Late 19th Century Sculptures

The Diorama was in a private collection for more than 20 years and is said to have been exposed at the China Exposition 1902 in Copenhagen.This group of Chinese polychromed-decorate...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina no founder s...

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...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced brown patina cast by Susse Frè...

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...

“Ariane on Panther” is the most worldwide known work of the German sculptor Johann Heinrich Dannecker, born 1758 and died 1841 in Stuttgart , pupil of Pajou and Canova. The original ...

horse. 19th century bronze sculpture measurements with the base are 37.5 x 17.5 x 31 cm

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

Charming little bronze by the great animal sculptor Auguste-Nicolas Cain, signed A.Cain on the side, inscribed Ane d’Afrique (Donkey from Africa) and Susse Fres on the terrace. The...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina cast by Suss...

A family of lions having green patination depicting a male lion feeding two cubs; mounted on a naturalistic base - signed and applied entitled plaque "Lion 1st Gibier" Paul Edouard Delabrierre...

This Peasant resting is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with nuanced dark brown patina cast by Susse Frères - stamped with the founder's seal France created around 1890 and cast after his death height 12,5 cm A similar model reproduced inJules Dalou, le sculpteur de la République, Exhibition held at the Musée du Petit Palais, Paris, 2013, page 288, n°220. Biography : Aimé-Jules Dalou, said Jules Dalou (1838-1902) was a French sculptor, born from Protestants glovers craftsmen who raised in secularism and love of the Republic. Jules Dalou was very young talented for modeling and drawing, which earned him the attention of Jean-Baptiste Carpeaux, who made him entered in 1852 in the Little School, the future National School of Decorative Arts in Paris. In 1854, he was admitted to the School of Fine Arts in Paris, where he studied painting in the workshop of Abel de Pujol and sculpture in the workshop of Francisque Duret...

A lively, beautifully cast, patinated bronze sculpture of two hounds on a lush forest floor by listed French artist, Alfred Dubucand (1828-1894). A proponent of Romantic Realism,  Dubucand was a prize pupil of the renowned founder of the French Animaliers School, Antoine-Louis Bayre (1796-1875) whose patrons were representatives of the state government and royalty including the Duke of Orleans...

This paver is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with dark brown patina cast by Susse Frères - stamped...

19th century bronze group of a standing and sitting hare by French animalier sculptor Alfred Dubucand (1823-1894). Finely detailed bronze with good dark brown patination. Signature '...

An elegant, dynamic, fully finished, 19th century terracotta sculpture of richly attired figures in the Chinoiserie style. The idealized, rural imagery features two women in flowing ...

This bearer of sheave is a subject that is included in the famous suite commonly called "little workers" by Jules Dalou (1838-1902) Bronze with dark brown patina cast by Susse Frère...

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.

Intriguing 19th century Anglo Indian elephant and rider with a serene ambiance, having a polychrome finish now aged to perfection. Presented on a classic beveled plinth.

inscribed J. Moigniez bronze with brown patina, cast during the artist’s lifetime height 18 1⁄2 inches (47 cm.), width 29 1⁄8 inches (74 cm.) PROVENANCE James Graham & Sons, Inc., N...

Equestrian sculpture "Roman driver on his chariot" by Emmanuel Fremiet (1824-1910) Bronze with its original nuanced dark brown patina cast by MORE France circa 1880 height 41,5 cm l...

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...

"Young girl from Bou-Saada" by Louis-Ernest BARRIAS (1841-1905) A very fine bronze sculpture with a gilded patina. cast by SUSSE stamped "Copy right by Susse Frères 1893" Standing on its original natural wood base France 1893 height with the base 38,5 cm width of the base 33,5 x 33,5 cm Biography : Louis-Ernest Barrias (1841-1905) was a French sculptor . He came from a family of artists. His father was a porcelain painter and his older brother, Felix-Joseph Barrias, a recognized painter. Louis-Ernest Barrias entered the School of Fine Arts in Paris in 1858, he abandoned painting to move towards sculpture under the direction of François Jouffroy. In 1864, he won the Prix de Rome, on the theme of "The Foundation of Marseille", and was engaged on the site of the Paris Opera house. He later produced many sculpted works, most of them in marble. In 1881, Louis-Ernest Barrias was awarded a medal of honor of the fine arts and named knight of the Legion of Honor in 1878, then promoted officer in 1881 and commander in 1900. The artist replaced Auguste Dumont at the Institute in 1884, then succeeded Jules Cavelier as a professor at the School of Fine Arts, where, among his most notable students, there were Victor Ségoffin, Charles Despiau and Paul Landowski.

A very fine bronze equestrian sculpture with a nuanced dark greenish brown patina France model of 1845 Cast by Ferdinand Barbedienne around 1890-1900 height 37,3 cm length of the base 31,5 cm Marked with a souvenir date "22 mai 1904". Biography : Antoine-Louis Barye (1796-1875) was a French sculptor, known for his animal sculptures. His sketch practice done in the wild, according to the animals of the Jardin des Plantes in Paris, led him gradually to also practice painting. Placed early in Fourier, an engraver on steel manufacturing metal parts for the uniforms of the Great Army, he learned all areas of metal processing and became a peerless worker. He entered the Ecole des Beaux-Arts in Paris in 1818, where he received classical training in the workshop of the sculptor François Joseph Bosio and the painter Antoine-Jean Gros. He graduated in 1820, the second prize for sculpture in Rome for his "Cain cursed by God" .It was in 1831 that Barye became known to the public exhibiting then his "Tiger devouring a Crocodile", tormented and expressive work, which ranked as soon as the first Romantic sculptor, and causing admiration criticism. He now produced numerous masterpieces, often of small dimensions, that will enrich the collections of fans...

A nineteenth-century cast of Antoine-Louis Barye's Le cheval demi-sang arabe (no. A125-Poletti; A148-Pivar), with nice patina. Poletti and Richarme, Barye: Catalogue raisonné des sc...

Nice 19th-century cast with rich, brown patina by French sculptor Emile-Joseph-Nestor Carlier. Carlier frequently created large, multi-figural group sculptures. These are dramatic an...

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...

Bronze bust with brown patina on marble socle base. Red patina detail on head scarf. In beautiful condition, expertly cast and modeled. Perfect for an art collector looking for European work that depicts Black and African people...

Standout pair of 19th century French Orientalist busts crafted in terra cotta and expertly paint decorated with a striking realism. Left: H: 19 W: 12 D: 8 Right: 19.5 W: 13 D: 8

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...

A fine patinated bronze of the iconic classic Greek statue of Venus de Milo, incised by artist on base side (possibly 19th century French sculptor Ron Li...

The bronze proposed here was initially presented in November 1878 at the Competition for the Encouragement of Brera. It is therefore one of the first celebratory works of the sculptor Ambrogio Borghi...

Carved stone sculpture with incredible detail. Father and Son was created by an unknown artist in the Late 19th Century. This sculpture boasts incredible craftsmanship and attention to detail carved throughout the stone. The statue comes with a certificate of authenticity and a letter of appraisal. Shown in the American Art Gallery...

Egyptian King Menthuphis, draped in a lion skin, and dripping in jewels, holds up a statue of two horses. Flanked by two birds and mounted on Rouge Mable and...

A good antique Italian Grand Tour Bronze and marble bust of Dante Alighieri, circa 1880. The bronze is most likely Florentine and mod...

This is an Edward Kemeys Sculpture Bronze “crow Warrior” Signed Titled. In good condition. Measures 8x8

Joseph D'Aste bronze group of Children in traditional dress with clogs playing in the snow, standing on marble.

signed 'A. Rivalta' (on the base)

This is a beautiful original bronze casting by the foremost Russian sculptor of his day Evgeny Lanceray. Artist signed on the base in Cyrillic (image 5) and is also inscribed on the ...

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...

This is an Anton Nelson bronze lamp the condition of the bronzes are good both are signed in the back. However the bronze on the left hand side needs to ...

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

Antique Bronze Dog Sculpture Chihuahua "La Petite Belle Lydie" Charles Valton (French, 1851-1918) Circa 15 1/2 x 10 1/4 x 7 Lydie is a Chihuahua making her a very rare image from ...

CESARE LAPINI Italian, (1848-1893) Segreto Al Cuore Signed Prop ta Fratelli; Lapini; Firenze 29 1/4 x 8 x 11 inches Notes: A fine quality white marble sculpture of a you...

19th Century French Bacchanalian Bronze in the 18th century style depicting two Putti, in the manner of Clodion. One putto reclines while another feeds it grapes. The Patina is worn ...

Important pair of Japanese bronze birds in the form of geese masterfully crafted. One with a closed beak the other open, both with quirky expressi...

Bronze sculptures of Classical Putti, signed in cast after Alfred Boucher (French, 1850-1934), rising on stepped red marble bases.

White marble sculpture, signed Aug. Moreau, depicting two putti enjoying grapes and wine. The piece is consistent with similar works created by Auguste Moreau. This particular work i...

Pair of Buddhist Foo Dogs Polychrome porcelain Japan, Meiji era (1868 – 1912), circa late 19th century Satsuma Kilns 12 3/8 x 9 5/8 inches This exquisite pair of Japanese Foo-dogs ...

Antique Bronze Portrait of a Draft Horse Isidore Jules Bonheur (France, 1827-1901) Circa 1840s Cast bronze mounted on a rectangular plinth atop a marble s...

A fine Grand Tour Italian Classical cast patinated bronze figure of Narcissus or Dionysus, dating to the last quarter of the 19th century. Very good overall condition, with the modes...

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...

Cheval marchant au pas relevé is one of the artist’s most elegant and exacting models of a horse. It underscores Degas’s deep understanding of equine anatomy and his ability to render it with lightness and charm. Known for his focus on contemporary subjects, Degas first began depicting horses in the 1860s. As a member of the prestigious Jockey Club in Paris, Degas was a habitué of the racecourses at Deauville and Longchamps, where he could study the beauty of thoroughbred horses at close quarters. Although the artist was not an active participant himself, equestrian sports fascinated Degas throughout his life, as it allowed him to capture the full range of the horse’s movement in a wealth of poses. Bronze with dark brown patina bearing the stamp of the signature "Degas", numbered IV/IX and dated 1998. Posthumous lost wax casting as of 1998. Stamp of Valsuani. The work is a sought-after rarity in terms of Degas’ sculptures. This bronze is distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these bronzes are second generation, they are smaller and far less detailed than the current bronze. This example, however, was cast by Valsuani from a plaster that was taken directly from Degas’ waxes, according to scholarship by the art historian Dr. Gregory Hedberg. These plasters were created by Degas’ sculptor friend Albert Bartholomé shortly after Degas completed his wax figurines. Thus, they record the earliest versions of Degas’ wax sculptures, before they were damaged by time or handling, and before Degas himself altered the works. The Hébrard bronzes...

This marble bust, signed S. Albano dated 1890, belongs to his adult age and to the last years of his life, when he was already very requested and he had a prolific workshop in Florence. It represents a young peasant, portrayed with a simple handkerchief covering her hair and a shirt opened on the neckline to let us a see the crucifix cross, symbol of a sincere and innocent faith (the necklace appears in other is Albano’s works, like in the artist’s sister, Evangeline, Marguerite busts and in the Marguerite sculpture, all of them in private collections). The simple and tender subject is made with an exquisite technique, still quoting De Gubernatis “he can be enviable because he gives to the modelled flesh a singular transparency”, as we can see in the delicacy of the cheeks, nose, chin. His skills especially appear in the details: the locks naturally coming out, the light signs of the eyebrows, handkerchief with his thin folding line, the collar of the shirt bending on itself, the use of the drill for the rendering of the curly hair. Born in a small town in the deep South of Italy by a decent but very modest family, he developed artistic inclination since he was a child by modelling Nativity Scene characters for the people of his neighbour until the1858 when, thanks to the help of some oh his fellows recognising his talent, he moved to Naples to follow the lessons of the sculptor Antonio Sorbillo before starting his training at the Fine Art Academy with Tito Angelini...

JEAN-BAPTISTE CLÉSINGER French, (1814-1883) Sappho Patinated bronze; Signed CLESINGER, inscribed: F. BARBEDIENNE. FONDEUR and stamped: A. COLLAS. BREVETE. REDUCTION MECANIQUE...

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

Horse Clearing an Obstacle (work number 48) Bronze with dark brown green patina bearing the stamp of the signature "Degas", Numbered IV/IX and dated 1998 Posthumous lost wax casting as of 1998. Stamp of Valsuani. Signed Degas The work is a sought-after rarity in terms of Degas’ sculptures. This bronze is distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these Hebrard bronzes...

Beautiful La Belle Epoque marble in nive vintage condition. Mathurin Moreau (1822-1912) was a French sculptor in the academic style. He was born in Dijon, first exhibited in the 1848 Salon, and finally received a medal of honor...