French Sculpture of Two Cupids Contesting a Heart, After E. Falconet, circa 1850

Mary and Jesus, often referred to as Madonna and Child, have been the subjects of art since the 3rd century when a rendering of the duo was painted on the walls of the Roman Catacomb...

This pair of silvered wooden reliquaries are from France, circa 1750. The backs are still preserved by wax seals, indicating that the relics were never removed. Each reliquary has...

During the period of French history known as the Empire style, design reflected Napoleon’s belief that ancient civilizations (such as Greece, Rome, and Egypt) were the only societies...

Standing over 2 feet tall, these high quality bronze statues depict soldiers during the French revolutionary wars. They are labeled and signed Dumaige (French sculptor, Etienne-Henry Dumaige 1830-1888). The statues show incredible detail, excellent proportion, and retain their original, rich, brown patina, which is still in remarkable condition. Each solider has a raised brass placard on the front of the 1 ½” thick square bases: one reads Avant le combat volontaire de 1792 par Dumaige, H.C, while the other is titled “Apres le combat grenadier de 1792 par Dumaige, H.C.”. The designation “H.C.” stands for Hors concours (“standout”), which is used for artwork that is excluded from competition because it has already claimed top honors elsewhere. Avant, meaning “before” shows our soldier as a volunteer drummer. Drums were used on the battlefield not only to provide cadence for the soldiers, but also to issue orders based on the percussion pattern. Here, our soldier’s drum is attached to a harness that runs across his right shoulder. Both hands are gripping the frame of the drum, while there is a drumstick in his left hand. There is a satchel on the soldier’s back as he stands on grass with a small wood fence behind him. Our soldier has a mustache with long braided hair in the back. He is wearing a fluted bicorne with a pomme tuft and has earrings in both ears. His jacket is knee-length in the back, with tasseled epaulets on the shoulders. Apres, meaning “after”, depicts the man as a grenadier, enjoying tobacco after a conflict. The grenadier...

This elegant terracotta sculpture is a refined interpretation of a classical female nude, inspired by the celebrated 18th-century French sculptor Étienne-Maurice Falconet. The piece ...

This exquisite alabaster sculpture is a refined interpretation of "La Baigneuse" (The Bather), originally created by the renowned French sculptor Étienne-Maurice Falconet in the mid-18th century. Known for his delicate treatment of the female form and his ability to convey grace and sensuality with subtlety, Falconet’s Bather became one of the most iconic representations of neoclassical taste in the decorative arts. The figure is depicted nude, in a moment of quiet intimacy, holding a small sphere and resting one hand on a column draped with fabric. Her head is slightly bowed, and her gentle expression evokes a sense of introspection and softness. The figure’s elegant posture, with one leg subtly bent and the weight shifted delicately to the other, creates a harmonious balance and a fluid sense of movement. Carved in alabaster, the sculpture has a luminous, velvety surface that enhances the refined modeling of the body, the finely detailed hair, and the naturalistic folds of the drapery. This material lends the figure a timeless quality, echoing the marble originals of the 18th century while bringing its own delicate glow. This piece exemplifies the neoclassical fascination with antiquity, ideal beauty, and the private moments of mythological or allegorical figures. A beautiful addition to any collection, it brings the charm and elegance of 18th century French sculpture...

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

Bronze group with brown patina featuring Cupids fighting over a heart after Etienne-Maurice Falconet (1716-1791). This work had a great success in the second half of the 19th century...