Baroque Sculptures

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...

Amazing Marble bust of Caesar, Roman Emperor, early 19th century Height x width x depth: 51 x 46 x 28 cm finely carved from polychrome marble. Good condition

Amazing Bust of a Roman Emperor, Italy, early 19th century Height x width x depth: 51 x 53 x 29 cm in polychrome marble, depicting a young Roman emperor (iconography of Augustus or ...

Beautiful Male Bust, Italy, began 20th century Height x width x depth: 45 x 34 x 16 cm in white statuary Carrara marble with a Portoro marble base. Good condition

A Beautiful Italian grand tour style pietra dura mosaic on marble plaque with gilt framing. Picture is a bird on branch with leaves and flowers.

Gorgeous small statuette depicting a silver cherub from the Baroque period, late 1700s. The statue is made entirely of gilded silver and depicts a music...

Lion of Saint Mark with motto in Botticino marble - Serenissima - "Ti con nu, nu con ti" - 85 x 85 cm - Venice Spectacular and unique high relief in Botticino marble, depicting the ...

Italian sculpture "Ercole" head Begin 20th century Marble Measure: H: 42cm including the base Perfect condition.

Likely Italian, but possibly German origin - 19th century A pair of finely carved wood figures of Spanish Conquistadors or German Landsknecht. Each modeled in the Renaissance attire...

This masterfully carved 17th-century Flemish sculpture presents Jesus Christ as the “Salvator Mundi” — Savior of the World — a powerful icon of devotion and divine kingship. Sculpte...

Large figure standing with a book under his arm with hand extended.

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...

Antique marble Centenary, 19th-century. Once used during the grape harvest, today it can be used as a decorative element or as a water basin, etc. (with the option of drilling a hol...

A charming 17th-century Colonial sculpture depicting the Niño Jesús as Salvator Mundi, carved in wood and retaining its original polychromy with a naturally aged surface developed ov...

Extraordinary and unique, this gorgeous large sculptural copper panel depicting 16 charming dancing Putti, playing and amusing themselves, with 1 dog and 1 bird, after Clodion, early...

18th Century Bronze Sculpture of a Child or Putto holding a Dolphin in her hands, configured as a Fountain Figure. Probably inspired by the fountain figure created by Andrea del Verr...

Centerpiece fountain with octagonal basin in Rosso Verona marble and Greco Thassos marble, 18th century Water flows from the center of the basin through a hole. It dates back to the...

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 pair of hand crafted wood and gilt gesso overlay baroque display stands (ideal for clocks or small statues and busts), each with applied harleq...

Gold Gilt Gesso Frame German Decorated Wall Plaque Plate c1920s

Beautiful single-block Carrara marble Bacchus. From Northern Italy, private collection. A work of high craftsmanship, with meticulous attention to detail and anatomy. The dimensio...

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

Truly one of a kind pair of old handmade reclining lions. These are unsigned and used a mixture of clay and fiberglass fibers. They show very heavy signs of loss over the years b...

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...

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

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

One of a kind patinated bronze bust of a child on a stepped ebonized wood pedestal,François Duquesnoy school, decorated with tortoiseshell look alike inlays. The bust shows a clea...

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...

A striking Baroque angel torchbearer sculpture carved in wood and retaining traces of its original polychrome decoration. The figure is depicted standing in a graceful contrapposto ...

A gilded wooden sculpture of a cherub’s head from the 17th or 18th century. A sculpture of an angel’s head in the Italian Baroque style from the 17th or 18th century. H: 17 cm, W: 1...

A early 17th century French Gargoyle. Gargoyels were originally intented as waterspouts for churches and castles but soon were used as ornamentation. A...

A charming pair of Spanish Baroque carved wooden cherubs dating from the 17th century. Each figure is hand-carved in solid wood and retains its original antique polychromy with a war...

Excellent Meissen porcelain figure of the 19th century: A winged Cupid, covered only with a cloth, his curls held back by a headband, holding his bow horizontally in front of him, dr...

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

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...

France, circa 1880 An impressive late 19th-century French bronze sculpture depicting a charming Baroque putto seated upon a classical pedestal and presenting a finely rendered tulip...

Large lacquered and gilded wooden sculpture of a seated putto, holding a candlestick at arm's length. He sits on a later faux-marble painted wooden base. The sculpture dates f...

This incredible one of a kind hand crafted limestone Head of Commedia dell’arte character Scaramouche was found many years ago by an archeologist in Venice Plaza San Polo by Rialto Bridge. The head is masterfully and very detailed hand crafted out of limestone and placed on a pedestal with an ivory marble base. A truly unique part of Venetian History and an important figure in the world famous Italian Commedia...

This elegant antique sculpture titled “Le Duel” was crafted in France circa 1860 by noted sculptor Pierre-Louis Détrier (1822–1897). Cast in bronze and later re-silvered to a brillia...

Excellent Meissen porcelain sculpture: Group of seven gardener children in elaborate Rococo clothing placed around a wine press, sitting on it, manipulating the machine, eating grape...

This expressive antique polychrome carved wood sculpture depicts Saint Thomas the Apostle, identifiable by the carpenter’s square held in his hand, his traditional attribute, and the...

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 elegant, hand-carved bust in white marble and striking veined red marble, depicting a Renaissance-inspired gentleman with refined details in his face and attire. The work is notab...

This delightful antique sculpture was crafted in France circa 1890, and depicts two cherubic children at play with a goat in a joyful, animated composition. Sculpted in clay and sign...

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

Pair of Early 18th Century German Baroque Polychrome Sculptures of Musicians. Charming and rare pair of carved wood and polychrome figures of joyous youths playing instruments. Our p...

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

A wonderfully carved limewood bust of a medieval knight, retaining much of its original painted decoration and character. The knight is depicted in full armour, with a finely carved...

An imposing sculptural bust carved in white marble depicting a nobleman or high-ranking military dignitary from the Baroque period, likely inspired by European models of the 17th and...

Chérubin en bois polychrome et doré à la feuille. Cet angelot baroque date du XVIIIème siècle.

Augustus Emperor - Head in carrara white marble - First Roman Emperor Early 20th century Height 37 cm Width 23 cm Depth 15 cm Weight 18 kg Material white carrara marble Very good con...

OUR LADY WITH THE BOY JESUS Indo-Portuguese sculpture, !7th Century in polychrome, upholstered and gilded wood. The figure is represented standing, holding the Baby Jesus with his l...

Important German Sculpture "CHILD JESUS" 17th Century in silver metal. Sitting on a wooden base. Height (sculpture) 52 cm. Height: (total) 60 cm good original conditions

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

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...

Meissen Rococo harlequin with bagpipes of most lovely appearance.: The lovely harlequin is sitting on a rocky base which is decorated with some flower blossoms with leaves. The male ...

Venetian Baroque Carved Walnut Sculpture of a Siren Supporting a Circular Planter Attributed to Andrea Brustolon Italy (Venice), 18th century A masterfully carved walnut figure of a nude siren, kneeling on an elaborately scrolled and shell-carved base while raising a large, richly ornamented circular flower basin above her head. The female figure is rendered with great sensitivity: her body is soft and naturalistic, her face turned slightly upward with an expressive gaze, and her hair carved in loose, flowing locks. The basin itself is deeply undercut with scrolling acanthus, cartouches, and rocaille ornament, creating a dramatic interplay of light and shadow typical of the finest Venetian Baroque wood carving...

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

This hand-crafted Calvary sculpture was produced in Spain during the 17th century and is carved entirely from boxwood. The piece depicts the traditional Calvary scene, representing Christ crucified on Mount Golgotha, a subject widely interpreted in Spanish religious art of the period. Boxwood was a favored material for devotional sculptures due to its density, fine grain, and ability to hold highly detailed carving. The sculpture is executed with careful attention to proportion and anatomical detail, reflecting the devotional and didactic purpose of such works. The compact scale and refined carving suggest it was intended for private worship, a chapel setting, or ecclesiastical use, rather than large-scale architectural display. The use of boxwood allows for crisp detailing, particularly in facial features, drapery, and the structure of the cross. Calvary representations played a central role in early modern Catholic iconography, serving as visual tools for meditation and reflection. This example reflects the craftsmanship and religious sensibility characteristic of 17th-century Spanish carving traditions. The sculpture remains a strong historical object, valued for its material quality, traditional iconography, and artisanal execution. It stands as both a devotional artifact and a collectible example of early Spanish religious sculpture.

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