Baroque Sculptures

Round of "Neron" In terracotta late 19th century Diameter 55cm Thickness 6cm Weight 9kg Material terracotta Good condition.

Column support for statues and vases Ricceri. Square column in terracotta end 19th century. To be used as a support for vases, busts, sculptures etc. From a cast of the ancient ...

Very nice saint figure. Hand carved wood with glass eyes Italy, circa 1800-1850. Weathered, small losses.

Pair of 19th century male and female Italian carved figures This charming pair of figures stand almost 6ft high, they each have a socket in their ...

Stone Round of Lysimachus - Statere, late 19th century. Italy This roundel is part of a series of roundels inspired by wonderful ancient Greek coins. Freely reproduced from a Thra...

Round stone relief with portrait of Julian the apostate late 19th century. Italy This roundel is part of a series of roundels inspired by the wonderful classical ancient Greek...

Wonderful pair of Italian Baroque paperweights from the 1800s. The pair is made with a truly binding Onyx base. The onyx stone has been carved to make the paperweights semi-equal. Ab...

Bas-relief in marble Apuan statuary of thinking Athena End 19th century Italy Measures: height 51 cm Width 30 cm Thickness 3 cm - it can vary from 3 cm to 4 cm Weight 9 kg Ma...

Titus Roman Emperor, terracotta round end 19th century. Diameter 31cm. thickness 6cm. weigh 8kg. Material terracotta. Very good condition. Titus Flavius Caesar Vespasian Augustus (in Latin: Titus Flavius Caesar Vespasianus Augustus; in the epigraphs: IMP•T•CAESAR•VESPASIANUS•AVG•PON•M•TR•POT[1]; Rome, 30 December 39 – Aquae Cutiliae, 13 September 81, better known simply as Titus, was a Roman emperor, belonging to the Flavian dynasty, and reigned for just over two years from 79 to 81, the year of his death. Before ascending the throne, Titus was an able and esteemed general who distinguished himself for the repression of the rebellion in Judea in 70, during which the second temple in Jerusalem was destroyed. He was considered a good emperor by Tacitus and other contemporary historians; he is known for his program of public works in Rome and for his generosity in rescuing the population following two disastrous events: the eruption of Vesuvius in 79 and the fire in Rome in 80. Famous is the definition that the historian Suetonius gave of him: "Amor ac deliciae generis humani. » « Love and delight of mankind. » Titus' family, the gens Flavia, belonged to that Italian nobility which, in the first half of the first century, was gradually replacing the more ancient Roman aristocracy, weakened by the decades of civil wars fought in the first century BC. The Flavians, in fact, were not of noble origins, but they managed, within just three generations, to rise from humble origins to the honor of the imperial purple. Tito's paternal great-grandfather, Tito Flavio Petrone from Rieti, had fought as a centurion evocatus in the army of Gnaeus Pompey the Great during the civil war of 49-45 BC, fighting in the battle of Farsalo and fleeing after the defeat of the Pompeians; he was pardoned by Cesare and became tax collector...

Sculptor of the 19th century, Sculpture: "Greek warrior with spear and shield", bronze, light brown patina with dark accents. Measure: H. 38.5 cm. Good condition.

Amazing torso gaddi in white Carrara marble end 19th/ 20th century. Italy Male torso of centaur from the 2nd century BC. Called "Torso gad...

VENUS IN ALABASTER 19th Century Italian sculpture in alabaster, after a model by António Canova (1757-1882). Dec. height: 80 cm Go...

A Italian Gilt Bronze Hermes 19th Century H: 30cm very good condition.

Italian Bronze sculpture depicting ''DAVID''. Green marble base. Late 19th century. Dimensions Height approx. 108 cm good condition

A 19th century impressive large scale Italian Baroque style putti statue, depicts a winged cherub, with branch, different smaller scallop shells and hold...

Roman bronze sculpture Depicts Roman Chariot 19th century Measures: cm. 33 × 66 H. 50 Good conditions.

LABYRINTH DI SIDE (ANATOLIA) WHITE CARRARA MARBLE late 19th Century Italy Made of white Carrara marble. WIDTH 70 cm LENGTH 70 cm THICKNESS 10 cm WEIGHT 147 Kg DIAMETER OF THE...

IMPORTANT SCULPTURE "ESQUILINE VENUS" Terracotta late 19th Century 1:1 terracotta reproduction of the famous Esquiline Venus. Almost certainly th...

The holy water of "San Clemente in Rome" end 19th century Hand made faithful reproduction with or without the coat of arms of the base made in 3 pieces. Italy Measures: height 150cm diameter 80cm width: 80 cm The Basilica of Saint Clement Lateran is a complex of buildings in Rome, Italy centered around a Catholic church dedicated to Pope Clement I. The site is notable for being an archaeological record of early Rome's religious, political, and architectural history. from the Christian era to the Middle Ages. The old church was transformed over the centuries from a private home that was the site of clandestine Christian worship in the first century to a grand public basilica in the sixth century, reflecting the growing legitimacy and power of the emerging Catholic church. The house was originally owned by a Christian consul and martyr, Tito Flavio Clemente, who was one of the first Roman senators to convert to Christianity. He allowed his house to be used as a secret meeting place for his fellow Christians, which religion was then prohibited. There is evidence of a pagan cult at the site. In the 2nd century members of a Mithraist cult built a small temple dedicated to Mithras in an insula, or apartment complex, on the site. This temple, used for initiation rituals, lasted until around the end of the 3rd century. Excavations in the 1860s revealed the first forgotten basilica underlying the medieval one. In the late 4th or early 5th century, after Christianity had become the official religion of Rome, the small church was enlarged, acquiring the neighboring insula and other nearby buildings; the architects began to work on the complex of rooms and patios, building a central nave on the site of the previous church, and an apse on the previous mithraeum. The new church was dedicated to Pope Clement I, a first-century Christian convert and a contemporary of Titus Flavius Clement. Restorations were undertaken in the 9th century and around 1080-99.1 Apart from those in the Church of Santa Maria Antiqua, the most extensive collection of wall paintings from the early Middle Ages are those found in the lower basilica of San Clemente. Over the following centuries, San Clemente became a "beacon" for church artists and sculptors, benefiting from the generosity of the Byzantine Empire. Currently, it is one of the most richly decorated churches in Rome. The last great event that occurred in the lower basilica was the election in 1099 of Cardinal Rainerius of San Clemente as Pope Paschal II. The current basilica was rebuilt in a campaign by Cardinal Anastasius, c. 1099-h. 1120, after the original church was burned to the ground during the Norman sack...

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...

Holy water from Friuli - Italy early 20th century Breccia partridge, copy of a seventeenth-century artefact Height 105cm Diameter 70cm Width70cm Depth 40cm Perfect conditions.

Amazing pair of 18th century carved wood cartouche. Carved with scrolling design and flowers throughout. Mounted on later iron and wood stands. Can be u...

A set of 3 hand carved and partly polychrome mounted chamois hunting trophies. Executed in South Bavaria or Austria in the 18th / 19th century. Great alpine and chalet decoration.

19th century bronze from Moulin Elegant 19th century bronze signed by the author. In Patinated bronze and simulation of porphyry. Measures: 50 x 35 x 16 cm Good condition.

Bronze sculpture of Venus, Louvre museum. Large sculpture of Venus made in the 19th century by the louvre museum. Height: 96 cm. Good condition.

Figure in golden bronze of the xix century THE BRONZE IS FROM THE 19TH CENTURY AND THE ONYX BASE IS LATE. MEASURES: 30 CM HIGH good condition.

Pair of columns from the 19th century ELEGANT OLD MARBLE COLUMNS FROM THE XIX CENTURY. THEY ARE COMPLETELY REMOVABLE-MEASURES: 105X27X27 CM good condition.

BARBEDIENNE ART NOUVEAU ONYX CLOCK EXCELLENT CLOCK OF THE XIX CENTURY MADE IN ONYX AND BRONZE BY BARBEDIENNE-SIGNED ON THE CLOCK AND ON THE CUP ART N...

ITALIAN WOODEN CONSOLES DECORATIVE ITALIAN CONSOLES OF THE XIX CENTURY MADE IN SOLID WOOD AND PAINTED WHITE. MEASURES: 115X57X92 CM good condi...

LITTLE ALABASTER DOG OF THE XIX CENTURY. DOG IN MINIATURE OF THE XIX CENTURY. MEASURES: 11X11X5CM. Good condition.

Serpentine sculpture. 19th century. It represents the abduction of Sabina and is made in Rome-Italy in the nineteenth century.Measures: 98 cm high.

A Spanish bronze sculpture end 19th century depicting the Holy Mary with the Christ Child. So-called: Sedes Sapientiae. Measure: H.: 33 cm very ...

Gilded bronze and silver figure. Figure in golden bronze on wooden pedestal and decorated with silver shield. Present some Missing see photos. Measures: 35 x 30 x 17 cm. good condi...

LARGE Roman bronze from the 19th century. Important bronze from the end of the 19th century roman signed S.V. The black marble base is later. Grand tour of Rome. Excellent condition ...

Very impressive 19th century solid silver antique German model of a ship, named "Nef" in the renaissance style, impressively large and highly deta...

Bust of Alexander II. Rare bust of Alexander II in gilded bronze on a malachite base from the 19th century The quality of the bronze is excellent with man...

Intricate lovers in bronze statue. From the late 18th century. This piece stands at 23 in high 7 inches wide. Perfect addition for your study or reading room.

An absolutely captivating deeply carved wooden sun sign, double sided, most likely dating to the early 19th century. This piece has spent much of it’s life ...

A pair of 19th Century French ormolu dolphin chenets French, 19th century 44cm high x 25cm wide x 13cm in depth. These superb antique chenets, or ...

Very large bronze sculpture with brown patina, based on the group "The Rape of the Sabine Women" by John of Bologna (Giambologna). This pivoting composition shows three figures in motion: a man on the ground defeated with his shield turned upside down, a second one arched clutching a woman launched towards the sky trying to escape, all on a naturalistic base. The Sabine man, the Roman and the Sabine woman are all depicted naked. This staging plays on serpentine lines known as "figura serpentinata" and diagonals giving a beautiful variety of volumes and a multiplicity of angles of view. The bronze is signed F. De Luca...

Panel with a 19th century profile face. Decorative 19th century Tondo with the face of an aristocratic character completely carved in wood and painted. Measures: 25 x 20 x 2 cm. Goo...

Antique cast bronze Baroque style sculpture of a nude female figure astride goatman. 14.5" tall x 10" x 8" . Unsigned. Verdigris patina. Very nice condition. Dimensions: 8" depth x 1...

Balance Bronze and iron England 19th Century Dim. - 44 cm Good condition.

This particular set of wooden tiles, was handmade with colorful rural scenes, to decorate the sides of the Sicilian carts used during popular folks. Thes...

A fine and charming pair of Austrian 19th century polychromed majolica hanging wall sculptures of an elderly couple peeking through a window, probably by Friedrich Goldscheider (Goldscheider'sche Porzellan-Manufactur und Majolica-Fabrik.) Each wall sculpture depicting an elderly man wearing glasses and a traditional cap with his arms extended forward as if it was reading a book or a newspaper. The other depicting an elderly lady, also peeking through a window, wearing a laced cap with a bow tie and shawl over her shoulders, her arms are also extended forward as if it was reading a book or a newspaper. The male figure stamped on the back "78 - II ." The lady figure stamped on the back "37 - 79." Vienna, circa 1890-1900. Man's height: 16 1/2 inches (41.9 cm.) Man's width: 13 3/4 inches (34.9 cm.) Depth: 8 1/2 inches (21.6 cm.) Lady's height: 15 1/2 inches (39.4 cm.) Lady's width: 13 3/4 inches (34.9 cm.) Lady's depth: 6 1/2 inches (16.5 cm.) Goldscheider Manufactory and Majolica Factory (German: Goldscheider'sche Porzellan-Manufactur und Majolica-Fabrik, (now) Goldscheider Keramik) is an Austrian ceramic manufactory. In 1885, Friedrich Goldscheider came from the small Bohemian city of Pilsen to Vienna and founded the Goldscheider Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria with subsidiaries in Paris, Leipzig and Florence. For over half a century Goldscheider created masterpieces of historical revivalism, Art Nouveau (Jugendstil) and Art Deco. Famous artists such as Josef Lorenzl, Stefan Dakon, Ida Meisinger and the two perhaps best known Austrian ceramic artists Michael Powolny and Vally Wieselthier worked for Goldscheider. Several of the artists who worked for Goldscheider also worked for other Viennese studios, such as Augarten, Keramos or for the German brands Rosenthal and Meissen. The Goldscheider family emigrated in 1938 to United Kingdom and USA. Walter Goldscheider startet a new factory in Trenton, New Jersey and returned to Vienna in 1950. Marcel Goldscheider went to Stoke-on-Trent and produced figurative ceramics for Myott and opened his own studio in the 1950s in Hanley. Both brothers died in the early 1960s. More than 10,000 different models were created over a period of three generations. Since the very beginning many of these won first prizes and gold medals at innumerable world fairs, exhibitions and trade fairs. Goldscheider figures...

Pair of 19th century cups. In very good condition. The bronze has a fine chiselure. Beautiful patina. Good condition.

This is a 20 inch statue of a child holding a flame. The sculpture mislead and surprisingly heavy for its size. The patina is beautiful.

Atlantis in wood XIX century. Wood carving representing an atlantis from the XIX century. Measures: 70 cm high Very good condition.

18th century carved Venetian polychromed gondola figurerhead, realistically carved and painted, raised on a 6.5" diameter base.

This particular set of wooden tiles, was handmade with colorful rural scenes, to decorate the sides of the Sicilian carts used during popular folks. Thes...

This large, charming, antique clay cherub composition was sculpted in France, circa 1880. The sculpture depicts two angelic children playing with a goat; the cherubs are nicely carve...

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...

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

A group of porcelain 19th century Rape of a sabine 77 cm high. Italian porcelain.

Decorate a man's office with this elegant antique statue. Crafted in France, circa 1860, the sculpture named "Le Duel", features a soldier in traditional outfit and holding a sword. ...

A magnificent 19th century bronze of Ulysses stringing his bow on square base. After Jacques Bousseau (1681-1740). Circa 1830 French Dimensions: H: 35 in / 89 cm W: 11 i...

Lovely putto sculpture in typical Baroque Style. This beautiful and chubby putto sculpture was probably part of a larger Church ornament/sculpture or ...

This is a mephistophelic figure in solid wood carved of "Mrs. Devil" in the form of a hall support. Italy 1875-1890. Measure: Height 185 cm - Good condition, Mother of pearl eyes.