19th Century Figurative Sculptures

Mesmerizing bronze sculpture from the late 19th century of a mythical faun creature playing a flute by Claude Michel Clodion. This character gracefully rests on an elegant marble pl...

Spanish carving sculpture of an angel in flight. The piece is totally handcrafted in carved and polychromed wood with gold leaf details.

Life-size marble sculpture of Spring by Antonio Frilli Italian, late 19th century Height 159cm, width 47cm, depth 40cm This superb sculpture is the work of Antonio Frilli, a renowned Italian artist active in the late 19th century, who founded the Frilli gallery...

Couple figure in Meissen porcelain, Design by Johann Joachim Kaendler Group of shepherds with tree Naturalistic oval base. A shepherd couple sitting together under leafy oak trees. T...

A lovely quality 19th century French bronze of Napoleon on horseback standing on a moulded bronze plinth terminating on a dark grey variegated ma...

Rare pair of bronze sculptures by Emile Herbért. Fine quality silvered and gilt bronze figures of a warrior woman and a poet women dressed accordingly with military attire and poetic words. Signed and foundry marked with the G. Servant mark. Pierre-Eugène-Emile Hébert, French, (1828 - 1893). A native Parisian, Hébert apparently lived and worked in the capital until his death. He was born in 1828, and studied sculpture privately, with his father Pierre (1804-1869) and Jean-Jacques Feuchère (1807-1852), both of whom pursued modestly successful careers in the Salon and as public sculptors beginning in the 1830s. Hébert learned extensively from their very divergent paths. Whereas Pierre Hébert...

German Pair of Dresden Male & Female Bulldog Porcelain Figures (Late 19th Century).

An exceptional and most charming true pair of French 19th century Louis XVI st. ormolu and Rouge Griotte marble statues. Each statue is raised by a Fine circular Rouge Griotte marble...

A large & finely sculpted alabaster figure of Ariadne, wife of Dionysus the God of wine, shown adorned with a diadem of vine leaves while in repose atop the back of Dionysus’s stridi...

This is an Art Nouveau spelter figure by renowned sculptor Auguste Moreau (1834-1917), crafted in the late 19th century. The figure depicts an allegorical classical maiden draped in ...

A finely cast bronze sculpture of an expressive classically draped Greek scholar seated on a curule chair holding a lyre in one hand and an an open scroll in the other, both symb...

A large antique hand carved tribal 19th century sculpture from the Batak People, northern Sumatra, called a Singa Singa with painted accents. Attracting our eye with its charismatic presence, this large hand carved shield from the Indonesian island of Sumatra is one of the most iconic images of the Batak tradition. Called a Singa Singa, it was placed in the exterior corners of the traditional houses adorned with boat-shaped roofs, to disperse fear. Presenting a high forehead and angular traits, this Singa Singa sculpture is accented with faint traces of black for the eyes and a nicely distressed patina revealing its life spent outdoors. The back is flat with a small hole. Perfect to decorate any wall or perhaps to be mounted on a base depending on your needs, its riveting presence and delicate scrolling décor will make this Batak Singa...

"Guerrier du Caucase" by Antoine L Barye Excellent French bronze study of a mounted Caucasian Warrior in full armour, the bronze with excellent hand chased surface detail and rich green, brown, black and orange patination, signed BARYE. A fabulous example of this important sculpture in optimal condition. Additional Information Height: 20 cm Width: 17 cm Depth: 7 cm Condition: Excellent Original Condition Foundry: Atelier Barye circa: 1874 Materials: Bronze Book Ref BARYE Catalogue Raisonne des Sculptures by Michel Poletti – Alain Richarme Page no. 78 Description Antoine Louis Barye “The Michelangelo of the Menagerie” These are the words of Théophile Gautier in praise of Barye’s genius. Throughout his life Barye endeavoured to capture the fundamental nature of the animal kingdom in all its diversity, wild or tame, exotic or familiar, cruel or gentle, bringing to life the roaring, trembling, living beasts. The son of a goldsmith, apprenticed to a steel engraver at a young age, Barye found himself making moulds for ornaments, acquiring knowledge that he would later build on to produce his exquisitely chased bronzes. When he was called up at seventeen, he joined the army’s topographic brigade where he used clay to model raised relief maps...

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

This miniature relief portrait of King Ludwig I. of Bavaria is made out of chased silver. I has been executed by Ludwig Leigh and is signed L.Leigh. The po...

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

Very delicate Meissen porcelain group of the late 19th century: Three beautiful young women with artfully pinned-up hair and wrapped in loose cloths grouped on a high towering rock, ...

A very good quality Grand Tour patinated bronze figure of Narcissus, dating from the last quarter of the 19th century. Narcissus was a hunter in Greek mythology and he was distinguished for his beauty. This well patinated bronze classical figure...

An Italian bed corona from the 19th century, with painted and gilt décor and nicely weathered patina. Created in Italy during the 19th century, this bed corona features a circular bo...

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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...

This is a Volksted Porcelain depicting a gentleman dressed with two different colorful flower fabrics in his blouse & pants. His shoes are adorned with flowers. He is holding a rose in his right hand & a gentleman cane...

No idol in China is more widely worshiped than Caishen, the God of Wealth. His shrine can be found in nearly every home, his image set beside ancestors a...

After Giambologna (Jean de Boulogne, Italian, 1529-1608) "Rape of the Sabine Woman" Patinated Bronze Sculpture, French, late 19th century. 42.5" H x 12" W x 12" D. Note: This bronze ...

Antique mid-19th century Spanish hand carved painted wooden sculpture of Virgin Mary of the Sacred Heart with glass eyes.

A powerful 19th-century bronze sculpture of the Roman goddess of the hunt, Diana, captured mid-motion by the celebrated French artist Edouard Drouot. This patinated bronze figurine ...

A wonderful bronze of a seated Venus and Cupid. Modeled with a recumbent Venus attended by Cupid on an oval plinth in the manner of Albert-Ernest Carrier-Belleuse. With finely...

A pair of putti holding symbols of the harvest adorn this Meissen porcelain figural group entitled Fall. Part of the company's Seasons series, these charming characters rest upon a r...

A handcrafted group of Frog Musicians, sitting on a bench and two chairs. There is some loss to paint. Otherwise they are very well done.

Depicting the armored and mounted Joan rising over a fallen soldier and horse. Signed 'Th. Gechter'.

A fine French 19th century terracotta bust of "Madame Récamier (French, 1777-1849)" The coyly gazing downward beauty, holding a veil across her chest r...

A fairly large 19th century French bronze statue of the Milo of Croton on a stepped marble base after the original marble statue by sculptor Edme Dumont (1...

A stunning and extremely high quality Italian 19th century solid white Carrara marble statue of a woman with bound hands and feet. The statue,...

Meissen, Germany. Antique hand-painted porcelain figure. Lady with flowers. Late 19th century. Measures: 12 x 5.5 cm. In excellent condition. Minima...

An enchanting Meissen porcelain group depicting lovers standing infront of a classical marble bust, a young boy rocking a cot, a ship and dog. Blue crossed swords to the base. Batc...

Late 19th century Meiji bronze erotic sculpture of a nude sitting woman in the style of Okazaki Sessei, Japan By: Okazaki Sessei (in the style...

Staffordshire spill vase with a hunting theme which features an otter hunter, his dogs and an otter impaled on his spear. Multi-coloured with ...

After the Antique, "The Two Wrestlers", Carved Stone Sculpture, The Uffizi Wrestlers, depicting two men in the midst of a wrestling match, marked "Ettore Zocchi / Sculpteur a Florenc...

Italian School Sculpture "Hermaphrodite" 19th Century Carrara White Marble Group presented on a marble base Total height: 18 cm Width: 46.5 cm Depth: 25.5 cm good condition some defe...

ANTIQUE 19TH CENTURY PLASTER OF THE DIANA OF GABI FROM THE LOUVRE Ancient plaster with identical measurements to the original Greek marble exhibited at the Louvre. Diana of Gabi, di...

An enchanting 19th century carved marble statue of a seated mother and child playing on her shoulders.

19th Century Religious Dummy Board Oil Painting of Angel & Crown of Thorns. Rare life size 19th Century religious oil painting on carved pinew...

American Victorian style life size child mannequin with metal shoes and black upholstery (19/20th Cent)

Lot of two victorian brass door stops Late 19th century The first, Scottish cast in brass, “Bobert Burns ploughman”. Mounted on a maple base. Measures: 4 1/2" - in.(11.5 cm.) h...

English Victorian carved ebony figure of an owl standing on a shaped base

An antique figural child cast bronze sculpture depicts portrait of young girl Antique in hat, seated on marble base, circa 1910. Measures: 6" H x 2.75" W x 2.13" D. Catalogue Note:...

This exceptional and monumental antique terracotta sculpture was crafted at Vienna’s renowned Goldscheider manufactory. This enchanting sculpture, model #1225, depicts a charming genre scene of a young boy...

This impressive 19th-century plaster sculpture depicts a classical Greek figure and was crafted in a French atelier. Standing at 180 cm tall, the sculpture is in very good condition,...

19th century Italian hand-carved gilded angel wing with calcite crystals and sphalerite. The hand-carved gold leaf angel wing is originally from a church in Tuscany. The ecclesiasti...

Elegant little carved wooden horse from the 19th century in polychrome wood Very beautiful polychromy which has a lot of charm Old child's toy with the front wheels which moves ...

*RARE* We offer for sale this Fantastic Shrine Statue from a Parisian Church This exquisite statue of Our Lady of Purgatory is a masterpiece of religious art. Created in France duri...

White marble sculpture of Cupid based on a work by Étienne Maurice Falconet (1716-1791), the original of which is in the Louvre Museum in Paris. It is presented on a gilded wooden base with a pearl stripe. Very fine craftsmanship and high quality for this 19th-century white veined Carrara marble statue of Cupid. Height with base: 59 cm. Weight: 30 kg. The original work, also known as “L'Amour menaçant...

An antique Indian temple multicolor carving from the 19th century depicting Ganesha with consort Riddhi or Siddhi on his knee. Created in India d...

Late 19th Century Belle Époque metal sculpture of a young boy lifting a faced amphora by Auguste Moreau, France By: Auguste Moreau Material: metal Technique: cast, molded, polished,...

Louis Simon Boizot Porcelain Figural group bathing Diana. Made by Edme Samson Paris Depicting a Mythological scene of Diana the Huntress Titled: Diana au bain The original is in...

An exceptional bronze statute by Albert-Ernest Carrier-Belleuse (1824-1887). The piece is inscribed "Poitevin" on the base. This gentleman served as a f...

The anatomical sculpture, cast out of plaster, depicts a flayed man standing over a rectangular base in a classical pose with lifted arm. Anatomical study purpose. Italy circa 1880.

A clock with "Parisian" movement, with pendulum and half hour chime, white enamel dial with garlands of roses, inserted in a bronze patinated white (antimony) metal sculpture, with g...