19th Century Sculptures

A very fine French, 19th century Patinated bronze group of a Crouching Native American Indian on the lookout, in a dark brown patina and raised on a veined green marble base, by Edou...

19th Century French Paint & Gilt Decorated Decorative Carved Urns with Ferns

A Gillinder & Sons milk glass portrait bust of George Washington for the 1876 Centennial Exhibition in Philadelphia. 3 ½ inches wide by 3 ¼ inches deep by 6 inches tall

Important white marble sculpture by the Italian-born master, Luca Madrassi (1848-1919), depicting a standing nude beauty surrounded by three cherubs, two playing bronze flutes and on...

A charming and most decorative French 19th century Louis XVI style terracotta bust of a young boy signed Houdon. The terra cotta bust is raised by an attractive Rosso Levanto circula...

A wonderful bronze of a seated Venus and Cupid. Modeled with a recumbent Venus attended by Cupid on an oval plinth in the manner of Albert-Ernest Carrier-Belleuse. With finely...

Truly one of a kind pair of old handmade reclining lions. These are unsigned and used a mixture of clay and fiberglass fibers. They show very heavy signs of loss over the years b...

Natural specimen from Wunderkammer Stuffed bird (Streptopelia turtur) Dove on a wooden base with cartouche Specimen for laboratory and Natural history cab...

19th century Italian Diminutive Grand Tour Bronze Nude Athlete on Lapis -Lazuli Base Italy, Attributed Naples Foundry, circa 1875 This 19th-century Italian bronze sculpture, attribut...

This large 19th-century wooden wheel once bore the weight of an ox-drawn wagon or farm cart. The impressive wheel is richly aged with wabi-sabi texture, burnished smooth from years o...

Joseph Landais French Palissy Majolica wall platter which features a pike, various other fish and an eel. Blue decorative border around edges. Coloration: cream, blue, brown, are pre...

19th century grand tour bust of Dante Alighieri. Measures: 17" height, 19" wide.

An exceptional French patinated realistic miniature bronze bust of Jesus Christ, 1858 Signed: J CLESINGER. 1858 and F. BARBEDIENNE FONDEUR, wi...

" Venus of the Nile " 19th century Italian Carrara marble sculpture Italy Height: 90 cm good conditions.

A Fine Bronze Sculpture by Luis Domenech y Vicente, c.1904 After the Model He Exhibited at the Salon Des Beaux Arts in Paris That Year Luis Domenech y Vicente, Le Messager de Paix, bronze sculpture, signed lower base, foundry mark/stamp ‘European Bronze Finery...

A quality late 19th century artist Lay figure made from pine. These were made to be used by artists to paint the human form.

A very fine and attractive bronze of a young boy playing the violin, " the little violinist " By Emile Carlier (1849 -1927) resting on a molded stepped marble circular base, signed E...

These bronze figures show Edward, Prince of Wales, standing in a nonchalant pose with one leg crossed over the other, a cigar in his left hand, his hat at his feet and a shotgun slung over his right arm. The elegant Princess of Wales is depicted skating, with feathers in her hat, and wearing a fur-trimmed coat and muff as the wind catches her three-quarter length skirt. Each stamped Elkington & Co Founders and G 1870. English, dated 1870. Provenance: Prince Victor of Hohenlohe-Langenburg, Count Gleichen. Prince Victor of Hohenlohe-Langenburg, Count Gleichen, was the son of Prince Ernst of Hohenlohe-Langenburg and Princess Feodore of Leiningen, half-sister to Queen Victoria. He ran away from school to England in 1848 and was sponsored to enter the Royal Navy by Queen Victoria. In 1854 he attained the rank of Lieutenant after serving as mate on the flagship Cumberland, where his future brother-in-law was captain and his future father-in-law was admiral. In 1866 he retired from the navy and trained with the British sculptor William Theed. As a sculptor, he carried out several portrait commissions for Queen Victoria including a statuette of Prince Alfred, her second son, and another of Prince Albert Victor...

A nineteenth century French bronze of the Sleeping Ariadne, after the antique, the 'original' - itself a copy of an earlier Hellenistic sculpture - he...

19th Century Italian large Bronze Statue by Ettore Ximines Ettore Ximines, Italy, 1855 (Palermo)-1926 (Rome) Man carrying woman on shoulderIn fabulous condition The patina of the s...

A bathing venus capodimonte figurine, 19th century. 4 ½ inches wide by 4 ½ inches deep by 13 ¼ inches tall

It is the sculpture of a woman covered with a draped chiton, probably representing the goddess Artemis and traditionally attributed to the sculptor Praxiteles. Found in the ancient t...

An exquisite pair of hand carved Hindu wooden temple struts, mounted on stone bases, from the 19th century. This pair of antique temple struts from S. In...

Group of hunting dogs in front of a terrier: bronze sculpture with brown patina signed Arson Alphonse Alexandre Arson (1822-1895) is a French animal sculptor, with birds as his favo...

Antique 19th century English Staffordshire porcelain flatback figurine depicting General Henry Havelock on horseback circa 1860 with a bright orange hat and saddle blanket. General ...

Exceptional hand wood carving of a woman probably African queen, beautiful face showing grace and resolute looking forward, white color finish and clear wax restoration. Professional...

An impressive and majestic French 19th century patinated Bronze and Ormolu statue of a horse and groom, modeled after the horses of Marly. The spectacular horse is draped in a saddle...

Bronze sculpture depicting a moving horse, fixed on a rectangular bronze base. France circa 1890.

Interesting ram's head and hoof design on this brass incense burner with stone base.

An iron cast square vase with an iron base, with relief decorative elements, over which is a connecting element. Overall the iron rods that describe a vase silouette. The basket is f...

Antique French pressed botanical from 1897. For those of you that may be interested, we will be listings many more antique French botanical's in the c...

A pan boy standing on a ball supported by Fish around the base. Has the two flutes. Signed on the base Frederick William Mac Monies and dated 1890 and with the Foundry seal. Has the ...

Fortunato Galli (Italian, 1850-1918) "Sea Nymph", White Marble Sculpture, late 19th century, signed "F. Galli"on a carved white marble pedestal. Sculpture: 64" H x 18" W x 16" D; ove...

Rare and remarkable sculpture of a famous Dutch figure of the House of Orange-Nassau. For the collectors of famous, Dutch historical figures, we are offering this extremely rare and highly decorative wall plaque depicting William I. or Prince of Orange (April 1533 - July 1584). His nickname 'William the Silent...

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...

Articulated painter's mannequin, depicting a teenage boy, life-size. The mannequin is made of walnut wood, the articulated spheres are made of maple wood. The limbs are fully articul...

This exceptional 19th century Italian hand carved marble group titled: 'The Wrestlers' was carved after a Greek original of the 3rd century BCE. This impressive statue depicts two na...

A beautiful pair of 19th century Meiji period Japanese Bronze fan tailed Partridges, on a shaped wooden base. Circa 1900 Japan H: 9 in / 23 cm ; Base: W: 13.77 in / 35 cm ; D: 8.6...

18th/19th century Buddha Statue carved of Alabaster. Burmese Shan Buddha Statue 1800ca, collected in Myanmar Shan State 1998. Legs crossed, the left hand in the lap, and the right ha...

Create a rustic style in your hunting lodge or ranch house with this large wall-mounted deer antler plaque. Bought in the Loire Valley of France, the ant...

Used as forms of currency, they could also serve as a musical or ritual object. Displayed on a custom mount.

A very fine quality pair of French Louis XV inspired patinated and gilt bronze figural three branch candelabra depicting Bacchanal figures. Both with finely sculped features and moun...

Antique 19th century Staffordshire porcelain flatback figurine depicting English smuggler/highwayman Will Watch, posed with weapons / shotgun / gun and barrels. This figure is also ...

The product is a 19th-century French carved bust of Diana, a sculpture depicting the ancient Roman goddess. This masterpiece of art showcases intricate carving techniques used in cre...

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...

This is an antique decorative bull figure. An English, brass desk or display statue, dating to the Victorian period, circa 1900. Charming Herefordshire Bull...

Barbizet French Palissy Majolica wall platter which features fish (including a pike), a snake, a lizard, a frog, a turtle, insects, shellfish blackberries and leaves. Colouration: bl...

A Pair of 19th Century Grand Tour bronzes after the original sculptor, Claude Michael Clodion. The male and female Satyr Bacchus themes with putti and the adult figures with an origi...

A rare and highly detailed Copeland & Garrett parian figurine of James Watt in 18th century dress and seated before a tea kettle. Identified on the plinth as James Watt. England, ci...

"Enfant au Coq" A bronze sculpture of a child and cock after Cecioni Adriano, depicting a young child holding a rooster aloft. The bronze has a warm ...

ISIDORE JULES BONHEUR French, 1827-1901 "Standing Ram" Patinated bronze sand-cast ca. 1870 signed to base "I. BONHEUR" no foundry mark but almost certainly cast by Peyrol under...

LES FILS D'EMILE DEYROLLE, PARIS. Extremely rare set of four 19th century French painted plaster, wire and wood Didactic models depicting progression, ANATOMIE VEGETALE, beautifully ...

An important and high quality true pair of French 19th century Louis XVI st. patinated Bronze, Ormolu and marble statues, signed Carrier Belleuse. Each exceptional statues is support...

A fine pair of antique French gilt bronze vases. Decorated with an assembly of musical instruments, a gourd, and even a hat. Extremely solid and finely cast, these urns or vas...

Henri Picard, a master of artistic metalwork during the opulent Second Empire period in France, remains a figure of enduring fascination and admiration in the realms of antique art a...

Pair of antique Victorian Staffordshire recumbent lions having glass eyes painted in wonderful orange and brown colours

This stunning table-top display features a large cameo created by the talented artist Raffaele Pernice. The cameo is set in a beautifully engraved gold mount, which adds a touch of l...

19th C Tobacco Shop Publicity Statue smoking a pipe -polychromed wood.In perfect state -stands tall on its own.

This finely cast silver-plated bronze piece depicts a majestic stag standing on a rocky base, gazing at two large, intertwined palm trees, topped with a crystal tray. It is marked on...

19th century, French hand hammered plaque historicizing a village, circa 1850. Copper plaque in a wood frame.