Bronze Figurative Sculptures

A very impressive & superbly cast patinated bronzed metal bust of Ajax turning to dexter, of compact proportions, after the Antique, attributed to Benedetto Boschetti (1820-1860). La...

France Marius Montagne (1828-1879) Dated 1867 A fine and detailed solid bronze sculpture of a seated Hermes or Mercurius. His demeanor radiates peac...

Bronze Neapolitan dancer with castanets, marked Duret F. After Francisque Joseph Duret (French, 1805-1865) Cast by Delafontaine from a mold by Fra...

Bronze sculpture of a woman, unsigned. Measures: 12" H x 4" W.

The archery: dark patina bronze representing an archery with oriental features: hair, earrings ... This sculpture signed by the artist Eugène L'Hoest is of a good quality in the way...

Pair of French bronze portrait plaques of Voltaire & Rouseau, Signed Marie F, Each one finely cast of a profile portrait of e Arouet de Voltaire, one Jean Jaques Rouseau.  

Marked on the base bottom with initial "B" in an urn-shaped cartouche (for “Bergmann”). Dimensions: Height: 3.63 inches (9.07cm) Length: 4.75 inches (11.87cm) Width: 2.63 inc...

This wonderful and witty life-like sculpture depicts a bearded Muslim man in picturesque ethnic clothes, standing at full height on a Persian rug and raising his arms up in calling o...

This cast bronze of the Venus de Milo dates to the late 19th century and was acquired during the "Grand Tour" of Europe.        

French Belle Epoque period. Signed and dated on the bottom back. Original marble base. Dimensions Height: 12.25 inches (30.62cm) Width: 4.88 inches (12.2cm) Depth: 3.75 inche...

This is a stunning pair of French fireplace bronze doré chenets from the 1800’s. Each chenet has a putto standing on a large cluster of curled acanthus leaves. Beneath the leaves are thick bases with cavetto molding adorned with a series of C-scrolls. Grapevines and wheat husks emanate upwards from the leaves, giving the chenets some additional height. One of the putti is pulling a grapevine over his shoulder, while the other one has a sickle in his hand. French chenets...

An interesting pair of late 19th century gilt bronze chenets Each depicting Bacchus, wrapped in grape vines, flanked by a cherub and standing on a bronze base.

An Artist-signed Art Nouveau nude figure Artist-signed A. Croisy on the base. Aristide Croisy (31 March 1840-7 November 1899) was a French sculptor. H...

A Gran Tour bronze 'Seated Hermes' or Mercury of 1830 circa, with marble base.

Pair of antique French bronze appliqués depicting art and music, each one finely cast draped putto one holding an artists palette the other a lute. Art measures: 10.5" H x 6" W Mus...

A palatial, extremely rare, and important Napoleon III French ormolu and patinated bronze regulateur de parquet clock, by Louis-Constantin Detouche, Paris, circa 1850. The clock case made form the finest French ormolu, with 2 very large patinated bronze seated putti The white enamel dial Signed C. DETOUCHE/ PARIS. The clock movement is numbered 7064 and stamped with maker’s stamps C. Detouche RUE st. MARTIN and C. DETOUCHE 158 R. St MARTIN 160, with medaille d’argent stamp, on a serpentine part ebonized mahogany plinth. At over six feet tall, the present clock is impressive in scale and rare in Detouche’s oeuvre. While other large clocks were produced by the firm, few of this scale are so overtly decorative and usually incorporate greater mechanical complication. For example, a gilt bronze astronomical regulator clock...

This compelling, small scale bronze sculpture depicts ‘The Rape of the Sabines’, after a monumental work by the Renaissance artist, Giambologna (152...

Pair of orientalist bronzes of standing Turks, signed Guillot, Anatole-Jean-Thomas Guillot French (1865-1911) Each one intricately dressed holding weapons, raised on Belgian black ...

Paul Dubois & F. Barbidienne Fondeur, Florentine singer, French bronze sculpture, circa 1869 Signed by the artist, P.DVBOIS, and dated: 1869. Fo...

"Girl with flowers on a basket". Sculpture in white marble and bronze, on base, Spain, 19th century. The pedestal, in the shape of a column with a smooth shaft, elevates the sculpture and highlights it with its elegance of lines and lack of exaggerated decorative elements (aside from some moldings in what would be the capital and the marbled marble change in the upper piece, on which the sculpture is located). The figure of the girl, carved in a white marble of great quality, is sitting, looking towards the distance, and with a bouquet of flowers in her arms and a medal hanging from a cord around her neck. When sitting on a basket with flowers the figure is softened, in addition to enhancing it with the chromatic contrast existing between the flowers and the basket (patinated bronze) and the figure. The hair of the girl, with a pictorial waves without a powerful chiaroscuro, contrasts with the detail of the dress, perfect both in the ruffles of the neck and in the embroidery of the fabric and with which, in addition, an "informal" touch has been added to show fallen a strait and the skirt wrinkled. This lack of formality fits perfectly with the theme, and is slightly accentuated by presenting the figure with socks (or stockings, dropped) and without shoes. The realism of the face (attenuated with a slight idealization) suggests that it is a child portrait. The pictorial treatment of the figure and the roses relate it to artistic approaches that emerged during the 19th century and with a certain aesthetic and skill level. Stylistically, it is possible to relate it to the environment and the influence of two key figures of 19th-century Spanish art for their invoice, traits, technical mastery and originality: Agustín Querol...