’s function is centered on purification and healing. He is typically depicted holding a vajra and a bell, symbolizing the cutting away of delusions and the resonance of divine truth. In this striking sculpture, Vajravidarana is shown holding a vishva vajra (the double vajra), a unique and powerful variation of the traditional iconography, which signifies ultimate protection and the dispelling of negative karma. Vajravidarana: The Supreme Purifier and Protector Vajravidarana is revered in Tibetan Buddhism as the deity of spiritual purification, called upon to cleanse practitioners of defilements and negative influences. His vajra represents the indestructibility of truth, while his bell signifies the wisdom that resonates through purification rituals. In this sculpture, the presence of the vishva vajra, or double vajra, enhances his association with supreme protection, ensuring the destruction of all spiritual obstacles and afflictions. The figure’s powerful yet composed expression conveys a sense of unwavering resolve and divine authority. His posture, along with the carefully sculpted details of his robes and ornaments, highlights his function as a guardian against impurity. The inclusion of the vishva vajra rather than the usual single vajra reinforces his role as a supreme protector, capable of dispelling all forms of negativity and restoring balance. Symbolism of the Mantras and Aureole: Unlike deities that embody wisdom through duality, Vajravidarana’s iconography is centered on purification and exorcism. The aureole surrounding him is inscribed with sacred purification mantras rather than depictions of a consort. These mantras emphasize his function as a remover of obstacles and impurities, reinforcing his role in Buddhist healing rituals. The presence of the sacred inscriptions elevates the sculpture’s spiritual significance, making it a focal point for meditation and ritual purification. Practitioners often visualize Vajravidarana radiating purifying light, dissolving afflictions and negative karma. This theme is mirrored in the sculptural repetition of the purification symbols on the aureole, reinforcing the deity’s role as a divine cleanser. Gilt-Lacquered Bronze: The Artistry of Sino-Tibetan Metalwork: The craftsmanship of this monumental figure reflects the expertise of late 19th-century Sino-Tibetan metalwork, where traditional Tibetan themes were infused with Chinese artistic sensibilities. Cast in bronze and finished with a rich gilt lacquer, the statue has an otherworldly glow, giving it an ethereal, almost divine presence. The gilding process—applied with exceptional skill—gives the sculpture a striking luminosity that enhances the fine details of the facial features, flowing robes, jewelry, and other elements of the deity’s attire. The technique employed to create this figure speaks to the high level of craftsmanship that flourished during the late Qing Dynasty and early modern Tibetan art. The ornate details of the robes and the fine texture of the sculpture highlight the exceptional skill of the artisans who brought this work to life. The use of gold and lacquer not only reflects the preciousness of the sculpture but also its spiritual significance as an object meant to inspire reverence and meditation. An Ornamental Sculpture of Monumental Scale: Unlike smaller devotional objects, this sculpture is designed as an ornamental masterpiece, intended to make a grand visual and spiritual statement. Its monumental size allows it to dominate any space, offering a commanding presence that is both physically and symbolically impressive. In Buddhist practice, large sculptures of this nature are often placed in temples or meditation halls, where their imposing size and serene presence would encourage contemplation and devotion. The grand scale of the statue further amplifies the spiritual power it is meant to convey. As a representation of Vajravidarana, it is not only a physical object of beauty but also a conduit for meditation, purification, and enlightenment. The scale of the sculpture also emphasizes the divine stature of the deity, highlighting his importance in the Buddhist tradition as the ultimate force for spiritual cleansing and protection. Provenance: Acquired in China in circa 1900 1905 Private Buddhist Temple, Northeast, USA Private Sale Solomon Treasure...

Venus Africaine by Charles Cordier, French (1827–1905) Bronze Sculpture, signature inscribed Size: 15 x 9 x 5 in. (38.1 x 22.86 x 12.7 cm)

Alfred Barye (1839-1882) "Lion and Antelope" Bronze Approx. 7.5H x 9W x 4D inches Signed "BARYE.ALF" and Inscribed under base "NO. 23 LION AND ANTELOPE" The son of a goldsmith, Parisian born Antoine-Louis Bayre was a sculptor of animal subjects and acclaimed, not only for his apparent skill, but as the founder of what became known as the French Animaliers School. Among his patrons were representatives of the state government and royalty including the Duke of Orleans and the Dukes of Luynes, Montpensier and Nemours. Well compensated financially, he was able to buy the best of materials and hire the country's most skilled foundry craftsmen. The foundry he hired was owned by Ferdinand Barbedienne, and casts from this period were stamped with the letters, FB. However, he did not make a lot of money from his work because he was such a perfectionist that often he would not sell his work because he thought it was not 'quite right'. In 1848, he declared bankruptcy, and his molds and plaster casts were sold along with the copyrights. Bayre's specialty was aroused, angry seeming wild game such as lions and tigers and elephants, but he also did equestrian groups and mythology figures. In order to do realistic depictions of animal anatomy, he spent much time at the Jardin de Plantes in Paris. His early training was as an apprentice to a metal engraver, but being drafted in the army in 1812, ended that education. In 1832, he had established his own studio, and unique at that time was his method of cold stamping his bronze casts, so that each one had a special number. He had his first entry, The Milo of Croton...

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...

Pierre-Jules Mene "The Hunter and Hound" (Le Valet de Limier) 1879 Bronze approx. 19 x 8 x 14 inches Signed PIERRE JULES MENE (1810-1879) Pierre...

Hans Guradze (German, 1861-1922) "Jockey On Horseback" Bronze Approx. 19.5 x 17 x 6 inches Signed "H. Guradze Berlin" on Base