France Figurative Sculptures

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

This stunning French Art Deco crackle glaze ceramic plaque, dating back to the 1920s, showcases the elegance and craftsmanship of the era. The plaque features a beautiful crackled gl...

Sculpture Concorde model black in fiberglass in black matt finish. Scale 1/36em on polished brushed aluminium base. Exceptional and unique piece.

Bronze statue in the style of Guillaume Marly. The horses of Marly were commissioned by Louis XV to sculptor Guillaume Coustou to decorate the entrance of the park of Marly castle. ...

Important virgin and child in majesty Origin : Germany Or Eastern France Époque : Second Half Of The 13th Century Height: 104.5 cm Length: 3...

Charming alabaster bust of a young woman. Her head is covered with a small peasant bonnet. On this bonnet, a pretty bow is perfectly sculpted. A few strands of wavy hair are escaping...

Sculpture Idea Bronze all in solid bronze in old gold finish.

Female nude in terracotta. Signed "St. Lami" on the base. Stanislas Lami is a French sculptor. Stamp mark "Terracotta - R. D'ARLY Paris". This work inspires purity and delicacy. The sculpture represents a kneeling naked woman, the features are fine and pleasant. The work is neat and delicate. The position of the woman calls for calm and tranquility. Our terracotta proof is a reduction of Stanislas Lami's marble entitled "Première Faute" which earned him the second medal at the Salon of 1891. The work represents a young woman kneeling, her arms modestly covering her face with closed eyes. At the dawn of the 20th century, this elegant statuette was part of the symbolist movement and announced the Art Nouveau movement. This beautiful work was included in the second edition of the artist's catalog raisonné. Related literature: Grégoire de Thoury, Stanislas Lami (1858-1944), catalog raisonné of sculptures, Paris, 2014, model listed under number FA12. More widely known for his masterful literary work, Stanilas Lami is an artist as much as a scholarly amateur. Son of the sculptor Alphonse Lami, grandson of the neoclassical painter Bidauld, son-in-law of the art dealer Charles Sedelmeyer, he benefited all his life from an environment favorable to the promotion and commissioning of his written or sculpted works. While he wrote his famous dictionaries of sculptors of the French School throughout his career, over around forty years, he also exhibited regularly at the Salon des Artistes français between 1882 and 1942. Wonderful decorative piece. Beautiful dimensions. France - Art Nouveau - 1891 Stanislas Lami, born in 1858 in Paris and died in 1944, was a French sculptor and art historian. He is the grandson of landscape painter François-Xavier Bidault and the son of sculptor Alphonse Lami. Some of his works are kept in museums, especially in Spain. In Paris, at the Musée d'Orsay, there is a marble sculpture of the Danish Dog...

Sculpture Samurai Raku red and silver made in Raku ceramic which have metallic silvered sheen. Raku ceramics Samurai are distinguished by their raw appearance. The smoking techn...

Dimensions: 7.5 x 12 x 18.5 cm Material: Pottery Name: Kitanoumi Period: Showa (1980s) Kitanoumi Toshimitsu (May 16, 1953 to November 20, 2015), born Toshimitsu Obata (Obata Toshi...

Sculpture Bloomen 12 by Zanellazine Ceramics Dimensions: W 11 x H 60 cm Materials: Red clay, Orange and tobacco semi-refractorie clay, White fireclay. About: Giovanna Zighetti, cera...

Art deco sculpture circa 1930. Regulates silver and gold cold patina. All on a portor marble base. Small restoration on a cymbal. Signed on Limousin ...

Sculpture Earth Globe Black and Teak n°1 all in hand-carved natural teak root and with black volcanic sand. On swivel base with easy rotative syste...

Beautiful handcarved giltwoodornament depicting two birds. Italy circa 1780-1820 . Weathered and small losses Measurements individual and include the wooden base. H:28,5cm W:56cm D...

Pablo Picasso Grosse tête, profil gauche, 1965, Sculpture en terre H. 28 cm, Larg. 9,5 cm R.A Coulage à la barbotine Blanc Tiré à 50 exemplaires numérotés R.747 à gauche Editon Pi...

This work depicts a woman accompanied by two greyhounds, made of metal with a patinated black and gold finish. The young woman is walking her dogs on a leash, as suggested by the gol...

Unique Hand-made. French Art Deco Mother & Child Statue by René Mercier, France, 1930s. This exceptional Art Deco piece, crafted by the talented French sculptor René Mercier in the 1...

French Art Deco sculpture by P.Sega, France, 1920s. Young girl playing with a dog. Cold painted spelter and marble. Measures: Width : 13.1"(33.2cm), Height : 10.2"(26cm), Depth : 3.9...

Wonderful period piece. Beautiful weathered Neoclassical hand carved oak caryatid angel figure. Weathered. france circa 1780 H:34,5cm W:10cm D:5,5cm

Joe DESCOMPS said "Cormier" or Joseph Emmanuel CORMIER orJoseph CORMIER (1869-1950, France) : "Woman removing her veil" Finely shizzeled and patinated terracota figuring a woman rem...

French Art Deco sculpture by Scolisse, France, ca.1920. Young Girl & Antelope. Spelter, bakelite and marble. Width : 25.6"(65cm), Height : 16.9"(43cm), Depth : 6.8"(17.2cm). Weight :...

Bronze sculpture, signed Mathurin Moreau, "La Pêcheuse" Important bronze sculpture by Mathurin Moreau, XIXth Century, Napoleon III period, representing a fisherwoman sitting on a ...

This exquisite bronze statue is a refined representation of the "Diana of Gabii," depicting Artemis, the Greek goddess of the hunt and the wilderness, daughter of Zeus and Leto. Mode...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Nice couple of two small gilded Baroque style wooden ornaments, Italy, circa 1850. Weathered and small losses. Measurement here below of the largest one and includes the wooden base.

French Art Deco Tennisman Porcelain Bottle by Georges Bastard (Paris), France, circa 1924, for Abercrombie & Fitch (New York, USA). This striking French Art Deco porcelain bottle, cr...

Sculpture Pirate Champagne Playmo with all structure in bio-based styrene plastic. Playmobil customized, hand- painted as Ruinart champagne pirate with imitation Hermes scarf, with...

Large French Art Deco sculpture, France, 1920s. "Allez Hop" (Let's go). Young teenager with two setters. Polychrome plaster. Height : 19.3"(49cm), Width : 23.2"(59cm), Depth : 11.4"(...

Antique statue life sized Roman Greek natural stone old sculpture. The antique life sized statue displayed in this Ad is one of 12 reclaimed life sized ...

Dancing Column Series Sculpture by Zsolt József Simon Dimensions: W 17 x D 17 x H 29 cm Materials: Porcelain. Zsolt József Simon is a porcelain des...

Car Mascot "Archer" in glass by René Lalique in 1926. Molded signature. Perfect condition. Very beautiful model. Height: 12 cm Félix Marcilhac, René Lalique - Catalogue Raisonné d...

French Art Deco Cyclist Porcelain Bottle by Georges Bastard (Paris), France, circa 1924). This striking French Art Deco porcelain bottle, created by Georges Bastard in 1924, was desi...

Sculpture Bloomen 14 by Zanellazine Ceramics Dimensions: W 26 x D 23 x H 43 cm Materials: Red and white clay, Green semi-refractorie clay. About: Giovanna Zighetti, ceramist and se...

The African Hunter, signed PJ Mêne: patinated bronze of an African on horseback, rifle in hand and his game on the ground, with many details making the ...

Impressive Bronze Sculpture - "Imperial French Cuirassier 1804" mid 19th Century. A beautifully detailed bronze sculpture of a soldier mounted on his horse bearing the insignia of Napoleon with silver and gold gilt and polychrome patina. On an onyx base (some small losses and chips). Plate mentioning "Corazziere Imperiale Francia 1804 64/200". This piece is a limited edition and numbered 64 out of 200 made. The phrase "Corazziere Imperiale Francia 1804" appears to be Italian. It translates to "Imperial French Cuirassier 1804" in English. Cuirassiers were heavy cavalry units in European armies, and "Imperial French Cuirassier" refers to a specific type of cavalryman serving in the French Imperial Army during the Napoleonic era, particularly around the year 1804 when Napoleon Bonaparte was crowned Emperor of the French. The Imperial Guard...

Giraffe in Love XS floor lamp by Qeeboo Collection: Giraffe In Love Type: Floor lamp in glass resin Materials: Polyethylene (PE) Designer: M...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

French Art Deco Walkyrie sculpture by Henri MOLINS-BALLESTE, France, ca.1920. Spelter, marble and onyx. Width : 21.3"(54cm), Height : 14"(35.7cm), Depth: 5.1"(13cm). Engraved "Balles...

Roger Capron (1922-2006) Stylized woman ceramic bottle "Lavande" signed by Roger Capron, Vallauris, 1950s Nice condition, with original glass bottle inside.  

Niki de Saint Phalle for Flammarion, signed on the back. Silkscreen printed in the form of an inflatable plastic doll, “Nana” model, displayed in its custom-made Plexiglas and blo...

Important sculpture in patinated bronze, Napoleon III period, 1880, by Eugène Aizelin, founder F.Barbedienne. H: 86cm, W: 26cm, D: 32cm

French Art Deco sculpture, France, 1920s. "Lumberjack". Spelter, marble & onyx. Measures: width : 27.5"(70cm), height : 22"(56cm), depth : 8.8"(22.5cm). Weight : 27.5 kgs. Some bites...

Beautiful handcarved giltwood bird ornament. Italy circa 1780-1820 . Weathered and small losses and old repairs Measurements include the wooden base. H:23cm W:41cm D:6,5cm

Wall ceramic mask, circa 1950 French midcentury ceramic mask with elegant black ceramic glaze color. Original perfect conditions Measures: Height 24 cm, large 22 cm, depth 7...

Bronze group "Bacchanal," with a brown and gold patina, by the Lorraine sculptor Claude Michel (1738-1814), known under the pseudonym Clodion. A prolific artist, Clodion is famous fo...

Large patinated bronze sculpture depicting a naked Narcissus by Michele Amodio, based on the ancient original discovered in 1862 in Pompeii in the House of Narcissus and currently ho...

A beautiful, large bronze sculpture by Alexandre Kelety, boasting a harmonious green patina, depicts an athletic man sowing seeds across the fields. Absorbed by his task, his muscles...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

Important 15th century polychrome wood virgin and child Origin: Southern Germany Period: Late 15th Century, Ca. 1480-1490 Height : 125 cm Polychrome limewood Good condition Provenance : Private collection, Alsace, France. As soon as 1430, sculpture starts a major and deep stylistic evolution than will unfold over a century, until around 1530. We call it the International Gothic. This production is particularly interested in a quest for realism. This important Virgin and Child wears a long red dress with a round gilded neckline. A delicate golden belt...

Wonderful gilded metal saint statue with beautiful expression. France, circa 1880-1900. Weathered. Measurements include the wooden base.

Sculpture entitled “Eva” in black lacquered metal, a stabile whose different parts can be tilted to obtain different shapes resting on a rectangular travertine base. Work of contemp...

Sculpture black skull in blackened glass paste, handcrafted piece, made in France. Exceptional and unique piece.

Sculpture La Ferrari with all structure in assembled aluminium pieces (4mm thickness), all painted with original Ferrari rosso corsa paint. Limited Editio...

Beautiful hand carved marble angel. Made out of one piece, France, circa 1850. Weathered and small losses. More pictures are available on request.

French Art Deco terracotta sculpture by Ugo Cipriani (1887-1960), France, 1920s. A man operating a rudder. Measurements : Width : 31"(79cm), Height : 16.7"(42.5cm), Depth : 8.7"(22cm...

IMPORTANT SEDES SAPIENTIAE VIRGIN AND CHILD ALSO CALLED « THRONE OF WISDOM » ORIGIN: FRANCE, BURGUNDY PERIOD: EARLY 13th CENTURY Height : 75 cm Len...

French Alabaster Sculpture, France, Late 19th Century – Monkey Smoking a Pipe. This delightful French alabaster sculpture, created at the end of the 19th century, depicts a monkey leisurely smoking a pipe. The sculpture is crafted in alabaster, with intricately detailed features that capture the playful yet thoughtful expression of the monkey. Notably, the eyes are made of glass, adding a unique touch of realism to the piece. Dimensions: Height: 9.8" (25 cm), Width: 6.7" (17 cm), Depth: 4.4" (11.2 cm). The sculpture is in good condition, with only slight scratches and small chips on the base, which are consistent with age. A whimsical and charming example of late 19th-century French sculpture, this piece would make an intriguing addition to any collection of animal-themed art or antique stone...

A charming bronze statue of two children carrying a bouquet of flowers, signed Auguste Moreau (1834 -1917), 42 cm x 22 cm. Produced a short time after the death of the artist, early...