Robert Simon Fine Art Sculptures
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Silver and Transitional Andean Textile Casket
By Spanish Colonial (Peruvian)
Located in New York, NY
Silver was the material of choice for both ecclesiastical and domestic vessels in the New World, not only for its status as a precious metal, but also because of its abundance and du...
Category
Early 18th Century Sculptures
Materials
Silver
The Three Magi
Located in New York, NY
Provenance: Private Collection, Spain.
Known as Peruvian alabaster for its translucency and workability, Piedra de Huamanga is a highly prized material from the province of Ayacucho in Peru. In the 17th and 18th centuries, local craftsman in the town of Huamanga began to specialize in the production of small-scale, polychrome religious sculptures made from this distinctive stone. Huamanga sculptures are among the most accomplished examples of carving from the Spanish Americas, where polychrome wood sculpture was a far more common sculptural medium. These works, which were created as independent sculptures or as sculptural groups—such as our three Magi—were intended for ecclesiastical as well as domestics settings.
Our three figures likely formed part of a larger Nativity group—a New World variant of the tradition of the Neapolitan Crèche...
Category
Late 18th Century Figurative Sculptures
Materials
Alabaster
Head of a Young African Man
Located in New York, NY
Provenance: Private Collection, Spain.
This intriguing and enigmatic sculpture depicts the head of a young African man emerging from a circular opening ...
Category
Early 1800s Figurative Sculptures
Materials
Terracotta
The Story of Joseph from the Second Baptistery Doors, Florence (“The Gates of Pa
By Ferdinand Barbedienne
Located in New York, NY
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...
Category
Late 19th Century Figurative Sculptures
Materials
Bronze
Portrait of Ni-Polog
Located in New York, NY
Signed, dated, and inscribed on the verso:
Malvina Hoffman/ Den Pasar/ “Nipolog”-/ © 1932/ Bali
Provenance:
The artist; her estate.
Literature:
Mal...
Category
1930s Realist Sculptures
Materials
Terracotta
Cuzco School Baptismal Dish
By Spanish Colonial (Peruvian)
Located in New York, NY
Provenance:
Manuel Ortíz de Zevallos y García, Peru; and by descent in the family to:
Private Collection, New York.
This impressive baptismal dish is an example of eighteenth-cent...
Category
18th Century Old Masters Sculptures
Materials
Silver
First Journey
Located in New York, NY
Provenance: Sables de Fontainbleau, Seine-et-Marne, France
“Gogottes” are natural creations formed out of sands deposited in Northern France during the Oligocene Period, approximately 30 million years ago. Much later, in a process that has only recently become understood, groundwater rich in silica flowed through the sands...
Category
15th Century and Earlier Naturalistic Abstract Sculptures
Materials
Sandstone
The Infant Saint John the Baptist with a Lamb
Located in New York, NY
Provenance:
James Byrnes, Los Angeles (1917-2011)
Giusto Le Court was born Josse or Justus de Corte in the Flemish city of Ypres. His father Jean was a sculptor and presumably his earliest training was with him before he entered the studio of Cornelis van Mildert. The young artist was clearly influenced by the dominant Flemish sculptor of the time, Artus Quellinus the Elder, with whom he may have worked on the decoration of the Amsterdam City Hall.
Following the lead of many northern artists he travelled to Rome, perhaps more than once, before settling in Venice around 1655. It was there, as one of a colony of expatriate artists, that he made his name as a sculptor. One of his first Venetian commissions was for the monument to Alvise Mocenigo in the Church of San Lazzaro dei Mendicanti, where Le Court sculpted the marble figures of Strength and Justice. He also collaborated with the celebrated architect Baldassare Longhena, most famously for the high altar of Santa Maria della Salute, where he carved the multi-figured altarpiece depicting the Queen of Heaven Expelling the Plague.
The present marble sculpture depicts the infant Saint John the Baptist, reclining, wearing his traditional hair-shirt, embracing a lamb, and holding the bottom of his attribute, a reed cross. Attached to his shirt is a baptismal cup, with which he would become associated later in his life. Veneration of the infant Saint John the Baptist was prevalent throughout Italy and images of the saint in childhood—often called “Giovannino,” or little John...
Category
17th Century Renaissance Sculptures
Materials
Marble
Moroccan, Fez or Meknes: Tall bowl (Jobbana) with geometric designs
Located in New York, NY
Provenance:
Collection of Emily Johnston De Forest and Robert Weeks De Forest, New York, by 1911-until 1942; thence by descent until 2018.
Literature: ...
Category
1810s Sculptures
Materials
Earthenware, Tin Glaze
Related Items
Portrait of a Lady in Red Dress on Porch c.1680, English Aristocratic Provenance
Located in London, GB
Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall.
This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula.
This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated.
Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare.
Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone.
Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself.
Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...
Category
17th Century Old Masters Portrait Paintings
Materials
Canvas, Oil
H 57.09 in W 47.25 in D 2.37 in
Catrina en Día de Muertos - Ceramic Sculpture - Mexican Folk Art - Cactus Fine A
By Alvaro de la Cruz Lopez
Located in Jesus del Monte, MX
MASTERPIECE
Made with natural ceramic. Hand-modeled technique and cooked in a wood-fired oven.
LISTING
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1 Ceramic Catrina
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Category
2010s Realist Figurative Sculptures
Materials
Clay
Winged David (Bronze), ex. Daniel Glaser Estate (New Orleans)
By Michelangelo
Located in New Orleans, LA
A tabletop-sized solid bronze casting of Michelangelo's "Winged David", on a solid marble base. You can see his giant-killer sling "slung" over his shoulder. Fine detail. This came out of a collection of neoclassical grand tour souvenirs, owned by collector Daniel Glaser of New Orleans, Louisiana (from his estate). Back in the day, wealthy travelers in Europe often purchased sculptures and other mementos of the sites they visited. We have several other pieces from this collection in addition to this, including "Discobolus" and a fine gladiator with lance. Proudly presented by Guy Lyman Fine Art...
Category
Early 20th Century Figurative Sculptures
Materials
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Portrait of a Gentleman in Scarlet Robe Holding Flowers c.1675, Oil on canvas
Located in London, GB
Titan Fine Art present this striking portrait, which was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill. Gre...
Category
17th Century Old Masters Portrait Paintings
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Mid Century Bronze Sculpture -- Poseidon's Fury
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Located in Soquel, CA
A rare sculpture by Daniel Albert Harris (aka: Zev- the Wolf) (1914-1986) c. 1968 A substantial and stunning bronze sculpture of Poseidon (or Neptune) riding on a shell driven by hor...
Category
1960s Modern Figurative Sculptures
Materials
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Akan Ashanti Memorial Portrait Head of a Noble Tribal African Art Sculpture
Located in Norwich, GB
This elegant terracotta head is a memorial portrait (nsodie) of an Akan nobleman from the part of Africa which is today southern Ghana and southeastern Cô...
Category
19th Century Tribal Figurative Sculptures
Materials
Terracotta, Clay
H 5.12 in W 5.12 in D 3.94 in
Portrait of Catherine Murray, Countess of Dysart, Roses, Gilded Frame, Van Dyke
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This exquisite Grand Manner work, presented by Titan Fine Art, is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully ...
Category
17th Century Old Masters Portrait Paintings
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H 59.45 in W 51.19 in D 3.94 in
Woman's head, terracotta sculpture, 1930s-40s, Giorgio Rossi (1894-1981).
Located in Firenze, IT
Woman's head, terracotta sculpture, 1930s-40s, Giorgio Rossi (1894-1981). Tuscan Sculptor.
Terracotta modeled by hand by the artist. Unique piece.
Dimensions: Height 29 cm.
The ch...
Category
1930s Art Deco Figurative Sculptures
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Portrait of a Gentleman, Doublet & White Ruff, Gloves Inscribed 1624, on panel
By Frans Pourbus the Younger
Located in London, GB
Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract.
The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period.
According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance.
Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted.
This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately.
Frans Pourbus the Younger...
Category
17th Century Old Masters Portrait Paintings
Materials
Oil, Wood Panel
H 42.13 in W 31.11 in D 3.94 in
Antique French Polish Gilt Bronze Statue Sculpture Figure Sword Bladesmith 1890
Located in Portland, OR
A fine antique French gilt bronze sculpture of a swordsmith, by the French- Polish artist & sculptor Henryk II Kossowski (1855-1921), the bronze dating to 1890.
The bronze depicts a ...
Category
1890s French School Figurative Sculptures
Materials
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Baroque Roman sculptor - 17th century alabaster sculpture - Hercules and Cretan
Located in Varmo, IT
Carved alabaster sculpture - Hercules and the Cretan Bull. Rome, 17th century.
20 x 12 x h 33 cm.
Entirely in carved alabaster, small marks and defects. Separate alabaster base.
...
Category
Mid-17th Century Baroque Figurative Sculptures
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H 13 in W 7.88 in D 4.73 in
Pair of Italian "Alabaster Stone Lions" after Antonio Canova; Mid 19th Century
Located in SANTA FE, NM
"Pair Recumbent Stone Lions"
after Antonio Canova (1757-1822)
Italian (possibly Florence)
Mid 19th Century
Alabaster, marble
6 x 9 x 4 inches
This is an exquisite pair of Italian alabaster lions on marble bases based on the monumental lions carved by Antonio Canova (1757-1822), the greatest Italian neoclassical sculptor. Canova sculpted the marble lions for the monumental tomb of Pope Clement XIII in St. Peter’s, Rome in 1792
Canova Lions refers to the pair of copies of lion sculptures by Antonio Canova. When Canova created the sculptures in 1792, he installed them on the tomb of Pope Clement XIII. The marble sculptures are some of the most prominent features in St. Peter's Basilica in Rome. Given the intricacies of creating the original Canova lions, some artists created molds and replicated them. A good example is the pair of lion sculptures...
Category
1850s Italian School Figurative Sculptures
Materials
Alabaster, Marble
