Neoclassical Sculptures

A handsome and high quality French Turn of the Century Neo-Classical st. Ormolu and Quartz statue of Aquarius, signed Antonin Carlès. This handsome statue is raised on an oval Quartz...

Bronze sculpture with marble base. Signed Comolera. France, late 19th century.

Large 19th century neoclassical carved marble sculpture of the three graces after Canova. A Beautiful execution of one of Canova's Masterpieces. Ours amazingly accurate to the sculpt...

A striking and high quality pair of Continental 19th century neo-classical st. patinated bronze and Rouge Griotte marble statues, signed J. Feiffer. Each statue is raised by a fine t...

19th Century polychromed terracotta pair of Angels. The pedestals shown in the photos are not included. Measurements: Angels figure: 69 cm (23,6...

Large Staffordshire figure of Benjamin Franklin, Named Franklin on base, mid-19th century This Staffordshire figure of Benjamin Franklin has a white base with the words Franklin mol...

This is an assembled pair of very early 19th century English Staffordshire Pearlware Obelisks that have been fitted as lamps. Minor restorations have been made to the obelisks over t...

Psyche revived by Cupid’s kiss. After Canova. Beautifully carved in fine statuary marble. The winged young man who has just landed on a rock where a ...

Neoclassical marble sculpture bust after Joseph Chinard French, late 19th century Measures: Height 65cm, width 34cm, depth 55cm Portraying Madame R...

19th century biscuit porcelain figurine featuring a young woman holding a bunch of flowers in her skirt. This figurine is representative of ...

An exceptional French 19th century neo-classical st. ormolu and black Belgian marble statue of Cupid offering a rose to the Psyche. The statue is raised by an impressive black Belgia...

Great Thorwaldsen bust. Marble figure of the sculptor Thorwaldsen Extremely expressive characterization, which, in an extraordinary detail, also reflects the facial expressions of hi...

Exotic carved teak sculpture. The sentinel with his sword drawn. 19th century architectural artifact.

A charming and very decorative Italian white ceramic figurative circular centerpiece depicting a group of dwarfs around a palm tree, in a toasting festive attitude. This Italian anti...

A very fine Italian 19th century Carrara marble life-size marble sculpture of "Hebe and The Eagle"; depicting a young maiden seated on a rocky outcrop holding an urn over her shoulder and serving water from a bowl to a thirsty eagle, raised on a circular base by Aristide Fontana (Italian 19th Century - Active 1870-1890), Carrara, Inscribed to the reverse; "Aristide Fontana Sc./Carrara", circa 1870-1880. Hebe, the Greek goddess of youth, was the daughter of Zeus and Hera and was the hand-maiden and cup bearer of the gods and the symbol of youthful beauty and chastity. She is often depicted as a temptress tantalizing the eagle of Jupiter with a cup of ambrosia and her body. In her role as cup-bearer she offered nectar and ambrosia and here she holds the cup before the eagle, Zeus' messenger. This sculpture subject matter resembles Bertel Thorwaldsen's, marble sculpture of Ganymede and the Eagle, circa 1817 and currently at the Chrysler Museum, Norfolk, VA. The most notable difference between both sculptures is that, unlike in Thorwaldsen's work, this sculpture depicts a figure of a young semi-nude maiden bearing a pearl necklace centered with a charm engraved with the letter "S". This sculpture subject matter can also be attributed to Psyche, perched on a Stygian rock and threatened by dragons, is rescued from her task by Jupiter's eagle, who brings her a lekythos filled with the river's water. Although Apuleius' story of Cupid and Psyche had been a common theme in European art since the Renaissance, the particular incident of Psyche rescued by Jupiter's eagle was seldom illustrated. Comparable to themes in mythology, Old Testament figures and heroines in particular were popular subjects of artworks in the mid-19th century. Several scenes from the Biblical (Gen. 24) story of Rebecca's meeting with Eliezer, and subsequent marriage to Isaac, were depicted in the 19th century. The most frequent representation shows Rebecca at the well with a pitcher. Other examples of the subject include those by the Italians Cesare Lapini, Giovanni Battista Lombardi and Domenico Menconi and American sculptors Brown, Mozier, and Chauncey Bradley Ives...

A pair of very finely carved 19th century alabaster figures of muses, in classical dress, each standing on circular pedestals intricately carved with flowers and beading, Italian, c....

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

Large marble sculpture of an amorous couple by Antonio Frilli Italian, late 19th century Measures: Height 130cm, width 68cm, depth 46cm Thi...

Carved marble figure of a draped woman and urn as a clock --Moving and rare --Ex Collection at Boscobel, Boscobel is an estate overlooking the Hudson River built in the early ...

A pair of porcelain allegorical figures of neoclassical style ladies, on scroll-molded bases by Aelteste Volkstedter Porzellanfabrik Triebner & Co....

A fine quality 19th century bronze group, depicting three children playing with a Lioness. Measures: 14"(35cm) Signed: Victor Paillard Victor Paillard was one of the most highly ...

An extremely well carved pair of Statuary Carrara marble busts on marble pedestals, by important sculptor Odoardo Fantacchiotti.  Odoardo Fantacchiotti (11 May 1811–4 June 1877) was an Italian sculptor of the late-Neoclassic period. He was born in Rome, but his family moved to Florence. In 1820, he enrolled in the Accademia di Belle Arti di Firenze. At the Academy, he studied under S. Ricci, and first started exhibiting in 1828. Gaining the patronage of the Grand Duke, he continued his studies, following the ideas of Aristodemo Costoli of depicting the "bello naturale". In 1839 at the Academy, he exhibited the work of the Massacre of the Innocents. In 1840 he was named professor at the Academy. Among his public works are the statue of Boccaacio and dell'Accorso for the ground floor niches of the courtyard of the Uffizi, medallions commemorating Francesco Redi and the bust of Ferdinando II de Medici for the Museo della Specola, a statue of Sallustio Bandini (now at the Accademia dei Georgeofili, but initially planned for the loggia of the Uffizi. A marble Virgin...

A charming pair of patinated bronze infants cast in the 19th century. One of the babies is happy, while the other one is crying, perhaps corresponding to an 18th century poem by Vota...

Pair of cast bronze lions, France, late 19th century.

A magnificent Carrara marble bust of Ajax. Exquisite rendering of the Greek hero featuring elaborate helmet. On an associated square base. After Gian Lorenzo Bernini...

A Napoleon III bronze figure of Diana after the antique, showing the goddess of hunting bearing the fragment of a bow with a quiver at her waist. The base bearing the stamp for the B...

A very fine bust of a classical lady on wooden base signed Cognel. Dated 1884 Dimensions: Height 26.5", width 19.5", depth 13". CW4125.

Carrara marble sculpture "Ariadne on the Panther" signed A. Frilli, Firenze, Italy, circa 1890. Dimensions green marble pedestal: 114 cm.

This French terracotta lion's mask was originally an element of a 19th century fountain with water jetting from its mouth. This garden piece is now mounted on a custom iron, making i...

Neoclassical style marble female bust after Joseph Chinard French, late 19th century Measures: Height 63cm, width 33cm, depth 20cm Portraying Madam...

A fine quality late 19th century French marble statue of a classical female nude reclining on a tigers skin and bronze daybed. Signed: G Gomlags.

Cast iron fountain sculpture "Boethus Boy with goose" signed Antoine Durenne Fonderie, France, late 19th century. Green marble pedestal dimensions: 95 ...

This Italian bronze sculpture group of the Farnese Bull, after the antique, is handsomely modeled and detailed throughout with a lovely blackish to cocoa ...

A, near life-size, 19th century French cast iron statue depicting the Venus de Medici. This statue is a high quality cast after the antique marble Ven...

Pair of Outdoor Italian Neo-classic style iron wall mounted plaques possibly fountains in the form of a dolphin (PRICED AS Pair).

Large Italian marble sculpture by Pietro Bazzanti Italian, late 19th century Measures: Height 105cm, width 45cm, depth 40cm The present sculpture, carved from brilliant white marble, depicts a young boy standing...

A fabulously hand carved antique neoclassical style Italian Carrara marble bust of Daphne. This bust is of immaculate quality and craftsmanship. Daphne's hair is beautifully hand car...

Pair of exquisite monumental centerpieces with bronze work in the the Manner of Pierre-Philippe Thormire, 1751-1843. The pair in the form of reticulated gilt grape vine...

19th century French marble sculpture. The marble is patinated.

A sculpture of Psyche Revived by Cupid's kiss. After Canova. Beautifully carved in fine statuary marble. Late 19th century.

This Italian Neoclassical white marble sculpture is signed by the Neopolitan artist Giacomo Cali. The sculpture is of Aristedes (530–468 BC), the ancient Athenian statesman and general in the Greco-Persian Wars...

The original bronze was found at Pompeii in the Casa della Fontana Piccolo (House of the Little Fountain) first excavated in 1823 and is now in the Archeological Museum in Naples. On...

Golden pheasant polychrome bronze Vienna, 19th century Polychrome bronze figure showing a golden male pheasant perched. A bird native to Asia, it was ...

Italian neoclassic style cast bronze Poseidon bust with black metal stand (19th century).

This charming sculpture of a young woman is the work of the accomplished Italian-born sculptor, Affortunato Gory (1895-1925). Gory is best-known for his sculptures of women and child...

Large portrait bust of a middle-aged man in antique garb. The plaster bust is signed A. Frederich and dated 1843 on the underside and stands on an ebonised wooden column base. The bu...

19th century white marble group of two cherubs by A. Duché French, late 19th century Measures: Height 71cm, width 42cm, depth 26cm This exquisite white marble group is modelled ...

This Empire ormolu head of a woman was made as a furniture mount in France around 1810, and probably adorned a bed. In any case, closer to our own time, it was deemed worthy of mount...

A fairly large 19th century French bronze statue of the Milo of Croton on a stepped marble base after the original marble statue by sculptor Edme Dumont (1...

Magnificent pair of Russian Ormolu and Baccarat crystal centerpieces. The removable Baccarat Tazzas with engraved in deeply cut laurel wreath motif sit atop an ormolu sculpture of th...

A Marble Ecorche (from the French word meaning to peal). An anatomical representation of mans muscle and bone structure. 19th century Italian marble bust.

After the antique “Piping Faun” now in the Louvre Museum; the result of it being bought by Napoleon from the Borghese collection. The "Piping Faun" is...

A male portrait bust in the Roman manner by Lawrence MacDonald (1799-1878) Carved in Carrara marble, rising from a round socle supporting a waisted column, the bust having resemblances to Arthur Wellesley, the Duke of Wellington as a young man. Signed by the artist, 'L. MacDonald, Romae, 1847'. Dated 1847 Dimensions: H: 26 in / 65 cm W: 19.5 in / 49 cm D: 10 in / 26 cm Lawrence MacDonald (1799-1878) Macdonald worked as an ornamental sculptor for the architect James Gillespie Graham before entering the Trustees' Academy, Edinburgh, in 1822. In Rome, in 1823 he was one of the founders of the British Academy of Art. He returned to Edinburgh in 1826 and became a member of the Royal Scottish Academy in 1829. Four years later he settled in Rome, and from 1844 he worked in Bertel Thorvaldsen's former studio. He became the city's most fashionable portrait sculptor and, according to the Art Journal, his studio was filled with 'the peerage done into marble, a plaster galaxy of rank and fashion'. His sitters included the essayist Henry Taylor...

This exquisite mantel clock was designed in the 19th century in France, inspired by an earlier model by François Vion, a famous Parisian metalworker of the 18th century. In this desi...

This ormolu clock is an exemplary work by the famous French 19th century metalworker and foundry-owner, Ferdiand Barbedienne. Working with a design made by the acclaimed onamentalist, Louis-Constant...

Italian glazed and hand-painted terracotta figural bust of Diana raised on a two tiered circular faux painted plinth. Goddess of the moon, Mid-19th Century.

Antique and rare Royal Copenhagen sculpture in biscuit. Sculpture after Thorvaldsen, circa 1870. In very good condition. Stamped. Measures: 31.5 x 12 cm. 1st factory quality.

A beautifully cast pair of French 19th century neoclassical patinated figural bronze nine arm candelabra after a model by Jaen Jacques Pradier They are signed J. Pradier and were converted into lamps in the 20th century. Each candelabra is cast as classically draped maiden with one representing Phyrne and the other unknown, standing on a circular stepped dark green marble socle base. There are no visible foundry marks on the bronzes. Born in Geneva in 1792 in Switzerland, Pradier was the son of a Protestant family from Toulouse. He left for Paris in 1807 to work with his elder brother, Charles-Simon Pradier, an engraver, and also attended the École des Beaux-Arts beginning in 1808. He won a Prix de Rome that enabled him to study in Rome from 1814-1818 at the Villa Médici. Pradier made his debut at the Salon in 1819 and quickly acquired a reputation as a competent artist. He studied under Jean-Auguste-Dominique Ingres in Paris. In 1827 he became a member of the Académie des beaux-arts and a professor at the École des Beaux-Arts. At the Salon of 1834, Pradier's Satyr and Bacchante...