19th Century Sculptures

Dynamic statue of an Arab Falconer riding a horse in motion. A falcon lands on the falconer's arm as his horse trots along a mud road leaving hove prints behind. Artist: Pierre-Jul...

Luca Madrassi (1848-1919), large patinated terracotta sculpture in Art Nouveau style, late 19th century. The sculpture depicts a half-naked young woman sitting in a tree holding a m...

Exquisite patina Signed Clesinger Alexander Dumas described him as “one of the first sculptors of our time who knew how to soften marble and give it life “. The Maison Marnyhac f...

Antoine-Louis Barye (FRENCH, 1795-1875) Panthère saisissant un cerf (Panther seizing a stag) Signed: “BARYE” Stamped: Susse Fres bronze, dark-green/black patina Measures: Height ...

Originally conceived in 1880-82 for the tympanum of the Gates of Hell, where she is cradled in the arms of L'homme qui tombe, as well as crouching in slightly varied form to the lef...

A 19th century 'Grand Tour' bronze figure of the Dancing Faun, standing on a bronze square plinth. The faun balances on his toes and pivots, his horned head raised, his hair wreathe...

Eugene Lanceray, Cast by N. Shtange After the Model by Eugene Lanceray, Russian (1875 - 1946) - Troika, Year: Late 19th Century, Medium: Bronze Sculpture, Cyrillic signature and fo...

Antique Bronze Dog Portrait of a Löwchen on a Marble Base French 19th century 1/2 x 8 x 5 1/2 inches The chiseled bronze has a nuanced, rich brown patina depicting a Löwchen in the round, seated on a quadrangular marble base decorated with very fine gilt bronze flowers and fluted feet. Napoleon III, Louis XVI style. Based on a model by Jacques Caffieri for the Prince de Condé in 1773. (More images to be added.)F Executed during the nineteenth century, this figure is fully in line with the eclectic taste of the reign of Napoleon III. Indeed, the Empress Eugenie brought the Louis XVI style up to date in her castle of Compiègne. Jacques Caffieri is one of the most famous bronze smiths of the eighteenth century. In 1715 he was admitted as a master caster and chiseler, and worked almost exclusively for the crown castles...

The Birth of Venus by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with nuanced dark brown patina signed "A. Carrier-Belleuse" cast by Denière France circa 1870 he...

Little is known about this artist but he began exhibiting at the Salon in 1861 and he continued to do so through 1870. His work is mainly based around hunting themes and animal figur...

AUGUSTE MOREAU French, (1834-1917) Alerte Patinated bronze; Signed ‘Aug Moreau’ and title ‘Alerte’ on base 22 x 14 1/2 inches Notes: Cupid's figure is standing with a bow on hi...

Benzoni is one of the great Italians who was celebrated for marble carving in the 19th century. His work is in major museums throughout the world and has a work on the floor at the ...

Anton Nelson (i.e. Antoine Joseph van den Kerckhoven) (1849 Brussels - after 1910 ibid.), Bust of a young woman, c. 1890. Patinated bronze on cast base, 30 cm (total height) x 20 cm ...

Emile-Andre Boisseau (French, 1842-1923) Le Crépuscule signed 'E. Boisseau' (on the base) Bronze height: 29 in. (74 cm.) Emile-André Boisseau was a...

MATHURIN MOREAU French, (1822-1912) ‘La Libellule’ signed ‘Moreau Mathurin’ 27.5 in. 11.5 in. x 15 in. Notes: A fine quality Art Nouveau allegoric...

Antoine-Louis BARYE (1796-1875) Tiger surprising an antelope Bronze with nuanced dark greenish brown patina Signed on the base " Barye " Cast by Barye's own workshop (conducted in t...

Antique Bronze Miniature Barnyard Scene (Cow, Sheep & Goat) Christophe Fratin (France, 1801-1864) Sand cast bronze 5 3/4 x 4 1/4 x 2 1/4 inches Highly refined and sensitively modeled miniature bronze representing a small herd of cattle, sheep and cattle on the terrace. Despite its small size, this bronze offers a complete view of a small herd of livestock: a bull is lying in a landscape near a sheep and a goat climbing a tree above a rocky mound. Here we find the skillful hand of the animalier sculptor Christophe Fratin (French, 1801-1864), immensely famous in the 19th century for his thoughtfully crafted animal...

Standing Bull, head bowed by Isidore BONHEUR (1827-1901) A bronze sculpture with a nuanced dark brown patina Signed on the base " I. Bonheur " A period cast by " Peyrol " (with the...

The Secret by Pierre-Félix FIX-MASSEAU (1869-1937) Sculpture in bronze with a gilded patina Signed on the side " Fix-Masseau " Cast by " Siot-Paris " (with the foundry mark) France...

ANTOINE-LOUIS BARYE (FRENCH, 1796-1875): A patinated bronze model of Dromadaire harnaché d'Égypte Signed 'BARYE' and stamped 'BARYE' by the Brame foundry Raised on naturalistic base...

Émile Pinedo 1840-1916 French Bronze Reliefs of Minerva and Mars Bronze These exceptional bronze reliefs depicting the Roman deities Minerva and Mars represent the pinnacle of 19...

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...

Tartar warrior stopping his horse by Antoine-louis BARYE (1796-1875) Equestrian group in bronze with a nuanced dark greenish brown patina any cast mark old edition cast France cir...

6.5 X 4.5 X 4.5 18" chain Antique Judaica brass hanging Sabbath or Synagogue Oil Lamp with seven wick oil reservoir. Heavy brass or bronze chain and hook for hanging. Estimated to the 19th century or earlier. there are no markings but similar pieces have been in the Bezalel Museum collection and the Israel Museum collection and the Jewish Museum collection in New York city.. Judaic Shabbat...

Signed: A. Carrier-Belluese Two large bronze matching busts of an unknown male and female 22 x 10 x 11" male 23 x 10 x 9" female Both show signs of wear with their age but are in fa...

Presenting an extraordinary Large and Exceptional Japanese Meiji Period Tokyo School Bronze Sculpture depicting a delightful ensemble of six energe...

Rare and Important Italian White Marble Bust Sculpture of Jesus Christ, C. 1850 A truly exceptionally carved marble relief of Holy Jesus Christ. Ver...

A late 19th century bronze figure of a greyhound, his front leg raised and head turned backwards as he grooms his coat. A finely detailed figure with a dark brown patina, mounted on ...

A fine antique French gilt bronze sculpture of a swordsmith, by the French- Polish artist & sculptor Henryk II Kossowski (1855-1921), the bronze dating to 1890. The bronze depicts a ...

Large, Neapolitan, late 19th Century hardwood sculpture of a camel. Artist unknown. A beautifully patinated hardwood sculpture. The sculpture is extremely charming and having been handled for over a century has a lovely warm and tactile patina. It is particularly nice too see the work of the craftsperson in the adze and chisel marks along the body of the sculpture. The Italians and most notably the area around Naples has a long and storied tradition in the creation of sculptures for Nativity Scenes. This camel is both an endearing item and a piece of social history. A wonderful addition in its own right to the traditional Christmas scene, by tradition this sculpture was used as a maquette for the production of papier-maché models used in Christmas Creches which have such a long tradition in Italy and throughout the world. Wonderfully carved this piece was used to create hollow models out of papier-maché which were more affordable for this Christmas tradition. Hundreds of strips of papier-maché would be layered onto the figure in all directions. Then using a sharp tool the papier-maché was pushed into all the crevices of the sculpture to give it crisp detail. Once the layers of paper were dry the papier-maché was cut at certain points and lifted off the sculpture. Then finally the resulting body parts were glued back together, painted and patinated ready to be placed in the crèche scene. In the Christian tradition, a nativity scene (also known as a manger scene...

Raffaello Romanelli 1856 - 1928 Raffaello e Fornarina signed Raffaello Romanelli Firenze and inscribed Raffaello et Fornarina marble height 38 in.; 96.5cm. diameter 16 in.; ...

A Rare and Important American White Marble Sculpture of Thomas Jefferson Holding The Declaration of Independence. Circa 1870, in the Manner of Horatio Stone (1808 –1875). Inscribed on scroll: 'The Declaration of Independence, It becomes necessary for one people to dissolve the political bands which have connected them with another. etc. etc. T. Jefferson. The present work is unsigned but is reminiscent of Horatio Stone's life-size marble figure of John Hancock...

LOUIS AUGUSTE MOREAU French, (1834-1917) Figural Group of Venus Flanked by Putti Patinated bronze; Signed ‘Ate Moreau’ 28 in. x 11 in x 8 inches Notes: Having a deep brown...

Important patinated plaster bust representing the Faun of Vienna. the original of which is in the collections of the Louvre museum (marble statue discovered in Vienna in 1820 and dat...

Albert-Ernest Carrier-Belleuse (1824 Anizy-le-Château - 1887 Sèvres), Reading Woman, around 1880. Polished bronze mounted on a cast base. 33 cm (total height) x 9 cm (length) x 9 cm ...

Antoine-Louis Barye 1795-1875 French Tigre saissant un paon (Tiger seizing a peacock) Bronze Signed “BARYE” Modeled by famed French Romantic sculptor Antoine-Louis Barye, this r...

This 19th century big scale Italian animalier sculpure features a lion striding forward on a root-wood base, snarling with open mouth and expressive eyes enlivening its rippling mane with an extremely realistic sense of motion. The wooden statue, wonderful as a table top, is entirely hand carved in the round in a single block of solid olive wood, sign of high quality and sculptural artisanal mastery. An original whimsical and impressive centerpiece clearly sculpted by a true artist who carved the block of wood creating this figure of the proudest feline boasting a detailed study of the lion's anatomy.The features on the face, mane, muscles, tail and the paws are still distinctive and full of character as well as the beautifully carved stand. This sculpture boasts smooth surface and a warm patina developed over centuries and exudes wonderful quality and timelessness of the ancient world. The rich original patina brings further intrigue to its intricately carved details. This hand carved wooden lion statue is a great looking antique centrepiece...

Crouching Venus, neoclassical Carrara marble sculpture, early 19th century. An 18th-century English tourist to Florence wrote that of all the Venuses in the Uffizi, "only one grace...

19th century Bronze Sculpture of Cupid After Pierre Chenet Base diameter 6" 9"W x 23"H

19th century grand tour carving of the "Medici" lion. Carved green porphyry granite. This is an unusually large size. Pieces carved porphyry granite are uncommon. It's hardness makes...

Mathurin Moreau 1822-1912, was a French sculptor in the classic academic style. His father was also a sculptor and his siblings. Mathurin first received a medal at the Salon in 1848,...

This Mercury by Montagne has lovely patina and surface and is a pleasingly different depiction of Winged speed as he is seated! It is an arresting pose and elegant and covers all fa...

Jockey Winner by Isidore BONHEUR (1827-1901) A rare and magnificent bronze group with a dark brown patina Signed on the base "I. Bonheur" A period cast by "Peyrol" (with the foundry stamp) Standing on a molded wooden base France circa 1880 height of the bronze : 53,5 cm total height with the base : 62 cm total length : 68 cm depth : 24 cm Biography: Isidore Jules Bonheur (1827-1901) was a French painter and sculptor. Isidore first received an artistic apprenticeship from his father Raymond and his older sister Rosa, then, in 1827, he entered the School of Fine Arts in Paris. After practicing...

Turkish Horse by Antoine-Louis Barye (1796-1875) "Cheval turc, antérieur gauche levé, terrasse carrée" Bronze sculpture with a nuanced dark brown patina Signed " Barye " on the base...

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 ...

A maiden holding a lute leaning on a tree trunk dappled with english ivy and cattails, all surmounted on a rouge royal marble base. Beautifully cast, crisp details. Artist: Adrien ...

Susanna by Albert-Ernest Carrier-Belleuse (1824-1887) Bronze sculpture with nuanced brown patina signed to the side " A. Carrier " old period cast France circa 1860 height 62 cm ...

The Birth of Venus by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with dual patina, nuanced dark brown and gilded patina signed "A. Carrier-Belleuse" France circa ...

Aegina was one of the daughters of the river god Asopus and his wife, the river nymph Metope. The couple had many daughters, and most of them became the object of desire of either Ze...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

This charming figurine from Meissen Porcelain is of a cat with a captured mouse in his mouth, seated on its haunches, its left forepaw raised to strike the mouse dangling from its mo...

Eugène Marioton französisch, 1854 - 1933 Muscular Nude Male Bronze Eugene Marioton - Bronze Statue, um 1900 A handsome and very fit partially draped young nude male with rippling mu...

Cold painted Vienna bronze table lamp miniature of an orientalist cobbler shop scene marked ''FBK'' Origin: Austria  Date: 19th Century  Dimensions: 9.25" x 7" x 7" 

Antique bust of Apollo of Belvedere. Finely carved carrara marble. Mid 19th century. Italian. Please, contact us for shipping options. Presented by Joseph Dasta Antiques # nude male greek roman mercury statue...

A powerful presentation piece, this stunning bust of Jean Bécu - Comtesse du Barry is both beautiful and tragic. Executed in terracotta that has been...

A stunning bronze bust "Le Rieur Napolitain" by Jean-Baptiste Carpeaux (1827–1875), a master of 19th-century French sculpture. This piece captures the joyful expression of a young Neapolitan boy, reflecting Carpeaux’s signature realism and dynamic movement. Details: Artist: Jean-Baptiste Carpeaux Title: Le Rieur Napolitain (The Laughing Neapolitan) Material: Bronze Dimensions: Height 27 cm, Width 19 cm, Depth 12 cm Period: 19th century Condition: Good, with a beautiful natural patina Jean-Baptiste Carpeaux (1827–1875) was a leading French sculptor of the 19th century, known for his ability to infuse lifelike movement and emotional depth into his works. Le Rieur Napolitain (The Laughing Neapolitan) is a striking example of his dynamic and expressive style, embodying his fascination with naturalism and human vitality. This bust is part of Carpeaux’s series of Neapolitan figures...

La Perla; The Pearl  A mesmerizing alabaster table lamp depicting the birth of venus by Umberto Stiaccini. Three winged putti stand on a piece of coral as they carry a scallop shell...

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...

Charles Edouard Richefeu (1868-1945) A stunning dated 1926. A faun and nude woman dancing. Signed RICHEFEU in the bronze. Foundry mark stamp "R. COTTIN & FILS Paris Bronze". Definitely inspired by Diagilev Russian Ballet and Nijinsky dancer on Claude Debussy...

Judaica Shabbat Continental Hanging Solid Brass Oil Lamp with Central Six Pointed Jewish Star Shaped Body Dimensions Approx: with Chain 23"H x 8 11 x 8 x 8 chain is 22" long Antique...