19th Century Figurative Sculptures

A stunning and large scale French 19th century patinated bronze and ormolu statue of a pheasant signed Jules Moigniez. The bronze is elevated above a mottled oval shaped ormolu base....

A very fine Italian 19th century Carrara marble sculpture depicting a young beauty going for a Swim standing on the steps of a dock, raised on its ori...

This antique patinated bronze cast spelter table lamp was designed by A. Renieri and made in France in circa 1890 in the Victorian style. The casting is quite detailed and is entitle...

A very fine French, 19th century Patinated bronze group of a Crouching Native American Indian on the lookout, in a dark brown patina and raised on a veined green marble base, by Edou...

Quality pair of 19th century figural bronze statues. The pair features left and right facing maidens holding urn form vessels. The casting is of superior quality as can be seen by th...

19th Century. Cesare Beccaria Bronze, 49 x 13 x 15 cm The bronze statue examined faithfully reproduces the famous Milanese monument by Giuseppe Grandi (1843-1894) dedicated to Cesare Beccaria. The work, from the top of a high base in white Montorfano granite, dominates the homonymous Milanese square, a sad stage for executions at the time of Austrian rule, in a bronze copy of 1914 to replace the original stone statue which already at the beginning of the new century showed serious signs of deterioration. The marble became part of the collections of the Gallery of Modern Art and is now located inside the Palazzo di Giustizia in Milan. The initiative regarding the erection of a monument dedicated to Cesare Beccaria originates in 1865, in support of the proposed abolition of the death penalty...

Bronze sculpture, signed F. Barbedienne, 19th century, Napoleon III period. Bronze sculpture, marble base, mechanical reproduction, signe...

Excellent large and rare Meissen figurine group from the 19th century: Apollo clothed with a cloak embraces Daphne from behind, who is fleeing from him and has already frozen into a ...

A large-scale French 19th century Louis XVI st. Biscuit de Sèvres Porcelain bust of Madame La Contesse Du Bary in the manner of the sculptor Pajo...

Sttunning, quality and meaningful work of religious art. This skillfully hand carved and large size Sacred Heart of Christ statue is another one of our ...

A French 19th century Silvered Bronze Group of "The Falconer", Signed P.J. Mene. This silvered bronze depicts an Arab falconer on horseback, signed P.J. M...

A wonderful, little gem of a piece. Thai/ Siam meditating Buddha with serenely closed eyes in the Kamphaeng Phet style. The piece has a beautiful patina acquired over time. From a collection of Asian antiques. Would be a nice addition to any South-East Asian artifacts...

Magnificent 19th century French bust, signed and dated.

Joseph d’Aste (1881-1945), Italian born sculptor who lived and worked in France. “Fete au village” (village celebration), gilt bronze on a marble base. S...

Important pair of patinated cast bronze busts representing goddesses Mars and Minerva. Beautifully cast in the Renaissance Beaux Arts style, featuring cherubs , sea horses and classical attribute, retaining a weathered verdigris patinas from being exposed outdoors . Both sculptures are unsigned and both bear a museum collection inventory number. France: circa 1880 Provenance: Former collection of the "Clerc De Saint -Viateur" or the Clerics of Saint Viator also known as the Viatorians a Roman Catholic clerical religious congregation of Pontifical Right for men (priest, brothers and lay associates) founded in Lyon, France, in 1831 by Father Louis Querbes. The congregation had a large collection including the pair of sculptures on loan to the Musée De Musée...

Important edition in bronze with brown patina representing "Pegasus carrying the poet towards the regions of the dream" also called "Apollo on Pegasus" after a model of Jean Alexandr...

Historic statue in cast iron representing Joan of Arc from the late 19th century. Unfortunately, a piece of his sword is missing (and also his standard)...

A Pair of 19th Century Grand Tour bronzes after the original sculptor, Claude Michael Clodion. The male and female Satyr Bacchus themes with putti and the adult figures with an origi...

A fine, antique early 20th century Parian figure of a nude blond woman holding a gilt ball in her right hand. Fine attention to detail is seen in her delicately rendered fingers, fee...

A 19th century Indian sphinx hand-carved stone sculpture, probably intended to adorn and protect a temple. The Indian stone sculpture features a...

Statue in bronze with medal patina "Psyche and Cupid" realized by Jean BULIO. It represents Psyche, recognizable by her butterfly wingst. Her chest is bare and she is holding an arro...

This 19th Century European marble mortar is a refined utilitarian object, hand-carved from pale stone with a smooth, cylindrical form and gently concave center. The creamy white marb...

19th century large Staffordshire cottage with very interesting design. It has many levels and interesting architectural details, accented with h...

A very fine and attractive bronze of a young boy playing the violin, " the little violinist " By Emile Carlier (1849 -1927) resting on a molded stepped marble circular base, signed E...

MARCEL DÉBUT (France, 1865 - 1933). "Nymphe dansante", c. 1900. BRONZE Signé. Dimensions : 108 x 43 x 30 cm. Une nymphe ou une fée de la nature est le protagoniste de cette sculpture...

Staffordshire Pottery pearlware model which features a child asleep in a cradle. The cradle sits on curved feet, enabling the cradle to rock from side to side.

A French patinated bronze figure of Diana di Gabii, late 19th century.

An antique African bronze Sao Cavalier statue, Chad. Depicts two warriors on horseback. The men hold spears and a shield, and the horse has tribal dec...

This sculpture is beautifully carved from carrara Marble and is made to fit the marble pedestal It is signed Carusi at the base. She is holding her Dog and has a finger held to her ...

An important and high quality true pair of French 19th century Louis XVI st. patinated Bronze, Ormolu and marble statues, signed Carrier Belleuse. Each exceptional statues is support...

It is the sculpture of a woman covered with a draped chiton, probably representing the goddess Artemis and traditionally attributed to the sculptor Praxiteles. Found in the ancient t...

Column-shaped plinth and rectangular cartouche engraved with the name in Greek of the depicted subject. A plaster cast of the head of Alexander the Great is set on the base. A cast f...

Sculpture "Dying Galata" by the author Ferdinand Barbedienne (1810-1899), made of bronze, patinated in green with a Belgian black marble base. Made by the Barbedienne foundation (183...

Large Meissen Porcelain modeled as a bust of a young child wearing a floral decorated cap, wearing open shirt with floral embellished sash. Late 19th century Crossed swords in ...

A quality late 19th century artist Lay figure made from pine. These were made to be used by artists to paint the human form.

This cold painted Austrian bronze dates from the late 19th century and is extremely detailed. The figure is signed, or titled on one edge of the carpet, but we could not determine th...

Henri Picard, a master of artistic metalwork during the opulent Second Empire period in France, remains a figure of enduring fascination and admiration in the realms of antique art a...

Handsome pair of 19th century equestrian Staffordshire porcelain Scottish Highlander hunters on horseback. Each bearded gentleman is depicted seate...

Finely carved Italian Carrara marble Title: Amore E Psiche Artist: Pasquale Romanelli (1812-1887) Origin: Italian Date: 19th century Signature: Signed Prof. P. Romanelli/Fire...

These bronze figures show Edward, Prince of Wales, standing in a nonchalant pose with one leg crossed over the other, a cigar in his left hand, his hat at his feet and a shotgun slung over his right arm. The elegant Princess of Wales is depicted skating, with feathers in her hat, and wearing a fur-trimmed coat and muff as the wind catches her three-quarter length skirt. Each stamped Elkington & Co Founders and G 1870. English, dated 1870. Provenance: Prince Victor of Hohenlohe-Langenburg, Count Gleichen. Prince Victor of Hohenlohe-Langenburg, Count Gleichen, was the son of Prince Ernst of Hohenlohe-Langenburg and Princess Feodore of Leiningen, half-sister to Queen Victoria. He ran away from school to England in 1848 and was sponsored to enter the Royal Navy by Queen Victoria. In 1854 he attained the rank of Lieutenant after serving as mate on the flagship Cumberland, where his future brother-in-law was captain and his future father-in-law was admiral. In 1866 he retired from the navy and trained with the British sculptor William Theed. As a sculptor, he carried out several portrait commissions for Queen Victoria including a statuette of Prince Alfred, her second son, and another of Prince Albert Victor...

Thomas Messenger and Sons 'Atlas' Sculpture Silvered Bronze Lamp Base, England circa 1835. English William IV period, bronze table lamp by the Birmin...

A Bronze Statuette of Arlequin by Charles-René de Paul de Saint-Marceaux. Cast by Barbedienne. The mischievous Harlequin, arms crossed in contemplation, wearing a grin and a mask, treading the boards of the stage, as befits his leading place in the Commedia dell'arte. Signed by the fondeur, Ferdinand Barbedienne, having the foundry cachet, and dated 1879, and the sculptor's name, St. Marceaux. French, Circa 1880. Paul de Saint-Marceaux (1845-1915) Son of a Reims wine merchant, entered the Ecole des Beaux-Arts de Paris under the tutelage of Jouffroy, exhibiting at the Salon of 1868, studying later in Italy. Considerable success followed, and he was awarded gold medals at the Paris Exposition Universelle of 1889, having been elected as a Chevalier to the Legion d'Honneur in 1880, and later becoming an officer. His public Parisian works may be seen in the Champs-Elysees (Alphonse Daudet the noted novelist) and Alexander Dumas...

The Victorian cast stone garden statue is leaning against a tree stump holding a bunch of grapes. A cloth is decorously draped around him. The putti has been painted white. Base: 9...

A bathing venus capodimonte figurine, 19th century. 4 ½ inches wide by 4 ½ inches deep by 13 ¼ inches tall

A pan boy standing on a ball supported by Fish around the base. Has the two flutes. Signed on the base Frederick William Mac Monies and dated 1890 and with the Foundry seal. Has the ...

Fine quality pair of French 19th century gilt bronze (electrotype technique) relief plaques. Children in backyard farm, garden scene.

18th–19th Century Spanish Carved Stone Lion’s Head Wall Element A powerful and expressive sculptural fragment depicting a lion’s head, originally part of a grand architectural ensemb...

This fine and exceptionally cast patinated bronze sculpture is the work of two masters of the decorative arts, Henri Chapu (French, 1833-1891) and Ferdinand Barbedienne (French, 1810-1892). Chapu was responsible for the design of the sculpture which is titled 'La Jeunesse' and depicts a young girl swathed in Classical style clothing reaching up to place a laurel branch on top of a wall. The original work was crafted in white marble as part of a monument to Henri Regnault...

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...

A charming French 19th century patinated bronze entitled 'Chemin des Roses', Path Of the Roses, by August Moreau. The bronze is raised by a mottled circular Verde Antico marble base ...

A pair of sphinxes in black glass. Little is known of this Manchester glassworks, but they had a very successful line in neoclassical pieces of which these are a fine example.  

Patinated bronze sculpture of young boy trimming the wings of a dove by Gregoire. This bronze known as "Captivity" represents the clipping of wings and forceful fidelity. Beautifully...

Sculpture, group in Meissen porcelain, 19th century, Napoleon III period. A Meissen porcelain sculpture of children playing colin maillard, 19th century, Napoleon III period. H: 19c...

Very rare and superbly carved 19th century Italian grand tour Carrara marble profile plaque relief of a Roman Emperor engraved with "Titus Vespas...

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

This nef, made of silvered metal, takes the form of a galleon. A nef is a table ornament, usually made of precious metal such as silver, that takes the shape of a ship. This nef has ...

19th C Tobacco Shop Publicity Statue smoking a pipe -polychromed wood.In perfect state -stands tall on its own.

Auguste MOREAU (1834-1917) 'Two Children' mounted on alabaster base Sculpture decoration - Sculpture - Antique Measures : 25cm x 37cm H:62cm Wear consistent with age and use. Minor ...

School of Paris French Palissy Majolica wall platter which features three overlapping fish on a water-effect ground, to the centre. A lizard, shellfish...

An impressive and majestic French 19th century patinated Bronze and Ormolu statue of a horse and groom, modeled after the horses of Marly. The spectacular horse is draped in a saddle...