Neoclassical Sculptures

Art Sculpture of natural specimen conch sea Shell mounted on antique rotary telephone.

Timeless pineapple motife cast cement finials or acorns having marvelous aged and verdigris patina. The imperfections where some of the cement has chipp...

Gustavsberg Biscuit Sculpture “Psyche” after Bertel Thorvaldsen, c. 1900 Biscuit porcelain sculpture depicting Psyche, the mythological spirit and goddess of the soul. The figure is...

An exceptional and very high quality French 19th century Neo-Classical st. ormolu and white Carrara marble statue of Cupid offering a rose to Psyche. The statue is raised on a rectan...

A pair of beautiful gilt bronze maidens representing Music and the Art.s Music holds a lyre, known for its use in Greek classical antiquity, in her left hand and is bringing her rig...

A bronze sculpture of Euterpe attributed to French metalworker Ferdinand Barbedienne (1810-1892). Embellished to the reverse with the official stamp of the Collas et Barbedienne foun...

This hand carved druzy (galaxy) amethyst crystal heart from Uruguay is a striking, sculptural mineral specimen that blends natural elegance with artisanal craftsmanship. As you move ...

An elegant, neoclassical-inspired female bust, hand-carved from white marble combined with veined marble in dark and ochre tones. The figure features a delicate, serene face, with he...

This plaster bust depicts a woman in the classical manner, her hair drawn back beneath a wrapped fillet into a high coiled chignon. She is draped in a mantle that crosses diagonally ...

A handsome hand-carved alabaster style sculpture of an Olympian athlete preparing to hurl a disc, probably 20th century. Possibly soapstone or resin, but resembles alabaster. This st...

This impressive pair of vintage Neoclassical black marble obelisks by Maitland Smith features dramatic architectural forms accented by elaborate gilt-metal detailing. Each obelisk ri...

This 1880-1889 pair of cassolettes was sourced from France and is worked in belgian black marble and bronze, its surface finished in a deep black with faded verdigris tone. The pair ...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

A 20th Century Italian white marble bust of a smiling girl, a carved Carrara marble figural sculpture, signed on the base by the Italian artist Aurelio Bossi, 1884-1948, whose sculptures are displayed at Pinacoteca di Brera in Milan, whereas at the Duomo Milan Cathedral there is his Statue of Cardinal Borromeo, while two busts adorn the facade of the chapel of the Niguarda Hospital. This antique female...

A Monumental Patinated Bronze Bust of George Washington, after William Rush This commanding bronze bust of George Washington is modeled after the cele...

The circular white-enameled dial signed ”Detour Paris” with Roman hours and Arabic quarter marks, a further inner Arabic chapter ring for the day of month. Pierced gilt hands and a b...

This tall duck finely chiseled is made of silvered bronze. This is a French work. Circa 1970 (Part of a set of 3 ducks that can be sold separately)

A beautifully proportioned pair of malachite obelisks in richly veined shades of green and black. The sculptural silhouettes and naturally dramatic stone movement give the pair a qui...

The vintage porcelain or ceramic dove figurines feature finely detailed bodies, artfully hand painted with light green accents on bright white majolica glaze, creating a reserved, natural color palette of white and tone-on-tone green. The birds are realistically sculpted with wide, flowing tails, standing calmly with their heads slightly turned. They are not mirror images of each other; each presents subtle differences in posture, adding visual interest and another layer of complexity to the set. Highly detailed figurines convey a touch of historical elegance and whimsical charm of traditional Italian country style. Each sculpture is marked with ITALY and model numbers on the inner surfaces. While many Italian artists and studios created their version of dove figurine, most of them are stylistically different from this pair; Bitossi and Zaccagnini birds have more streamlined, Modernist silhouettes, and the doves created for Raymor were less detailed and intentionally less realistic, as well as most often marked with distributor name in writing. We're attributing the pair to Mottahedeh, who sourced Italian majolica in similar style; the pieces will be simply marked ITALY and Mottahedeh will add their paper stickers. As the sculptures are quite old, the stickers often get lost or destroyed. The convenient size and small footprint allows the set to be used in a multiple ways, such as dining room centerpiece, console table accent, shelf or fireplace mantel decoration...

An exquisite English Royal Worcester porcelain Samuel Clarke Commissioned "Cricklite" candle "fairy lamp" standard - base, the rare figural statue in the form of a Grecian water carrier, modeled by James Hadley (English, 1837-1903), the exceptionally executed, richly detailed Neoclassical figure holding a vessel in her left hand and carrying an urn upon her head, wearing flowing robes, the body in blush ivory, the robes of green/gold hue, with gilt highlights. Circa 1898 Signed, underfoot having green printed mark, "Worcester Shot Enamel England 2 125" and imprinted markings by its side. Dimensions: (approx) 9.5" High, 3" Diameter Provenance: From the estate of Ali A. Abssi (1934-2020) and Florence Hall Abssi (1919-2014), founders of the Ishtar Gate...

An elegant, classically inspired sculptural bust carved from two-tone marble, highlighting the refined contrast between the polished black marble of the face and the veined beige mar...

A handsome and wonderfully executed Italian 19th century neo-classical st. white Carrara marble and a faux painted marble bust of Napoleon. The bust is raised by an exceptional and m...

Neoclassical bronze by Louis Alfred Habert (French, 1824-1893) late 19th century figure of the muse: Terpsichore. Classical female seated, holding a Lyre a...

Spectacular pair of antique heavy metal sculptures of fighting roosters.

A Late 19th french verdigris bronze group of Arab Hunter on Horseback. Cast from the model by Alfred Barye and Emile Guillemin, Late 19th Century, wearing elaborate costume and with ...

A beautiful Royal Worcester porcelain figure of Venus, the young woman wearing a loose drape edged in gold and gilding and falling in folds ...

Austrian bronze dog (ashtray and phosphor) Artist: F. Gornik sealed at its base circa 1900 perfect condition.

Lovely vintage mid 20 th c life size sculpture of an orange cat reclining, ceramic signed Dottie.

This signed polychromed bronze sculpture after Auguste Moreau beautifully captures the elegance and romantic spirit of the late 19th-century French Art Nouveau movement. Depicting a ...

19th-Century French or Italian Neoclassical Cast Bronze Eagle Pocket Watch Holder, Circa 1870s This impressive 19th-century Neoclassical pocket watch holder is executed in cast bron...

A wonderful Art Deco style cast brass coiled serpent snake circa Early 20th century Measures: 12"W × 2.13"D × 2"H Excellent original vintage co...

A striking polished solid malachite egg, notable for its substantial weight, deep emerald-green color, and richly figured natural banding. The stone displays dramatic concentric form...

Refined Italian biscuit porcelain sculpture inspired by Canova’s “Psyche Revived by Cupid’s Kiss.” Finely modeled with detachable wings a...

An evocative antique French carved marble female bust fragment, executed in the Neoclassical tradition and distinguished by its beautifully rendered drapery. The absent head transfor...

Circe Italian Neoclassical Sculpture of Early 1800s the figure is a fascinating depiction of the Goddess Circe, made in Italy in the early 19th century. The pine wood carving and ebo...

This set of three ducks finely chiseled is made of silvered bronze. This is a French work. Circa 1970 (Each duck can be sold separately) Additional Information: Material: Bronze Per...

Here is a great looking set of 7 pieces of carved stone fruit with a wonderful realistic look that would make any décor colorful and classy. There are some imperfections on these pie...

Marble Busts of Roman on pedestal. Early 19th Century

Pretty alabaster sculpture of a young man removing a thorn from his foot. Theme taken up many times in the sculpture, the oldest known example of the boy with thorn...

An impressive pair of large Ashford black marble "pietra dura" obelisks from the early C19th when there was great interest in the Grand Tour' decorative art style and keen tourists o...

This very nice and decorative sculpture representing a duck is made of brass. This is a French work, very finely chiseled. Circa 1970

This magnificent pair of gilt and patinated bronze sculptures faithfully reproduces the iconic Marly Horses, originally sculpted in marble by Guillaume Coustou (1677–1746) for the Ch...

A pair of magnificent shell sculptures representing two ladies or princesses from the grand siècle, with subtle details, a hippie creation from the 1970s, anonymous artist, France 1970.

A pair of exquisite antique Italian Neoclassical alabaster figures, each presented on square plinth bases. Both figures are sculpted in full round, standing atop circular socles that...

A cast of a plaster sculpture depicting a full-length horse for an equestrian monument is set on the ebonized wooden base. A study for teaching academic drawing. Italy, late 19th cen...

Beautiful colourful handpainted blown glass Holiday figurines of Sea horses as Christmas decorations and collectibles.

A weathervane in the form of a running horse, that was likely modeled after "Dexter" circa late 19th century on a custom display stand. The full body molded horse has a gilt surface with verdigris patina. Not entirely sure of the maker but possible by L. W. Cushing & Co. In Waltham or Harris. Co in Boston. The surface has been re-gilt historically likely dated from early 20th century. A lovely piece that transcends American fold art...

A handsome pair of vintage ceramic lion figures, likely Italian, finished in an ivory crackle glaze. Each lion is modeled reclining atop a rectangular plinth, with deeply sculpted ma...

Baccarat Style French Crystal Gilt and Patinated Bronze Floral Topiary Cachepot, France, Circa 1960s  An exuberant Baccarat-style French crystal gilt and patinated bronze floral top...

Bronze Sculpture of Diana the Huntress, F. Barbedienne, 19th Century. A sensational French mid 19th century Louis XVI st. patinated bronze statue of Diana the Huntress, signed by Ba...

Neoclassical Parian porcelain bisque cast Roman/Greek Figurine Neoclassical figurines of a draped Roman or Greek couple. The pair consists of a female muse & a draped Roman or Greek ...

A Neoclassical Italian Grand Tour Patinated Bronze Bust of Apollo Belvedere, Circa 1860 The bust is cast as a half length figure of Apollo, shown with the head turned to his right a...

A D. Brucciani (1815 – 1880) antique 19th century plaster horse. This cast figure is signed ‘D. Brucciani & Co, London’ along the side of the base. Brucciani’s firm was influent...

Pair of very fine silver plate substantial & decorative Ram's Heads. Perfect for bookends.

An elegant vintage crystal glass gazing globe with a softly luminous presence. Hand-crafted from solid crystal glass, this spherical form feature...

A beautifully proportioned black and grey faux-marbled patterned obelisk with brass mounts. The sculptural silhouette and marbling detail give the piece a quietly architectural prese...

Pair Neoclassical Style Tole Palm Tree Topiaries, Attributed to Maitland-Smith This striking pair of Neoclassical-style tole palm tree topiaries exemplifies the enduring appeal of c...

Life-size patinated bronze group after Canova Italian, 20th Century Height 180cm, width 108cm, depth 61cm Antonio Canova (Italian, 1757-1822) is widely regarded as one of the master...

Italian School, The Bathing Venus, Patinated Bronze Sculpture, late 19th century, cast by Fonderi Nelli Roma, the standing figure removing her elaborate robe on a circular base, stam...

Lovely lifesize terracotta figure of Venus in her bath set upon a rectangular pedestal.