Baroque Figurative Sculptures

Étienne-Maurice Falconet (1716-1791), "The Bather" or "The Nymph Bathing" (1757) Artistic Explanation: The Nymph Bathing is a masterpiece of 18th-century French sculpture, created...

A Capadimonte's charming porcelain figure depicts a baroque styled woman dressed in pink and holding a fan.

Italian 18th century hand-carved Corpus Christi, in original paint, or in some small areas early paint. Note: Original/early finish on antique a...

Excellent Meissen porcelain figure: Young gentleman in elaborate rococo clothing of the upper classes: noble white frock coat with golden hems, gold and flower embroidered vest and sleeve cuffs, large black bow on the wig hair, sitting at a magnificent desk with curved...

Sculpture called "The Rape of the Sabine" made by Jean de Bologna (1529 -1608), made of bronze and patinated in brown. This is a replica of the author's most important work. The work...

OUR LADY WITH THE BOY JESUS Indo-Portuguese sculpture, !7th Century in polychrome, upholstered and gilded wood. The figure is represented standing, holding the Baby Jesus with his l...

18th century continental baroque style poly chrome decorated wood carving.

Italian sculpture "Venus Gabi". Headless Torso. Early 20th century. Carrara marble. Measures: H 74cm. Perfect Condition.

A Large and Impressive Continental 19th Century Patinated Bronze and Giltwood Carved Crucifix Former property of Siegfried & Roy, the renown German-Ame...

Magnificent "Dorso Masculino" sculpture in Carrara marble from the late 19th century. Italy Measures: H. 108cm x 37cm Perfect conditions.

Important German Sculpture "CHILD JESUS" 17th Century in silver metal. Sitting on a wooden base. Height (sculpture) 52 cm. Height: (total) 60 cm good original conditions

Large Italian Marble Sculpture – "The Rape of Proserpina" Origin: Italy Period: 1970s (20th century) Material: Italian white marble Dime...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

18th century carved Venetian polychromed gondola figurerhead, realistically carved and painted, raised on a 6.5" diameter base.

Pair of 18th Century Candle Bearing Angels. Comprising a pair of charming carved polychrome and gilt wood figural candlestands modeled as angels and on integral raised stands, carved in full round and with gesso stiffened clothing. Decorate a mantel or a console with this important pair of antique polychrome painted sculptural candlesticks. Candle bearing Angels. 18th century carved wood polychrome putti...

A pair of bronze serpent / snake incense burners censers, 20th century Italy After Antonio Pandiani (1838-1928), Milano. Oval base supporting coiled serpent swallowing adjustable s...

Beautiful weathered 18th century Italian carved wood angel fragment.

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...

18th century carved, painted and gilded Statue of a woman standing on a cloud. Sacral Art. Ca 1750 Sweden (possibly Northern Europe)

Pair of Late 17th/Early 18th Century carved and polychrome Italian angel figures. Now mounted in modern stands. Wonderful baroque carving and retain original paint   

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very goo...

An 18th-century Italian sculpture of a draped Madonna, masterfully carved in polychrome and gilded wood. The Virgin, gracefully veiled, holding the infant Jesus on her lap with a st...

Majestic 18th century Italian baroque polychrome Santos icon sculpture of a young man. The carved icon is depicted standing and wearing a flowing robe with graceful movement. He has ...

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 wood carved baroque angel in old paint with wings 18th century There is a part missing, see pictures, and some wear due to age and use to the paint.

The young man, covered only with a cloth, known in Greek mythology as ‘the most beautiful of all boys’, sits on the back of Zeus, who has been transformed into an eagle, and is carri...

A pair of hand crafted wood and gilt gesso overlay baroque display stands (ideal for clocks or small statues and busts), each with applied harleq...

18th century exceptional Italian carved wood and polychromed figure depicting baby Jesus holding the world in his hand, he has halo made from sterling silver and the globe is also sterling silver.This piece would have originally been dressed in an elaborate gown and would have been changed into different attire depending on the holy season. Extremely detailed and the carving is exceptional. this piece came from a very reputable merchant in Verona, I did inherit it from my mother in Law...

A Neapolitan Capodimonte porcelain in the Baroque style depicting a french salon scene, a woman seated in an armchair playing the lute and a male admirer trying to impress her, marke...

Gorgeous small statuette depicting a silver cherub from the Baroque period, late 1700s. The statue is made entirely of gilded silver and depicts a music...

Roman bronze sculpture Depicts Roman Chariot 19th century Measures: cm. 33 × 66 H. 50 Good conditions.

A 19th century impressive large scale Italian Baroque style putti statue, depicts a winged cherub, with branch, different smaller scallop shells and hold...

Auction. Carved and gilded wood. Spanish school, 17th century. Carved and gilded piece of wood probably coming from a Spanish school altarpiece decorated with deep carvings of archi...

"Child Jesus". Carved and polychrome wood. Spanish school, 17th century. Base or pedestal made later. Christ is presented naked, with a slight contrapposto on the legs and hips that...

Early 19th century wooden statue of St Jerome, circa 1800. South Europe.

Place this beautiful pair of antique carved figurines on a mantel or a console. Crafted in Italy, circa 1780, the tall sculptures depict two chubby cherubs standing on carved gilt ba...

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...

A Italian Gilt Bronze Hermes 19th Century H: 30cm very good condition.

Bacchus 
Southern Italy, late 17th century
 Alabaster Sculpture
 H: 20 cm A finely carved 17th-century alabaster sculpture of a naked Bacchus. This Italian alabaster figure depicts ...

This is a mephistophelic figure in solid wood carved of "Mrs. Devil" in the form of a hall support. Italy 1875-1890. Measure: Height 185 cm - Good condition, Mother of pearl eyes.

Beautiful Italian Bronze Sculpture of Gladiators on a Marble Base 19th Century Dimensions 25x20 cm very good condition

A lacquered wood sculpture of a sitting Cherub hand carved and painted in Italy in the early 18th century. The cherub has been mounted on late 19th century on a wood base. It's in or...

Impressive 19 century pair of bronze babies with rock crystal spheres.. Can be placed everywhere and make a big statement.

Very elaborate and lovingly designed group of animal figures: European roller leaning forward, also known as almond crow in German-speaking countries, sitting on a tree trunk with o...

Masterpiece and Museum Pair of Feet of "Mercury" 17th Century in Greek Thassos marble late 17th century early 18th century 17th/18th century 120 x 50 x H 70cm good condition for the ...

Bas-relief in sculpted and gilded wood portraying the Ascension of Christ. By ascending to heaven, Jesus fulfils the meaning of his resurrection: to join, with his body, in the glor...

Pair of Carved Wood Putti on Carved Base from the 1700s are two naked cherubs covered only by their golden loincloths; apparently two heralding angels without wings, they stand on ti...

Sculpture of Saint Francis made of hand-carved and polychrome wood with gold leaf embellishments. Valladolid, Spain, 17th century. Circa 1650

A Pair of Old Weathered Classical Flower Children Statues These are lovely old statues, they are a boy and girl, he is holding a basket of Fruit an...

19th century bronze from Moulin Elegant 19th century bronze signed by the author. In Patinated bronze and simulation of porphyry. Measures: 50 x 35 x 16 cm Good condition.

Extraordinary and unique, this gorgeous large sculptural copper panel depicting 16 charming dancing Putti, playing and amusing themselves, with 1 dog and 1 bird, after Clodion, early...

19th century, pair of French polychrome porcelain sculptures depicting cupid and psyche The delicious sculptures, made of hand-painted porcelain in polychrome, in Strasbourg in th...

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

Beautiful miniature version in gilt bronze of one of the most famous Belgian monuments and the symbol of the city of Brussels. 'Manneken Pis'. On a marble plinth. Stamped on the back...

Sculptor of the 19th century, Sculpture: "Greek warrior with spear and shield", bronze, light brown patina with dark accents. Measure: H. 38.5 cm. Good condition.

Italian Bronze sculpture depicting ''DAVID''. Green marble base. Late 19th century. Dimensions Height approx. 108 cm good condition

CHRIST'S SUPPER in Portuguese Terracotta 18th Century composed of fourteen figures in polychrome terracotta. Period defects and repainting Height: (largest) 56 cm. It belonged to th...

Depiction of a sitting, smiling Buddha figure from a series of folk types. Voluminous body with hair strictly combed back and a wide robe sitting cross-legged, arms straight in front...

Excellent Meissen porcelain group of the 19th century: Nymph, covered only with a cloth, seated on a half shell floating on the water, holding the cloth at one end so that it forms ...

Pair of 18th-Century Italian Baroque Neapolitan Crèche Figures of Merchant Men in Leather A rare and expressive pair of 18th-century Italian Baroque crèche figures, likely originati...