19th Century Figurative Sculptures

For the art nouveau lover, this is certainly worth one to ponder, for all others, here is fine example art nouveau. The two color patina makes this very desirable. Her beautiful gold...

A traditional gilt bronze sculpture by Emmanuel Frémiet standing on a marble base, portraying St. Hubert riding a horse while he shows a flag depicting Jesus crucified, symbolizing h...

A great looking originally used by Austrian tailors and dressmakers for draping, alterations, and creating the latest fashion, this vintage dressmaker mannequin...

Emotive FRENCH Neoclassical Bust. Intentional unfinished appearance; unglazed rough texture, emphasizes the beauty and imperfection of natural forms.

A fine antique German porcelain figure of a boy with a dog by world renowned makers Meissen and dating from the 19th century. The figure of a young boy in typical period dress stands...

Decorate a study or office with this elegant antique statue. Crafted in France circa 1870 and built of metal, the figure depicts the cardinal Mazarin ...

Over the wooden black painted base is set a cast of Eleonora D’Aragona head. Copy of the marble sculpture by Laurana. Cast for drawing teaching in Academy. Italy circa 1880.

19th century diana the huntress bronze bas relief wall plaque. Diana with raised bow and hunting dog near her side. We have specialized in the sale of...

19th century Staffordshire figure group of a couple who appear to be courting sitting on a bench under an arbor with leaves and groups of flowers. The couple appears to be sitting ho...

Japanese Edo Period Musha Ningyo Seating Samurai, Ca. 1800 DIMENSIONS Height: 16 inches Width: 19 inches Depth: 10 inches ABOUT Musha Ningyō (武者人形)- Literal meaning: "Warrior Dolls...

Patinated plaster french statue of a religious reading the Bible. Antique French, circa 1880s This nun character inspires serenity. Created in 1855, the Giscard Manufacture in Tou...

This exquisite mid-nineteenth century sculpture features a nude woman in silvered bronze with parcel gilt accents. The female figure embodies grace and allure, reminiscent of the god...

Bronze statue in the style of Guillaume Marly. The horses of Marly were commissioned by Louis XV to sculptor Guillaume Coustou to decorate the entrance of the park of Marly castle. ...

A large and exceptional late 19th century Italian Grand Tour sculpture of the ‘Seated Hermes’ attributed to the Chiurazzi Foundry, Naples, Italy. The sol...

French "Cleopatra" Patinated and Gilt Bronze Sculpture, late 19th century, Egyptianesque, the seated queen holding a fan, on a Portoro marble plinth. 12.5" H x 14.5" W x 6" D.

19th Century French bronze statue of cupid captures the mischievous cherub just after letting his arrow fly. The classic pose inspired by ancient Greek and Roman statuary...

The Belgium artist Georges van der Straaten (born 1856) designed the two bronze busts at the end of the 19th century. One is titled "Bergere" (shepher...

Serpentine Green Marble Sculpture, The Lion Of Lucerne After Bertel Thorvaldsen Circa 1880

Beautiful hand carved marble angel. Made out of one piece, France, circa 1850. Weathered and small losses. More pictures are available on request.

Gerhard Henning (Danish, 1880-1967) Dark patinated bronze sculpture, "Seated Girl with Outstretched Legs" ("Siddende pige med strakte ben"), 1938-1942 Signed: G. Henning No. I This sculpture is the first casting (No. I) of a work produced in only six editions by the Royal Court Bronze Founder, Lauritz...

This large bust, depicting the Countess du Barry, was made after the 18th century original by Augustin Pajou. It is in the Louvre collection. He was ...

Stucco sculpture depicting anatomical model of the muscular system, handmade and painted in two-tone tempera in shades of gray. The human figure, placed on a small pedestal, is chara...

Antoine Louis Barye Theseus Slaying the Centaur Bienor Black Patinated Bronze Group. A French bronze group entitled 'Thesee combattant le centaure Bienor, esquisse' (Theseus slaying...

19th century French marble and bronze fountain. Seated satyr on marble column with marble shell basin. Later cast stone plinth. Wonderful garden ele...

Antoine-Louis Barye (Paris, 1795-1875). Lion crushing a Snake. Bronze with a brown patina signed Barye on the left hand side of the base. The bronze sculpture is sitting on a black m...

Collection of six (6) antique (19th century) Grand Tour busts of Roman emperors in patinated bronze with gilt bronze mounts and white marble pedestals, each measuring from 8 to 8 1/4...

Bronze sculpture "The Slave Girl," the making of which is attributed to Giacomo Ginotti in 1800 Ø cm 15 Ø cm 20 h cm 44 Giacomo Ginotti (1845-1897) was an important 19th-century It...

Bronze statue by Tito Obici, late 1800s Ø 12 cm h 29 cm Excellent conditions.

Stamped A.V., on a square red marble base.

Introducing a wonderfully impressive 19th-century Italian gilt bronze sculpture of Mercury, masterfully crafted after the renowned Renaissance artist Giambologna (1529-1608). This ex...

Large double patina bronze representing the Florentine Singer of the 15th century, signed P Dubois Fr The young and elegant boy, standing, plays and sings, leaning against a column:...

This finely carved wooden cherub head, dating back to around 1800, is a remarkable example of German craftsmanship. Unlike many similar pieces, this putto remains in its original, un...

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

A late 19th century Grand Tour bronze figure of “The Dying Gaul”, after the antique. The Dying Gaul depicts a warrior in his final moments, next to his shield and sword, his face contorted in pain just before he collapses from the mortal wound to his chest The original marble figure, which is in the Capitoline museum in Rome is thought to be a Roman copy of a Greek sculpture in Bronze. As an image of a vanquished enemy, the sculpture embodies courage in defeat, self-possession in the face of death, and the recognition of nobility in an alien race. “The Dying Gaul” was found in Rome with another ancient marble...

A scarce and delightful antique English majolica pottery man carrying a sack spill holder by Royal Worcester and dating from around 1865. The well potted figure stands raised on a wi...

This is a wonderful antique French Grand Tour classical bronze model of the Borghese Gladiator, circa 1880 in date. The well patinated bronze on a rectangular bronze base inscribed ...

A fine and stunning pair of Sevres porcelain figures, mid 19th century, of a female fruit picker and a male grape harvester, the bottoms with underglaze Sevres marks. Sevres porcelain at its best in this magnificent pair. A fine example from a New Orleans home in the lower garden district...

French bronze retiary sculpture by Edmé-Anthony-Paul NOEL, known as Tony Noël, France, ca.1875. Height : 21.85"(55.5cm), Width : 19.5"(49.6cm), Depth : 10.6"(27cm). Signed "Tony Noël...

Antique Egyptian Revival Small 7" Bronze Grand Tour Bust of a Pharaoh. Circa Late 19th Century. Measurements: 7" H x 3.5" W x 3.5" D.

Fine quality Seated Hermes/Mercury. French 19th century bronze seated Mercury / Hermes. "Rastender Merkur" by Pierre Marius Montagne (1828-1879). Fine quality patinated bronze on fau...

A 19th century bronze sculpture of the Neapolitan Fisherman after the antique. In Grand tour style, the boy almost looks like he is in a stance of motion in this good quality scale,...

Henry Fugere (1872-1944) Egyptian dancing bronze sculpture with antique green patina. Signed on the base. Proof of old edition. Original Portor...

Pair of 19th century Italian hand-carved and gilded angel wings on calcite crystal points in matrix. The pair hand-carved gilded and gilded angel wings are originally from a histor...

An impressive, extravagant work of art in ideas, richness of detail and craftsmanship, based on a legend according to which the court tailor longed to be allowed to sit at the table ...

JESUS CHRIST CRUCIFIED European, Germany ? 19th century Christ and font in bronze, wooden cross, covered with enamel. Slight wear. Dim.: (cross) 50 x 30 cm; Height: (christ) 16 cm...

"Nymphe Fluviale" by Mathurin Moreau (1822-1912) and Barbedienne foundry. The same sculpture can be found on "fontaine du Theâtre-Francais" on Paris and made for the Universal Exposi...

Stunning alabaster statue depicting a maiden selling flowers in the style of Ada Cipriani. Late 19th-early 20th Century - France No visible signature 16" W x 14" D x 49.5" H

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

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

A magnificent 19th century bronze of Ulysses stringing his bow on square base. After Jacques Bousseau (1681-1740). Circa 1830 French Dimensions: H: 35 in / 89 cm W: 11 i...

Depiction of a seated, laughing female Buddha figure from a series of folk types. Full-figured body with the hair tied back tightly and the robe tightly fitting the body with wide sl...

Item: sculpture ruth Author: g.B.Lombardi (italian, 1823-1880) Special features: signed and dated 'gb. Lomardi / f. Roma / 1869' and carved to the front 'ruth' In 1852, Giovanni...

Original 19th century bronze by Auguste Moreau (1834-1917) "Jeune Fille a L'oiseauuguste", Young Girl With Bird, or Young Lady Coming Through The Reeds". Young woman walking among the reeds with a bird, dove, at her feet. Beautiful bronze with rich brown patina on marble base. Auguste Moreau was a French sculptor, who was born on 22 February 1834 in Dijon and died 11...

Playfully carved out of boxwood, this Meiji period hyottoko noh mask netsuke features a figure of a crouching man on the reverse. In Iwate Prefecture, there is a myth about the origi...

A rare and stunning antique Staffordshire transfer printed pottery model of a cow and milkmaid figure dating from the mid 19th century. The well potted and hand crafted figure stands...

Alfred Barye was a French artist known for his meticulously detailed bronze sculptures of the Belle Époque featured in this listing. The standing figure with a dog and monkey at his ...

A Rare and Important American White Marble Sculpture of Thomas Jefferson Holding The Declaration of Independence. Circa 1870, in the Manner of Horatio Stone (1808 –1875). Inscribed on scroll: 'The Declaration of Independence, It becomes necessary for one people to dissolve the political bands which have connected them with another. etc. etc. T. Jefferson. The present work is unsigned but is reminiscent of Horatio Stone's life-size marble figure of John Hancock...

Wonderful late 19th Century Art Nouveau French bronze figure of a seductively draped female figure representing, in allegorical form, Nature revealing her secrets to Science, a fitti...

Gilt bronze bust of homer on a Regency ormolu mounted blue John pedestal, early 19th century.

Brown patina bronze sculpture depicting Mercury (Hermes), god of commerce, thieves and messenger of the gods, seated on a rock tying his winged heel-piece. He is wearing a petasus, a winged hat, and his caduceus is resting on the ground. This sculpture, based on a model by Jean-Baptiste Pigalle, shows a young god, naked and in motion. In a double-swivel position, he prepares to take off. The bronze, resting on a circular stepped base in griotte red marble, is signed on the terrace "Pigalle, 1745". The original of this sculpture was Pigalle's reception piece for the Académie Royale de Peinture et de Sculpture on July 30, 1744, which entered the Louvre between 1848 and 1850. Jean-Baptiste Pigalle: The sculptor of the Enlightenment A great French sculptor, Jean-Baptiste Pigalle was born in Paris in 1714. He worked on his art from an early age under the guidance of Robert Le Lorrain and later Jean-Baptiste Lemoyne. Convinced that his art was the meaning of his life, he returned to Italy in 1734 to perfect his technique. On his return, he began his "Mercure attachant sa talonnière" (1740), which enabled him to enter the Beaux-Arts. His reputation soared among the Parisian aristocracy. Mme de Pompadour took him under her wing, and commissions poured in. Juggling between the Baroque and the Classical, he painted portraits of Diderot and Voltaire, then created the famous funeral monuments...