USA Figurative Sculptures

A stunning later 19th century architectural sculpture of flame finial exquisitely cast in bronze. The sculpture is now presented on its custom made iron base.

This exceptional and monumental antique terracotta sculpture was crafted at Vienna’s renowned Goldscheider manufactory. This enchanting sculpture, model #1225, depicts a charming genre scene of a young boy...

A hand-carved effigy of mother and child from the Dayak tribe in Borneo, mounted on a black metal stand. Ancestral figures were important in Dayak culture as a means of spiritual p...

"Grecian style bronze life size figure of classic woman (Athena) with military wardrobe holding a round decorated shield and a sword (sword replaced ...

Our extraordinary patinated bronze torchiere depicting a female slave comes from the firm of Lacarrière Frères & Delatours. Signed "Lacarrière Freres & Delatours", "Paris 1880". Fitted for electricity in the late nineteenth century, but currently in need of sockets and wiring. Provenance: Rochelle Sepenuk, New York, NY. The firm of Auguste Lacarrière sent exhibits to the the first International Exhibition in London in 1851. At that time they seem to have occupied two Paris addresses, 9 rue St Elizabeth and 55 rue Meslay, as well as having another outlet in Limoges. They are recorded as showing "specimens of lustres, sconces, chandeliers, medallions, etc..". By the 1862 Exhibition they were only recorded at the Sainte Elizabeth address and showed, "appareils à gaz de fonte, de zinc et de bronze." Nevertheless, their exhibit was highly praised and the business, now called A. Lacarrière, Père et Fils...

Whimsical vintage terracotta sculpture of a pig , a butchers display sign. Great restaurant kitchen decor.

Monumental sculptural head of President George Bush. Made of foam, paste and hand-painted. Very unique piece of sculpture. Massive scale. President Nixon...

A fertility figure from Teotihuacan in Mexico. Depicting a pregnant woman decorated in red triangles. In good condition with minor flaws. Approximately 14 1/2 inches tall.

This very finely detailed cold painted Vienna bronze is the work of the Bergmann Foundry. The signature is on the top of rug he is sitting on.It's exactly the kind of quality, cold painted colors and amazing detail. We suggest you study the young boy's face, he's very alive looking. The boy sits on a straw rug...

Monkey around? Absolutely! Add vibrancy to your home with this opaque black glass sculpture from Kosta Boda. Despite the black surface, My Wide Life Gabba Gabba Hey is still reflecti...

Bronze sculpture of boy playing with a blown glass balloon by Curtis Jere. The bronze boy measures 13.5 inches tall, from the base to the top of th...

François-Emile Decorchemont Pate-de-Verre Glass Mold Of A Female Ladies Face. A rare, large and very heavy sculpture of either a mask or a modeled face. At 3.5 inches thick in glass with a peach, pink or rose color; this statue was exhibited in the Brooklyn Museum, New York in 1971. With much research; I haven’t seen or heard of a similar form by Decorchemont. The original Brooklyn Museum loan sticker is on verso with the Decorchemont stamp on her left cheek. For serious collectors or rare Art Deco, Art Nouveau glass. Circa 1910 Molded Signature DECORCHEMONT Height: 7 Inches (13.3 cm) Width:. 5.2 Inches (16.5cm). AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. François-Emile Décorchemont French, 1880-1997 François Décorchemont, originally an accomplished painter and potter of recognized ability, turned to the making of glass in 1904. Pâté de verre was the medium in which he excelled and for which he is best known. After studying decorative art in Paris, François Décorchemont returned to his native Conches in 1910 to develop new techniques in stained glass, particularly in the use of crystal to give multicolored and faceted panes. After 1909, while continuing to produce fine glass paste pieces, Francois Decorchemont began to experiment with a new casting technique. François Decorchemont, Emile's son and also an artist, helped out in his father’s studio, in particular helping him to research the possibilities of creating jeweled adornments in pates d'email (enamel pastes) for Gerome's polychrome sculptural creations. Francois Décorchemont, a potter and painter at the outset of his career, became fascinated with the IDEA of developing and utilizing a thin translucent glass material in his work. It was in essence the revival and an adaptation of a long forgotten Egyptian glass-making process using colored crystal powdered glass, metallic oxides and an adhesive paste. This "new" material, known as pâte de verre was developed around the turn of the century, principally at the Sevres porcelain factory, by a number of artists working there, notably Henri Cros and Albert Dammouse. The end of the 19th century was an illuminated period in the history of art. Impressionist painting appeared and created an interest in glass as material. Traditional sculpting materials such as bronze and marble made way for glass with its possibilities of light and color. Henry Cros and François Décorchemont became the leaders of French pâte de verre and facilitated the proliferation of this colorful glass. His first major work, in 1934, was inn the Eglise Sainte-Odile near Porte Champerret in Paris, some 300 square meters of brilliant colors. After the war, he devoted his work to churches in the Eure, including of course Beuzeville where, thanks to the generosity of the local council, the church is lit at night so that his work can be admired from outside. During the first half of the 20th century a number of French artists became famous for their work in pâte de verre, and Francois Decorchemont among them. March 2014, 20th Century’s Greatest Art Dealer Felix Marcilhac’s Collection Privee at Sotheby’s - Chang Yi Entrusts Antoine Leperlier in the Bidding of a Francois Decorchemon's Original. It has been reported that Felix Marcilhac’s Collection Privee auction at Sotheby’s brought in 33,125 Euros (28,000 RMB), three times the estimated price. Marcilhac is considered the greatest Art Deco dealer...

A rare imported commodity, glass beads have been a symbol of wealth and importance in south African cultures for centuries, and were exclusively distributed by the region's oba (king). As beads become gradually more accessible throughout the 19th century, they began to displace the organic materials used in traditional art and attire. This colorful example of African beadwork is a ceremonial doll...

Sculptural 18th century Italian gold leaf wood fragment figure of Christ (Florence) on calcite crystal cluster in matrix. The calcite crystal cluster is from Elmwood Mine, Tennesse...

Goddess Lakshmi, the Hindu divinity of fortune and prosperity, is portrayed once again by Lladró artists, this time with a specific focus on the details. The wealth of the ornamentat...

Antique John Rogers Cast Plaster Sculptural Group, "Weighing the Baby", 19th C Measures - 21"h x 16"w x 13"d Catalogue Note: Ask about DISCOUNTED DELIVERY RATES available to mo...

Antique 19th century Staffordshire porcelain flatback figurine depicting Saint George and the Princess in bright clothing riding together on a galloping horse. Dimensions: 7" x 3.5"...

Stunningly realistic vintage German Shepherd sculpture. This exceptionally well crafted dog is rendered in terra cotta with a beautiful hand-painted and glazed finish. The radiant do...

An excellent pair of opposing dore bronze Furietti Centaur reductions of those that were excavated at Hadrian’s Villa in Tivoli in 1735. The models are named after Giuseppe Furie...

Vintage mid century, victorian couple statue looks like Nor-leans ceramic figurine , Lady with fan staying near arch with leaves, most likely Made in ...

After Auguste Moreau (French, 1834-1917) "Putto" Patinated Bronze Sculpture, the seated figure upholding a vine branch and a jester's rattle, seated on a draped rocky base, apparentl...

Ananda is portrayed in a typical fashion, as a youthful monk with a shaved head and dressed in simple robes. He stands upon a double lotus pedestal with hands clasped in front of him...

A modernist contemporary painted ceramic sculpture depicting a biomorphic face or mask-like form by Detroit artist Sergio De Giusti. A fascinating composition where the face seems t...

Italian, 20th century. Introducing a captivating pair of Vintage Chinoiserie & Partial Gilt Wood Decorated Obelisks, each a testament to timeless elegance and artistic finesse. Stan...

A rare and beautiful Thai cast and gilt bronze seated Buddha with shell inlaid eyes, style of Wat Chedi Luang, Lan Na Kingdom, Northern Thailand, region of Chiang Mai, late 15th cent...

15th century Italian carved wood, polychromed and gold gilded sculptures of four Pillars of the Christian Faith (Saint Peter, Saint Paul, Saint Luke, Saint Matthew).

This beautiful majolica figurine would elevate any living room, kitchen, or entry way. Created in Italy circa 1950 and done in the Capodimonte style, the barbotine statue portrays a ...

Wonderful and rare example of this early McCobb design in original unaltered tobacco finish. Small remnants of original label remains. Measure: Seat H 17.5 in. / arm H 27 in.

Mid-century nautilus sculptures or objects of art carved from mahogany in a stylized form with a dark lush finish.

Beautifully sculpted from a ruddy block of mahogany and finished with a patina that gives it a lovely glow, this piece is a superb example of WPA-era sculpture. The artist, Raymond T...

A pair of Italian 19th century painted wood angel plaques. This pair of antique Italian plaques, perhaps originally used to decorate a chapel, feature a ...

Crafted in France circa 1900, the antique sculpture depicts Sainte Jeanne d'Arc standing in armor clothing, and poetically waving the victory flag after the battle of Orleans. The sc...

Antique early 20th century Austrian cold painted bronze of seated queen Cleopatra with two Pumas by her side, on a realistically modelled carpet, draped over a rectangular base. Made...

Mesmerizing bronze sculpture from the late 19th century of a mythical faun creature playing a flute by Claude Michel Clodion. This character gracefully rests on an elegant marble pl...

"Pair of Continental (19th Century) Majolica putti figures, each supported by a yellow stump and green glazed pedestal base. One curly haired figure is holding a chaff of wheat (Fall...

A tall original French Art Deco bronze sculpture of a semi-nude, female dancer holding a bow with arrow. The striped cloth which drapes dramatically around the woman's body creates an interesting dialogue and complement to the graceful position of her arms and the movement it creates. The entirety resting on the original onyx base is accented by a touch of gold plated decoration on the statue's earrings, pearls, arm bracelets...

A fine and charming French 19th-20th century carved white marble whimsical group sculpture depicting two putti (Children) playing with a dolphin, fitted for use as a fountain, Paris,...

This wonderful porcelain sculptural group depicting children playing in an 'adult wedding’ conveys with surprising accuracy the emotional component of the moment, conveyed in the expression of children's faces. Dimensions: Height: 7.13 inches (17.82cm) With: 11.75 inches (29.37) Depth: 4.5 inches (11.25cm) Royal Vienna Porcelain. The Royal Vienna Porcelain Manufactory (German: Kaiserlich privilegierte Porcellain Fabrique) was a porcelain manufacturer in Alsergrund in Vienna, Austria. It was founded in 1718 and continued until 1864. The firm was Europe's second-oldest porcelain factory after Meissen porcelain, and for 25 years the two remained the only European...

ABOUT An early 20th c. painted chalkware figure by artist Esther Hunt. Signed by the artist and titled "Peachflower". CREATOR Esther Hunt, San Francisco. DATE OF MANUFACT...

An Italian carved wood male figure from the mid 20th century. This vintage carved-wood statue from Italy features a young male figure, dress in 18th century attire (habit à la franch...

Large and striking brass tree sculpture by Curtis Jere. This floor piece has metal leaves attached to a painted natural wood tree trunk. Mid-Century Modern Brass Tree Sculpture

"Peace" patinated bronze sculpture by Erté, depicting a woman figure dressed in a beautiful long robe and wearing a crown/tiara that resembles rays, while also having a dove above he...

A 19th century patinated bronze sculpture of a female scholar, France. The patinated surface with some remnants of gilt highlights with an ebonized wood base. The seated figure with...

Tang Dynasty terracotta Pottery Tomb figure of the Lokapala Warrier Deity. Figure molded wearing heavy armor, standing in a dynamic pose with left arm raised in a threatening gesture...

This Lifesize Bronze Statue of a Man and a Girl Hugging, created by the renowned artist Prince Monyo Mihailescu, beautifully captures a moment of warmth, tenderness, and connection. ...

Bronze Grecian figure of a seated man with a beard wearing a toga and holding a paper with a theatrical mask on side of base (probably French, 19th Ce...

French Louis XV style (18/19th Century) large gilt wall plaque with cupid heads and sunburst center.

After Francois Rude (French, 1784-1855) "The Education of Achilles by the Centaur Chiron" Patinated Bronze Sculpture, late 19th century, unsigned, elements missing. 17" H x 17.5" W x...

Jean Jules Salmson (French, 1823-1902) "Sir Anthony Van Dyck" Patinated Bronze Sculpture, 19th century, the standing figure wearing a hat, cloak, and a sword, holding a cane and a fo...

Eugene-Antoine Aizelin (French, 1821-1902) "Daphnis and Chloe" Patinated Bronze Sculpture, late 19th century, cast by F. Barbedienne fondeur, the embracing figures standing beside a ...

Auguste-Joseph Carrier (French, 1800-1875) "Bathing Venus" Gilt Bronze Sculpture, late 19th century, the draped figure seated on an ionic column pedestal, signed "A. Carrier". 24.5" ...

Auguste-Joseph Carrier (French, 1800-1875)  Figural Group Gilt Bronze Sculpture, late 19th century, depicting a classically dressed woman attending to her children, on a shaped recta...

This impressive model of the nude holding a dove towering 34" high is the largest and rarest size made. A fine original French Art Deco polished nickeled bronze and black Belgian marble statue by Amadeo Gennarelli; signed Gennarelli in the stone base. The figure called "Le messager", the messenger is the original name created by the artist. In addition to the artist's signature, this sculpture bears the original label inscribed with this title and date 5...

Midcentury, signed artist proof, figurative bronze "runner" statue on travertine base by noted Mexican sculptor Victor Salmones, circa 1960's. The piece is in excellent condition wit...

A wonderful pair of iconic C2 Design bookends. The pair combine a combination pop Nose and Ear. The resin has a stone look and are very popular. The pai...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

This exquisite sculpture masterfully captures the essence of rural life, featuring an elderly peasant standing proudly, reins held firmly in his hands. Behind him, nestled in a beautifully crafted sleigh, are his son and grandson, with the latter energetically guiding the horses using a whip. Each figure is adorned in traditional peasant attire, which not only adds authenticity but also reflects their connection to the land and their heritage. Their faces are wonderfully expressive, conveying a sense of pride, determination, and the bond of family. The craftsmanship of this outstanding silver sculpture, along with its original marble base, showcases an extraordinary level of artistry. The intricate details are so skillfully rendered that one can almost visualize the steam rising from the horses' nostrils in the crisp, frosty air. The air seems to vibrate with the sound of the horses’ hooves crunching through the fresh snow, creating a vivid auditory backdrop to the scene. As the troika gallops at full speed, it leaves behind distinct impressions of horseshoes on the pristine snow, marking their journey through the wintry landscape. This dynamic movement not only brings the sculpture to life but also invites viewers to imagine the story behind this moment—an intimate glimpse into the daily life and enduring spirit of a hardworking family united by tradition and the rhythms of nature. Notes: There are intact little bell on the yoke of a central horse, and an original detachable hallmarked whip. The original, intricately executed marble base is an integral part of the whole composition. The sculpture was never cleaned or polished, and has an original patina. Markings: Fully hallmarked with maker's marks IS (for Ignaty Sazikov...

The Following Item we are offering is an Estate Standing Lalique Sculptured Bowl Depicting Children Standing together all around. Signed Lalique, France on bottom. From an Important ...