Art Nouveau Sculptures

Antique bronze sculpture by Louis Albert Carvin (born 7th august 1875 in Paris - 6th January 1951). Depiction of a sitting pig. Finely chiseled. Signed at the bottom "L. Carvin" an...

This provocative, desk-size bronze statuette of a semi-nude oriental dancer in a sensuous, rather candid pose rendered in the best Art Nouveau traditions of the world-famous Viennese foundry of Franz Xavier Bergman...

A very sweet early 20th Century American bronze group study of three sleeping bunnies nestled together. The bronze with very fine rich brown & green pat...

Art Nouveau Gilt and Patinated bronze figural bud vase by well listed sculptor Charles Korschann. Signed at base.

Incredible PIERRE POUGET french art nouveau "Faun" bronze circa 1900 on marble base.

A very rare Hoop Dancer and Falcon in bronze, marble base and head and hands in ivory, dressed with a headband with shiny stones. “Briand” signed (pseudonym of Marcel André Bouraine)...

An Art Nouveau female bronze figurative bust sculpture of a young woman "Ethne" by Giovanni Schoeman (1940-1980.) Piece is marked at base "ETHNE" as shown in close-up last image. Ver...

Imagine a small but enchanting Italian bronze sculpture that captures an unexpected moment of nature's beauty. It's a delicate portrayal of Two Mating Pigs, created by a skilled 20th...

A patinated bronze Art Nouveau style statue of a lightly draped standing nude woman with her arms behind her head fingers run through her hair in a the manner of Rodin by Belgian S...

"Deux Chiens en Arret" by A L Barye A dramatic mid 19th Century French bronze animalier group of a pointer and setter as they iflushing pheasants in a naturalistic undergrowth. The bronze with excellent autumnal (green, brown, and orange) patina and intricate hand chased surface detail, signed Barye. A rare bronze subject from the artist’s own atelier (workshop). Additional information Measures: Height: 12 cm Width: 25 cm Depth: 8 cm Condition: Excellent Original Condition Circa: 1860 Materials: Bronze Book Ref BARYE Catalogue Raisonne des Sculptures by Michel Poletti – Alain Richarme Page no. 150 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...

Charming mid 19th Century French gilt bronze study of two rabbits standing in alert positions outside their burrow. The bronze exhibiting excellent han...

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...

Dimensions: 4.33 high x 2.25 wide x 2.75 deep This elegant desk-size statuette of a kneeled harlequin wearing a golden mask is a perfect example of the little masterpieces in cold...

"Lièvre au Repos" by Pierre Jules Mêne An entrancing mid 19th Century Animalier bronze study of an alert hare. The bronze exhibiting excellent hand chased surface detail and good ri...

Stunning and rare Late 19th Century Art Nouveau sculpture. Design by Charles Anfrie. Striking French design from the 1890s. This wonderful Late 19th Century Art Nouveau sculpture by Charles Anfrie is executed in patinated bronze and signed at the base with Retour Des Cerises. This attractive young girl walks away happy after picking...

A very rare late 19th Century French Animalier bronze study of a standing ostrich, the detailed feathering chased with extremely fine precision, the flightless giant bird...

19th century diana the huntress bronze bas relief wall plaque. Diana with raised bow and hunting dog near her side.

Annibale De Lotto Italian bronze fisher boy Sculpture featuring a semi nude young boy figure, a standing fisher boy getting bit by a crab on his f...

An excellent mid 19th Century French animalier bronze study of reclining panther with wonderful autumnal (green, orange, black and brown) patination and very intricate hand chased su...

Boleslaw Biegas was one of a large number of Polish artists working in fin-de-siecle Paris. There he found a more kindred artistic environment in which...

Rare, full size example of this piece. Isidore De Rudder (1855 - 1943) was active/lived in Belgium.

Gertrude Vanderbilt Whitney Bronze Sculpture "Chinoise" circa 1915. A standing figure of a woman in a flowing gown with Buddha-like hand gestures standing on a lotus form base. Ma...

Charles Korschann Czechoslovakian Art Nouveau Gilt-Bronze Figural Bud Vase. Cast from a model by Charles (Karl) Korschann, circa 1899, of urn form, with a handle in the form of a...

Charles Raphaël Peyre (French 1874-1949) A French Art Nouveau Gilt-Bronze Figure of a Maiden Cast by Louchet, circa 1900 Modeled in a standing pose with her hands clasped closed...

A large and rare antique Austrian gilded bronze desk set/sculpture, modeled as a Pug dogs with her two puppies, documented, circa 1910. To the center i...

A very handsome antique French Animalier bronze greyhound sculpture, paperweight, circa 1900. The bronze in the style of Emmanuel Fremiet, mad...

A very fine late 19th century French bronze bust of an attractive classical maiden modelled in the Art Nouveau style, with fabulous multi hued patination of brown and a subtle green, accentuating the excellent hand finished detail. Signed E Villanis, with Societe des Bronzes foundry seal, numbered and with raised title to the fore. ADDITIONAL INFORMATION Height: 28 cm Width: 16 cm Depth: 10 cm Condition: Excellent Original Condition circa: 1890 Materials: Bronze Book Ref: Emmanuel Villanis by Josje Hortulanus-de Mik Page No: 79 SKU: 8775 ABOUT Sylvia Ballet - Silvia Sylvia, (the spelling is different in french) is a classical ballet. It features a nondescript mythical setting and a late nineteenth-century score, in which it's themes correlate to giving it a more classical feel, however, it was quite revolutionary for its time. The score was and still is recognized for its greatness. Delibes' work is certainly the best appreciated aspect of the ballet for its innovation, creativity, and maturity. Frederick Ashton's choreography complements the music very well in this respect, staying true to the spirit of the original production while incorporating modern techniques and adding his own unique touch. The ballet itself follows Sylvia who is a loyal follower of Diana (the goddess of the hunting and chassitity). The story starts with Sylvia being stalked by the diety Eros. When she discovers this they fire their bows at each other respectively. However only Eros's shot is true and wounds Sylvia. This is where she is kidnapped by an unknown assailant later revealed to be Orion. Sylvia escapes the caves of Orion by getting her captor intoxicated and pleading to Eros to rescue her. When he begrudgingly rescues her he takes her to the temple of Diana where her love awaits. This leads her to repeal her oath of Chassity taken as a follower of Diana. Emmanuel Villanis 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. Most of these were manufactured in bronze, but there are also models in white metal and terra cotta. Different patinas were used. The bronzes were mainly cast by the Societé de Bronzes de Paris and can be recognised by the round stamp...

Sculpture Year: 1900 Material: silver plated 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 ...

Captivating late 19th century French bronze bust of a beautiful woman, enhanced by the variegated rich brown patination and excellent tactile surface detail, raised on an integral bronze base with raised title to the fore. Signed ?E Villanis and further raised on a breche griotte stepped and shaped marble plinth ADDITIONAL INFORMATION Height: 33 cm Width: 16 cm Depth: 11 cm Condition: Excellent Original Condition circa: 1890 Materials: Bronze Book Ref: Emmanuel Villanis by Josje Hortulanus-de Mik Page No: 17 SKU: 8616 ABOUT Puccini's Opera - La Bohème SYNOPSIS - A group of friends are living a Bohemian life in Paris and trying to make their livings creating art. Rodolfo, the writer, falls in love with the seamstress, Mimi, while Marcello, the painter, and Musetta, the singer, are the on-and-off-again couple by their sides. When the four are happy, they spend their time celebrating life and love. However, Mimi is revealed to be very ill, and Rodolfo struggles to come to terms with the fact that she will inevitably die. Rodolfo and Mimi break up, and months later, Musetta discovers Mimi extremely sick and close to death. She brings Mimi to Rodolfo and Marcello's apartment. Rodolfo immediately takes her in and tries to nurse her back to health, but he is too late. Almost as soon as the two are reunited and have professed their love for one another, Mimi succumbs to her illness and dies. Emmanuel Villanis 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. Most of these were manufactured in bronze, but there are also models in white metal and terra cotta. Different patinas were used. The bronzes were mainly cast by the Societé de Bronzes de Paris and can be recognised by the round stamp...

Garniture of bronze figures, depicting a scene of hunters with an elephant with a dead tiger strapped securely on top of it, accompanied with one hunter and another at his side with ...

Excellent late 19th century animalier bronze study of a feeding reindeer with rich brown colour and very fine hand chased and etched surface detail, raised on a stepped naturalistic base, stamped with Peyrol Foundry mark and signed Isidore Bonheur Additional information Height: 16 cm Width: 22 cm Condition: Excellent Original Condition Foundry: Peyrol circa: 1880 Materials: Bronze SKU: 8211 DESCRIPTION Isidore Bonheur Isidore Bonheur, born in Bordeaux May 15 1827. Isidore was the third child of Christine Dorotheé Sophie Marquis (1797–1833), a musician, and Oscar-Raymond Bonheur (1796–1849) (a landscape and portrait painter and an early adherent of Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men). Isidore was the brother of Auguste Bonheur...

Excellent quality and very rare mid 19th Century French Animalier bronze study of a seated griffon hound looking intently at two pigeons feeding beside him. The bronze with excellent...

Magnificent bust of women in bronze make in 1920 after the model of Clodion The bronze bear a mark of clodion and a date. the bronze is on a red marble base .the bronze is coming p...

An impressive late 19th century French bronze study of a majestic bull with standing in a proud stance exhibiting excellent hand chased surface detail and fine rich brown patina. Rai...

"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...

A delightful Art Nouveau Bronze bust of an Art Nouveau beauty with rich red/brown patina and fine hand finished detail, signed Van der Straeten and stamped with foundry pastille. ...

EMMANUEL VILLANIS [after] French, fl. 1880-1920 "Cendrillon" (Cinderella) Lost-wax patinated bronze signed in cast on left of socle "E. Villanis", titled to integral socle in raised relief "Cendrillon" cast circa 1930-50 Item # 212PVG15A A charming bust of a young maiden entitled Cendrillon (Cinderella), it is executed in the lost-wax method in a single piece with an integral socle that is titled in raised relief. The young woman is serious in her composure with a quiet strength, her eyes slightly downcast in the clothing of a common girl, her diaphonous garment sliding off one shoulder while the overall sculpture remains chaste and elusive. The surface is finished in a two-toned patina, the reddish-oxide surface being utilized for the flesh tones and a darker brown for the base and garments. Casting from the second quarter of the 20th century. ARTIST Born in Lille, France, little is known about the life of Emmanuel Villanis, despite the fact that he has a simply incredible level of output during the years of 1880-1920. First exhibiting at Salon in 1886, he went on to exhibit nearly five-hundred models, almost exclusively featuring the female form with strong influence of the Art Nouveau movement evident in every aspect of his work. He received honorable mention at the 1889 Exposition Universelle, Paris. Artist Listings...

EUGÉNE DELAPLANCHE French, 1836-1891 "La Danse" Medium-brown patinated bronze signed in cast DELAPLANCHE incised "F. Barbedienne Fondeur Paris" & numbered 225 sealed with A. Collas reduction cachet Item # 212LKS08A This is a very fine casting of La Danse after the original model by Eugene Delaplanche...

Annibale De Lotto large bronze sculpture Boy with Crab 1910 Italy Venice.

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...

A magnificent late 19th century French bronze study of a large bull in a proud stance, the bronze exhibiting excellent hand chased surface detail and fine rich brown patina. Raised o...

A very fine bronze sculpture modeled as the beautiful Goddess standing with her bow and quiver and gently holding the collar of her hunting hound. The bronze with warm brown patina a...

Dimensions Total Height: 7.5 inches Base Height: 2 inches Width: 2.75 inches Depth: 2.75 inches ABOUT This charming desk figurine in dark brown patinated Viennese bronze by the famous Austrian sculptor Karl Kaub stands out for the originality and humor of its subject matter. The author depicted with amazing subtlety a boy who jumped on one leg in fright, suddenly seeing a frog sitting on his arm. CARL KAUBA (Austrian, 1865-1922) was born August 13, 1865 in Vienna, Austria. The son of a shoemaker, Kauba chose to follow his calling into the world of art. Collectors now rank him in a class with Remington and Russell as one of the great portrayers of American Western. His subjects were typically American Indians, calvarymen, cowboys, and roughriders. In addition to his American bronzes, Kauba produced a lifetime’s worth of Austrian statuary. His work became fully appreciated on both sides of the Atlantic. Carl studied at the Academy of Fine Arts in Vienna under professor Laufenberg. Later he would study at the academies under Carl Waschmann and Stefan Schwartz. Next, he went to Paris in 1886 to further study before he set off for the U.S. In fact, some debate still remains as to whether Kauba ever visited the U.S. Kauba’s fascination with the West was fired by the stories of the German writer, Carl May, whose tales of Western adventure were well known throughout Europe. Most authorities feel that he was about twenty-five years old when he traveled widely throughout the American West. He then returned to Austria with voluminous notes, sketches, and several models of Western sculpture...

Jacques Loysel (1867-1925, France) : "Dancer with a veil" / "Danseuse au voile", probablement Loïe Fuller) Bronze cast sculpture patinated dark green-brown representing a woman da...

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...

"Sitting Kewpie" or "The Thinker", Car Mascot Hood Ornament, 1910´s. Made of silvered bronze, mounted over a green and white mrble base. Can de used as a desk paperweight. Originally appearing in the form of magazine illustrations between 1905 and 1909, Kewpie dolls...

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...

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...

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...

Bronze alloy table lamp sculpture signed Waagen. Germany, circa 1890.

A very fine early 20th Century gilt bronze figure of the famous Cleopatra with a snake wrapped around her wrist drinking from a bowl. Exhibiting fine colour and excellent hand fi...

Bofill silvered bronze owl - Hibou Desk Paperweight / Car Mascot / Hood Ornament. France 1910-15. Silver plated bronze, signed. Excellent original conditions. HIBOU Par Antoine ...

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...

Erotic / nude women bronze sculpture table bell push - Austria 1900´s Talk about hard to find items! This impossible to believe bell push is the only erotic bell push we have ever s...

"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...

Beautifully patinated, absolutely exquisite Art Nouveau figural bronze coffee table by C. Conndray. This coffee table is a perfect example ...

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...

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...