French Sculptures

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

Elegantly carved antique stone bust.

18th century French carved-wood panel of a scene of with Cherubs farming. The piece is mounted on a Lucite panel and framed with a double walnut molding...

19th century French classical bronze of Euterpe by Pierre Alexander Schoenewerk A very finely sculptured and detailed large French bronze study of the female Greek goddess Euterpe who was one of the nine mousai (muses), the Goddess of music...

This exceptionally life-like antique sculpture is carved from linden wood and once decorated a French church or cathedral. The figure stands authoritatively, with right arm raised and index finger extended toward heaven. It probably stood on a base in a side chapel. According to Christian iconography of the period, this gesture signifies that salvation comes only through baptism. The figure wears a girdle of animal fir, probably from a bear, making symbolic reference to St. John the Baptist's life in the wilderness of Judea, between Jerusalem and the Dead Sea. The elegantly carved robe is a baroque element that adds a sense of motion and energy to the artwork. Originally, the sculpture was polychromed, but the original pigments have weathered away and been replaced with whitewash. Repairs, losses, and insect damage are minor and expected due to great age. many vintage and antique religious sculptures...

After Jean-Baptiste Nini (French, 1717-1786) inscribed "J. B. Nini, 1780" on shoulder of bust. Mounted in a neoclassical gilt-brass surround. In a technique of his own inventi...

A truly stunning pair of 17th century Wall Brackets from the Provence region of France. Expertly carved with Putti heads having wonderful expressions. Excellent patina.

A stunning and rare 18th century French hand-wrought iron weathervane, from Normandy, with a stylized dragon "flag" the moves according the wind, and with four wrought-iron flowers t...

This elegant bust of Marie Antoinette was sculpted in Paris, France, circa 1790. The sculpture, signed in the back by French sculptor Lecomte, depicts the queen with her elaborate well-known coiffure, numerous Fleur-de-Lys on her dress, and a Louis XVI portrait...

A stunning pair of 18th century French millstones carved from granite and each with curved grooves carved into the surface which were originally used to crush course grains. We've mo...

An exquisite pair of 17th century decorative sculptures expertly carved from painted oak from the South of France. Beautiful "S" shaped each adorned with wonderful flowers - roses, s...

After a model attributed to Jean Antoine Houdon, of the poet Nicolas Joseph Laurent Gilbert (1750 - 1780). Superbly sculpted in a coat and ruffled shirt set on a waisted socle. The...

Saint Sebastian Feast Day: January 20th.l St. Sebastian (????, Narbonne, Gaul/France - c. 288, Rome, Italy) was an early Christian saint popul...

19th century French hand carved giltwood lion.

A striking and most charming true pair of French 18th century De La Courtille porcelain signed statues of hawk-headed parrots. Each wonderfully executed p...

Cupid Holding a Bow by French Sculptor Joseph-Charles Marin (1759-1834) White Marble, signed and dated 1784 Provenance: Carl Singer, from the Estate of Charles Hitchcock Tyler, Beverly MA...

An exceptional and stunning French 17th century sculpture of a maiden expertly carved from oak. Marvelous detailing with a beautiful face and movement to the robe.

Roman Antique marble sculpture, 2nd century AD, South of France. This sculpture is a Roman Antiquity. Frontal section of a Roman Sarcophagus. Made...

Masterfully executed marble sculpture of Marsyas with lover. French after the Greek Antique Ca 1780

This pair of silvered wooden reliquaries are from France, circa 1750. The backs are still preserved by wax seals, indicating that the relics were never removed. Each reliquary has...

A striking and most impressive French late 18th early 19th century solid walnut of David having slain Goliath signed A. Mercié. The statue is raised by a finely carved wrap-around be...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

We are thrilled to offer this exceptional pair of creamware lions, each elegantly resting on a tall base adorned with sumptuous swags of dark blue "curtains" with gleaming yellow tassels and trim. Crafted in France, these figures are unparalleled and truly a masterpiece of 18th-century creamware. They date back to the late 18th century, circa 1790. Each lion's head and mane is exquisitely painted with vibrant yellow and lined in striking midnight brown. Their mouths are painted in delicate pink, adding an extra touch of charm. Not only are these lions a sight to behold, but they will also bring a touch of humor to your home. Their jovial expressions make it impossible not to laugh along with them. Leisurely resting on cushions draped with rich fabric and tassels, these friendly lions exude a very French attitude, seamlessly blending formality and friendliness. Placed on a mantel, they would undoubtedly be the focal point of any room, commanding attention, and admiration from all who see them. These lions are genuinely a one-of-a-kind treasure that is not to be missed. Dimensions: 6.5 inches tall x 6.75 inches long x 4.5 inches wide Condition: Excellent Price: $3200 Background of creamware Creamware is the name given to a type of earthenware pottery initially made from white clays from Dorset and Devonshire combined with an amount of calcined flint. Creamware was first produced in England sometime before 1740. Foremost of the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. The young Josiah Wedgwood partnered with Thomas Whieldon from 1754-1759. When Wedgwood left to set up his own business, he immediately directed his efforts to developing creamware. Around the same time, in the mid-18th century, French potters developed their creamware known in France as "Faience Fine...

An outstanding and stunning pair of 18th century Lead Fountain Elements from the South of France. Beautifully crafted from lead ornamented with beaut...

This Virgin and Child is wearing clothes with a limited number of folds and showing a thickness characteristic of the Burgundy region. As a result of the presence in the region of th...

The Saint depicted here is Saint James the Great. James is the brother of St. John the Evangelist. Nothing is known of his activities after the Ascension...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

This important antique bust of Marie Antoinette was sculpted in Paris, France, circa 1780. Built of white Carrara marble, and crafted in the style of Lecomte (French sculptor 1737-1817), the original inspiration of the bust was located in the Queen's bedroom in the chateau of Versailles. In the likeness, Marie Antoinette is represented with her elaborate, well-known coiffure, numerous Fleur de Lys on her dress and a Louis XVI portrait...

A 15th century French recuperated floor slab of huge proportions. Because of its beauty, unusual size and the richness of fossilles we decided to mount this piece as a sculpture. We...

18th century carved fragment on iron and marble stand.

A sensational true pair of French 18th century Terra Cotta statues of charming young children playing with a bird. Each statue is raised by a circular base with a ground like design,...

This face with prominent eyes, open mouth and beautiful hairs with symetrical undulations may be the face of the Archangel Gabriel.  

A wonderful French 18th century terra cotta signed statue of mother and child. The statue is raised on a circular terrain designed base. The woman is barefoot donned in a traditional...

An outstanding and exquisite 17th century French capital to a pilaster. Expertly carved from wood with a wonderful cherub stunningly finished in water gilding and polychrome. A excep...

Late 17th century French extremely fine carved wood polychromed and gold gilded pocket watch holder. It has a carved cup behind the front opening to hold th...

French Victorian bronze figure of a 16th century man holding a quill and book with a guitar on base (signed).      

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

A striking and extremely charming French 18th century terra cotta statue from Paris. The high-quality statue is raised by a circular etched base. The base is decorated with a rocky t...

A fantastic pair of 18th/19th century French terracotta figures of Pomona and a Girl Carrying Fruit in her Skirt, Signed Clodion. These excep...

This tall French statue of St. Bartholomew was hand-carved from oak in the 1700’s. This depiction of St. Bartholomew is not often seen in art, except for one of the most well known r...

An outstanding French mid-16th century Body of Christ. Expertly carved from natural fruitwood. Stunning patina. The corpus has been attached to a base i...

Christ from the 18th century in oak -France Very fine work of good quality Beautiful patina and in perfect condition.

Standing at over two feet tall, this 17th century pair of angel candlesticks has been carved out of a beautiful French elm wood. Because elm wood typically has an interlocked grain, it can be quite difficult to carve or split. These candlesticks were produced by a master craftsman in France during the 1600s. Our angels have long, wavy hair that extends past their shoulders. They are wearing long flowing gowns with scalloped collars and half sleeves. The loosely draped robe reaches their ankles, exposing bare feet that stand upon a round base. One leg is also visible from behind the material due to a slit at mid-thigh. Each angel is holding a turned candle holder that has a large wrought iron pricket with a lobed bobeche. In France, this type of candle holder is known as an Ange Céroféraire. A ceroferary is the acolyte...

A impressive late 18th century French sandstone sundial mounted on a custom lade iron stand. The Latin numerals finely carved at both sides an...

This beautiful 17th century carved angel has retained its original paint.

Beautiful pair of 18th century Louis XV silvered bronze musical cherubs on columns. The silvering on these delightful and elegantly sculpted pair exhibits the most wonderful aged col...

A wonderful Gothic period hand carved stone statue of Saint Nicholas from the Avignon area of France. The now headless Saint Nicholas holds his staff an...

These beautiful French Baroque angels are over 350 years old, having been hand-carved in oak circa 1670. Oak was the predominate wood used for making furniture up through the 1700s. ...

A Period German or French large scale Baroque Garden Statue of a Pan Satyr. Well carved with impish gaze and wrapped in sheepskin Ex Prominent New York Co...

Alabaster sculpture depicting a female nude with cloak and hat, with clasped hands and resting her foot on an anchor, as if to invoke protection for the sailors; French manufacture o...

A magnificent pair of 18th century French Hand Carved Limestone Lions. The base measurement is 11.5 inches.

Two Louis XV Period Rococo style marble sculptures of cherubs, French, 18th century Dimensions: Height 90cm, width 60cm, depth 60cm Superbly carved from subtly veined white-grey marble, this pair of...

A French Baroque style walnut putto from the late 18th century, sitting on a pillow. Created in France during the last quarter of the 18th century, this walnut sculpture charms us wi...

16th C. hand carved Capital stone base architectural element sculpture pedestal. Very rare 16th century Renaissance corner Capital. Hand carved limestone Chapiteau Capital from a Cloister in France. From an ornamental point of view, it is the coronation, the upper part of a post or a column or pilaster pillar. A beautiful Architectural element garden ornament. It can used as a Base for a coffee glass table or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture. Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room, in an office, it will create an incredible focal point. It can make a beautiful base for a floor lamp by a leather reading chair...

!8th century French Rococo bronze frame mounted on a velvet covered wood back. Very rare in its rich detail of winged cherubs. This piece was once most certainly a frame for an impor...

WHY WE LOVE IT: His Pekingese imperial attitude!                                                                                               In their native China, Pekingese could ...

This hand carved seated cherub is of a nice size at nearly 23 inches tall. The cherub is holding a piece of draped cloth in front of its chest and still has both wings intact. The sc...

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...