Stone Busts

The "White Plaster Bust of Socrates on a Black Marble Base, around 1940" is a striking sculptural piece that pays homage to the ancient Greek philosop...

Art Deco bronze sculpture male bust by Ugo Cipriani. Patinated bronze. Belgian black marble base. France 1930. Literatuur: “Art Deco sculpture” Alastair Duncan.

Antique Venetian Sandstone Head of a Roman Gladiator is a captivating piece of art that showcases the exquisite craftsmanship of the Venetian artisans. This stunning sculpture depict...

This monumental stone bust, hand-carved from granite, is a decorative sculpture featuring a closed-eye portrait. Its organic texture and tonal variation add depth and visual interest...

Carrara marble sculpture signed Luca Madrassi, Paris, circa 1890. Art Nouveau period.

Dal Modello di Gian Lorenzo Bernini (1598-1680) - Scultura, "Medusa" - 60 cm - Marmo - Fine XX secolo.

A large bust of a noble man from the end of the 19th century in carrara marble signed by French sculptor, Joseph Vallet, who born in La Boisiére du Doré on August 6, 1841, and died i...

Mats Jonasson for Målerås Glasbruk. Crystal sculpture from the Masqot Shama series. The piece depicts a stylised face, where clear and frosted surfaces interact to create depth and a...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

A beautifully hand-carved Italian marble bust depicting a smiling young child, executed in softly veined cream-toned marble. The sculpture captures a tender, animated expression, wit...

Turn of the Century Continental classicizing faux white marble bust depicting a nude, downward-glancing Grecian or Roman woman wearing a diadem in her hair.

This cast stone female torso was purchased in 1983 from the Karl Springer showroom in 1983. We have the original receipt for the purchase which where the torso was displayed in Honol...

In continuity with her signature explorations of the female form, Marcela Cure introduces a new sculptural memento that sheds light upon the mulling yet beauteous intricacies in woma...

Pareja de bustos, Francia, siglo XIX “Mercurio y Marte” Bronce pavonado y dorado, mármol negro belga y mármol rouge groitte Medidas: 40 x 12 x 12 cm (x2) Estos bustos franceses de l...

Hadrian sculpture, Hadrian head sculpture, Sculpture, Male head, classical art, Greek art, Hadrian art, white Carrara marble, classical sculpture, Portrait head of Hadrian carved on...

In continuity with her signature explorations of the female form, Marcela Cure introduces a new sculptural memento that sheds light upon the mulling yet beauteous intricacies in woma...

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...

An 18th century Venus de’ Medici bronze bust, mounted on a later 19th century marble base. It has a beautiful rich slightly worn dark brown patina. Venus...

Scroll down and click "view all from Seller" to see more than 500 other unique products In Stock in Los Angeles Venus De Milo statue in red. Ful...

A refined female bust in the Neoclassical style, carved from white marble with details in veined red jasper, which provides an elegant chromatic contrast and a strong decorative pres...

Marble Bust of a Girl Signed F'lli Pugi, Firenze (Florence).

This pensive bronze-finished bust of Napoleon Bonaparte is a quintessential example of Neoclassical revival style, reflecting the enduring legacy of the French Empire. Depicting the ...

Vintage bust from France made of bronze and supported by a marble base. This piece features the likeness of a man. It showcases the smelter’s stamp. This piece is in very nice vintag...

19th Century Marble Bust of Antinous after the original known as the 'Antinous Vaticano' discovered at Hadrian's Villa. Featuring realistic detail to hair and handsome facial features...

Masterfully carved and sculpted alabaster bust of a young girl with outstretched arms holding up a cup by Antonio Frilli. Smiling faced young girl, wearing lace and ruffled clothing,...

Carved marble portrait bust depicting a formally dressed gentleman with closely cropped hair, prominent moustache, and short beard. The subject is shown wearing a tailored jacket wit...

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...

CELTIC GRANITE CARVED BUST OF A FEMALE FIGURE ORIGIN: FRANCE PERIOD: CELTE Height: 46 cm Length: 28 cm Depth: 16 cm Made of granite The body shapes of this figure are scarce...

Magnificent hand-carved marble bust depicting an African gentleman in traditional attire and a detailed headdress. The work stands out for its use of two-tone marble, with a contrast...

19th Century Italian Grand Tour Marble Bust of Augustus Caesar by Antonio Frilli. White marble bust is on a black plinth. Antonio Frilli was a Florentine sculptor who specialized in ...

A very fine and large Italian 19th-20th century Carrara marble group "Allegory to Music" depicting five Bacchic putti musicians playing various instruments. The finely carved Palatia...

Pair Antique French Terracotta Busts Signed "Houdon" on Marble Bases, Circa 1860. Male Bust: 17 3/4" H x 9 1/2" W x 8 1/2" D Female Bust: 19 1/4" H x 10" W x 6 1/2" D

A 19th Century carved alabaster bust sculpture of a young girl with a frilled bonnet peeling an orange. After a work by Italian sculptor Pietro Giorgi. There is an old repaired crack...

Decorate an office shelf with this elegant pair of antique busts. Crafted in France circa 1950, both subject stand on a circular marble base and depict a Royalty couple in traditiona...

Bust of the young emperor Nero (37 – 68 A.D.) Rome, first half of the 18th century Carved from white carrara, sicilian jasper and bigio morato marble 50 cm high 33 cm wide 

Provena...

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...

Presenting a commanding vintage cast stone bust, elegantly depicting Artemis, the Greek goddess of the hunt, wilderness, and moon, often identified with the Roman Diana. This exquisi...

Modern Monique Marble Column, Handcrafted in Portugal - Europe by Greenapple. The Monique marble column, carved from exquisite Calacatta Cremo marble, embodies timeless sophisticati...

Pair of busts of Mercury and Paris in marble. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUESTED BY SENDING AN EMAIL Pair of busts Mercury and Pari...

A striking late 19th-century Italian carved marble bust after the celebrated satyr faun (also known as the Laughing Faun), one of the most admired sculptures of classical antiquity. ...

Carved marble sculpture of hugging nude male and female.

A stunning Italian late 19th early 20th century hand carved alabaster bust sculpture depicting a young baby girl cradling a dove. The girl wearing a lace bonnet her hair tied back a...

Continental German (late 19th Cent) sculpted terra-cotta master mask mold of a serene smiling face displayed on a square black marble base stand (part of a collection).  

Psyche of Capua. White marble bust of Venus, after antique. Italy, late 19th century. Inscribed, 'Chiurazzi.' Measures: 21 in. (53.3 cm) height.

- Art Deco Geo Maxim female figure - Delightful 1930s Art Deco French figure depicting a girl holding a basket of flowers in polychrome. The base is solid highly polished marble. Signed Geo Maxim. The piece is in Excellent condition with No damages at all and has a wonderful patina and just some age related wear to the cold painting. Ideal size for displaying in any Deco collection /setting. Georges...

Marble sculpture (bust of a child) F. Gerth Origin Italy, Rome circa 1900 perfect condition without restorations Artist: F. Gerth.

This late Georgian antique marble statue is after the antique, depicting a scale fragment of the eminent 2nd century statue ‘Sleeping Ariadne’. C...

Margaret Foley (American, 1827-1877) Marble Bust "Head of Prophet Zephaniah" A rare and important marble bust head relief portrait on The Prophet Zepha...

An Outstanding Pair 19th Century Italian Hand-Carved Carrara Marble Busts of Apollo & Artemis, One Bust is Signed on the Back, "F Vichi". This pair of stunning marble busts, hand-car...

Scultura, Torso maschile, arte classica, arte greca, Torso, marmo bianco Carrara, scultura classica, fauno Pompei Torso maschile scolpito su bellissimo marmo bianco di Carrara, ispir...

This is an alabaster and marble bust of Saint Clare of Assisi. It depicts a young lady head/face covered with a cloak. She is looking down, very peacefully...

This exceptional, larger-than-life bust is an impressive work in Carrara marble, crafted in Amsterdam around 1740. It depicts Omphale, the Lydian queen, identifiable by Hercules’ lio...

TOGATUS STATUETTE Depicting a male figure dressed in a toga and himation, held by his right hand. Presence of a prop on the right thigh, implying that this fragment was part of a sta...

JOHN FRANCIS MOORE (D. 1809) A STATUARY MARBLE BUST OF THE RT. HON. CHARLES WOLFRAM CORNWALL (1735-1789), SPEAKER OF THE HOUSE OF COMMONS, LAST QUARTER OF THE 18TH CENTURY. Signed ...

Dramatic large brass bust of King Tut having stone inlaid accent on the beard and resin base.

North Italian, Veneto, circa 1700 Bust of a classical woman, possibly Diana Marble, on a variegated grey marble socle 41.5 cm. high / 16 ¼ ins (the bust), 56 cm. / 22 ins high, overa...

Marble bust sculpture on granite base signed Simon.

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...

An elegant, classically inspired sculptural bust carved from two-tone marble, highlighting the refined contrast between the polished black marble of the face and the veined beige mar...

A charming Italian 19th-20th century carved alabaster bust of a young girl. The young beauty posing with a direct gaze, her hair tied with a head bandana tied on her forehead wearing a tank top, raised on a tapered alabaster stand...