Exposition Pair of Monumental Patinated Bronze Figural Torchères, 1867

Mounted as lamps and cast by Ferdinand Barbedienne after models by Alexandre Falguiere and Paul Dubois. Both statues are signed on the bases. These fine torchères are reductions ...

Maker: Mathurin Moreau (1822-1914) Origin: French Date: Circa 1900 Dimension: 69 x 15 1/2 inches

Each with a figure, one with a satyr, the other a bacchante, holding aloft a spiral-fluted cornucopia, each signed Clodion, electrified. Artist: Claude Michel Clodion (1738-1814) ...

Bronze oriental male figural torchère with bronze base and gilt patina. This figure exhibited at the Salon from 1850-51. In 1855 it appeared in the A.Collas and Barbedienne society c...

Pair of Highly Important Exposition Neo-Grec Silvered and Gilt Bronze Figural Bacchante Torchères. Artist: Albert-Ernest Carrier-Belleuse (1824-1887) Origin: French Date:third ...

A monumental pair of gilt and patinated bronze figural sculptures of putti attributed H Nelson. Depicting two finely casted seated cherub holding reliefs. ...

A pair of large French parcel-gilt patinated bronze and rouge marble 13-light torchieres after the models by Albert-Ernest Carrier-Belleuse (1824-1887). Each torchere modeled as a c...

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 pair of large French Napoleon III style metal thirteen-light figural torchières.depicting two winged cherubs holding up a thirteen-light torchère, standing on bases with gold highl...

Constructed from patinated and gilded bronze, the large figures clothed in the Antique style, after the original design by Jean-Joseph Foucou, today residing at the Louvre, posed in ...

This very fine life-size patinated bronze figural torchere modeled as a classically clad female musician holding a mandolin and a torch. This symbolic representation of Music, falls within Coutan’s allegorical work. The sculpture stands on a period carved wood pedestal. Inscribed on base: Coutan, Thiébaut Frères, Fondeurs. Total Height: 101″ (259 cm) Bronze height: 67″ (170.1 cm) Pedestal Height: 34" (86.3 cm) Jules-Félix Coutan (22 September 1848 – 23 February 1939) is considered to be one of the most gifted French sculptors and designers of the 19th and early 20th centuries Coutan studied under the renowned Pierre-Jules Cavelier at the Ecole des Beaux-Arts in Paris, and was awarded the Prix de Rome in 1872; after his return to Paris he executed the fountain group France Bearing the Torch of Civilization for the Exposition Universelle (1889), one of the two prominent sculptural commissions for the Exposition grounds.[1] Later he taught at the École des Beaux-Arts from 1900, where he expressed his disdain for the researches of Rodin— fumiste—[2] and the Impressionist sculptors who followed him. Coutan was elected to the Académie des Beaux-Arts in 1905.[3] Coutan is best known in the United States for the sculptural group above the entrance to Grand Central Terminal in New York City. For Grand Central Terminal, Coutan was contracted to provide a quarter-size scale plaster model of the three-figure allegorical Transportation group, which he developed from 1911 through 1914. The carving was performed by the William Bradley & Son of Long Island City.[4] Among Coutan's students were Hippolyte Lefèbvre, Raymond Delamarre...

A very fine pair of French 19th-20th century neoclassical style patinated cast iron figural torchères by A. Durenne, Paris, each representing a figure of a standing young maiden, her arms raised forward while holding a a flaming urn gas light (Now electrified) with a frosted glass flame, each raised on a veined grey marble column stand, both cast-signed 'A. Durenne, Paris'. Antoine Durenne was an internationally renowned French art founder. He attended École Nationale Supérieure des Beaux-Arts in 1842. Durenne purchased a small foundry in Sommevoire, near the Val d'Osne, Haute-Marne, France and established The Durenne firm, circa Paris, 1900. Cast-iron had been in production during the 18th century but its inferior status to the more fashionable and delicate wrought iron had generally confined its use to architectural work. By the early 19th century, however, rapid developments of the Industrial Revolution combined with the simultaneous burgeoning of a new middle class provided the impetus for a dramatic Expansion in its application and in a short space of time a proliferation of iron foundries across Europe and America thrived on the production of everything from inkstands to railway stations. The use of cast-iron for garden ornament became particularly widespread at this time, as the possibilities for its mass-production at a fraction of the cost of bronze made it the material of choice for outdoor statuary...