French Sculptures

CHARLES KORSCHANN Czech, 1872-1943 Putto Riding a Doe Medium-brown patinated bronze over an original marble base Signed "CH. KORRSCHANN." and sealed with foundry cachet for Louchet Item # 301LCJ14L A very fine lifetime casting of Charles Korschann's Putto Riding a Doe, the model is steeped in the elements of the Art Nouveau with a distinct celebration of the naturalistic. The putto grasps a simple harp in his hand while a loose garment bound in a belt encircling his waist billows in the unseen wind. The doe looks on with disinterest, unconcerned about its surroundings and almost at one with its rider. It is a carefully composed idealization of the natural world and the potential for harmony between man and beast. The casting is exquisite, typical of work from Louchet, and is finished in a medium-brown translucent patina. Charles Korschann Born in Brno, Monrovia in 1872 as Charles Korschmann, later dropping the "m" to appear less Germanic, he studied at the fine arts academies of Vienna, Berlin and Paris before finally establishing himself in Paris in 1894. He spent his entire career working in Paris, exhibiting at the 1900 Exposition Universelle where he was awarded a Bronze Medal and from 1894 through 1905 at the Société des Artistes Français. His work is very distinctive and immediately recognizable, a most important trait as an artist and a particular accomplishment in light of the output of his contemporaries. He was to sculpture what Alphonse Mucha was to graphics, both men originating from the same province in Czechoslovakia and having similar influences in Paris. It is rather fitting that he would execute a bust of Alphonse Mucha for the Museum of Brno in honor of his accomplishments. Artist Listings...

Rare Majolica Grasshopper Jardinière Massier circa 1900.

A very beautiful late 19th Century French Art Nouveau bronze vase decorated with two gilt bronze female figures sitting upon a tree stump. The surface of the vase with excellent detail and very fine colour, signed Korschann and with foundry mark for Louchet Paris Additional information Height: 15 cm Condition: Excellent Original Condition Circa: 1900 Materials: Bronze Foundry: Louchet Paris About Charles Korschann Biography Charles Korschann (1872-1943). Born in Brno in Moravia, he attended the Fine Arts Academies in Vienna and Berlin. Although he frequently returned to Moravia, then part of the Austro-Hungarian Empire but a constituent part of Czecho-Slovakia after the First World War, he spent most of his life after 1894 in Paris. He designed many small mostly Art Nouveau subjects including vases, inkwells, clocks, lamps, wall sconces, and jardinières among those with some utility, often with full figures of elegant women, nearly always with hieratic expressions or Symbolist poses. He exhibited at the Salons of the Société des Artistes Français from 1894 to 1905, and was awarded a Bronze Medal at the 1900 Exposition Universelle. He worked with gilt and patinated bronze, bronze with polychrome glazed and unglazed ceramics...

"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...

Excellent late 19th Century French bronze figure of a walking stag with beautiful autumnal, green. black. brown and orange patination and excellent hand finished surface detail on an oval naturalistic base with integral stepped plinth, signed Barye and inscribed F Barbedienne Fondeur ADDITIONAL INFORMATION Measures: Height: 19 cm Width: 22 cm Condition: Excellent Original Condition Circa: 1870 Foundry: F Barbedienne Materials: Bronze Book Ref Barye by Michel Poletti & Alain Richarme ABOUT 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...

EMMANUEL VILLANIS French, fl. 1880-1920 "Bust of Diana the Huntress" Signed in cast along shoulder "E. Villanis" and cold stamped "3 S" verso Item # 212KRG15A An exquisite and expertly cast example of Emmanuel Villanis' Diana the Huntress, it features a delightful light...

Art Nouveau Majolica frog who playing mandolin signed Delphin Massier circa 1900. The Massier are known for the quality of their unique enamels and paintings.

Sculpture in bronze with brown patina representing a stag after its moult. It rests on a terrace forming a base, moved by tree stumps and stre...

An excellent late 19th century English Animalier bronze study of a tried hunter in full tack taking a break with his neck turned and back leg rested. The bronze exhibiting very fine ...

Maurice Bouval bronze with gilded patina signed M.Bouval and stamp of founder on a marble base portor. Length: base 11 cm Depth: 9,6 cm Height: 30,...

A. De Remière, Friedrich Goldscheider Polychrome Patinated Terracotta Sculpture Friedrich Goldscheider: polychrome patinated terracotta sculpture ...

Art Nouveau lamp mounted on a sculpted and chased bronze vase, signed A. Clerget. This lamp carved in relief, presents a seated woman forming a handle, a head of sylvan among vine leaves and grapes winding a spout. The shaft of this 1900 light fixture...

"Taureau Debout" by Rosa Bonheur. An excellent late 19th Century French animalier bronze study of a standing bull with fine hand chased surface that accentuates the muscle definition of the subject, signed Rosa B. ADDITIONAL INFORMATION Measures: Width: 32 cm Height: 18 cm Depth: 11cm Condition: Excellent Original Condition Circa: 1870 Materials: Bronze Book reference: Animals in Bronze by Christopher Payne Page no. 174 DESCRIPTION Bonheur, Rosa (1822-1899) The most popular artist of nineteenth-century France, Rosa Bonheur was also one of the first renowned painters of animals and the first woman awarded the Grand Cross by the French Legion of Honor. A professional artist with a successful career, Bonheur lived in two consecutive committed relationships with women. Born on March 16, 1822 in Bordeaux, Marie Rosalie Bonheur was the oldest of the four children of Raimond Oscar Bonheur (1796-1849) and Sophie Marquis. Bonheur's father was an art teacher who came from a poor family, while her mother, a musician, had descended from a middle-class family and had been her husband's art student. Bonheur's father, who taught drawing and landscape painting, was an ardent member of the utopian Saint Simeon society. The group held idealistic beliefs about the reform of work, property, marriage, and the role of women in society. Most importantly, for the artist's future, the Saint Simeons questioned traditional gender norms and firmly believed in the equality of women. While teaching artistic techniques to his oldest daughter, Raimond Bonheur also encouraged her independence and taught her to consider art as a career. In 1828 Raimond Bonheur joined the Saint Simeons at their retreat outside Paris. Sophie and the children joined him in Paris the following year. Four years later, however, Raimond abandoned his family to live in isolation with his fellow Saint Simeons. Sophie Bonheur died in 1833 at the age of thirty-six. Rosa was only eleven years old when her mother died, but she was aware of the heavy price her mother paid for married life with a man who was more dedicated to his own ideals than to meeting his family's needs. Rosa also saw that her mother's marriage led to poverty and her death from exhaustion. After her mother's death, Bonheur was taken in by the Micas family who resided nearby. Mme Micas and Bonheur's mother had been friends. When Mme Bonheur died, the Micas family paid Raimond Bonheur's debts and cared for Rosa. Their daughther, Nathalie, who would later become an amateur inventor and unschooled veterinarian, and Rosa became enamored with each other. When Rosa Bonheur began her career as a professional artist, she had already been trained by her father who had allowed her to study in all male classes. Rosa also learned by sketching masterworks at the Louvre from the age of fourteen, and later, by studying with Léon Cogniet. From the very beginning, Bonheur's favorite subject was animals. She learned their anatomy completely by dissecting them in local slaughterhouses. She also visited the horse market two times a week. Study of animals by direct observation led to the formation of the realist style in which Bonheur worked. It was for such work that Bonheur obtained written permission from the French government to wear men's slacks. Her working attire also consisted of a loose smock and heavy boots that protected her feet from the dangerous environment in which she painted. The style of dress that the artist adopted for work and home may well have been influenced by her father's attire, which was based on St. Simeonian clothing experiments. Bonheur also cropped her hair, perhaps to facilitate her work. She did, however, always wear dresses for social occasions because she knew that appropriate dress would further her career. Bonheur earned a successful living as a painter of animals. She exhibited at the annual Paris Salon regularly from the age of nineteen in 1841 through 1853, when she was thirty-one. She won the salon's gold medal at the age of twenty-six in 1848 and was commissioned by the French government to paint Plowing on the Nivernais in 1849. In the same year Bonheur and her sister Juliette became directors of l'École gratuite de dessin pour les jeunes filles, a post their father had once held. Bonheur completed her most renowned work, The Horse Fair, in 1855. The successful representation of percherons (a breed native to Normandy) was purchased by Ernest Gambart, a London art dealer whose gallery specialized in work by French artists. He exhibited The Horse Fair in London where Bonheur visited with Nathalie. Queen Victoria requested a private viewing of the painting at Windsor Castle. It would later be purchased in 1887 by Cornelius Vanderbilt and donated to the new Metropolitan Museum of Art in New York City. Bonheur's trip to England allowed her to meet Charles Eastlake, then President of the Royal Academy, John Ruskin, the English writer and critic, and Edwin Landseer, the British animalier. She also toured the English and Scottish countrysides and executed some paintings based on her observations of new breeds of animals found there. Gambart made engravings of Bonheur's work, including The Horse Fair, and sold them in England, Europe, and the United States. Bonheur became one of the most renowned painters of the time. Little girls, such as Anna Klumpke in the United States, even had dolls in her likeness, much as American girls played with Shirley Temple dolls...

This is a P.J.Mene patinated bronze sculptures of a pair of hunting dogs. He is considered one of the pioneers of animals sculpture of the 19th century. The sculptures feature a hairy whippet dog standing with its frontal paws over an English Setter dog...

Stunning Art Nouveau bronze bust depicting the character "Lola" modelled in the midst of an inquisitive look. The study has a multi hued patination of colours that accentuate the very fine hand chased surface detail. Signed ?E Villanis...

Table lamp "Jugendstil, Art Nouveau, Liberty" Materia: silver plated metal and art glass Country: France To take care of your property and the lives of our customers, the new wiring...

Large and spectacular, this gilded bronze trophy cup in the Art Nouveau style was sculpted by Eugène Bourgouin for Christofle, and is richly decorated wi...

An attractive late 19th Century Art Nouveau French bronze bust exhibiting deep multi-hued patination and excellent detail. The beautiful character wearing a head dress and a loosely draped blouse representing ’Cinderella’ from the famous French opera. The bronze is signed E Villanis and titled to the fore on its integral bronze base. ADDITIONAL INFORMATION Height: 30 cm Width: 19 cm Depth: 12 cm Condition: excellent original condition Circa: 1890 Materials: Bronze Book Ref: Emmanuel Villanis by Josje Hortulanus-de Mik Page No: 35 SKU: 8773 ABOUT Villanis Cendrillon Emmanuel Villanis was an industrious man. He is believed to have created some 200 to 250 pieces. His oeuvre pre-eminently consisted of busts and full body statues...

An enigmatic late 19th Century bronze study of a seated female nude leaning on her knees, hiding her face, on integral naturalistic canted rectangular base, signed to one side DALOU above the cracked mirror (facing to the rear), the opposing side marked Susse Fres Edts the rear with Susse Freres pastille flanked by the letters H P and S. The title of this subject translates as 'The Truth Revealed' and refers to the young woman inconsolable having seen her true reflection in a mirror, which she has dropped and lies broken on the hard floor. ADDITIONAL INFORMATION Height: 14 cm Width: 12 cm Depth: 8 cm Condition: Excellent Original Condition Circa: 1890 Foundry: Susse Frères Paris Materials: Bronze SKU: 8790 ABOUT Aimé-Jules Dalou...

A superb stunning and very large Art Nouveau Gilt Bronze Dore figural lamp of a lady with flora and foliage decoration and with three branch light fittings. Circa 1900. Signed Henri Ple...

French Art Nouveau Bronze nude and white Alabaster vanity table lamp, Circa 1940's.

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Particular and elegant statue in spelter with marble base; the sculpture represents a young woman in a beautiful plastic and slender pose that holds in the left hand a laurel wreath and in the right hand a sheet of paper with an inscription, probably of scientific formula, in fact, the statue is the interpretation of "Science". The crown "triumphalis", precisely called "laurel crown", in Greek mythology symbolized wisdom and glory, it was the highest honor for a poet who had just graduated. Laurel was considered a sacred plant also by ancient Romans: it was venerated in particular by Apollo, god of the sun, music, poetry, sculpture, and painting. Precisely because of his countless knowledge, in fact, Apollo represented wisdom and intelligence. On the pedestal has been applied a scroll with the name of the sculpture itself and that of its author: Jean Charles Ruchot. It was made in spelter, with the technique of "lost wax", by the artist himself in his workshop in Romainville, a French commune located in the department of Seine-Saint-Denis, between 1900 and 1905. Jean Charles Ruchot, the refined and prolific artist, was active from 1890 until 1925, he produced classical works inspired by antiquity, then he was influenced by Art Nouveau, then by Art Deco, styles in which he expressed his greatest talent; he created many statues both in bronze and in spelter, he is also the author of many objects of decorative arts: lamps, sculptural groups for clocks and advertising objects. Spelter is a zinc-lead alloy that is aged to resemble bronze, but it is softer and can be easily melted and worked unlike bronze, composed of copper and tin, which melts between 850° and 1020°. Spelter has been used since 1860 to make objects that could compete with bronze, because of its great convenience and ease of use, this material had very strong dissemination and use when many sculptors and bronze Art Nouveau and Art Deco used...

Table lamp "Jugendstil, Art Nouveau, Liberty" Materia: silver plated metal and art glass Country: France Glass: Muller To take care of your property and the lives of our customers, ...

Fine work of good expressive power. Spectacular Wall Sculpture “Bust of a Lady” made of white marble is from France, Europe. Art Nouveau approx. 1900-1...

Pair 19th Century French bronze statues by Louis Auguste Moreau (1855-1919) are exemplary examples of the glorification of the simple rural life celebrated by artists in France during the Belle Epoque. A distinctive departure from rendering affluent families and lifestyles as dictated by the many patrons of art over the centuries, this informal movement gave a glimpse into the lives of everyday people. In this example, we have two young maidens, one carrying a bundle over her shoulder and a basket in her left hand, while the other totes a basket over her shoulder and a couple of protesting chickens in her right hand! Each maiden is modestly dressed...

Superb Art Nouveau sculpture from France, circa 1900 showing a swordsman holding up his saber. Made in a very detailed manner this great tin cast sculpture shows an unknown lateral s...

Art Nouveau bronze sculptural tray indoor fountain with seated nude holding a vase signed by Suzanne Bizard. Patinated bronze on impressive marble tr...

DETAILS Signed and foundry mark on back. DIMENSIONS Height: 4-15/16 inches Width: 2-5/16 inches Depth: 2.25 inches ABOUT THE SCULPTURE This portrait bust is of Nelly Faner, famous burlesque dancer at the turn of the XX Century Paris. ABOUT THE SCULPTORE Emmanuel Villdnis (French, 1858 – 1914) was born to Italian parents in France, in 1858. He moved with the family to Piedmont, Italy, in March 1861; after the proclamation of the Kingdom of Italy. Known in Italy as Villani, he studied at the Academy of Fine Arts Albertina in Turin from 1871 to 1880 alongside master-sculptor Odoardo Tabacchi. When Villanis graduated, he exhibited his first works in cities across Italy, notably his bust ‘Alda’ in Milan, in 1881. Villanis returned to France in 1885, living and working in the Montmartre district of Paris and didn’t leave Montmartre until his death on August 28th 1914. Villanis specialised in female bronze busts...

Jugendstil, Art Nouveau, Liberty sculpture in Bronze and marble. We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles sinc...

A large and impressive early 20th Century bronze study of a walking lion with fine deep brown, gold and orange patination and good surface detail. Raised on naturalistic bronze base,...

Thia antique mantel or table clock was made by the well known Italian born sculptor Archimede de Ranieri, who did much of his work in France and made this in approximately 1900 in th...

This exquisite French animalistic bronze sculpture from the early twentieth century is beautiful in every way - its artistic expressiveness, as well as the highest-level rendition, h...

For sale a magnificent early 20th Century gilt bronze sculpture, cast using the Lost Wax (in French, 'Cire Perdue') process. This fine sculpture is a cast of Richard Alexander Hudnut's hand and was produced by the renowned Montagutelli Frères foundry in Paris in 1912. The sculpture is in very good vintage condition, signed "Richard Alexander Hudnut 1912" and carries the oval "Montagutelli Freres Paris Cire Perdue" foundry stamp to the underside. Richard Alexander Hudnut (1856-1928) was an American businessman recognised as being the first American to achieve international success in cosmetics manufacturing. After graduating from Princeton University, he toured France and returned with the idea of introducing French-style perfumes and cosmetics to American women. The Richard Hudnut company once maintained separate US and European headquarters on Fifth Avenue in New York City and on the Rue de la Paix in Paris, respectively. Although his fortune had been built around cosmetics and beauty products...

Pair of French Art Nouveau patinated spelter sculptures French, early 20th century Measures: Figure with lyre: Height 92cm, width 48cm, depth 38cm Other figure: Height 90cm, width 52cm, depth 33cm The spelter works in this pair are after two of the leading Art Nouveau period sculptors: George Maxim and Auguste Moreau. The sculptures portray young women in animated, dance-like postures, wearing flowing dress that recalls Greek wet drapery. One figure holds a musical instrument, while the other spreads her arms as if to music. The figures stand on integral rocky bases above matching marble plinths. Each piece is affixed with a plaque, one reading ‘Libellule par Geo Maxim...

Important bronze sculpture with brown patina representing a young woman harvester returning from work in the fields. Note the beautiful expression of the face underlining the satisfa...

Table lamp "Jugendstil, Art Nouveau, Liberty" Materia: silver bronze and wood Country: France To take care of your property and the lives of our customers, the new wiring has been ...

Very finely chiselled cast bronze sculpture depicting a beautiful nude nymph standing emerging from tall reeds at the edge of a stream. At her feet is a water jug, with a marble base...

A charming early 20th century animalier gilt bronze group of three seated puppies fascinated by an approaching snail. The bronze with fine hand chased surface detail and good colour,...

Delightful late19th century French Animaliers bronze study of a turning whippet looking around in an attitude to play, with rich brown colour and fine hand chased surface detail. Sig...

Snake charmer Fire-gilt bronze by A. Lefebvre, signed with foundry stamp Original art nouveau, France around 1900 Dimensions: Height: 75 cm Diameter, base: 18 cm.

This is a heavy bronze group sculpture of two seabirds and a crab by Jules Moigniez. It depicts two seabirds in attack positions- stretching up their feathers and crouching their bod...

Small Majolica white swan jardinière signed Jerome Massier Vallauris, circa 1890.

Jugendstil, Art Nouveau, Liberty We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982.If you have any questions we are at your disposal. Pushing ...

Early 20th century, Work of Art by the French artist Camille Fauré (1872-1952), this vase in copper is entirely covered in thick vibrant iridescent enamels in gold yellow, red, orang...

Sculpture in bronze We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Susse freres...

Louis DEJEAN (1872-1953) : "Elégante" Epreuve d'atelier en terre cuite patinée / Worshop patinated terracota Signée "L. Dejean", marque "HD" et cachet d'...

Sign: Joseph D´Aste Sign: (14) 8283 sign: Aux Champs Brunle Garaltiau Titre CyL Deposee Jugendstil, Art Nouveau, Liberty Written: Aux Champs We have specialized in the sale of Art D...

Joseph d’Aste (1881-1945), Italian born sculptor who lived and worked in France. “Fete au village” (village celebration), gilt bronze on a marble base. Signed. The bronze sculpture w...

A wonderful mid 19th Century French Animalier bronze group entitled "Jument Arabe et Son Poulain No.3” by P J Mene - of a mare turning her head towards her playful foal; the bronze s...

Majolica white swan jardiniere signed Jerome Massier Fils Vallauris, circa 1910.

Grégoire Calvet (French, 1871-1928) A Fine Late 19th Century Life-Size White Marble Sculpture representing "Peace & Love". The beautifully carved white...

Pair of French Art Nouveau female busts from the beginning of the 20th century in painted and gilded terracotta. Small flaws one features collage. Height: 48 cm. Good conditions.

Exquisite mid 19th century French bronze study of an anthropomorphic bear sitting on a barrel playing a violin, the barrel can be opened halfway to form a container. The surface with excellent mid to dark brown patina and very fine hand chased surface detail, signed Fratin and titled Le Père Odry Additional Information Height: 17.8 cm Width: 8.6 cm Depth: 7.2 cm Condition: Excellent Original Condition Circa: 1845 Materials: Bronze Book reference: Bronzes of the 19th Century by Pierre Kjellberg About Le Père Odry Le Père Odry is a character in one of Balzac's novels, Unconscious Comedians which is one of the lesser known novels in the series La Comédie Humaine. The novel tells the story of a famous painter who takes his provincial cousin on a trip of Paris to open his eyes to what really goes on in the city behind the respectable façade. Le Père Odry appears in the novel as a dissolute actor. Christopher Fratin, French 1801 ~ 1864 also known as Christophe Fratin, was a noted French sculptor in the animalier style, and one of the earliest French sculptors to portray animals in bronze. Fratin was born in Metz, Moselle, France the son of a taxidermist. He first studied drawing under Pioche in Metz and later worked in Paris at the studio of Théodore Géricault. He exhibited at the Paris Salon from 1831–1842 and 1850–1862, as well as at the Great Exhibition in London in 1851. Fratin never signed his bronzes but instead used a stamp showing his last name in straight block letters. One of the stamps he used (pictured) showed the "n" reversed, not by design but due to an error on the part of the maker of the stamp. Bronzes bearing this stamp have the appearance of not seeming to be genuine when in reality this foible is actually an indicator of authenticity. Fratin received monumental commissions in France and elsewhere, including the Deux Aigles Gardant Leur Proie (Eagles and Prey, created 1850) displayed since 1863 in New York City's Central Park. Many of his small bronzes—including his miniature bronzes which were more affordable due to their smaller size—were sold commercially to the general public during his lifetime. Today, Fratin's sculpture is on permanent display in the Louvre, the city museums of Metz, Lyon, Strasbourg, Nîmes and at the Peabody Institute in Baltimore, Maryland. The Georg Eisler...

A delightful Art Nouveau early 20th Century gilt bronze figure of a very beautiful young lady holding a flower in her right hand, the surface of the bronze exhibiting fine detail and...

A delightful late 19th century animalier bronze group of a family of resting deer including alert Stag and resting Doe & Faun. The subject modelled with wonderful intuition and skill. The surface has a rich green patination and excellent hand chased detail. Raised on a stepped bronze base, signed Barye and inscribed F Barbedienne Fondeur. Additional information Height: 22 cm Width: 25 cm Depth: 14 cm Condition: Excellent Original Condition Foundry: Barbedienne Circa: 1870 Materials: Bronze Book Ref BARYE Catalogue Raisonne des Sculptures by Michel Poletti – Alain Richarme Page no. 301 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...

A fine unusual Art Nouveau two tone gilt and patinated bronze bust of a young lady rising from the center of a tulip flower with fine detail, raised on a breche griotte circular marb...

This is a Lalique Crystal frosted and clear glass sculpture of a charming duck. The sculpture is standing up over a round crystal base. It is signed Lalique, encircled R, France in t...

A very fine Animalier bronze study of a feeding gazelle with her fawn reclining at her feet. The bronze with rich brown patina and excellent detail raised on a naturalistic base, signed Fratin and engraved with title to the fore ‘Gazelle’ Additional information Height: 10 cm Width: 17 cm Condition: Excellent Original Condition Circa: 1860 Materials: Bronze Book reference: Bronzes of the 19th Century by Pierre Kjellberg SKU: 4934 ABOUT Christopher Fratin (1 January 1801 – 16 August 1864), also known as Christophe Fratin, was a noted French sculptor in the animalier style, and one of the earliest French sculptors to portray animals in bronze. Fratin was born in Metz, Moselle, France the son of a taxidermist. He first studied drawing under Pioche in Metz and later worked in Paris at the studio of Théodore Géricault. Work He exhibited at the Paris Salon from 1831–1842 and 1850–1862, as well as at the Great Exhibition in London in 1851. Fratin never signed his bronzes but instead used a stamp showing his last name in straight block letters. One of the stamps he used (pictured) showed the "n" reversed, not by design but due to an error on the part of the maker of the stamp. Bronzes bearing this stamp have the appearance of not seeming to be genuine when in reality they are. Fratin received monumental commissions in France and elsewhere, including the Deux Aigles Gardant Leur Proie (Eagles and Prey, created 1850) displayed since 1863 in New York City's Central Park. Many of his small bronzes—including his miniature bronzes which were more affordable due to their smaller size—were sold commercially to the general public during his lifetime. Today, Fratin's sculpture is on permanent display in the Louvre, the city museums of Metz, Lyon, Strasbourg, Nîmes and at the Peabody Institute in Baltimore, Maryland. The Georg Eisler...