19th Century Sculptures

Masquerade, a traditional yet playful composition by Fortunato Galli, reflects the realism and intricacy that defined Italian sculpture at the end of the 19th century. Magnificently ...

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

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...

Masterfully carved with remarkable detail, a youthful Saint John the Baptist folds his hands in prayer in this stunning marble by the important Italian sculptor Domenico Menconi. The...

Asian vintage wood horse, with chain and opening in center. This piece shows signs of the years gone by and we feel the time worn feel adds more character. Period is an estimate, not...

Grand tour bronze sculpture of the "Crouching Venus" after the antique. Fine patina. 19th century. Ferdinand Barbedienne (French, 1821-1902). not signed . rare. museum...

Patinated bronze figural statue depicting Zephyrus, god of the west wind, as he embraces his bride Flora. The couple are seen draped in flowers as if they have just married. Flore et...

MATHURIN MOREAU French, (1822-1912) ‘La Libellule’ signed ‘Moreau Mathurin’ 27 1/2 in. 11 1/2 in. x 15 in. Notes: A fine quality Art Nouveau alleg...

This highly evocative bronze by Vincenzo Vela captures the deposed Emperor Napoléon on his deathbed, holding a map of Europe and lost in thought about what might have been. Remarkable among most portrayals of the exiled leader, this highly detailed sculpture depicts Napoléon at his most vulnerable. Nonetheless, Vela perfectly captures his still-heroic bearing, which imparts to this work a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Château de Malmaison, which was shown at the Paris Salon of 1867. The founder of the verismo movement in Italy, Vela was one of the great exponents of realism in sculpture. Born in Ligornetto, Switzerland in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalism and the romantic painting of Francesco Hayez...

Pair of monkey candelabras by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina signed "Fratin" on the foot old period cas...

bronze with dark brown patina 72 x 69 cm (28⅜ x 27⅛ in.) signed 'L. MIGNON'; with an indistinct foundry inscription PROVENANCE: Private collection, London

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...

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...

Vincenzo VELA (1820-1891) Last Days of Napoleon in St-Helena Created in 1866 Bronze with brown patina Signed ‘V. Vela F. 1867’ on the terrace. Signed ‘F. Barbedienne Fondeur’. Stamp ...

An enchanting miniature cold painted bronze scene of a man riding a camel with a young female water carrier beside him. The three figures are rest upon on a sloping rock, presumably ...

ANTOINE-LOUIS BARYE (FRENCH, 1795-1875) Panthère surprenant un zibeth, seconde version (Panther attacking a civet cat, second version) signed BARYE bronze, dark-brown patina with r...

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...

CHARLES BRUNIN Belgian, (1841-1887) Le Pecheur Napolitain a L’oiseau Bronze Patinated bronze; Signed ‘Ch. Brunin Roma’ and with Tiffany and Co. foundry mark located on the base 2...

ÉDOUARD DROUOT French, (1859-1945) Le Secret Patinated bronze; Signed E. Drouot. 25 1/2 X 10 X 9 1/2 inches

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

HENRI-HONORÉ PLÉ French, 1853-1922 Femme de Mequinez An important orientalist polychrome patinated bronze bust sculpture with gilt highlights surmounted on rouge marble. H 26 ...

A cold-painted cast bronze miniature statue depicting a north African woman picking dates from a palm tree. The incredibly crisp and detailed casti...

Emile Louis Picault (1833-1915), 'Le Penseur', patinated bronze mounted on a marble base, H 30 - 33 cm (bronze - total) A fantastic quality Bronze of Emile Louis Picault Signed o...

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

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...

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...

This flat shadow puppet was created by an unknown Indonesian artist. This shadow puppet, 32" high and 9" wide with movable, was used in Indonesian Wayang puppet shows. Wayang (Kram...

Louis Oury (1867 - 1940) L’Aiglon, 1899 Terracotta with polychromatic patina Signed on the shoulder and Seal from Goldscheider on the reverse Dimensions : 65 x 40 x 30 cm (25 x 15 3/...

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...

Zebu and Python by Henri-Alfred JACQUEMART (1824-1896) Bronze group with nuanced brown patina signed on the base " A. Jacquemart " old cast France circa 1870 height 35,5 cm length...

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...

Jean Garnier (French, 1853-1910) Orientalist Bronze Sculpture rouge griotte marble base Original signed sculpture . 7” high Weighs over 2 pounds

This very finely carved statue is of a swimmer just leaning over to dive into an unseen pool. Signed P. Barzanti, Florence for Pietro Barzanti (1825-1895) of Florence, Italy. Barzani was a well known sculptor known for classical works in marble which is reflected in this figure's very delicate facial features and the skill shown in the carving of her hair and the cloth of her bathing costume...

La Nature se dévoilant devant la Science (Nature revealing herself before Science) Nature unsheathes herself from a golden cloak to reveal her chest with a beetle resting on her ribs. Artist : LOUIS-ERNEST BARRIAS (FRENCH, 1841-1905) inscribed 'E. Barrias' (to right side of base), Susse Frères foundry cachet (to reverse) and with inscription 'Susse Fres...

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.

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...

Hope-Pinker was born in Peckham, Surrey, the son of a stonemason and builder employing 5 or 6 men c.1871 in Hove, Sussex, who seems to have taught his son much of his stone-carving skills, although he also attended the Royal Academy Schools (c.1871). Hope-Pinker typically carved without a model from drawings. The bulk of his work was portrait sculpture and John Hunter...

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...

The Sibyl is an original sculpture realized by Vincenzo Gemito. Dark glazed bronze sculpture. Signature of the artist on the back. Stamp of Foundry. Very good conditions. Vincenzo...

JEAN-BAPTISTE CLÉSINGER French, (1814-1883) Helen of Troy Signed 'J. CLESINGER / ROME / 1860.' and with foundry inscription 'F. BARBEDIENNE. FONDEUR' 30 3/4 in. x 17 in.

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

D. BRUCCIANI & CO (19th Century) St Cecilia Polychrome painted plaster bust with mould lines visible (probably later painting) 47 cm., 18 ½ in. high Dom...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

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

Centaur abducting a woman by Aimé-Jules DALOU (1838-1902) A bronze group sculpture with a dark brown patina Signed on the base "Dalou" Cast by "A.A. Hébrard" (with the foundry sta...

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...

Wonderful historic boultos by New Mexico artist Jose Aragon (1796-1850) Titled: “Jesus de Nazarino.” Painted wood, gesso and polychrome. Measures: 20 3/4"h x 9 ½”w x 5"d. In wonde...

Impressive 19th century Italian gondolier hand carved in hardwood with realistic detail, dressed in the typical hat, vest and sash, holding a torch and standing on a gondola set on a...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...

Pair of elegant Louis XVI style candelabra with six arms with flowering branches France, 19th century Gilt bronze and blue porcelain Dimensions: h. 77 cm Pair of magnificent candle...

EMILE PINÉDO French, 1840-1916 Guerrier Arabe Sur un Dromadaire - Warrior On a Camel Signed Pinédo with the bronze Garanti au Titre seal, titled Patinated bronze, brown patin...

Presenting a magnificent early Art Nouveau bronze by Belgian artist Jef Lambeaux(1852-1908.) “Leda and the Swan”, is an original Art Nouveau Bronze,...

Ernest Rancoulet (1842-1918), Allegory of Progress, around 1890. Bronze-plated metal cast with cast terrain plinth mounted on a wooden base (6 cm high). 64.5 cm (total height) x 28 c...

This flat shadow puppet was created by an unknown Indonesian artist using water buffalo hide. This shadow puppet, 18 1/2" high with movable arms, was use...

This Portrait go Giuseppe Garibaldi is an original decorative marble sculpture realized in Italy by Italian manufacture during the end of the XIX century. The alabaster marble sta...

An acute observer of nature Barye was fascinated by the dramatic depiction of animals in the wild. These anomalies bronzes can sit on mantles and desks and elevate a room tremendousl...

Antique Bronze Dog Bulldog Playing with a Mouse on Sheaves of Wheat Henri Émile Adrien Trodoux (1815-1881) 6 1/8 x 3 7/5 inches Signed on the terrace Henri Émile Adrien Trodoux (Fre...

Allegory of Spring Mathurin Moreau (1822-1912) A Belle Epoque bronze statue depicting an Allegory of Spring with a seated maiden looking over to view two birds as a putto gathers a...

Richard Klemm, German (1852 - 1916) - Couple Proposing, Medium: Porcelain Clock, maker's mark stamp verso, Size: 39 x 12 x 6.5 in. (99.06 x 30.48 x 16.51 cm)

Antique Porcelain Dog Portrait: Cavalier King Charles-Edmé Samson According to the model created by Johann Joachim Kaendler (MEISSEN around 1770). By the famous factory of Edmé Sams...