Art Nouveau Sculptures

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

Antique statuette, sculpture of a pheasant, gold-plated bronze, the colored parts are hand-painted, circa 1880, France, not marked. Very high-quality and detailed manufacture, very...

"Chinoise” Sculpture by Gertrude Vanderbilt Whitney. This sculpture, a self portrait which stylistically mixes Art Nouveau and orientalism, is among her earliest successes. This piec...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

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

Classic 1920s Art Deco Winners Lantern lighter on Marble Pedestal Ashtray. This exquisite German Art Deco ashtray is a testament to the opulence and c...

Wonderful late 19th Century Art Nouveau French bronze figure of a seductively draped female figure representing, in allegorical form, Nature revealing her secrets to Science, a fitti...

For the art nouveau lover, this is certainly worth one to ponder, for all others, here is fine example art nouveau. The two color patina makes this very desirable. Her beautiful gold...

A wonderful mid 19th Century Animalier bronze study of a a pointer turning its head in an alert pose with fabulous rich brown patina and excellent surface detail, raised on naturalis...

Large bronze dancer with a brown patina, on a green marble base: she bears the name of Pompeian Dancer on a cartouche. She plays delicately with her veil, balanced on one foot, on a ...

Pierrot under the Moon sculpture, France, ca.1900. Polychrome plaster and mirror. Pierrot sits on a stone balustrade and plays the mandolin under the moon. The moon is represented b...

Jules Alfred Alexandre Dercheu (1864-1912), Daphné followed by Apollo. Bronze statuette with yellow, brown and gold patina, signed to the base, mounted on a round plinth of sea-gree...

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...

A special musical design object for lovers of music and transforming technology. This is a handcrafted model of the first gramophone, elaborately crafted and true to detail despite ...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

A figurative Art Nouveau "Sea Nymph Galatea" bronze table sculpture by Italian artist Eduardo Rossi (1867-1926). Etched signature on base. An elegant composition with curved lines an...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

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

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

Pair of head sculptures, Franz Hagenauer, Werkstatte Hagenauer Wien, ca. 1981, marked Beginning in the 1970s, and inspired by his contact with students at the University of Applied ...

"Nymphe Fluviale" by Mathurin Moreau (1822-1912) and Barbedienne foundry. The same sculpture can be found on "fontaine du Theâtre-Francais" on Paris and made for the Universal Exposi...

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

Beautiful porcelain work by Ernst Wahliss, depicting a mother with child, probably Aphrodite with armor, made by Royal Vienna around 1900 in Austria. This exceptionally rare work is...

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 very fine French Animaliers bronze study of a stallion standing behind a post and rail fence exhibiting excellent hand finished surface detail and good...

Birds Luigi Secchi Italy, 1890-1910 Bronze Sculpture Bowl "L Secchi" engraved

A wrought iron Art Nouveau era model of a snake / serpent. High-quality craftsmanship, handmade of forged iron by a Viennese metalworker in the 1920s. A decorative object, which would look great in your shelf, but also suitable as a paperweight, a jewelry ring holder...

A stunning antique early 20th-century Austrian Art Nouveau bronze portrait figurine / sculpture depicting the renowned golfer Harry Vardon, titled "Joueur au Golf". This piece is dat...

Austrian Cold-painted Bronze Figure of a Red Squirrel Made in Austria Austrian Cold-painted Bronze Figure of a Red Squirrel, late 19th/early 20th century, the figure modeled stand...

Beautiful alabaster bust of an elegant woman with a hat and a ribbon in her hair; the base is decorated with flowers/leaves This bust is signed on the back Ant Nelson: this is the p...

Lady in solid Italian Art Nouveau marble with column and fountain 1910 It has some cracks as shown in the photos

Rare French bronze sculpture by Henri Désiré GAUQUIE (1858-1927), France, ca.1910. The sower. Height : 18.25"(46.4cm), Width : 7.9"(20cm), Depth : 8.1"(20.5cm). A sharp line, an indi...

19th century diana the huntress bronze bas relief wall plaque. Diana with raised bow and hunting dog near her side. We have specialized in the sale of...

Beautiful old and heavy garden ornament, statue of a cute pig depicted with a pumpkin and corn cobs, made of cast iron, the statue has a beautiful rusty age patina, estimated first h...

Calvet door handle set by Antoni Gaudí. Solid cast brass with polished finish. An exact reproduction in both form and material original metalwor...

Wax young girl bust sculpture by Mme Arondelle, 2 rue du Louvre, Paris, France, ca.1900. Polychrome wax. After the famous Wax Head from the Lille ...

A beautiful and substantial Nautical, cast metal, antique doorstop with original patina finish. Depicting a mythological grotto dolphin style sea ser...

Genuine tall alabaster sculpture by Guglielmo PUGI (1858-1941), Florence, Italy, 1880s. Young girl with tambourine, perhaps a gypsy. On its base. Direct carving. With base - Height...

Maurice Bouval (French 1863 - 1916), Patinated Bronze Figure Of An Art Nouveau Woman Bronze on Marble Plinth.

Bronze with brown patina of a nude woman, standing, putting up her hair. Wear and tear on the patina. circa 1900 Height 56.5cm. 20 x 15cm.

Wonderful vintage Table Decoration - hand-carved Walnut Music Box Trivet with Art Nouveau Motifs. Colorful hand-painted Ceramic Art Pottery ...

Delightful mid 19th Century French Animaliers bronze study of a playful Whippet looking around in an attitude to play with a ball at her feet, with rich brown rubbed to a golden colo...

Stunning alabaster statue depicting a maiden selling flowers in the style of Ada Cipriani. Late 19th-early 20th Century - France No visible signature 16" W x 14" D x 49.5" H

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 ...

This fabulous bronze peacock was made at Franz Bergman's Vienna foundry and bears the name of sculptor Bruno Zach. The highly detailed sculpture is beautifully cast and features cold painted polychrome decoration. The peacock's crested head is turned slightly to the left and its magnificent fanned tail feathers - also known as a train - are realistically rendered and arch forward as they rise. The train has splayed feathers at both ends that rest flat on the display surface, preventing instability. The feathers have been finished with white shafts and greenish-gold vanes while the ornamental black eyespots are accented with metallic rose and copper colored paint. It should be noted that the back of the bird's train is also highly detailed lending visual interest if viewed from the front or the rear. The peacock's head and body are painted in a silvery color while the painted decoration on the head includes large white masks and black eyes that are ringed in orange. The bird's angled beak is finished in yellow and has well defined upper and lower sections. The peacock's wings are positioned parallel to its body and extend back beyond the train. The outside of each wing is accented in mottled copper and black paint while the rear portions bear a series of painted copper and black stripes. The bird's thin legs are finished in gray and have black spurs at the back. Its long toes terminate in sharp black talons. The peacock is in very good condition with no replacements or repairs. As an antique, the piece shows signs of age including minor areas of paint loss that are noted for accuracy. It stands 8" at the tallest point of the train and is 11.5" as measured across the widest points of the train. The piece is 3.25" at its deepest point. The back of the train bears a partially legible Bergman amphora-shaped foundry mark with a B at the center. It is also signed 'Zach' in cast at the underside of one section of tail feathers for sculptor Bruno Zach who had a history of collaborating with Bergman to edit and cast some of his works. The peacock weighs 3lbs 2oz. This lovely antique Vienna Bronze peacock sculpture...

Beautiful girl figurine handmade in Germany circa 1900s- 1910s. A beautiful piece for decorating your kitchen. Handmade and hand painted in beautiful colors. Marked Germany.

A fine, small-scale antique Art Nouveau cabinet bronze. In the form of a half-naked young woman in three-quarter profile. Likely an allegory to Summer or The Harvest (or possibly a...

Architectural Italian Murano art glass door pull, circa 1960s, azure glass handle, brass hardware. Nice addition to your front door. Found at an estat...

Emile Gallé (1846-1904) was one of the greatest French glassmakers and ceramists of the 20th century. The son of a master glassmaker, he came into contact with the art world at an ea...

A classic very decorative bronze statue by an unknown Maker depicting Emperor Wilhelm II. from Prussia Germany. Born January 1859 in Berlin; † 4. Juni 1941 in Doorn, Netherlands - he...

An attractive late 19th Century bronze figure of an Art Nouveau beauty with a shawl wrapped around her midriff holding a bowl exhibiting fine colour and excellent hand finished surfa...

A serving dish in metal in lovely Art Nouveau-style designed at WMF Württembergische Metallwarenfabrik in Germany. It is 35 x 16...

Bronze sculpture of a fighting rooster with 2 wooden and bronze bases from the 1970s

1930s Metal Dog, St. Bernard, Mastiff Type, or Retriever Type. Solid. UPDATE: Due to agreement with 1stDibs, we'll be staying through the end of the year. This very handsome guardia...

French ceramic figurine of a lady carrying flowers, made in the early 20th century. The figurine is in good condition, has some chipping due to ageing, detailed photos of which ha...

This is a Lalique frosted and clear crystal rabbit “Cesar” figurine. The rabbit is lying down with its straight up ears in alert position and very large...

Nike of Samothrace in Terracotta, late 19th Century Total height with base: 220 cm Good condition for its period Original patina Italian Terracotta Toscan The Victory of Samothrac...

A stunning sculpture of a cherub holding a cornucopia, after Auguste Moreau. French, early 20th century. At 35" high, this is a beautifully substantial bronze in excellent condition....

French Art Nouveau sculpture, France, ca.1900. Young Lady Bust. Alabaster & marble. In direct carving. Height : 12.2"(31cm), Width : 11.8"(30cm), , Depth : 6.7"(17cm)

A young woman in a long dress with short sleeves, softly enveloping her body, with a scarf covering her hair and falling well over her face to protect her from the burning sun, walking across the field at a leisurely pace, holding out her apron with the seeds spread out in front of her with her left hand and making a sweeping gesture with her right. On a narrow, elongated natural plinth with rounded corners, with the artist's signature ‘Schork 99’ incised on the side, as well as the Goldscheider manufactory's pressed stamp, pressed model number and incised monogram ‘AH’ on the back behind the figure. This motif is particularly well known in France, where it adorned all French franc coins and postage stamps for many years and was continued in a stylised form on all cent coins of the euro after 2001. Louis Oscar Roty (1846 - 1911) This sower is very familiar to the French: she was depicted on the fifty-centime coin and on the one-, two- and five-franc coins until 2001, when a stylised version of her appeared on the ten-, twenty- and fifty-centime coins of the euro. The figure dates back to 1887, when Roty designed a prize medal for the Ministry of Agriculture, a project that was not pursued. When the Minister of Finance commissioned new coins in 1896, Roty was among the selected artists. He drew on the Sower of 1887, but transformed his robust farmer into a slender Marianne, who wore the Phrygian cap of freedom. The traditional profile of the Republic was abandoned in favour of a more active, standing figure. This effigy was criticised, but generally very well received: ‘The seeds she generously throws into the earth are the countless ideas that may one day germinate and flourish when we are no longer here’ (La Liberté, 8 October 1898). The gesture is more symbolic than realistic – we do not sow against the wind, which nevertheless makes the hair behind the sower flutter – but it makes the composition more dynamic. Originally, ‘The Sower’ was used on the fifty-centime to two-franc coins introduced in 1897 and 1898, before appearing on postage stamps in 1903. It is thus the most widely circulated work of art in France. Although not included in the Musée d'Orsay's medal collection, this wax drawing on slate, typical of the technique of a medallist, is one of the most beautiful pieces and demonstrates the virtuosity of Roty. (Musée d'Orsay, The Collections) Design by HANS SCHORK...