Baroque Sculptures

17th century Italian candlestick with aquamarine. The candlestick is from originally from a church in Florence. It hand-carved and hand-painted with hints of pale greenish-hues showi...

Pair of Late 17th/Early 18th Century carved and polychrome Italian angel figures. Now mounted in modern stands. Wonderful baroque carving and retain original paint   

This striking bronze figurative sculpture by renowned Italian-American artist Angelo Basso is a testament to his exceptional craftsmanship and mastery of ...

Interesting 18th Santos figure with glass eyes, but without hands or feet, this piece was part of a large installation. Appears all original with he...

The levade (French 'se lever' = to rise) is an exercise in classical horsemanship in which the horse shifts its weight onto its bent hind legs, raises its torso at an angle of less t...

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

Gilt bronze lion on marble base. Antique chased gilt bronze recumbent lion on rare green speckled marble base. Italy, late 17th century. Dimensions: Ov...

This is an extraordinary pair of warriors sculpted and engraved in gilted wood. These pieces hail from the Mid-18th Century, by a Master cabinetmaker from Lucca, Tuscany, that sho...

Sculptural 17th century Italian gilt candlestick mounted on chalcopyrite and adorned with gold-plated kyanite. This fragment was originally part of a candlestick from a church in It...

Set of Ceroferous Angels, bearing the light brought by Christ. Beautiful sculpture . Very fine workmanship . Mounted on cherub-like supports, one arm on the hip. Gilt and polychrome...

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,...

Our artisan's pieces are a dream come true, as in Dragon Trainers. This ceramic piece is completely hand-crafted and painted with love and care.  

Victorian Gilt Bronze figure of a Child playing the Cymbals Sitting Cross leg on a rock, fine detailed casting, on the face, Hands with the cymbal band wrapped around, Stripes on...

A Baroque style vintage bronze statuette of a putto carrying a wicker fruit basket with silver patina. Inspired by the drama and opulence of the B...

Our artisan's pieces are a dream come true, as in The Frog Prince. This ceramic piece is completely hand-crafted and painted with love and care.  

Cast bronze figure of a priest holding a cornucopial form crozier. Mounted on a modern turned ebonized wood socle. The bronze figure is 9 1/2" tall. Overall height including th...

This is a Meissen Porcelain lady figurine that it is part of group of five that represents the five senses. She represents the sense of Touch. It depicts an 18th century lady in a chair beside a side table that has a large birdcage...

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

This 20th century Saint Benedict polychrome wooden statue radiates an aura of tranquility and wisdom, making it a cherished piece of sacred art. Standing 84 cm tall, the statue depi...

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-...

This 18th Century French wooden Baroque decoration is a richly carved fragment transformed into a striking sculptural object. Featuring an abundant cluster of fruit—likely pomegranat...

This 20th Century French wooden Baroque decoration features richly sculpted fruit motifs and traces of its original polychrome finish, offering a striking example of ornamental craft...

Golden wooden sphere sculpture formed with a bright golden sphere at the top supported with a gray wooden base. Baroque style from late 20th century. *The item is sold as a unique...

Sculptural 18th century Italian candlestick mounted on chalcopyrite and adorned with baroque pearls. This fragment was originally part of a candlestick from a historical church in I...

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...

This captivating 20th-century wood sculpture depicts Our Lady holding the Child Jesus, crafted from warm wood with a timeless elegance. Standing at 84 cm tall, the statue exudes a s...

Gold Gilt Gesso Frame German Decorated Wall Plaque Plate c1920s

Two life-size, expressive busts of white marble as allegories of winter as an old man with coat and tongs - and - of spring as a youth with cap, on conical stelae with leaf ornaments...

Early 19th century wooden statue of St Jerome, circa 1800. South Europe.

This striking pair of carved giltwood dolphin figures mounted on clear lucite bases likely began their life as decorative architectural elements—perhaps once adorning a piece of furn...

The Infant St John the Baptist, A first half of 17th century Sevillian School Cercle of Juan de Mesa Velasco (Córdoba, 1583 - Séville, 1627) Polychrome and carved wood Height: 65 cm ...

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...

Porzellanfabrik, Thuringen, Germany, circa 1920s, by Aelteste Volkstedter. To set a breathtaking table, first give each guest their own unique porcelain sculpture …. This dramatic co...

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

A Pair of 19th Century Italian Putti Signed A 2 Baroque figures hand made in wood composition and gesso, 2 playful cherubs, they have twin hooks in the back enabling them to be hung...

The 17th century putti raised on gilt bronze-mounted neoclassical porphyry bases from the late 18th century.

Anatomical Sculpture in White Carrara Marble early 20th century. Sculpture in white Carrara marble representing a human bust whose half is skeleton, the other half is flayed. Placed ...

Amazing Baroque sculpture of a woman wearing a crown in original paint. Her hands are missing. Colors are untouched, recently cleaned off from a thick dark coating, I have images fro...

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

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 finely crafted carved wooden figure from around 1800 showcases exceptional artistry and detail. The seated figure, dressed in its original white garment, exudes a gentle, childl...

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 rare and very charming door knocker, Venice, 17th century in bronze with special patina.

Pair of large statues carved in the round, probably representing cerulean angels (although there is no evidence of wings on the back), or allegories of fortune (in which case we can ...

Excellent Meissen porcelain sculpture: Very elaborate and lovingly designed group of figures: two young women with artfully pinned-up hair and wrapped in cloths tied around their loi...

Beautiful pair of ceraferous angels sculpted in the round in a very lively position (the movement in the hair is remarkable), almost Baroque. Very fine execution of the plastron armo...

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...

Italian Antique 18th century dancing putto marble statue. The sculpture features a small dancing Angel 'Putto" supported on a marble block with wonderful...

Antique Polychrome Carved Bust of a Bishop 18th Century Bust of a Bishop is a truly remarkable piece that showcases the exceptional craftsmanship and historical significance of the e...

Large Terracotta relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta 91 x 85 x 11,5 cm This event in the early life of Christ is recounted i...

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 ...

Important Italian bust "Roman Emperor" 20th Century Marmo di Carrara Measure: H: 63cm perfect conditions

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

18th century carved, painted and gilded Statue of a woman standing on a cloud. Sacral Art. Ca 1750 Sweden (possibly Northern Europe)

Carved in France in the 17th century, this commanding walnut bust likely represents Saint Paul the Apostle, depicted with dramatic realism and spiritual gravity. The figure features ...

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

O/7283 - Wonderful Venetian antique angels in carved and gilded wood, with particularly expressive faces - That's a very great quality and an interesting size, rare to find.. Wh...

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very goo...

Large original terracotta depicting Christ blessing, carrying the globe in his left hand. Traces of polychromy, missing the right arm, and a fold in the drapery, but very beautiful o...

Marble sculpture depicting "Saint Cristofer" 18th century Marble base. Some defects Good condition for the age Measures: 36 x 14 x 7 cm.