Figurative Sculptures

Large antique sculpted marble figure of Caesar Augustus Italian, early 20th century Measures: Height 186cm, width 118cm, depth 44cm Known as the ‘Augustus of Prima Porta,’ the o...

A French Baroque style walnut putto from the late 18th century, sitting on a pillow. Created in France during the last quarter of the 18th century, this walnut sculpture charms us wi...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

This beautiful statue of Christ was crafted in Spain, circa 1900. The statue features the religious figure standing in a traditional seating pose a...

Unusually large and well detailed neoclassical Roman plaster foot sculpture of Hercules. This vintage Italian academic plaster foot sculpture wo...

A fine 19th century French patinated bronze figure of a standing draped classical woman with a wreath to her hair holding an urn. Titled: Antifonh Measures: Height 41.5" (105.4 cm)...

An Italian porphyry veneered model of a torso, after the antique by Anthony Redmile on marble-veneered pedestal. 20th century. Sitting on a marb...

Inspired by the famous Italian Baroque Sculpture of Bernini exhibited in the Villa Borghese Museum. Height of the sculpture cm 250 circa. The base made in stone is new and has been a...

19th century Italian alabaster bust. Well sculpted antique Italian alabaster or marble bust of a classical female mounted on a plinth. This is a beautifully detailed antique alabaster bust...

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...

Whether this bronze wall plaque depicts a Roman Gladiator or Legionaire is uncertain. It was brought home from Rome in 1970 or 71. It is made from solid bronze that has a rich brown ...

Italian carved and polychrome figure of an angel holding a torchère wearing a gilded robe. Beautifully realized face and hair, this lovely early carving had been mounted as a lamp. G...

Pair of Classical style figural cast stone corbels. Each depicting a child supporting a shepherds shelf with garland swags. Dimensions: Height 48", width...

A magnificent and quite large, Baroque style, Museum quality, antique Meissen Porcelain grouping of Apollo, the Sun God's, Sun Chariot with his Putti Servant, originally designed by Johann Joachim Kändler in 1772-1773 for Czarina Katharina, Better known as Catherine the great...

Known as the ‘Augustus of Prima Porta,’ the original bronze version of this sculpture was created c. 20 BCE. That original has been lost since antiquity but is known today from a mar...

A Mid-20th century classic Italian Roman statue of the 'David' on a black marble base by sculptor G. Ruggeri, Italy. White resin statue is on a black marble base with tan veins. With...

A most fascinating and intriguing hand carved objet d'art of a treen figure in burl wood, exhibiting wonderful form, grain, colour and patina. The underside bearing remnants of an ol...

A magnificent and quite large, Baroque style, Museum Quality, Antique Meissen Porcelain Grouping of Mars, the God of War, Chariot with his Putti Servant, originally designed by Johann Joachim Kändler in 1772-1773 for Czarina Katharina, better known as Catherine the Great. Mars, the Roman God of war, is seen wearing a Roman war attire on his white double horse-drawn chariot. While seated, Mars is seen holding the handle of his sword. On his head is a beautiful silver helmet...

This charming depiction of a boy measuring the earth with a compass is an allegorical sculpture of geography. This bronze was cast using the lost wax technique and is fire gilded. He...

A 19th century French bisque porcelain figurine of a couple seated and engaged in a conversation. The figurine is marked on back and ...

A large-scale 17th century Spanish carving of Christ on the cross. Possibly of a much earlier date, the features and posture owing much to Byzantine depictions of Christ, especially ...

Early 19th Century silver plated putti on a modern star shaped Lucite base.

Stunning pair of cast lead cupids, originally part of a grand public fountain, now destroyed. The seated cupids hold a wine goblet in one hand, and a cluster of grapes on the other. ...

Sandstone sculpture of a saint in a garment rich in folds. Arms and attributes missing. Weathered patina condition.   

18th century Spanish Conquistador carved wood figure. 18th century Carved and painted wood Spanish Conquistador figure or sculpture. This beautif...

A gilt bronze model of Ceres, Roman goddess of agriculture, modeled seated holding torch aloft in one hand and with a sheaf of wheat in the other, on plin...

"Invasata" - unique piece, 2020, glazed earthenware. Andrea Salvatori (Italy, 1975) is a visual artist working in ceramics to realize ironic and witty sculptures, sometimes involv...

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

19th century bronze of the Heroic Putti, with traces of old gilding, modelled holding shield and sword aloft on circular Aswan marble plinth base, possibly German, after the original...

19th century English Romanesque antique stone pedestal has protruding lion mask carved on pedestal. Base measurement: 9.25" x 9.25" Top meas...

This 19th century terracotta sculpture of a putto feeding a bird is by Albert - Ernest Carrier - Belleuse (1824 - 1887). The terracot...

Cast bronze figure of a priest holding a cornucopial form crozier. Mounted on a modern turned ebonized wood socle. The bronze figure is 9 1/2" tall. Overall height including th...

Place this beautiful pair of antique carved figurines on a mantel or a console. Crafted in Italy, circa 1780, the tall sculptures depict two chubby cherubs standing on carved gilt ba...

A solid bronze and brass knight sculpture candelabra later converted to electrified table lamp with large frosted glass torch flame shade. Europe...

This fine, full length figure is modelled in the contrapposto pose, a position originating from ancient Greek Classical sculpture. The visual arts uses the term 'contrapposto' to des...

A magnificent and large carved Italian Carrara marble grouping of "Psyche Revived by Cupid’s Kiss", Modeled After Antonio Canova, signed Cesare Lapini. The subjects are shown to be m...

19th century, pair of French polychrome porcelain sculptures depicting cupid and psyche The delicious sculptures, made of hand-painted porcelain in polychrome, in Strasbourg in th...

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, ...

Very rare Italian terracotta sculptures of a knight, and horse, both in repousse armor decorated with dramatic plumes. Each mounted on cu...

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 ...

Life-size carved marble allegorical sculpture of hope circa 1900, unsigned, the woman wearing a Roman style gown and depicted perched on a cra...

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

A Mother & Child, Naïve, Baroque, oak, sculpture, upcycled into a 25” high, table lamp - Unusual statement & conversation piece; introducing an enduring classic theme into the int...

This striking pair, one of Ceres, emblematic of the harvest, the other with a dove and laurel wreath are well modelled as elegant figures in flowing gowns...

Pair of bronze statues representing the most famous and romantic lovers of Verona: Romeo and Juliet. Period 19th century by Angelo Cuglierero (...

17th century, Italian ancient carved stone bust of Roman Emperor Measures: H 33 (with base) H 28.5 (sculpture only) x 25 x 7 cm. The ancient bust, in ...

The gilt bronze figure of Antinous is mounted on a circular gilt bronze socle set on an hexagonal gilt bronze plinth attached to a wood base.

Large patinated bronze statuette with brown patina after the Soldier Bending His Bow, also called Ulysses Bending His Bow or Soldier Martyrisant Saint Sebastian realized in 1715 by J...

A 1930s French Art Deco bronze Roman warrior figure with spear and shield on black marble base.

18th century Italian slipware decorated Pottery Group, "Fleeing the Eruption of Mt. Vesuvius in 79AD" in Pompeii resulting in the death of over 100 people.. No marks. N.P. Trent has...

Amazing Baroque sculpture of a woman wearing a crown in original paint. Her hands are missing. Colors are untouched, recently cleaned off from a thick dark coating, I have images fro...

Antique Grand Tour classical bronze Roman figural sculpture with laurel crown.  

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

Carved Italian Alabaster sculpture of a maiden at the water fountain Italy, circa 1900. Depicting a young maiden leaning on a decora...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge.    

It is certainly David from the Old Testement. He is young handsome and brave, his harp he has set down and is about to behead the Philistine Champion, Goliath who is not shown. He...

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...

Well rendered depiction of Icarus, in brown stained terracotta on an angular stone base. Statue is signed but it is difficult to interpret the signature. It appears to be "Faffa Ales...