Jan's & Co Fine French Antiques Inc. Decorative Objects

A French 19th-20th Century Orientalist Style Cold Painted Spelter Figural Lamp-Torchere, by Barcelona born artist Pedro Ramon Rigual (1863-1917). T...

A Pair of French Louis XV Style Gilt-Bronze Seven-Light Candelabra, in the French Régence and Empire flavor, after the model by André Charles Boulle and sons. Each with a central aca...

A Very Fine Pair of French 19th-Century Louis XV-Style Patinated and Gilt-Bronze Figural Two-Light Candelabra, after Claude Michel Clodion (French, 1738–1814). Each features a standi...

A Very Fine French 19th Century Royal Louis XVI Style Three-Piece Sèvres Gilt and Cobalt-Blue Ground Ormolu-Mounted Porcelain Urn and Clock Garniture Set. The finely decorated figura...

A Fine and Large French Early 20th Century Bronze of Napoleon Marching in Waterloo Cast after a model by Marius-Jean-Antonin Mercié (French, 1845-1916). The impressive bronze sculptu...

A Very Fine French 19th/20th Century Louis XV Style Three-Piece Garniture Set of Ormolu-Mounted Mottled Granite-Marble Urn Seven-Light Candelabras. The shaped urns are similar in var...

A Very Fine and Charming Italian Late 19th to early 20th-Century Carrara Marble Sculpture Titled 'Primo Bagno' (Child's First Bath). The whimsical carved marble sculpture depicts a j...

A Fine Italian 19th-20th Century Carved Alabaster Group of a Child with a Birdcage, depicting an infant boy Seated, naked, on a rocky base. After Jean-Baptiste Pigalle (1714-85) - L'enfant a la Cage. In his outstretched left hand he holds an empty bird cage with an open door. This sculpture is one of the popular motifs of the period among secondary figures in paintings was the Italian putto...

A fine and rare 19th-20th century neoclassical revival style silver plated and cut-glass centrepiece in the manner of Christofle. The boat-shaped body with ornately finely chased det...

Eugène Blot (French, 1830-1899) "An Evening at The Opera House" a fine and rare French 19th century polychrome and parcel-gilt spelter figure of a lady seated backwards on her knees ...

A fine pair of 19th century Japanese porcelain and French gilt bronze mounted thirteen-light celadon torchiere, floor lamp candelabra. Wired for ...

A Large and Impressive 19th Century Pair of Japanese Meiji Period Export Blue-Celeste, White and Porcelain Vases. The ornately decorated bottle-shaped celadon vases, each with feline decorations amongst tree-branches and parcel-gilt and ruby-red painted flowers. The bottom of one signed in Japanese “Dai...

A Large Pair of Egyptian Revival Vintage Patinated Brass Sphinxes. The impressive pair of brown patinated resting sphinxes, with an unverified...

A Pair of French 19th Century Louis XV Style Gilt-Bronze Nine-Light Candelabra. The impressive pair of candelabrum, each on a floral stem base surmounted with nine scrolled candle-ar...

A Very Fine and Palatial Pair of French Baroque Revival Style 19th Century Carved Marble Sitting Lions, the very realistic carved pair of posing lions with fine attention to detail, ...

A Fine French 19th Century 'Belle Époque' Gilt-Bronze and Rouge Griotte Marble Table Clock by François Linke (1855-1946) Index Number 86. The clockcase modelled as a tambourine amidst blossoming roses, a mask and fan, on an oval bead-edged marble plinth with recessed panels mounted with fruiting vines, on turned feet, the reverse of the white enamel clock dial with Roman hours and Arabic minutes signed 'F. Linke, Paris', timepiece movement. Circa: Paris, 1895. François Linke (d. 1946) was awarded the gold medal for his Grand Bureau at the 1900 Paris Exposition Universelle. He was the most celebrated Ébéniste of his time. Born in Bohemia in 1855, he moved to Paris in 1881. He produced furniture of the highest quality at his workshops at 170, rue du Faubourg-Saint-Antoine, and established showrooms at 26, Place Vendme. A much simpler version of this commode, with fewer ormolu mounts and with no marquetry, is illustrated in Christopher Payne's "François Linke 1855-1946 The Belle Epoque of French Furniture" Antique Collectors' Club, 2003 Edition, Index 720, Page 498. Literature Payne, C., François Linke 1855-1946: The Belle Epoque of French Furniture, 2003, models illustrated pp. 160, 182, 247 and the black and white cliché on p. 487. Another example of this model was sold at Sotheby's New York, Sale 19th Century Furniture, Sculpture, Ceramics, Silver and Works of Art on April 22, 2010, Lot 448 'Lot 448: FRANÇOIS LINKE 1855 - 1946 A GILT-BRONZE AND ROUGE GRIOTTE MARBLE TABLE CLOCK PARIS, CIRCA 1895, INDEX NUMBER 86' Sold for $10,000 USD Another example of this model was sold at Christie's New York, Sale '500 Years: Decorative Arts Europe' (PROPERTY FROM THE COLLECTION OF RAYMOND AND MIRIAM KLEIN) on October 20, 2011, Lot 146A 'A FRENCH ORMOLU AND ROUGE MARBLE TABLE...

A Palatial Life-Size Pair of French 19th-20th Century Cast-Iron Torchères Sculpures figures of "Jongleur and Charmeur de Serpents" (Juggler and Snake-Charmer) After the model by Mathurin Moreau (French, 1822-1912), attributed to Le Societe Anonyme des Hauts-Fourneaux et Fonderies du Val D'Osne - 58 Boulevard Voltaire, Paris. The monumental pair of indoor or outdoor torchère lights, each torchère portrays a standing half-clothed black male engaging in traditional entertainment activities reflecting the cultural practices of the 19th century and early 20th century, one as a juggler and the other one as a snake charmer. The skill and cultural context of these impressive pair of sculptures add depth and charm highlighting the artistic technics, and the emotions being conveyed by each figure. The present pair of torchere are based on the engravings of Statues published by the celebrated sculptor, Mathurin Moreau (d. 1912). As their trade catalogues reveal, Moreau's oeuvre was extensively reproduced by the Val d'Osne foundry during the latter quarter of the 19th century (see photos of the Val d'Osne original catalogue). Established in 1835 by André, Val d'Osne was subsequently renamed Houille et Cie. in 1867 when taken over by Barbezat. By 1870, however, it was known as the Société Anonyme des Hautes Fourneaux & Fonderies du Val d'Osne, exhibiting its wares in a Paris showroom at Boulevard Voltaire. Unsigned. (Electrified). Circa: Paris, 1890-1900. Note: Wood pedestals shown on video are not included. Fonderies d'Art du Val d'Osne Established in 1835 by J.P.V. André, the Fonderies d'Art du Val d'Osne was known for their high quality and extensive collection of cast-iron architectural designed sculptures created exclusively for Victor André by some of the most reputed and established Parisian sculptors like Carrier-Belleuse, Mathurin Moreau, Delaplanche and Pradier. The prolific firm Fonderies d'Art du Val d'Osne participated in numerous international exhibitions and was acclaimed at the 1857 London Exhibition with a monumental bronze fountain cast with swans and Classical figures. The firm was acquired by Barbezat & Cie. in 1867, and allying with the fondeur J.J. Ducel towards 1870, and was renamed Société Anonyme des Hauts-Fourneaux & Fonderies du Val-D'Osne, Anciennes maison J.P.V. André et J.J. Ducel et Fils...

A Very Fine and Impressive Bohemian 19th Century Vienna-Style Neoclassical Revival Style Pirkenhammer Porcelain Vase - Urn. The ovoid shaped finely painted all around body with allegorical scenes representing 'The Search for Love', with one side depicting a pensive maiden seated on a rock form by the seashore, the opposite side depicting a maiden, also seated by the seashore, being visited by a love-cupid (cherub or angel), flanked by a pair of finely detailed double-headed snake-form 24 carat gilt handles centered with mask terminals, raised on an attached circular gilt, cream and blue Celeste decorated plinth. Stamped with an underglaze black printed crossed hammers mark and further mark "O.P.C.N. / RAD" to the underside. The associated and later domed cobalt-blue, cream and gilt decorated porcelain cover-lid with a cream and gilt bud finial, not original to the vase. Signed "Al Eckardt". Circa: Bohemia, 1890-1894. The porcelain painter A. Louis Eckardt is mentioned by Waltraud Neuwirth, Porzellanmaler-Lexicon (1977), Vol. I, p.251 as working from the Prager Strasse in Dresden in 1894. The Bohemian Pirkenhammer factory was founded in 1803, and in the second half of the 19th century the factory was exporting to Vienna and London. The Prikenhammer marks on these vases show they were made after 1887, and it is therefore likely this vase can be dated between the time of the introduction of the mark for this Bohemian factory, and the time Eckhardt returned to Dresden in 1894. Eckhardt is also recorded as a painter of Berlin plaques. The Pirkenhammer porcelain factory was established in 1802 in Karlovy Vary using...

A Fine French 19th/20th Century Patinated Bronze Figure titled “Lutin des Bois” (Woodland Fairy or Elf) after Luca Madrassi (Italian, 1869-1914). The beautifully executed slender fig...

A Fine French Empire Style Gilt Bronze Trophy Cherub & Maiden "Love & Victory" in the shape of a vessel, raised on a rouge royal marble base, circa 1870-...

A Fine Bronze Bust of a man in the manner of Sir Jacob Epstein (British, 1880-1959), artist unknown. This beautifully executed green-patinated bronze somewhat resembles the style of ...

A Tall Pair of Empire Revival Style Gilt-Metal Six-Light Candelabra, after a model by Pierre-Philippe Thomire (1751–1843). Each gilt-leaf finished candelabra with a fluted center ste...

A Charming French White Marble Sculpture of "A Young Marble Sculptor" depicting a kneeling young boy holding a hammer and a chisel, attributed to Adrien Etienne Gaudez (French, 1845-...

A Very Fine French 19th Century Louis XVI style ormolu-mounted amaranth, tulipwood, sycamore and parquetry pedestal "Régulateur de Parquet" Clock, after the model attributed to Jean-...

A Very Fine English Life-Size Neoclassical Revival Style White Marble Group of a Standing "Fisher Girl with a Dog", the tall and slender sculpture depicting a standing scantily clad nude maiden wrapped in a fishing net, wearing nothing but a tiara...

A Monumental Equestrian Patinated Bronze Group Sculpture of "Tartar Warrior Checking His Horse" after the original model by Antoine Louis Barye (French, 1795-1875). The large and hea...

A Fine Italian Cast 19th Century Bronze Group Titled "La Tempête" (The Tempest) Probably after Mathurin Moreau (French, 1822–1912), Cast by The Alessandro Nelli Foundry in Rome. The ...

A Fine Pair of French 19th/20th Century Gilt-Bronze Sculptures of "The Marly Horses" (Now turned into lamps) After the original by Guillaume Coustou (French, 1677-1746). The large pair of equestrian bronze sculptures, finished in a gold patina, each depicting rearing horses with their groom, both raised on oval a black slate and Bardiglio marble bases and fitted with modern electrical twin-light brass fittings and cream colored shades. The base on an ebonized wooden platform. Circa: Paris, 1900-1920. Sculpture & Base Height: 31 1/4 inches (79.8 cm) Base Width: 21 3/4 inches (55.3 cm) Base Depth: 12 3/4 inches (32.4 cm) Height to top of (Adjustable) shade fitting: 48 1/4 inches (122.6 cm) Shade Height: 15 inches (38.1 cm) Shade Width: 26 inches (66.1 cm) Shade Depth: 20 inches (50.8 cm) The original Marly Horses are two 1743–1745 Carrara marble sculpted groups by Guillaume Coustou. They were commissioned by Louis XV of France for the trough at the entrance to the grounds of his château de Marly. Coustou's last works, they were intended to replace two other sculpted groups, Mercury on Pegasus and Pegasus, Renown of Horses, both by Antoine Coysevox, which had been removed to the Tuileries Gardens in 1719. Louis XV chose the modellos in 1743 and the full-size sculptures were completed in only two years, being installed at Marly in 1745. They proved highly successful in reproduction, particularly on a smaller scale, and prefigured Théodore Géricault and other Romantic artists' obsession with equestrian subjects. The Marly horses were later also used as the central motif of the monochrome 819-line RTF/ORTF test card which was used on TF1 from 1953 until 1983. The originals were moved to the place de la Concorde in Paris in 1794 and Louis-Denis Caillouette (1790–1868) restored them in 1840. In 1984 it was concluded that the annual military parades on 14 July were damaging the sculptures and they were replaced by marble copies produced by Michel Bourbon in the studio of a subsidiary of Bouygues. The latter also gained the right to an extra copy, which was placed in Bouygues's social building. The original sculptures were moved to a former courtyard in the Richelieu wing of the Louvre Museum, which was renamed the 'cour Marly' in their honour, whilst Bourbon's two main copies were moved to the originals' first site near the trough at Marly, with work overseen by the architect Serge Macel. Guillaume Coustou the Elder (29 November 1677, Lyon – 22 February 1746, Paris) was a French sculptor of the Baroque and Louis XIV style. He was a royal sculptor for Louis XIV and Louis XV and became Director of the Royal Academy of Painting and Sculpture in 1735. He is best known for his monumental statues of horses made for the Chateau of Marly, whose replicas now stand in the Place de la Concorde in Paris. Coustou was a member of a family of famous sculptors; his uncle, Antoine Coysevox, was a royal sculptor; his elder brother, Nicolas Coustou was a sculptor, and his son Guillaume Coustou the Younger also become a noted royal sculptor. Like his older brother, he won the (Prix de Rome) of the Royal Academy which entitled him to study for four years at the French Academy in Rome. However, he refused to accept the discipline of the academy, gave up his studies, set out to make his own career as an artist. He worked for a time in the atelier of the painter Pierre Legros, and eventually returned to Paris. Upon his return to Paris, he assisted his uncle Coysevox in making two monumental equestrian sculptures, Fame and Mercury, for the Château de Marly, the new residence of Louis XIV near the Palace of Versailles, where he went to escape the crowds and ceremony of the Palace. He later (1740–1745), made his own horses, The Horses of Marly, his most famous works, to replace them. The horses reinvent the theme of the colossal Roman marbles of the Horse Tamers in the Piazza Quirinale, Rome. They were commissioned by Louis XV in 1739 and installed in 1745 at the Abreuvoir ("Horse Trough") at Marly. The horses were considered masterpieces of the grace and expressiveness of the French Late Baroque or Rococo style. After the Revolution they were moved from Marly to the beginning of the Champs-Élysées on the Place de la Concorde. The originals were brought indoors for protection at the Louvre Museum in 1984. In 1704 Coustou was received into the Académie royale de peinture et de sculpture. The work he made to mark his entrance was Hercules on the Pyre, now in the Louvre. It displays the special hallmark of the Baroque, a twisting and rising transverse pose, as well as highly skillful carving. He rose to become Director of the academy in 1733. Another of his major works from his later career, the statue of Maria Leszczynska, (1731)is on display at the Louvre. Coustou also created two colossal monuments, The Ocean and the Mediterranean among other sculptures for the park at Marly; the bronze Rhone, which formed part of the statue of Louis XIV at Lyons, and the sculptures at the entrance of the Hôtel des Invalides. Of these latter, the bas-relief representing Louis XIV mounted and accompanied by Justice and Prudence was destroyed during the Revolution, but was restored in 1815 by Pierre Cartellier from Coustou's model; the bronze figures of Mars and Minerva (1733–34), on either side of the doorway, were not interfered with. In 1714 for Marly he collaborated in two marble sculptures representing Apollo Chasing Daphne (both at the Louvre), in which Nicolas Coustou sculpted the Apollo and Guillaume the Daphne. About the same time he was commissioned to produce another running figure in marble, a Hippomenes designed to complement an Atalanta copied from the Antique by Pierre Lepautre...

An Important and Palatial French Louis XV Style 19th century Gilt-Bronze Cherub and Maiden Mantel Clock "In Search of Love", the movement by "Samuel Marti et Cie." The large and impr...

A very fine German 19th century porcelain and gilt-bronze mounted Potpourri Urn-Vase with Lid, attributed to Meissen. The ovoid white porcelain urn, decorated on all sides and lid wi...

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - a very Fine and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble...

A fine French Louis XVI Style gilt and patinated bronze and white marble figural mantel clock with a figure of a drummer cherub. The brown patina cupid, seated on gilt-bronze clouds ...

A very fine and rare pair of 19th century Regency style carved mahogany Cellarette urns or wine-drink coolers. The intricately carved ovoid shaped urn, decorated with acanthus leaves, wreaths and lilies, the removable lid top with a carved acorn finial and all raised on an heptagon base. The interior with their original copper metal-liners. Circa: Probably Irish, 1870-1880. Cellarette or cellaret is a small furniture cabinet, available in various sizes, shapes, and designs which is used to store bottles of alcoholic beverage...

A Very Fine Italian 19th century Greco-Roman style carved Carrara marble bas-relief Frieze, after the antique. The finely carved white marble frieze in r...

A Monumental French 19th Century Patinated and Parcel Gilt Cast-Iron Bust of 'Head from a Statue of Antinous as Dionysus' Wearing a Wreath of Ivy ...

A Monumental Museum Quality Pair of French 19th Century Figural Gilt and Patinated Bronze Rosso Granite Marble Flambeaux Urns, each depicting a pair of standing allegorical and whims...

A Very Fine French 19th Century Louis XVI Style Plum-Mahogany and Ormolu Mounted Tall-Case Regulator attributed to Revollon. The Roman numeral dial signed: Revollon - M. Lion, with h...

A Large and Impressive Italian 19th Century Patinated Bronze Figural Torchere, after a model by Niccolò Roccatagliata (Genoa 1593 - Venice 1636). The triangular foot base with projecting putti supporting the stem and oval reserves within cartouche motifs, one containing the initials "S.D" with an olive tree in-between and a bull-head below. The stem knot with figures of winged caryatids and festoons and upper part with cherub heads, acanthus leaves and egg and bead patterns and topped with a later white glass globe. The decorative system refers to the documented artistic production of the Venetian workshop of Niccolò Roccatagliata and takes inspirational model from the base of the Renaissance bronze of the Scuola Grande di San Teodoro in Venice, a work signed by Andrea del Bartolomeo di Alessandri known as Brescianino. Electrified. Circa: Venice, 1850-1880. RELATED LITERATURE L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, figs. 661-664; C. Avery, 'Andrea del Bartolomeo di Alessandri detto il Bresciano" lavator di gettar di Bronzo": candelabri, satiri e battenti', M. Ceriana and V. Avery (eds.), L'Industria artistica del Bronzo del Rinascimento a venezia e nell'Italia settentrionale, Venice, 2008, pp. 233-252. Similar models of this torchere were part of the interior decor collection at the Vanderbilt Mansion in New York (see black and white photo). The Cornelius Vanderbilt II House was a large mansion built in 1883 at 1 West 57th Street in Manhattan, New York City. It occupied the frontage along the west side of Fifth Avenue from West 57th Street up to West 58th Street at Grand Army...

A Large German 19th/20th century Figural Porcelain and Gilt-Bronze Mounted Urn with Cover in the Manner of Meissen. The ovoid porcelain hand painted u...

Grégoire Calvet (French, 1871-1928) A Fine Late 19th Century Life-Size White Marble Sculpture representing "Peace & Love". The beautifully carved white...

A very fine and palatial French 19th/20th century Christofle & Cie Louis XV style silvered figural centerpiece, fitted with an oval diamond-cut-glass center-dish, attributed to Bacca...

After Odoardo Tabacchi (1831-1905) a very fine Italian 19th century patinated bronze figure of "La Tuffolina" (The Diver). The finely cast brown patin...

A French 19th century bronze and marble bust of Marianne in full armor. The nicely cast Baroque Revival brown patinated bronze and carved white marble figure of Marianne, the allegorical personification of the French Republic, presented in her militaristic guise, reminiscent of Minerva, wearing a Phrygian helmet and armored breastplate centered by winged male mask and with lion shoulder armor pads, all raised on a conforming black marble base. Circa: 1890-1900. Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, as well as a portrayal of the Goddess of Liberty. Marianne is displayed in many places in France and holds a place of honor in town halls and law courts. She is depicted in the Triumph of the Republic, a bronze sculpture overlooking the Place de la Nation in Paris, as well as represented with another Parisian statue on the Place de la République. Her profile stands out on the official government logo of the country, appears on French euro coins and on French postage stamps. She was also featured on the former franc currency and is officially used on most government documents. Marianne is a significant republican symbol; her French monarchist equivalent is often Joan of Arc. As a national icon Marianne represents opposition to monarchy and the championship of freedom and democracy against all forms of oppression. Other national symbols of Republican France include the tricolor flag, the national motto Liberté, Égalité, Fraternité, the national anthem "La Marseillaise", the coat of arms, and the official Great Seal of France. Marianne also wore a Cockade and a red Phrygian cap symbolizing Liberty. Minerva and its pendant bust of Mars evoke the classicizing subjects, bust-length formats, and style that originated in France during the reign of Louis XIV (1643–1715) and that concurrently was popularized across Europe. The busts' simple forms, stiff poses, and solemn facial types are consistent with the late Baroque sculptures that were carved in Flanders during this period. In Flanders, especially in Antwerp and Brussels, sculpture and architectural decoration traditionally was carved using combinations of native black marble (noir belge), mottled red marble (rouge belge), and white marble or alabaster. The use of these stones in colorful counterpoint speaks most strongly to the busts’ Flemish origins. The veneration of ideal heroes and heroines in ancient costume and arms took on extravagant form in the 17th century, with countless variations. Within this imaginative tradition, the identification of the pair as Minerva and Mars cannot be certain. The female bust, for example, could be identified as Bellona, Roman goddess of war, who is depicted in 17th and 18th century French paintings wearing flamboyantly plumed helmets and low-cut cuirasses that expose her breasts. Whatever their identities, the female and male warriors are portrayed as calm rather than bellicose beings. The sovereign pair does...

A Large and Impressive Continental 19th Century Patinated Bronze and Giltwood Carved Crucifix Former property of Siegfried & Roy, the renown German-Ame...

The Riace Warriors, a fine pair of cold cast copper and resin figures of the Riace Warriors, reduced replicas of the original bronze sculptures currentl...

A very fine and Palatial French Louis XVI style figural gilt bronze mantel clock. The vase shaped case surmounted with a pomegranate-cast finial and flanked by large satyr mask handles fitted with intertwined gilt-bronze snakes, amongst floral wreaths, ribbons and acanthus. The rectangular acanthus decorated base flanked on each side with a figure of a cherub holding a globe and a Putti writing a poem, both above a plinth decorated with fruit and floral garlands surmounted with lion-mask-legs. The circular white enamel dial with wreaths of flowers with Roman and Arabic numerals, Signed: Étienne Le Noir...

A very fine and mpressive life-size Italian, early 20th century marble bust of a Greco Roman Warrior, probably Hercules, after the antique. The large beautifully carved and decorated...

A very fine and charming French 19th century carved white marble sculpture of a young prince seated on a pillow with tassels. In the manner of Jean-Baptiste Pigalle (French, 1714-178...

A very fine French Sevres biscuit (Bisc) porcelain figure of a recumbent nude lady titled "Le Repos" after a model by Alfred Boucher (French, 1850-1934) Sensually depicting a young w...

A fine Italian 19th-20th century lifesize carved marble bust of a lady wearing a hat, the beautifully carved marble bust of a lady posing with a gaze to her right, wearing a bonnet w...

A very fine and larger-than-life and very realistic museum quality patinated bronze bust of President William H. Taft (1857–1930) by Frederick Ernst Triebel (American, 1865-1944) cast by Nelli Foundry in Rome, Italy. William H. Taft, the 27th President of the United States and Jurist, is depicted with his renown thick mustache and wearing a bow tie, vest and coat. Inscribed on the back: F.E. Triebel. Sculp and Fond. Nelli, Roma, circa first quarter 20th century. Due to its size, subject and high quality, this bust was probably commissioned for a Museum or public exhibition, such as an embassy or government building, the same way as other similar works by the sculptor. The Roman foundry operated by the Nelli family during the last quarter of the 19th century cast works for many leading sculptors of the day, including Alfred Gilbert and Anton van Wouw...

A fine and charming pair of Austrian 19th century polychromed majolica hanging wall sculptures of an elderly couple peeking through a window, probably by Friedrich Goldscheider (Goldscheider'sche Porzellan-Manufactur und Majolica-Fabrik.) Each wall sculpture depicting an elderly man wearing glasses and a traditional cap with his arms extended forward as if it was reading a book or a newspaper. The other depicting an elderly lady, also peeking through a window, wearing a laced cap with a bow tie and shawl over her shoulders, her arms are also extended forward as if it was reading a book or a newspaper. The male figure stamped on the back "78 - II ." The lady figure stamped on the back "37 - 79." Vienna, circa 1890-1900. Man's height: 16 1/2 inches (41.9 cm.) Man's width: 13 3/4 inches (34.9 cm.) Depth: 8 1/2 inches (21.6 cm.) Lady's height: 15 1/2 inches (39.4 cm.) Lady's width: 13 3/4 inches (34.9 cm.) Lady's depth: 6 1/2 inches (16.5 cm.) Goldscheider Manufactory and Majolica Factory (German: Goldscheider'sche Porzellan-Manufactur und Majolica-Fabrik, (now) Goldscheider Keramik) is an Austrian ceramic manufactory. In 1885, Friedrich Goldscheider came from the small Bohemian city of Pilsen to Vienna and founded the Goldscheider Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria with subsidiaries in Paris, Leipzig and Florence. For over half a century Goldscheider created masterpieces of historical revivalism, Art Nouveau (Jugendstil) and Art Deco. Famous artists such as Josef Lorenzl, Stefan Dakon, Ida Meisinger and the two perhaps best known Austrian ceramic artists Michael Powolny and Vally Wieselthier worked for Goldscheider. Several of the artists who worked for Goldscheider also worked for other Viennese studios, such as Augarten, Keramos or for the German brands Rosenthal and Meissen. The Goldscheider family emigrated in 1938 to United Kingdom and USA. Walter Goldscheider startet a new factory in Trenton, New Jersey and returned to Vienna in 1950. Marcel Goldscheider went to Stoke-on-Trent and produced figurative ceramics for Myott and opened his own studio in the 1950s in Hanley. Both brothers died in the early 1960s. More than 10,000 different models were created over a period of three generations. Since the very beginning many of these won first prizes and gold medals at innumerable world fairs, exhibitions and trade fairs. Goldscheider figures...

A Monumental and Fine Pair of French 19th, 20th Century Empire Style Red Porphyry-Like Granite and Gilt-Bronze (Ormolu) Mounted Obelisks on Four Gilt-Bronze Lion Paws both resting on...

A Fine 19th century white marble sculpture of “Rebecca at The Well” depicting a Classical maiden wearing a robe, with one breast semi-exposed, stan...

A very fine and large French 19th century white marble bust of a young beauty, purported to be a young "Marie Antoinette" (Queen of France 1755-1793), by René Rozet...

A superb quality and palatial pair of French 19th century lifesize cast-iron sculptures - torcheres of Native American Indians titled "L’ Indienne" designed by Jules Salmson (French, 1823-1902) and Cast by Le Fonderies d'Art du Val d'Osne, each standing figure representing a Native American Indian male and a female scantily dressed in their native robes, one arm raised holding a light-torch with an opaline glass globe, both wearing earrings, seashell necklaces and arm-braces, raised on cylindrical cast-iron stand. Signed/cast on each pedestal: “VAL D’OSNE”. (Electrified). Paris, circa 1870-1880. Overall hHeight: 127 inches (322.6 cm) Pedestal height: 39 inches (99.1 cm) Indian man's width: 22 inches (55.9 cm) Indian man's depth: 26 3/4 inches (68 cm) Indian woman's width: 28 inches (71.1 cm) Indian woman's depth: 25 inches (63.5 cm) These fantastic and impressive pair of cast-iron sculptures, most likely representing Hiawatha and Minnehaha, were probably comissioned to Le Fonderies d'Art du Val d'Osne for export to the America's to decorate governmental buildings and parks which makes these pair a rare find and now available for a private collection. Iron sculptures were preferred over bronze for outdoor park and building decorations for their long lasting resistance to all types of weather conditions. An identical pair of sculptures, also by Val d' Osne, are currently exhibited at the National Garden of Congress in Santiago, Chile. View Pages No. 87, 88, 89. Another identical pair are also currently exhibited at The Musée de la Ville - Indian Museum "O Indio do Museo da Cidade" in Rio de Janeiro, Brazil. Another identical pair decorate the front of the Ópera Teatro Amazonas, Manaús, Brazil. A single figure of the female Indian...

Eliseo Tuderte Fattorini (Italian, 1830-1887). A very fine and life-size Italian, 19th century marble Life-size Orientalist Marble Sculpture...

A Very Fine and Rare Pair of 19th-20th Century Majolica busts of "The Banjo Player and The Flower Lady," probably Austrian Goldscheider, each depicting an ...

A very fine French 19th century brown and parcel-gilt patinated bronze sculpture titled "La Sécurité" (The Security - Protection) after a model by Eugène Delaplanche (French, 1836–1891). Depicting a sitting young Maiden in a gilt-decorated armored suit and helmet, a lion skin on her back, holding a resting child on her arm. Raised on Rouge-Royal marble plinth inscribed "La Sécurité - Par E. Delaplanche - Salon des Beaux-Arts de Paris". Signed: E. Delaplanche and stamped with the importer's seal - Alberto Vignes y Ca - Buenos Aires, circa 1890. Measures: Height: 28 3/4 inches (60.3 cm). Width: 16 inches (40.7 cm). Depth: 14 inches (35.6 cm). Eugène Delaplanche (February 28, 1836 – January 10, 1891) was a French sculptor, born at Belleville (Seine). He was a pupil of Duret, gained the Prix de Rome in 1864 (spending 1864-67 at the Villa Medici in Rome) and the medal of honor in 1878. His "Messenger of Love" (1874), "Aurora" (1878), and the "Virgin of the Lillies" (1884), are in the Luxembourg. Other works by him are "Music - La Musique" (1878, Paris Opera House), called his masterpiece; "Eve After the Fall" (1869); "Maternal Instruction" (1875, Square of Sainte-Clothilde, Paris). He is also noted for his decorations in relief on vases of Haviland faience. His best work is naturalistic, but at the same time dignified and simple in line and shows sound mastery of technique. He is represented by 15 works in the Glyptothek, Copenhagen and in many other French museums and in churches. This sculpture of La Sécurité is after his 1884 sculptures...