Mid-19th Century Sculptures

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...

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

La virgen es de madera y el niño de terracota Comentar que los ojos de la virgen, son de pasta vitrea Las coronas de metal (la corona de la virgen está rota y se tendria que pegar)...

John Leopard (1800-1883) Pottery Rusk County Henderson Texas Pottery (1850-1883) 5 or 6 Gallon Ovoid East Texas Churn 18 inches tall 11 inches at widest point Utilitarian John Leopard (1800-1883) Pottery Rusk County Henderson Texas Pottery (1850-1883) One natural resource found in Rusk County provided an abundance of raw material for the development of industry in the county. When pioneers arrived in Rusk County in the early 1800's, they found a variety of clays suitable for brick making, tiles, statuary and pottery. Pottery making is one of the world's oldest crafts, with examples of pottery traced back as far as the 7th century BC. Amongst the earliest finds are artistic figures, images of people and animals, and household implements including breakers and dishes. Anthropologists often use the techniques and patterns found in ancient burial sites to form an accurate picture of society through the ages. Earthenware (jugs, churns, and vessels of all kinds) made in Rusk County found a ready market. Some of the early potters were Brown, Leopard, Rushton, Prothro and Russell. Many of Henderson's downtown buildings were made from bricks baked in the kiln of the Howard Brothers...

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...

Donato Barcaglia (Pavia, January 10, 1849 - Rome, 1930) Little girl with clasped hands Statuary white marble sculpture Measurements: height 55 cm, width 39 cm, depth 25 cm Last Quar...

Bronze oriental male figural torchère with bronze base and gilt patina. This figure exhibited at the Salon from 1850-51. In 1855 it appeared in the A.Collas and Barbedienne society c...

Sporting Sculpture with Elk and Panther Wildlife bronze

signed 'A. CARRIER-BELLEUSE' (on base)

Inkwell "Boar Hunting" by Christophe FRATIN (1801-1864) Cast in bronze with nuanced brown patina Signed on the hinge of the lid "Fratin" A very rare old cast France circa 1845 heig...

MATHURIN MOREAU French, (1822-1912) Le Rêve du Poète Circa 1860, Patinated bronze; Signed ‘math moreau’ and Inscribed REVE DU POETE par MTH MOREAU, MEDAILL...

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...

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...

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 ...

Attr. Bertel Thorvalsden (1770-1844) WINGED CUPID, Italy, 19th Century Provenance: Private Collection, Vienna

Sculptor active in Italy Marble sculpture depicting study of female beauty Second half of the 19th century Measurements: 46x26 cm - height 74 cm Great state of conservation We ship ...

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...

A signed, dated, 1855 terracotta, classical style sculpture of the robed figure of Fate holding the thread of life by listed, Austrian-born artist, Franz Melnitzky (1822-1876) whose ...

A fine classical form marble sculpture of a young boy with robe by Irish / American artist Martin Milmore (1844-1883). Milmore was born in Sligo, Ireland and was brought to Boston, Massachusetts in 1851, where his training began with his brother, Joseph, a stonecutter, who later became his assistant. Milmore was apprenticed to Thomas Ball from 1858 to 1862 working mainly on his equestrian "George Washington" (1858-61, Boston Public Gardens). After Ball departed for Italy, Milmore became Boston's leading sculptor. Realistic in his style, he is best known for his Civil War monuments and sculptures of prominent Bostonians including Wendell Phillips...

Pierre Jules Mene "Chien Braque" (Tom) Bronze approx. 5 x 9 x 4.25 Signed PIERRE JULES MENE (1810-1879) Pierre Jules Mene, (P. J. Mene), was born in Pa...

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...

John Edward Jones (Irish – 1806-1862) “Portrait of Lady Lucy Henderson” Signed and dated London 1858, and inscribed, “Lucy Henderson, Nee Durham” 28 ½” high x 20 ½” wide x 11” deep Provenance: Collection Saratoga Springs, NY About John Edward Jones was born in Dublin on May 2nd, 1806. He was the son of a miniature painter Edward Jones. He was trained as an engineer under Alexander Nimmo and worked with him on many important works in Ireland, including the building of the bridge at Waterford between 1829 in 1832, of which he was in charge. A taste and an aptitude for sculpture induced him to relinquish his prospects as an engineer and he commenced practice in London as a sculptor. He achieved considerable success, especially in portrait busts, and was employed by many notable persons of the time. He first exhibited at the Royal Academy in 1844 and continue to do so until his death. He executed a considerable number of bust of Irish personages. He paid occasional visits to Dublin where he contributed to the Royal Hibernian Academy in 1847, 1852,1853 and 1854. A full-length statue by him of Sir Robert...

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