19th Century Animal Sculptures

This captivating pair of American J.W Fiske iron greyhound dog sculptures from the late 19th century embodies both the elegance and regal nature of these majestic animals. Crafted wi...

19th century English doorstop cast from iron. The handle on the top makes it easily moveable. the doorstop is in the form of a lion with his paw resting on top of a scroll. the mo...

Beautifully painted and impressive scale Staffordshire group of a hunter riding back from the hunt with his quarry, a stag draped over the horse. The overall white glaze, except for ...

French Empire style (19th Cent) bronze dore inkwell with perched eagle and acorn finial (signed A. MARIONNETt)

Emile Gallé (1846-1904) was one of the greatest French glassmakers and ceramists of the 20th century. The son of a master glassmaker, he came into contact with the art world at an ea...

Very fine mid-19th century French Animalier bronze study of a standing Setter with excellent hand chased surface detail and rich brown patination. Raised on a stepped naturalistic base, signed J Moigniez. Additional information: Height: 19 cm Width: 34 cm Condition: excellent original condition Circa: 1870 Materials: bronze Book reference: Les Animaliers by Jane Horswell Page no. 237 About Jules Moigniez (French, 1835 ~ 1894) Moigniez was a French animalier sculptor of the 19th century. He worked primarily in bronze and frequently exhibited his sculptures at the Paris salon. He was best known for his bronzes depicting birds, although his skill and versatility enabled him to produce quality horse sculptures (primarily racehorses), dog sculptures and hunting scenes. His bird sculptures were among the finest ever created in his time. Moigniez was born at Senlis, Oise, France in 1835, the son of a metal gilder. Moigniez’s father bought a foundry to cast his sculptures, which was of great benefit to Moigniez as he didn’t have the added foundry costs that most of his contemporaries had to pay. Moigniez studied sculpture under the tutelage of Paul Comoléra (a student of François Rude) in Paris. It is quite likely that Moigniez’s attraction to bird sculpture was a direct result of his education under Comoléra, who was himself a bird specialist. Over the course of his 40-year sculpting career Moigniez exhibited thirty works at the Salon between 1855–92. His first submission in a major art exhibition was his plaster, Pointer Stopping at a Pheasant, at the Exposition Universelle of 1855.[1][2] Moigniez was known for the fine detail and chiseling of his sculptures. His bronzes—usually cast using the lost wax method—were always immaculately chased and patinated, and were especially popular in England and Scotland.[2] More than half of his output during his lifetime was sold in the United Kingdom. By the end of the 19th century, his sculpture had become popular in the United States as well. In contrast with other animaliers of the period such are P.J. Mêne and Antoine-Louis Barye, Moigniez’s bird sculptures often incorporated highly detailed bases complete with bushes, extensive foliage and undergrowth. His castings were generally of excellent quality with a variety of patinas, the gilded and silvered patinas being the most desirable and sought after by collectors. His bronzes could be reproached for an excess of detail, a result of overly-finicky, over-worked chiseling. Moigniez received redemption, however, by portraying in his sculpture a certain “elegance of attitudes”. His Chien braque...

Japan - MeuiI period (1868 - 1912) bronze Okimono turtle incense burner Meiji era (1868-1912), 19th century Additional information: Material: Bronze, Cloisonne & Metal Region of Or...

ANTOINE-LOUIS BARYE French, 1796-1875 "Dromadaire Monté par un Arabe" Nuanced green and black patinated bronze signed in base "BARYE" cold-stamped foundr...

CARVED FOLK-ART DOG HEAD CANE OVER EBONIZED SHAFT Probably English, circa late 19th century 37 1/4: H x 2 7/8" W A very attractive late 19th century Victorian walking cane, it fea...

Large 19th century Majolica Palissy leaf wall fish & lobster platter Alfred Renoleau. Signed Polakowski & Cie, Roumazieres. Angouleme (France).

An excellent mid 19th Century French Animalier bronze study of a game bird proudly holding its catch of the day with very fine intricate hand chased surface detail and very fine rich...

Depicting a visibly agitated Jonah in the mouth of the whale. The upper half of the whale opens revealing the lower shell interior. Marked: London 1896, Maker: James Samuel Bell

This is a stunning antique Continental silver pheasant with exceptional detailing to the modelling of the bird, marked silver,circa 1880 in date. It is an excellent quality example ...

Large French Neoclassical sculpture of Androcles and the Lion. Exceptional quality casting and patina. Mid 19th century. The runaway slave Androcles became friends with a wounded lion...

Pair of Chinese bronze Foo dogs, 19th century.

"Taureau Debout" by Rosa Bonheur. An excellent late 19th Century French animalier bronze study of a standing bull with fine hand chased surface that accentuates the muscle definition of the subject, signed Rosa B. ADDITIONAL INFORMATION Measures: Width: 32 cm Height: 18 cm Depth: 11cm Condition: Excellent Original Condition Circa: 1870 Materials: Bronze Book reference: Animals in Bronze by Christopher Payne Page no. 174 DESCRIPTION Bonheur, Rosa (1822-1899) The most popular artist of nineteenth-century France, Rosa Bonheur was also one of the first renowned painters of animals and the first woman awarded the Grand Cross by the French Legion of Honor. A professional artist with a successful career, Bonheur lived in two consecutive committed relationships with women. Born on March 16, 1822 in Bordeaux, Marie Rosalie Bonheur was the oldest of the four children of Raimond Oscar Bonheur (1796-1849) and Sophie Marquis. Bonheur's father was an art teacher who came from a poor family, while her mother, a musician, had descended from a middle-class family and had been her husband's art student. Bonheur's father, who taught drawing and landscape painting, was an ardent member of the utopian Saint Simeon society. The group held idealistic beliefs about the reform of work, property, marriage, and the role of women in society. Most importantly, for the artist's future, the Saint Simeons questioned traditional gender norms and firmly believed in the equality of women. While teaching artistic techniques to his oldest daughter, Raimond Bonheur also encouraged her independence and taught her to consider art as a career. In 1828 Raimond Bonheur joined the Saint Simeons at their retreat outside Paris. Sophie and the children joined him in Paris the following year. Four years later, however, Raimond abandoned his family to live in isolation with his fellow Saint Simeons. Sophie Bonheur died in 1833 at the age of thirty-six. Rosa was only eleven years old when her mother died, but she was aware of the heavy price her mother paid for married life with a man who was more dedicated to his own ideals than to meeting his family's needs. Rosa also saw that her mother's marriage led to poverty and her death from exhaustion. After her mother's death, Bonheur was taken in by the Micas family who resided nearby. Mme Micas and Bonheur's mother had been friends. When Mme Bonheur died, the Micas family paid Raimond Bonheur's debts and cared for Rosa. Their daughther, Nathalie, who would later become an amateur inventor and unschooled veterinarian, and Rosa became enamored with each other. When Rosa Bonheur began her career as a professional artist, she had already been trained by her father who had allowed her to study in all male classes. Rosa also learned by sketching masterworks at the Louvre from the age of fourteen, and later, by studying with Léon Cogniet. From the very beginning, Bonheur's favorite subject was animals. She learned their anatomy completely by dissecting them in local slaughterhouses. She also visited the horse market two times a week. Study of animals by direct observation led to the formation of the realist style in which Bonheur worked. It was for such work that Bonheur obtained written permission from the French government to wear men's slacks. Her working attire also consisted of a loose smock and heavy boots that protected her feet from the dangerous environment in which she painted. The style of dress that the artist adopted for work and home may well have been influenced by her father's attire, which was based on St. Simeonian clothing experiments. Bonheur also cropped her hair, perhaps to facilitate her work. She did, however, always wear dresses for social occasions because she knew that appropriate dress would further her career. Bonheur earned a successful living as a painter of animals. She exhibited at the annual Paris Salon regularly from the age of nineteen in 1841 through 1853, when she was thirty-one. She won the salon's gold medal at the age of twenty-six in 1848 and was commissioned by the French government to paint Plowing on the Nivernais in 1849. In the same year Bonheur and her sister Juliette became directors of l'École gratuite de dessin pour les jeunes filles, a post their father had once held. Bonheur completed her most renowned work, The Horse Fair, in 1855. The successful representation of percherons (a breed native to Normandy) was purchased by Ernest Gambart, a London art dealer whose gallery specialized in work by French artists. He exhibited The Horse Fair in London where Bonheur visited with Nathalie. Queen Victoria requested a private viewing of the painting at Windsor Castle. It would later be purchased in 1887 by Cornelius Vanderbilt and donated to the new Metropolitan Museum of Art in New York City. Bonheur's trip to England allowed her to meet Charles Eastlake, then President of the Royal Academy, John Ruskin, the English writer and critic, and Edwin Landseer, the British animalier. She also toured the English and Scottish countrysides and executed some paintings based on her observations of new breeds of animals found there. Gambart made engravings of Bonheur's work, including The Horse Fair, and sold them in England, Europe, and the United States. Bonheur became one of the most renowned painters of the time. Little girls, such as Anna Klumpke in the United States, even had dolls in her likeness, much as American girls played with Shirley Temple dolls...

It is unusual to find an early pair of Staffordshire zebra in this fine condition. The handsome couple here feature much detail with bold lines and subtle shading. Most Victorian fig...

This large Swiss masterpiece wall plaque with clock is in perfect condition. The realistic and detailed carving consists of a pair of pheasant, a bird's nest, fine leafs and branche...

Bronze hunting hound. Antique continental bronze metal cast hound on the hunt on white marble base. Stamped DEP. Italy, 19th century Dimensions: 9.5" W x 4.75" D x 6.5" H

A pair of resting bronze lions on shaped walnut painted plinths modeled on the original marble sculpture by Antonio Canova. Reduction from the originals created by Antonio C...

Pair of antique Japanese Meiji era bronze elephant and pagoda incense burners Japanese, Late 19th Century Sculpture: Height 151cm, width 122cm, depth 43cm Base: Height 56cm, width 82cm, depth 40cm Overall: Height 207cm, width 122cm, depth 43cm This outstanding pair of incense burners, also known as koro in Japanese, was crafted in the late 19th century during the Meiji era. This was a time when, for the first time in almost three centuries, Japan opened its borders to foreign trade, causing a wave of Japanese...

Staffordshire Pottery Cow Figure with Milkmaid Circa 1860-80 The large Staffordshire pottery model depicts a large cow with a milkmaid sitt...

English Majolica figural bear pitcher with spoon handle circa 1890.

Onyx Plinth From our Sculpture collection, we are delighted to offer this Austrian Cold Painted Bronze Horse. The Bronze mounted upon a squared green onyx base with a convex beading...

Late 1800s heavy solid cast iron lion head with ornate detail. Slightly concave side profile. Please note, this item is located in one of our NYC l...

A magnificent pair of Antique Continental Silver Pheasants of notably large size. The pair of Silver Pheasants comprises of a Cock Pheasant and Hen Pheasant...

They are in Miami. We offer free shipping in Florida. They were exhibited at Palm beach "American International Fine Art Fair (AIFAF)" In the photos you can see a pair of lions of...

French ceramic barbotine representing a rooster against a tree stump that serves as a vase. Made circa 1890 Good condition, very few marks of use Shipping: 23 / 35 / 51 cm 4...

Large pair of Victorian seated Staffordshire spaniel dogs, having a large pair of antique Victorian seated spaniel dogs with matching white coats with gold detail with gold collars a...

In a dramatic pose perched on branches atop rock-work all resting on acorn feet.

Terracotta nativity sculptures depicting the neck and head of an ox. The sculpture is made of terracotta entirely by hand, finished in stick and color. In the nativity scene, the ox ...

These magnificent Chinese temple lions are true works of art, masterfully crafted with incredible attention to detail. The bulging eyes, sharp ears, open mouth, and fluttering mane are expertly rendered, creating a pair of stunning creatures that are truly alive with energy and movement. The expressive faces of these lions are captivating, and the fact that they are a "true" pair, meaning a male and a female facing each other, adds to the sense of interaction and action. These lions are made of stoneware and painted in the traditional Chinese sancai three-color glaze on a light brown ground; dating to the late Qing period, they are covered in rich green, blue, and amber glazes. The intricate detailing and rich colors are breathtaking, making these lions a treasure. Temple lions, also known as lion dogs, are celebrated for their auspicious symbolism. They are believed to protect the peace and prosperity of one's home. These lions are beautiful works of art that bring good luck and prosperity to the homes they are placed in. Dimensions: 17" Height x 16" Length x 6 1/2" Depth. Condition: Excellent Price: $5,800 Background of Chinese Temple Lions: Chinese guardian lions...

ANTOINE-LOUIS BARYE French, 1796-1875 "Lion Assis, no. 2" Sand-cast bronze with autumnal patina signed in cast BARYE, stamped verso "AD" surmounted by a ...

This early 19thc cast iron door stop of a big brave lion is in fine as found condition.

"PANTHÈRE DE TUNIS NO. 2" AFTER A MODEL BY ANTOINE-LOUIS BARYE (FRENCH, 1796-1875) Signed in base "BARYE", incised to edge "F. Barbedienne Fondeur"; underside incised "24 / Z"; cast ...

French bronze figure of a striding lion, circa 1860 Signed by Louis Vidal (1831-1892).

Antoine-Louis Barye (Paris, 1795-1875). Lion crushing a Snake. Bronze with a brown patina signed Barye on the left hand side of the base. The bronze sculpture is sitting on a black m...

French Alabaster Sculpture, France, Late 19th Century – Monkey Smoking a Pipe. This delightful French alabaster sculpture, created at the end of the 19th century, depicts a monkey leisurely smoking a pipe. The sculpture is crafted in alabaster, with intricately detailed features that capture the playful yet thoughtful expression of the monkey. Notably, the eyes are made of glass, adding a unique touch of realism to the piece. Dimensions: Height: 9.8" (25 cm), Width: 6.7" (17 cm), Depth: 4.4" (11.2 cm). The sculpture is in good condition, with only slight scratches and small chips on the base, which are consistent with age. A whimsical and charming example of late 19th-century French sculpture, this piece would make an intriguing addition to any collection of animal-themed art or antique stone...

A very finely cast late 19 century Grand Tour bronze replica of the renowned statue of Bartolomeo Colleoni on horseback set on a verde antico marble base after the life sized bronze statue by the Renaissance sculptor Andrea Del Verrocchio...

You are viewing a gorgeous pair of French bronze stags which are signed by Moigniez on the base (please see close up photo). The pair have been cast from the finest dark brown bronze...

The Meissen Monkey Band, also known as the Monkey Orchestra, is a collection of 19-21 porcelain monkey figures that were created between 1747 and 1...

ISIDORE JULES BONHEUR French, 1827-1901 "Standing Ram" Patinated bronze sand-cast ca. 1870 signed to base "I. BONHEUR" no foundry mark but almost certainly cast by Peyrol under...

A finely patinated French antique bronze by Ferdinand Barbedienne portraying a a young boy caressing a large goose. The figure is mounted on an a...

This 19th-century patinated cast iron dog sculpture is a fine example of Victorian-era craftsmanship. Depicting a seated spaniel with intricate detailing, the figure captures the lif...

Elegant pink Majolica serving dish decorated with a three green vine leaves, the handle formed as a fox peering into the bowl with its tail appearing on the mottled underside signed ...

Large Majolica mountain Lion or cougar signed Clement Massier, circa 1890. Provenance / Family of Clement Massier.

This unusual antique mirror was crafted in the Alps region of France, circa 1880. The whimsical mirror features a large eagle sculpture with win...

Bronze figure of 'Elephant of Senegal'. Signed Barye and inscribed 'F. Barbedienne Fondeur'. Literature: Poletti & Richarme, 2000, no. A119, pp. 250-3.

19th century antique bird paperweight/hunting trophy in chased and patinated bronze on a gold marble base. Signed HINGRE (Louis Théophile Hingre...

Antique English Parian King Charles Spaniels Group, by Copeland , Two lounging pooches on a tasseled cushion. Rare model.

Large Black Forest Carved Eagle A large piece superbly carved in walnut, he or she has bright piercing glass eyes with up reaching wings ha...

Inscribed I. Bonheur, with Peyrol foundry mark.

Pair of antique Victorian quality Staffordshire dogs having brown and white coloured coats with gold collars, chains and padlocks unusual front leg In perfect original condition ...

"RECLINING GREYHOUND" BY CHRISTOPHE FRATIN (FRENCH, 1801-1864) Signed in naturalistic base "FRATIN", foundry cold-stamped mark along edge "A. DAUBREE EDITEUR"; circa 1860 Item # 102EWL26Q An exquisite sand-cast model of Levrier Couché cast circa 1860, the sculpture is typical of Fratin's vivid texturing and silky finish. It was executed in the foundry of Alfred Daubrée...

ANTOINE-LOUIS BARYE French, 1795-1875 "Tigre Qui Marche" Patinated bronze Signed in base "BARYE", incised "F. BARBEDIENNE FONDEUR, FRANCE" conceived 1841, cast circa 1880-1900 Item # 110UGP10Q Barye's ability to merge our romantic idealization of nature with a colder reality of nature's predator is beautifully represented in this striding cat. Originally conceived in 1841, Tigre Qui Marche (Walking Tiger...

A beautifully cast late Victorian inkwell dating to circa 1880 in the form of a handsome hunting dog. The hinged lid opens to reveal a removable ink chamber. Excellent conditio...

A grandiose handcarved wood sculpture of fighting stags. Very detailed natural carving. Carved signature of K. Bach 1946. Measures: Width: 23.62" (60cm) Height: 7.48" (19cm) Depth:...

"CHIEN DE CHASSE (HUNTING DOG)" BY PAUL-EDOUARD DELABRIERRE (FRENCH, 1829-1912) Patinated bronze with plaster filled base; signed in rock "E. Delabrier...