Baroque Sculptures

An Italian cherub, carved from linden wood wood. This graceful and exceptionally well-carved figure was likely part of an altar ensemble. The eyes and face are particularly well-form...

This beautiful 17th century carved angel has retained its original paint.

Evocative wooden sculpture depicting a female figure, probably a Magdalene, made in the northern Italian area in the early 18th century. The work, carved in wood, gilded, and polychr...

This charming depiction of a boy measuring the earth with a compass is an allegorical sculpture of geography. This bronze was cast using the lost wax technique and is fire gilded. He...

18th century Baroque/Rococo english glazed painted porcelain of a goat-riding tailor by Chelsea Pottery By: Chelsea Pottery, Meissen Porcelain (in the style of) Material: porcelain,...

Beautiful wooden statue of an 18th century baroque style Angelo. It is finely carved. Some old restorations are to be noted on the feet, and the left hand. The back wings are missing.

Beautiful Venetian lady and gentleman in ruby-red and black, with gold finishes. This amazing Venetian set is composed of a lady and a gentleman in ruby-...

19th Century Italian Sculpture – Boy with a Cornucopia Dimensions: 33 x 12 x 12 cm Material: Carved and polychrome wood A delicate 19th-century Italian sculpture depicting a child h...

Two Black Glazed Terracotta Lions Serve as Candleholders, early 1800s France. A pair of glazed lions with great character, showing the wear and tear of time (both have lost the tips ...

Early 19th Century silver plated putti on a modern star shaped Lucite base.

A Period German or French large scale Baroque Garden Statue of a Pan Satyr. Well carved with impish gaze and wrapped in sheepskin Ex Prominent New York Co...

A Timber Group of Sleeping Silenus and Youth, Probably Dionysus, 17th Century Provenance: Acquired from a private collection, Paris c. 1980s. Description: Reminiscent of Flemis...

Roman manufacture of the 18th century. Pair of sculptures in burnished and gilded metal. Measures: Height 40 cm. Marble base. Good conditions.

A charming translucent soft-paste german porcelain figurine of a dancing couple of the Volkstedt, Muller & Co, Dresden manufacturing of the late 18th century, mark on the base

20th Century Italian "Saint" Sculpture in Carrara Marble Height: 53 cm Perfect original condition

Masterpiece and Museum Pair of Feet of "Mercury" 17th Century in Greek Thassos marble late 17th century early 18th century 17th/18th century 120 x 50 x H 70cm good condition for the ...

A pair of lions of the same design made of stone with escutcheons. Together they bear the date 1701 and the monogram B. W.

YELLOW SIENA MARBLE ROUND OF ALEXANDER THE GREAT AMMON 20th Century This roundel is part of a series of roundels inspired by wonderful ancient Greek coins. Freely reproduced from a...

Beautiful Italian Caesar Bust early 20th century Carrara marble Measure: H: 51 cm Perfect condition.

Beautiful Italian " Ippocrate " Bust early 20th Century Carrara Marble H: 56 cm perfect condition.

Beautiful Italian " Goethe " Bust early 20th century Carrara marble Measures: H: 41 cm Perfect condition.

Italian sculpture " Venere Medici" Head Begin 20th century Marble Measure: H: 41cm including the base Perfect condition.

Magnificent "Dorso Masculino" sculpture in Carrara marble from the 20th century. Italy Measures: H. 108cm x 37cm Perfect conditions.

This extraordinary pair of Late Renaissance/Early Baroque Genovese Italian wood cherubs is a testament to the exceptional craftsmanship and artistic f...

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...

Apollo Di Piombino Del Louvre, bust in Terracotta - Kouros Di Piombino early 20th century Measures: height 46 cm width 20 cm depth 15 cm Weight 3 kg Artist / designer / architect an...

17th century distressed Italian decorated church candlestick with fossil agate coral and natural forming baroque pearls on a lucite base. The 17th century Italian distressed candles...

JESUS CHIELD German Sculpture, from the 17th century in silver metal. Set on a wooden base. Height. (sculpture) 52 cm. Height: (total) 60 cm. good conditions

This 17th-century Southern European Baroque sculpture powerfully embodies the martyrdom and miraculous endurance of Saint Sebastian, a Roman soldier condemned for his Christian faith...

Sculptural 18th century Italian fragment with chalcopyrite on a druzy crystal matrix with calcite crystals and gold-plate kyanite. Th...

Impressive early 18th century hand carved life-size marble bust of a Roman man, circa 1700 Italy, possibly older. Condition is good with minor chips and nicks consistent with age...

17th century Italian fragment mounted with mica cluster with garnets on a petrified wood base. This fragment is from a church in Florence. It wa...

Hand carved Italian Santo: figure of Franciscan abbot or saint, circa 1780-1800. Note: Regional differences in humidity and climate during shipping may...

A bronze cast of Diana, Goddess of the Hunt, after Pierre Roche (French 1955 - 1922). The sculpture stands on a square green marble base. Dimensions: Base: 8" x 8" Overall: 10.5" ...

BEAUTIFUL EARLY 1800'S MEDALLION OF TSAR ALEXANDER II. IN GOOD GEMERAL CONDITION. PRESENT SLIGHT FAULTS ON THE EDGES- SEE PHOTOS. MEASURES: 10 CM DIAMET...

OUR LADY OF ASCENSION Portuguese sculpture, 17th Century in polychrome wood. Small defects and traces of treated xylophages. Dim. Height: (total) 125 cm

Large 18th century Italian carved Santo figural icon sculpture depicting a boy with arms raised dressed in a blue parcel-gilt outfit with boots. Heavily aged and distressed polychrom...

TERRACOTTA FOUNTAIN MASQUERON DECORATIVE TERRACOTTA OR SIMILAR MASCARON FROM THE BEGINNING OF THE 20TH CENTURY. MEASURES: 40X37 CM good condition.

Hard porcelain bear modeled and painted in gray-brown and black Manufacture of Meissen, by Johann Gottlieb Kirchner and Johan Joachim Kaendler, 1735 It...

This exceptional pair of carved wood figures reflects the early Baroque aesthetic of Northern Italy during the late 16th to early 17th century. Executed with expressive dynamism, eac...

Exceptional and huge pair of armchairs, in carved wood, decorated with acanthus leaves and volutes, the armrests ending in lions' heads, the footrests in dolphins' heads. Traces of ...

This late 18th-century Capodimonte figurine, depicting a traveling couple with suitcases, crafted from fine translucent soft-paste porcelain. The man and woman are elegantly dresse...

Sandstone sculpture of a saint in a garment rich in folds. Arms and attributes missing. Weathered patina condition.   

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood with a rectangular and flat shape, slightly raised on circular legs and...

Pair of early giltwood book stands carved as doves mounted upon orbs, from the late 17th or early 18th century. Nice large scale. Books are laid open across the backs of the doves' w...

After Pietro Tacca (Italian, 1577-1640) "Il Porcellino" [The Little Pig] Patinated Bronze Sculpture, 20th century, mounted on wood base. Overall: 8.25" H x 8.25" W x 4.25" D. Provena...

Meissen porcelain figure of a faun with her child. The child is sitting on a small chair while his mother is offering him to drink from a horn. Beautiful figure with passion for deta...

A pair of hand-painted porcelain figurines in Baroque style, depicting an elegant lady and a gallant musketeer, gracefully posed in richly detailed 18th-century attire. Crafted in G...

Exquisite flowers in hearty oak This is a pair of antique finials or decorative finishing elements. Dating circa 1680 and nearly 350 years old, they are remarkable ...

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

Figure seated on rock work wearing a crown.

A French Baroque style walnut putto from the late 18th century, sitting on a pillow. Created in France during the last quarter of the 18th century, this walnut sculpture charms us wi...

Suite de quatre importants termes en bois sculpté relaqué gris représentants des hommes drapés à la taille, aux bustes dénudés soutenant sur leurs têtes des putti. Par paire, deux te...

An elegant and extremely decorative Italian 17th century Baroque period Giltwood and patinated wood Putti statue. The statue is raised by a Giltwood plinth with a Coeur-de-Rai carved...

Marble statue in the style of François Duquesnoy. We have a similar statue available of "Sleeping Cupid" available as a gorgeous pair. See other listing. Please note, the marble p...

Pair of 18th Century Carved Walnut Putti, Twin Caryatid A very fine pair of 18th Century Cherub figures, the detail of these charming angelic lit...

A Capodimonte porcelain painting from 1820 shows a woman in a swinging armchair. Mark near Capodimonte - 1771 to 1834. The first use of the Neapolitan "N" covered with a 5-pointed cr...

Monumental sculpture in painted wood, Swedish, 17th century. Measures: Height from head to toe 140 cm, from arm to toe 180 cm.

The kneeling Angel portrays a loosely draped gown and is kneeling amongst clouds, with the sacred heart of Jesus in its hand. The dramatic pose and composition of this piece, along w...

A Carrara Marble Bas-Relief depicting Apollo Italy, 18th Century 30,5 x 16,5 cm very good condition.