Neoclassical Sculptures

A beautifully sculpted marble figure of a Classical Female Nude holding a dove, with laurel wreath in hair, depicting a standing female wearing lower robe with breast exposed, leanin...

Large pair of patinated and gilt bronze Atlas figures French, 20th century Figure with globe: Height 135cm, diameter 46cm Figure with armillary sphere:...

Beautifully detailed. Hand sculpted terracotta on original marble plinth.

Antique Italian true pair of lions crafted in terra cotta, decorated, glazed and forever in repose.

This remarkable ormolu bust of the iconic Roman Emperor Julius Caesar is the epitome of neoclassical style design, and was originally intended as an overdoor decoration. Overdoors - ...

Bust fragment of Venus, goddess of Love, seduction, and beauty in Roman mythology. The original statue dates back to the 5th century BC. Sourced by Martyn Lawrence Bullard from Paris...

An antique over life-size bust of Venus. Thanks to her scale, this Neoclassical style handcarved marble sculpture of Venus, Roman goddess of love and beauty, is very striking. Charac...

An antique neoclassical style patinated bronze trident sculpture, mounted on a limestone base. Originally a sculptural fountain, this mid 19th century English piece now stands as a ...

In this expertly rendered black basalt bust, Mercury, the fleet-footed Roman god of commerce, communication and transport, is depicted in a winged h...

A dramatic early 20th century Grand Tour style plaster wall hanging bust of Lucius Verus, co-emperor of ancient Rome from 161-169 alongside his adoptive brother, Marcus Aurelius. Af...

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...

17th century iron dog collar, museum mounted on rectangular giltwood base. With two rows of neoclassic ironwork. The 6" x 2.25" W collar is removable...

A carefully hand-carved male marble torso, with defined muscles. Beautifully realised, this piece would look great as part of a collection, or on its own.

Pair of very decorative French 19 century Apollo and Daphne Bronze Clad Busts.

A fine and unusual pair of Art Deco hexagon form cut rock crystal obelisks, beautifully hand-cut and hand-polished, Paris.

An exceptional Italian 19th century neoclassical st. white Carrara marble bust of Apollo Belvedere signed A. Frilli Florence. The wonderfully executed bust depicts the handsome Apoll...

Two bases in rare Breccia Africano and Granito Nero Cylinder in Breccia Africano H 12.5 × D 7 cm Cylinder in Granito Nero H 6 × D 9 cm These two cylindrical bases made of rare marb...

19th C. Georges Bareau French Bronze Marble Sleeping Ariadne Statue Sculpture. Item features finely cast drapery, hair, feet, and hands. This sculpture ...

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...

A mid 19th century statuary marble sculpture of the ‘Dying Gaul’ after the antique. This marble sculpture is a scale depiction of the larger Dying Gaul marble statue, currently loca...

A finely cast plaster bust depicting Hermès (Mercury), modeled after a 4th-century BC Greek original. The head is crisply detailed—tight curls, subtly parted lips, and a confident d...

A very fine and larger-than-life and very realistic museum quality patinated bronze bust of President William H. Taft (1857–1930) by Frederick Ernst Triebel (American, 1865-1944) cast by Nelli Foundry in Rome, Italy. William H. Taft, the 27th President of the United States and Jurist, is depicted with his renown thick mustache and wearing a bow tie, vest and coat. Inscribed on the back: F.E. Triebel. Sculp and Fond. Nelli, Roma, circa first quarter 20th century. Due to its size, subject and high quality, this bust was probably commissioned for a Museum or public exhibition, such as an embassy or government building, the same way as other similar works by the sculptor. The Roman foundry operated by the Nelli family during the last quarter of the 19th century cast works for many leading sculptors of the day, including Alfred Gilbert and Anton van Wouw...

19th century spectacular clay Goddess of summer.

18th Century Italian Marble Bust of Caesar Augustus. His draped robe is hand-carved in red rosso levanto marble with the face modelled in contrasting white Carrara marble. The piece ...

JOSEPH MOZIER United States, 1812-1870 Bust of a Classical Young Woman (1851) Carved Cararra marble Signed to the reverse "J. MOZIER, Sc: ROME 1851" Item # 406QSO30A A stunningl...

A magnificent and richly detailed pair of large-scale patinated and gilt bronze campana-form vases, executed in the neoclassical tradition and inspired by the iconic Medici and Borgh...

This beautiful piece consists of a patinated bronze female figure holding an urn with a glass flame, which serves as a lamp, all standing on a tall and finely decorated wooden plinth...

A mid 19th century plaster portrait bust of 3rd century BC Roman general and politician, Marcus Claudius Marcellus (270-208 BC), ex. Holkham Hall, Norfolk. Inscribed to the front of ...

Bronze sculpture of Christ by Eugène Marioton, French famous sculpturer (Paris 1857-1933) This artwork dates around about 1900, and is made in ca...

Tole palm tree sculpture with four separate palm trees at assorted stages of development. Original paint now muted and oxidized. All mounted on a handwr...

Lost wax casting. Marble base. The god of love is distinguished from classical mythology by the quiver of arrows on its back and by the wings that are butterfly instead of feathered...

A black basalt bulb pot molded as a hedgehog, made by Wedgwood in the middle of the 19th century. Finely molded as a lively little hedgehog, this unique object would have been use...

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 striking pair of Italian 19th century Neo-Classical st. polychrome, giltwood, and faux painted marble columns/floor lamps. Each unique lamp is raised by a wonderfully executed faux...

Early 20th century italian terracota sculpture of God Bacchus by Dini e Cellai Signa By: Dini e Cellai Signa Material: terracotta Technique: molded, pressed, carved, hand-carved, ha...

Scipione Tadolini was a skilled sculptor whose broad talent covered the neoclassic to the romantic movements. His ancestors from a dynasty of Roman sculptors exerted a profound and lasting influence on the artistic production of the Eternal City. The Greek Slave fully demonstrates his masterly talent and serves as a reminder of antique models and the orientalist influences characterising the second half of the 19th century. Scipione Tadolini graduated from the Roman Academy and worked with his father on a series of celebrated portraits and ecclesiastical sculptures for Roman churches including a bust of Cardinal Giuseppe Alberghini for the Gesù (1847) and portraits of various members of the Cini family for the Church of Sant’Andrea della Valle (1844, 1846). Tadolini is also known as the author of a number of large-scale monuments for patrons around the world including an equestrian group of Simon Bolivar for the city of Lima, Peru. One of his best known sculptures is The Greek Slave which appears in his work from the late 1850s forward.The Greek Slave was created in several sizes in two variations: with the figure’s hand either raised to her chest or to her chin. The small number of versions all indicate the sculptor’s careful attention to the human form and passion with exoticism, which can be noticed through the tumbling folds of the present figure's headdress and the finely articulated jewellery...

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

A Pair of Parian porcelain bisque neoclassical statues of a Greek couple. The original pair in white bisque finish with Greek key decoration at the bases, European, possibly Italian,...

Alabaster woman sculpture. Italy, Firenze, circa 1890.

Striking composite bust of female in period head dress. Perhaps she is a saint or princess. Signed on bottom. Base is a black cube, 4.5" x 4.5"

A large-scale late 19th century Italian Grand Tour bronze of the ‘Seated Hermes’ after the antique, ex. private UK collection. Also known as ‘Resting Hermes’ or ‘Seated Mercury’, thi...

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...

An early 20th century Silverplated Lion. This particular example very well modelled. Mounted over a Portoro Italian marble base. Perfect size to...

A 19th Century Italian Grand Tour Verdigris Bronze Bust of 14th Century Italian Poet Dante Alighieri on Marble Plinth. Measures 18" in width, 7.5" in depth and 13" in height.

A impressive beige and white marble male bust. A grand and imposing figure with detailed carving to the face, hair, garments and breastplate. A hand carved wreath suggests someone of...

18th Century, Italian Bronze Sculpture with Venus Removing Her Sandal This bronze sculpture represents Venus as she takes off her sandal. Made in the neoclassical era in Italy, it consists of the bronze sculpture of the Greek goddess Aphrodite, Venus for the Romans. The naked goddess, getting ready for the bath, makes the very human gesture of loosing a sandal. The left arm is raised, as if to compensate the position while maintaining the balance. Next to her, wrapped around a rocky spur, is a dolphin, an animal iconographically linked to the goddess because of his birth from the foam of the sea. The figure rests on a cylindrical and concave bronze base, with finely chiselled reserves. The bronze element is in turn resting on a africano marble cylinder with black of Belgium marble base. Venus is one of the major Roman goddesses primarily associated with eros and beauty. It is traditionally understood as the equivalent of the Greek goddess Aphrodite, goddess of beauty, physical and passionate love, among the major deities of Olympus. His birth is due to a dramatic event: Uranus, Heaven, is mutilated by his son Cronus, who punishes him for the wrongs inflicted on his mother. The torn limbs of Uranus fall into the sea and fertilize the foam of the waves of the island of Cyprus. From the waves emerges in all its splendor Aphrodite. Since the 4th century, Aphrodite begins to be represented with characters more human and less heroic. Praxiteles with the 'Aphrodite Cnidia,' for the first time in the history of sculpture, depicts her naked, as she prepares to take a ritual bath. From the Pressitele’s model descend the Capitoline Venus (Capitoline Museums of Rome) and the Venus de’ Medici (Uffizi Museum of Florence) accompanied by Eros on the back of a dolphin. This vein also includes a subject frequently attested in the Hellenistic and then Roman Ages, with examples in bronze, marble and terracotta: the Aphrodite who fastens the sandal. The luck that this type of representation had in the following centuries is demonstrated by the vast number of sculptures that represent it. In this bronze work the goddess resumes the position of Oplontis’s Naked Venus: here Venus holds an apple in her left hand, a reminder of her victory in the beauty contest in which she prevailed over Minerva and Juno by judgment of Paris. In our bronze instead, the hand seems to want to shake the apple, which however has not been molded. Perhaps the bronze is inspired by another work, such as the bronzes kept in the archaeological museum of Padua. Another example is the famous 'Venus in bikini" found in Pompeii, so-called because it depicts the goddess in the same pose, but with the breasts and hips covered by bands painted in gold. The dolphin depicted next to it could be inspired instead to the Medici Venus...

Carrara marble sculpture "Schiava" attributed to Giacomo Ginotti (1845-1897). Italy, late 19th Century.

Pair of Continental German (19th/20th Cent) alabaster busts of Fredrick the Great and Napoleon raised on green marble column bases (by Fritz Kochendorfer...

This early 20th century Italian classical composite figure of Discobulus would be a wonderful statement piece in your home of office. It is heavy and was handcrafted out of stone in ...

One of the iconic early wedgwood pieces, the pair of ewers Sacred to Neptune & Sacred to Bacchus was designed by Flaxman in the 1780s for Josiah Wedgwood. They have remained popular ...

Italian Neo-Classic style (19/20th Cent) faux painted composition bust of a Roman Emperor wearing a red toga and mounted on a black square base.   

Italian Neo-classic style cast bronze Poseidon bust with black metal stand (19th Cent).  

A finely carved yellow stone neoclassical roundel in relief with a flying winged female figure in flowing pleated robes with a putto holding a fl...

This is a rare and very well done bronze sculpture depicting a cowboy who is standing in the soil and has finally conquered a bucking horse in a rodeo. T...

After the renowned neoclassical sculptor Bertel Thorvaldsen (Danish, 1770-1844) comes this terracotta reduction of his "Venus with The Apple of Paris" (1805), by P. Ipsen (Danish, 18...

Boston Terrier doorstop in all original paint.

Late 19th Century Belle Époque metal sculpture of a young boy lifting a faced amphora by Auguste Moreau, France By: Auguste Moreau Material: metal Technique: cast, molded, polished,...

An Outstanding Pair 19th Century Italian Hand-Carved Carrara Marble Busts of Apollo & Artemis, One Bust is Signed on the Back, "F Vichi". This pair of stunning marble busts, hand-car...

Exceptionally rare early figure of Bacchus in black basalt. The mixed-case mark places this figure between 1780 and 1785. He is portrayed in typical style, his head garlanded with grapes and with a wine cup to his lips. Bacchus, also known as Dionysus in Greek mythology, is the enigmatic god of wine, fertility, and ritual madness. He symbolizes freedom, ecstasy, and the blurring of societal norms through his rituals and festivities. Bacchus is often depicted in myths as a deity who challenges the status quo, promoting an atmosphere where conventional rules do not apply, and his followers are liberated from their everyday constraints. Born from Zeus and the mortal Semele, Bacchus is unique among gods, bridging the divide between the divine and the human. His followers included the wild and ecstatic maenads, female devotees who often reached states of divine frenzy, and the satyrs, mischievous half-man, half-goat beings. The worship of Bacchus was marked by theatrical processions, dances, and plays, reflecting his patronage of the theater and the dramatic arts. Bacchus’s mythology...

A spectacular Italian 19th century neo-classical white carrara marble sculpture of Paulina Bonaparte signed by Carlo Fossi. Paulina was...