Sculptures

A beautiful and most charming French 19th century Louis XVI st. ormolu and white Carrara marble statue signed Sèvres. The statue is raised by a white Carrara marble base with an eleg...

An Elaborate 19th century Meissen Porcelain Figure of a Sultana Riding an Elephant. After the model by P.J. Reinicke and J.J. Kändler, the Sultana sitting on the elephants back and h...

Antique large crucifix with stunning quality, hand carved details and an amazing patina. This remarkable and large sculpture of a suffering Chr...

A beautiful and most elegant true pair of French, 19th century Louis XVI St, patinated bronze, ormolu and Gris St. Anne marble statues. Each statue is raised by a striking circular G...

This elegant bust was sculpted in France, circa 1880. The sculpture sits on an integral round base and depicts a young beauty in traditional Louis XVI clothing; the art work is signe...

Beautiful antique bronze tazza, a bowl on a high foot. The bowl is decorated with graceful flowers and dates from the late 19th century. Multicolored patina. The bowl is signed Oudry, a well-known French designer of bronze statues and ornamental objects. The tazza is of a very fine quality and in good condition. L. Oudry & Cie stands for Leopold Oudry...

Presents very well, each trophy( possibly a grand tour souvenir ) of matte lemony gilt with water gilt accents. The set an allegory to Arts, music , sciences, and architecture, Of c...

Crafted in France circa 1760 and resting in a carved oak niche, the figure depicts the prophet Moses, the most important prophet in Judaism and Christianity. Moses is best known from the story in the biblical Book of Exodus and Quran as the lawgiver who met God face-to-face on Mount Sinai to receive the Ten Commandments after leading his people, the Hebrews, out of bondage in Egypt and to the "promised land" of Canaan. He is represented with horns on top of his head. The horns came about because of an ambiguity of the Latin version of Exodus 34, 30. After being addressed by God on top of Mount Sinai and given the Tablets of the Law containing the Ten Commandments, Moses descended to his people in the desert. His face was seen to shine with a divine light. (The first Moses with horns was commissioned in 1505 by Pope Julius II for his tomb; it was based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time). The religious and biblical item...

A charming and very elegant French 19th century Louis XVI st. patinated bronze, ormolu, and Rouge Griotte marble statue of a cherub signed Lemire. The statue is raised on an oval Rou...

A Fabulous and Large Louis XVI Style Patinated Bronze Bust of a Court Jester, Stamped A. PANDIANI.MILANO 1888. Antonio Pandiani did an exceptional job at casting this truly remarkabl...

An Incredible and Large Gilt and Patinated Bronze Group of Gloria Victis, a Winged Figure of Victory with a Fallen Warrior. This incredible bronze piece was cast after a model by Maarius-Jean-Antonin Mercié, This model is signed 'F. BARBEDIENNE FONDEUR PARIS' demonstrating that it was cast by Ferdinand Barbedienne's foundry, the best bronzier of the 19th century. The base is further signed 'A. Mercie' and stamped 'Réduction Mécanique' with an inscription of '659'. The figure is mounted on a Belgian noir marble base with various stepped edges. Gloria Victis is one the most well-known and important bronze casts of the 19th Century. The quality of this particular model is absolutely incredible and all the marking indicate that this particular piece is one of the finest produced by the Foundry. A student of Jouffroy and de Falguière at the Ecole des Beaux-Arts, Marius-Jean-Antonin Mercié (1845-1916) won the Grand Prix de Rome at 23 years old with his work Thésée vainqueur du Minotaure. In 1872, he sent the plaster model of his work David vainqueur to the Salon, for which he won the first class medal. At the same time, he received La croix de la Légion d'honneur at the Villa Medici. His return to Paris, in 1874, issued in a long and brilliant career with numerous commissions, notably the monuments for Louis-Philippe and Queen Marie-Amélie for the Royal Chapel at Dreux (1886). By the age of 30 Mercié was already very well-known and his Gloria Victis received resounding success when it was exhibited at the Salon, in 1874 (in plaster) and in 1875 (in bronze). This work exalted the heroism and the patriotic sentiments aroused by the disasters of 1870. His predilection for patriotic subjects is shown in many of his works such as Quand même...

This extraordinary museum piece Enthroned Virgin Mary with the child on her lap comes from the Rhone region in France. The saint symbol and protector ...

Mid 17th century Northern European carved figure of a saint. This striking statue depicts a saint who is dressed in robes, whilst holding his hand over his heart. This figure is freestanding and is stood within a leaning position which makes him stand out. It has been beautifully carved from oak and has remnants of its original paintwork. Likely to have stood within a church for many years and would have been removed due to renovation reasons. This historical figure...

An outstanding French 19th century Louis XVI st. ormolu and patinated bronze statue titled Eudore & Cymodoccé. The statue is raised by an elegant oblong base with a fine wrap around ...

A striking and high quality true pair of French 19th century Louis XVI st. Belle Époque period patinated bronze, ormolu, Rouge Griotte, and black Belgian marble busts attributed to F...

A striking and very high quality French 19th century Louis XVI st. ormolu and patinated bronze statue signed by Jules Moigniez. The statue is raised by an elegant mottled oblong ormolu base below the wonderfully executed patinated bronze ground design with rocks where the signature is displayed. Above is an impressive bird with open wings standing on a branch amidst richly chased leaves and berried designs with an intricately detailed snake standing in defense. Wonderful subject matter and exceptional attention throughout. Jules Moigniez was a renowned French sculptor. Born in 1835 in Senlis and died in Saint-Martin-du-Terte (Seine-et-Oise) in 1894. He was the student of Cornolera and started to exhibit his work in 1855. There is a famous sculpture of his called 'Chien D'arret avec faison' 'Dog with Pheasant...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

After Jean-Baptiste Nini (French, 1717-1786) inscribed "J. B. Nini, 1780" on shoulder of bust. Mounted in a neoclassical gilt-brass surround. In a technique of his own inventi...

A stunning and extremely high quality Italian 19th century Alabaster statue and marble pedestal. The statue is raised on a striking Italian 19th cent...

This elegant bust of Marie Antoinette was sculpted in Paris, France, circa 1790. The sculpture, signed in the back by French sculptor Lecomte, depicts the queen with her elaborate well-known coiffure, numerous Fleur-de-Lys on her dress, and a Louis XVI portrait...

German/Rudolstadt-Volkstedt late 19th century figure group of putti made of biscuit porcelain: Four putti on landscape round pedestal around a vase pedestal, in moving posture and different states of mind playing with a goat, a sheep, a boar and a calf. On high rectangular pedestal crater vase with applied flower...

19th century Sevres biscuit group of three frolicking puttos France, Date Lettered 1884 A splendid example of 19th century Sevres biscuit porcelain...

A striking and most elegant pair of French 19th century Louis XVI st. patinated bronze and ormolu cherub bust on their original Coquiller de Bilbao marble ...

An incredibly charming pair of French 19th century Louis XVI st. Biscuit de Sèvres porcelain statues of a boy and a girl. Each statue is raised by an elegant circular mottled base with a fine ground design. To the left is a beautiful young girl dressing in lovely period attire wearing a bonnet and carrying a water barrel...

19th century crucifix or corpus Christi made from wood. Wooden cross with a nice patina and an exquisite shape. This item depicts the Christ in his last agony on the cross, after be...

A beautiful and high quality French 19th century Louis XVI st. patinated bronze of the Rescue of Andromeda signed L. Gregoire. This striking bronze portrays Perseus, who was provided...

A very impressive French 19th century Louis XVI st. patinated bronze and ormolu statue signed H. Dumaige. The bronze is raised by a rectangular ormolu base w...

PAIR of French (19th Cent) small bronze busts of Louis XVI and Marie Antoinette on square black marble base.  

A fine antique limestone carving. Modeled as a Madonna. With her head slightly tilted, holding an orb in one hand, and with her other hand resting on her breast. By repute ...

A striking French 19th century Louis XVI st. patinated bronze and Gris St. Anne marble statue signed Kinsburger. The statue is raised by its original elegant octagonal Gris St. Anne ...

A 19th century antique Louis XVI style French Sevres Bisque Porcelain neoclassical Grouping of a Maiden and her Attendants. In the center is th...

A superb French mid 19th century Louis XVI st. patinated bronze bust of Diana the Huntress, signed HOUDON and SUSSE Frères. The bust is raised by ...

An impressive and most decorative set of French 19th century Louis XVI st. Grand Tour period Walnut, marble, faux painted marble, and ormolu busts and pedestals...

A beautiful and high quality French 19th century Louis XVI st. patinated bronze statue, signed Lemire. The statue is raised by an oval giltwood base with a fine mottled border. Above...

A most elegant French 19th century Louis XVI st. patinated bronze and ormolu statue of a beautiful maiden, attributed to Pierre Louis Detrier. The statue is raised by a lovely scallo...

Mid 19th century pair of Louis XVI style gilt bronze mounted and ormulu Cassolettes / decorative urns. Each casollette featuring a covered embellisment foliate garlands, berried fini...

A charming and most attractive French 19th century Louis XVI st. patinated bronze and ormolu statue, signed J. Moigniez. The statue is raised by a fine oblong ormolu base with a mott...

A superb French 19th century Louis XVI st. ormolu statue of a beautiful maiden, signed S. Kinsburger. The statue is raised by a wonderfully executed terrain designed base, where the ...

A most elegant and high quality true pair of French 19th century Louis XVI st. patinated bronze, ormolu and Sienna marble statues. Each beautiful statue is raised by a circular Sienn...

An elegant French 19th century Louis XVI st. ormolu and Brèche Violette marble statue of L'Automne signed by Rancoulet. The statue is raised by a striking and uniquely shaped Brèche ...

An elegant and high quality French 19th century Louis XVI st. ormolu bust of Venus, signed F. BARBEDIENNE FONDEUR. The statue is raised by a circular mottled white Carrara marble bas...

This fine amber sculpture depicting Jesus Christ is a very rare object. Exemples of this sort can only be found in Germanic countries. Already used during Prehistoric times, amber have always fascinated people. Because of the virtues associated with this material amber was carved as amulets and prophylactic ornaments. As an expression of luxury and means amber was also used for adornments and small figures collected by the upper classes. This fossilized resin was picked on the Baltic Sea shores and soon entered a intense trade system. From the 14th century onwards knights of the Teutonic Order...

A charming and wonderfully executed French 19th century Louis XVI st. ormolu statue signed Machault. The statue is raised by a square base with an elegant mottled border where the si...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

San Antonio Abad, Castilian school of the 15th century (1440-1501) Carving in polychrome wood, measures: 45 x 15 cm good vintage conditions.

A charming French 19th century Louis XVI st. patinated bronze and marble statue, signed Auguste Moreau. The statue is raised by a fine circular marble base. The bronze above depicts ...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

A beautiful and high quality French 19th century Louis XVI st. ormolu statue of two beautiful maidens signed Moreau. The statue is raised by a fine circular mottled base with an outs...

A fine quality late 19th Century Breche Violette marble top, bombe shaped pedestal, with wonderful scrolling foliate gilded ormolu mounts, Marquetry inlaid classical decoration to th...

A stunning French turn-of-the-century Louis XVI st. patinated bronze and ormolu statue of Diana the Huntress and her dog, signed F. Hamar. The statue is raised by an elegant oblong b...

A striking and high quality French 19th century Louis XVI st. patinated bronze statue of two cherubs making wine, signed Clodion. The statue is raised by an oblong shaped base with a...

Carved marble miniature of King Louis XVI, early 19th century. Appears to be in the original frame. N.P. Trent has been a respected name in antiques for over 30 years with a large co...

A stunning and high-quality French 19th century Louis XVI st. ormolu and Rouge Griotte marble bust, named Dorine and signed by Léopold Harzé. The bust is...

A superb and high quality French 19th Century Louis XVI st. ormolu statue of a lady sitting by the sea, signed by Mathurin Moreau. The beautiful statue is raised by a circular mottle...

A stunning and extremely high quality French 19th century Louis XVI st. patinated bronze, ormolu, and black Belgian marble statue. The statue is raised by a fine black Belgian marble...

Exhibition Museum Cantini, 1952, The art of the Middle Ages in the Marseille collections, n°101 Provenance Former collection Louis Bresset (before 1952) Former collection Profe...

A fantastic pair of 19/20th century Louis XVI Style Meissen Models of Golden Oriole birds. Each bird is naturalistically modeled and perched on white birc...

A beautiful French 19th century Louis XVI st. patinated bronze and ormolu statue of the 'Allégorie de l'Histoire' by Georges Bareau and F. Barbedienne. This "Symbol of History" statu...