European Sculptures

Large Staffordshire figure of Benjamin Franklin, Named Franklin on base, mid-19th century This Staffordshire figure of Benjamin Franklin has a white base with the words Franklin mol...

This is an assembled pair of very early 19th century English Staffordshire Pearlware Obelisks that have been fitted as lamps. Minor restorations have been made to the obelisks over t...

Psyche revived by Cupid’s kiss. After Canova. Beautifully carved in fine statuary marble. The winged young man who has just landed on a rock where a ...

Neoclassical marble sculpture bust after Joseph Chinard French, late 19th century Measures: Height 65cm, width 34cm, depth 55cm Portraying Madame R...

Pair of fine porcelains (couple dignitaries) circa 18th century origin Europe possible restoration in your hand (old) one of them has the letters L.G...

19th century biscuit porcelain figurine featuring a young woman holding a bunch of flowers in her skirt. This figurine is representative of ...

An exceptional French 19th century neo-classical st. ormolu and black Belgian marble statue of Cupid offering a rose to the Psyche. The statue is raised by an impressive black Belgia...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). In terracotta with black marble medallion centered by a white marble profile...

Great Thorwaldsen bust. Marble figure of the sculptor Thorwaldsen Extremely expressive characterization, which, in an extraordinary detail, also reflects the facial expressions of hi...

A charming and very decorative Italian white ceramic figurative circular centerpiece depicting a group of dwarfs around a palm tree, in a toasting festive attitude. This Italian anti...

A very fine Italian 19th century Carrara marble life-size marble sculpture of "Hebe and The Eagle"; depicting a young maiden seated on a rocky outcrop holding an urn over her shoulder and serving water from a bowl to a thirsty eagle, raised on a circular base by Aristide Fontana (Italian 19th Century - Active 1870-1890), Carrara, Inscribed to the reverse; "Aristide Fontana Sc./Carrara", circa 1870-1880. Hebe, the Greek goddess of youth, was the daughter of Zeus and Hera and was the hand-maiden and cup bearer of the gods and the symbol of youthful beauty and chastity. She is often depicted as a temptress tantalizing the eagle of Jupiter with a cup of ambrosia and her body. In her role as cup-bearer she offered nectar and ambrosia and here she holds the cup before the eagle, Zeus' messenger. This sculpture subject matter resembles Bertel Thorwaldsen's, marble sculpture of Ganymede and the Eagle, circa 1817 and currently at the Chrysler Museum, Norfolk, VA. The most notable difference between both sculptures is that, unlike in Thorwaldsen's work, this sculpture depicts a figure of a young semi-nude maiden bearing a pearl necklace centered with a charm engraved with the letter "S". This sculpture subject matter can also be attributed to Psyche, perched on a Stygian rock and threatened by dragons, is rescued from her task by Jupiter's eagle, who brings her a lekythos filled with the river's water. Although Apuleius' story of Cupid and Psyche had been a common theme in European art since the Renaissance, the particular incident of Psyche rescued by Jupiter's eagle was seldom illustrated. Comparable to themes in mythology, Old Testament figures and heroines in particular were popular subjects of artworks in the mid-19th century. Several scenes from the Biblical (Gen. 24) story of Rebecca's meeting with Eliezer, and subsequent marriage to Isaac, were depicted in the 19th century. The most frequent representation shows Rebecca at the well with a pitcher. Other examples of the subject include those by the Italians Cesare Lapini, Giovanni Battista Lombardi and Domenico Menconi and American sculptors Brown, Mozier, and Chauncey Bradley Ives...

Couple of children. Polychrome pine wood, Century XVIII. Pair of polychrome pine wood carvings that represent two children in an attitude of playing a musical wind instrument, both seated, with their hands towards their faces, and slightly raising one leg to add some movement to a posture that, otherwise, it would be perhaps too static. Due to their postures and attitudes, they would be part of a large and quality altarpiece, judging by the size, the details, the hair, the proportions, etc., elements in which the musical angels were not something strange. Note that those present do not have wings, calling themselves in these cases "putti" and being, in the same way, figures of habitual presence in religious environments despite having emerged from Renaissance classicism and its sources from Antiquity. The proportions of the sizes, the anatomy, the symmetry, the certain plasticism of the hair, etc. are elements that speak of an influence of Neoclassicism in these sculptures. Likewise, a certain resemblance to works from the 18th century of the Castilian school can be appreciated." Size: 22 x 42 x 85 cms / c/peanas 37 x 37 x 180 cm. Weight is merely orientative. Bases and wooden instruments...

A pair of very finely carved 19th century alabaster figures of muses, in classical dress, each standing on circular pedestals intricately carved with flowers and beading, Italian, c....

Attractive pair of Italian neoclassical style parcel-gilt and patinated bronze opposing figures of artistic maidens surmounted by moulded glass shades made into lamps, all standing o...

A charming pair of cast iron putti figures. Early to mid-20th century, great untouched patina.

This refined modernist neoclassical sculpture was realized in Germany. The piece depicts a bacchanal featuring Greek goddesses; young cherubic children; and even a bear, executed in ...

Neoclassical cast stone equestrian statue circa 1950.

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

Large marble sculpture of an amorous couple by Antonio Frilli Italian, late 19th century Measures: Height 130cm, width 68cm, depth 46cm Thi...

Carved marble figure of a draped woman and urn as a clock --Moving and rare --Ex Collection at Boscobel, Boscobel is an estate overlooking the Hudson River built in the early ...

A pair of porcelain allegorical figures of neoclassical style ladies, on scroll-molded bases by Aelteste Volkstedter Porzellanfabrik Triebner & Co....

A fine quality 19th century bronze group, depicting three children playing with a Lioness. Measures: 14"(35cm) Signed: Victor Paillard Victor Paillard was one of the most highly ...

An extremely well carved pair of Statuary Carrara marble busts on marble pedestals, by important sculptor Odoardo Fantacchiotti.  Odoardo Fantacchiotti (11 May 1811–4 June 1877) was an Italian sculptor of the late-Neoclassic period. He was born in Rome, but his family moved to Florence. In 1820, he enrolled in the Accademia di Belle Arti di Firenze. At the Academy, he studied under S. Ricci, and first started exhibiting in 1828. Gaining the patronage of the Grand Duke, he continued his studies, following the ideas of Aristodemo Costoli of depicting the "bello naturale". In 1839 at the Academy, he exhibited the work of the Massacre of the Innocents. In 1840 he was named professor at the Academy. Among his public works are the statue of Boccaacio and dell'Accorso for the ground floor niches of the courtyard of the Uffizi, medallions commemorating Francesco Redi and the bust of Ferdinando II de Medici for the Museo della Specola, a statue of Sallustio Bandini (now at the Accademia dei Georgeofili, but initially planned for the loggia of the Uffizi. A marble Virgin...

A charming pair of patinated bronze infants cast in the 19th century. One of the babies is happy, while the other one is crying, perhaps corresponding to an 18th century poem by Vota...

This nice and decorative pair of herons is made of silvered bronze. This is a French work, in the style of the famous Maison Bagués, circa 1940.

Pair of cast bronze lions, France, late 19th century.

An mid-20th century bust of a woman on a wooden base. Signed with on brass sign "M.Rossie".

Lost wax casting. Marble base. The god of love is distinguished from classical mythology by the quiver of arrows on its back and by the wings that are butterfly instead of feathered...

A magnificent Carrara marble bust of Ajax. Exquisite rendering of the Greek hero featuring elaborate helmet. On an associated square base. After Gian Lorenzo Bernini...

On a round base stands the figure of the God of Love, Cupid. The sculpture in bronze, with the iconographic attributes corresponding to this figure in classical mythology, was made b...

A Napoleon III bronze figure of Diana after the antique, showing the goddess of hunting bearing the fragment of a bow with a quiver at her waist. The base bearing the stamp for the B...

A very fine bust of a classical lady on wooden base signed Cognel. Dated 1884 Dimensions: Height 26.5", width 19.5", depth 13". CW4125.

Carrara marble sculpture "Ariadne on the Panther" signed A. Frilli, Firenze, Italy, circa 1890. Dimensions green marble pedestal: 114 cm.

This French terracotta lion's mask was originally an element of a 19th century fountain with water jetting from its mouth. This garden piece is now mounted on a custom iron, making i...

Neoclassical style marble female bust after Joseph Chinard French, late 19th century Measures: Height 63cm, width 33cm, depth 20cm Portraying Madam...

A fine quality late 19th century French marble statue of a classical female nude reclining on a tigers skin and bronze daybed. Signed: G Gomlags.

Cast iron fountain sculpture "Boethus Boy with goose" signed Antoine Durenne Fonderie, France, late 19th century. Green marble pedestal dimensions: 95 ...

A white jasper King from the Flaxman chess set. Unmarked, which is not unusual for chess pieces of this period.   

Large pair of patinated and gilt bronze Atlas figures French, 20th century Figure with globe: Height 135cm, diameter 46cm Figure with armillary sphere:...

This Italian bronze sculpture group of the Farnese Bull, after the antique, is handsomely modeled and detailed throughout with a lovely blackish to cocoa ...

A, near life-size, 19th century French cast iron statue depicting the Venus de Medici. This statue is a high quality cast after the antique marble Ven...

Pair of Outdoor Italian Neo-classic style iron wall mounted plaques possibly fountains in the form of a dolphin (PRICED AS Pair).

Pair of Palatial antique 19th-20th century solid marble obelisks on pedestals. The obelisks detach from the pedestal bases.

Large Italian marble sculpture by Pietro Bazzanti Italian, late 19th century Measures: Height 105cm, width 45cm, depth 40cm The present sculpture, carved from brilliant white marble, depicts a young boy standing...

A fabulously hand carved antique neoclassical style Italian Carrara marble bust of Daphne. This bust is of immaculate quality and craftsmanship. Daphne's hair is beautifully hand car...

Pair of exquisite monumental centerpieces with bronze work in the the Manner of Pierre-Philippe Thormire, 1751-1843. The pair in the form of reticulated gilt grape vine...

This expressive 18th century marble portrait bust is of Marie-Madeleine Guimard (1743-1816), a successful dancer and one of the most famous courtesans of pre-Revolutionary France. The bust is unsigned, but identical to one in the collection of London's V&A museum carved...

19th century French marble sculpture. The marble is patinated.

A sculpture of Psyche Revived by Cupid's kiss. After Canova. Beautifully carved in fine statuary marble. Late 19th century.

18th Century, Italian Bronze Sculpture with Venus Removing Her Sandal This bronze sculpture represents Venus as she takes off her sandal. Made in the neoclassical era in Italy, it consists of the bronze sculpture of the Greek goddess Aphrodite, Venus for the Romans. The naked goddess, getting ready for the bath, makes the very human gesture of loosing a sandal. The left arm is raised, as if to compensate the position while maintaining the balance. Next to her, wrapped around a rocky spur, is a dolphin, an animal iconographically linked to the goddess because of his birth from the foam of the sea. The figure rests on a cylindrical and concave bronze base, with finely chiselled reserves. The bronze element is in turn resting on a africano marble cylinder with black of Belgium marble base. Venus is one of the major Roman goddesses primarily associated with eros and beauty. It is traditionally understood as the equivalent of the Greek goddess Aphrodite, goddess of beauty, physical and passionate love, among the major deities of Olympus. His birth is due to a dramatic event: Uranus, Heaven, is mutilated by his son Cronus, who punishes him for the wrongs inflicted on his mother. The torn limbs of Uranus fall into the sea and fertilize the foam of the waves of the island of Cyprus. From the waves emerges in all its splendor Aphrodite. Since the 4th century, Aphrodite begins to be represented with characters more human and less heroic. Praxiteles with the 'Aphrodite Cnidia,' for the first time in the history of sculpture, depicts her naked, as she prepares to take a ritual bath. From the Pressitele’s model descend the Capitoline Venus (Capitoline Museums of Rome) and the Venus de’ Medici (Uffizi Museum of Florence) accompanied by Eros on the back of a dolphin. This vein also includes a subject frequently attested in the Hellenistic and then Roman Ages, with examples in bronze, marble and terracotta: the Aphrodite who fastens the sandal. The luck that this type of representation had in the following centuries is demonstrated by the vast number of sculptures that represent it. In this bronze work the goddess resumes the position of Oplontis’s Naked Venus: here Venus holds an apple in her left hand, a reminder of her victory in the beauty contest in which she prevailed over Minerva and Juno by judgment of Paris. In our bronze instead, the hand seems to want to shake the apple, which however has not been molded. Perhaps the bronze is inspired by another work, such as the bronzes kept in the archaeological museum of Padua. Another example is the famous 'Venus in bikini" found in Pompeii, so-called because it depicts the goddess in the same pose, but with the breasts and hips covered by bands painted in gold. The dolphin depicted next to it could be inspired instead to the Medici Venus...

This Italian Neoclassical white marble sculpture is signed by the Neopolitan artist Giacomo Cali. The sculpture is of Aristedes (530–468 BC), the ancient Athenian statesman and general in the Greco-Persian Wars...

The original bronze was found at Pompeii in the Casa della Fontana Piccolo (House of the Little Fountain) first excavated in 1823 and is now in the Archeological Museum in Naples. On...

Lost wax casting. Base in marble. On a base in bronze to which the earth aspect has been given, the figure of the girl and a plant are placed on her knees. The young woman appears w...

Golden pheasant polychrome bronze Vienna, 19th century Polychrome bronze figure showing a golden male pheasant perched. A bird native to Asia, it was ...

An important early portrait medallion of Marc Antony in plain white jasper, probably predating the invention of the ‘dip’ process, which is why it i...

Italian neoclassic style cast bronze Poseidon bust with black metal stand (19th century).

This charming sculpture of a young woman is the work of the accomplished Italian-born sculptor, Affortunato Gory (1895-1925). Gory is best-known for his sculptures of women and child...

Large portrait bust of a middle-aged man in antique garb. The plaster bust is signed A. Frederich and dated 1843 on the underside and stands on an ebonised wooden column base. The bu...