Sculptures

Excellent Meissen porcelain figure: Young gentleman in elaborate rococo clothing of the upper classes: noble white frock coat with golden hems, gold and flower embroidered vest and sleeve cuffs, large black bow on the wig hair, sitting at a magnificent desk with curved...

This is a very rare pair of large Staffordshire bull and cow animal figures that date to circa 1810. Both figures are in exceptionally good conditio...

Massive Staffordshire Pearlware Pottery Figure of Venus, circa 1810 The extremely large figure depicts Venus, Aphrodite of the Classical Greek legend. This model is of great rarity. Venus, is superbly painted, depicted in purple robes with green edging as she rise from the foam of the sea The condition is excellent. Only one other example is known- see below. Dimensions: 24 1/4 inches high x 8 1/2 inches wide x 8 inches deep See: Myrna Schkolne, Staffordshire Figures 1780-1840, Family, Friendship, Play, & Classical Subjects, Vol 4, Page 186, Figure 194.37 from the Collection of Arnold and Barbara Berlin, although this example is plainly decorated with a white dress with scattered flowers and a Greek Key border to the plain base. History of Venus Venus is the Roman goddess of love, beauty, pleasure, and procreation. She is the equivalent of the Greek goddess Aphrodite. Venus was born from the foam of the sea after Uranus, the sky god, was castrated by his son Cronus. She was carried to the island of Cythera by seashells and then to Mount Olympus, where she became the wife of Vulcan, the god of fire. Venus in Art Venus has been a popular subject for artists since ancient times. She is often depicted as a beautiful woman, nude or partially clothed, and is often accompanied by symbols of love and beauty, such as doves, roses, and apples. Some of the most famous depictions of Venus include the Venus de Milo, a marble sculpture from the 2nd century BCE, and the Venus of Urbino...

A pair of antique carved breccia marble appliqués dating to circa 1830. Showcasing expertly carved floral and swags designs, this pair have been broug...

An unusual and rare processional or lecturer figure from the 17th century, also called Mannequins. Carved from wood and of very good quality. A detailed and particular elaboration of...

IMPERIAL EAGLE Italian, 17th Century sculpture in carved and gilded wood, based on a base decorated with plant motifs and masks with two claw and ball-...

Pair of bronze and marble Marly Horse and Tamer sculpture statues after Coustou, circa late 20th century. Measurements: 14" H x 12" W x 7" D.   

A very fine Italian 19th century carved Carrara marble figural fountain "Jardinière" modelled as a standing Putto and a Satyr supporting a sea-sh...

Embrace timeless elegance with our Vintage Regency Cast Cement Greyhound. This majestic piece exudes American sophistication, capturing the grace and poise...

Two marble angel heads with curly hair and hints of wings, designed in the opposite style.

Large 18th Century carved wooden Mater Dolorosa (Our Lady of Sorrows) religious sculpture. Probably Alpine, carved wood, polychromed and coloured or g...

An unusual pair of English Regency period gilt bronze wall lights raised on scrolled ‘wolfhead’ and coronet supports with triple lustres above winged angels. The lustres, terminating...

A pair of carved wood and parcel gilt over-doors, also known as supraporte or sopraporte. The richly carved eagles, with outstretched wings, grasping the turned and reeded columns ...

18th century Italian sliver leaf and mecca cross adorned with gold and silver plated crystal points and mica mounted on a mica and tourmaline in calcite matrix base. The crucifix originally came from a church in Tuscany. The gold and silver plated crystal points replicate the original sunrays or halo around the cross. The piece is mounted on a mica and tourmaline cluster that is in a matrix of calcite. The mica holds a shimmery appearance that can reflect light - like nature's disco ball. It perfectly coordinates with the silver leaf and mecca painted cross...

Pair of Limited Edition porcelain swan form tureens. Two of 500 edition made by Chelsea House to Commemorate the 18th century Meissen swan tureen at Winter...

Augustus Emperor - Head in carrara white marble - First Roman Emperor Early 20th century Height 37 cm Width 23 cm Depth 15 cm Weight 18 kg Material white carrara marble Very good con...

19th century Italian carved wood Santo foot. This stunning antique Italian carved wood Santo foot of an Archangel dressed as a Roman soldier. This beautifully carved and gilded sculp...

The Infant St John the Baptist, A first half of 17th century Sevillian School Cercle of Juan de Mesa Velasco (Córdoba, 1583 - Séville, 1627) Polychrome and carved wood Height: 65 cm ...

Opposing pair of lifesize Majolica or glazed terra cotta eagles. Executed with fine detail right down to the talons. Perched on mountainous bases the...

LARGE BEAUTIFUL TERRACOTTA GRIFFINS 20th century Copy of ancient Renaissance griffins. Impruneta terracotta. Made in Tuscany HEIGHT 73 cm WIDTH 30 cm DEPTH 64 cm WEIGHT 25 kg MANUF...

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

18th century continental baroque style poly chrome decorated wood carving.

High relief representing battle in classical style. carved on white Carrara marble dimensions 46 h x 45 x 10 cm, weight 35.5 kg Skull -""Memento"" sculpted in the smallest anatom...

A wood carved baroque angel in old paint with wings 18th century There is a part missing, see pictures, and some wear due to age and use to the paint.

Important Italian bust "Antonino Pio" fine 19th Century Marmo di Carrara Measure: H: 76cm perfect conditions Titus Aurelius Fulvo Boyonius Antoninus (Latin: T. Aurelius Fulvus Boion...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

A good quality French 19th patinated terracotta bust of a classical lady, mounted on a Rouge marble sockel.

Italian School Sculpture "Hermaphrodite" 19th Century Carrara White Marble Group presented on a marble base Total height: 18 cm Width: 46.5 cm Depth: 25.5 cm good condition (in proce...

This 17th-century Flemish Baroque sculpture from Mechelen represents the Infant Jesus, arms outstretched in divine grace, blessing the viewer with serene charm. A remarkable piece o...

One of a kind sculpture of Crucified Christ in carved wood and crystal eyes (one of them its loose), 18th century Hispano Filipino School. The crown, ...

Beautiful Italian " Ippocrate " Bust early 20th Century Carrara Marble H: 56 cm perfect condition.

This is a Meissen Porcelain lady figurine that it is part of group of five that represents the five senses. She represents the sense of Touch. It depicts an 18th century lady in a chair beside a side table that has a large birdcage...

A Period German or French large scale Baroque Garden Statue of a Pan Satyr. Well carved with impish gaze and wrapped in sheepskin Ex Prominent New York Co...

This unusual Baroque figure of Christ carved circa 1670 and 1700 is in a form associated with his removal from the cross after crucifixion but before his...

Early 19th century wooden statue of St Jerome, circa 1800. South Europe.

A very large hamered copper wall plate depiction Saint Martin on horse in relief. Signed A Louis. Early 20th century. Measures: Diameter 75 cm.

Beautiful pair of cerulean angels sculpted in the round in a very lively position (the movement in the hair is remarkable), almost baroque. Very nice execution of the armour in the ...

Add a touch of romance and charm to your space with this Vintage Regency Glazed Ceramic Lovebirds sculpture. Nestled close on a ceramic perch and encased in a minimal black metal swi...

Beautiful Italian Bronze Sculpture of Gladiators on a Marble Base 19th Century Dimensions 25x20 cm very good condition

A lacquered wood bust that originates from Sicily, representing a stylized female figure. The bust is carved from wood and is finished with a lacquered painted surface, now worn with...

Sculpture of a Faun's Head Made of Cleopatra yellow marble base in Port st. Laurent marble. Height base included 38 cm, weight 12.5 kg. very good condition.

A finely carved wood bust of Julius Caesar taken from an original marble bust, carved in aged pine and gesso decorated. If required can be made to your specific size requirements. Th...

A lovely English Regency object, the subject that of an exhausted stag after a model made by Pitoin for Madame du Barry in 1772. The well finished stag sits on a superb ormolu base, ...

An antique French pair of 19th Century Baroque Style Cherubs playing instruments and facing each other, in good condition. The left is playing the flute and the right cherub is playing a violin. Beautifully hand carved limestone statues with wings...

A fine pair of French 19th century gilt bronze and patinated bronze figural four-light candelabra, each modeled as a baby Bacchus, in the form of a child faun, seated on tree trunk a...

A weathered antique marble bust attributed to the the studio of late 18th century/early 19th century sculptor, Joseph Nollekens R.A. Signed ‘J.Nol...

Hand carved Italian Santo: figure of Franciscan abbot or saint, circa 1780-1800. Note: Regional differences in humidity and climate during shipping may...

Quite a stunning pair of Italian standing cherub or Angel carvings from the 18th century. Standing at almost 4 feet tall, the pair are quite large and realistic. Very impressive. Wit...

Decorate a man's office with this elegant antique statue. Crafted in France, circa 1860, the sculpture named "Le Duel", features a soldier in traditional outfit and holding a sword. ...

An Italian cherub, carved from linden wood wood. This graceful and exceptionally well-carved figure was likely part of an altar ensemble. The eyes and face are particularly well-form...

Meissen Rococo harlequin with bagpipes of most lovely appearance.: The lovely harlequin is sitting on a rocky base which is decorated with some flower blossoms with leaves. The male ...

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood with a rectangular and flat shape, slightly raised on circular legs and...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

A Carrara Marble Bas-Relief depicting Apollo Italy, 18th Century 30,5 x 16,5 cm very good condition.  

Carved bone and walnut figure of a beggar with a very expressive face holding a flute, with a satchel over his shoulder carved from wood with a leather strap. With inset glass eyes. ...

Introducing a captivating 17th-century Italian carved wood and polychromed, gold-gilded crucifix depicting Jesus on the cross. This remarkable piece...

LARGE BEAUTIFUL TERRACOTTA GRIFFINS 20th century Copy of ancient Renaissance griffins. Impruneta terracotta. Made in Tuscany HEIGHT 73 cm WIDTH 30 cm DEPTH 64 cm WEIGHT 25 kg MANUF...

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...