Mid-19th Century Figurative Sculptures

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (1 of 2. ...

Antique Horse Bronze  "Horse  in the Stable Playing with a Dog (The Good Companions)" Jument à l'écurie jouant avec un chien Pierre-Jules Mene (French, 1810-1879) Bronze 19 x 10 inc...

Pietro Chiapparelli (Italian, 19th Century) Sleeping Ariadne, c. 1865 Bronze on marble base Inscribed 'P. Chiapparelli F.I. Roma' 22 x 24 x 10.5 inches 136 lb. (34 lb. bottom marble,...

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (2of 2. No...

This Mercury by Montagne has lovely patina and surface and is a pleasingly different depiction of Winged speed as he is seated! It is an arresting pose and elegant and covers all fa...

Venus Italica, imposing sculpture in white Carrara marble, mid-nineteenth-century Roman atelier. Antonio Canova made several sculptures depicting Venus. The first was made as compen...

"Pair Recumbent Stone Lions" after Antonio Canova (1757-1822) Italian (possibly Florence) Mid 19th Century Alabaster, marble 6 x 9 x 4 inches This is an exquisite pair of Italian alabaster lions on marble bases based on the monumental lions carved by Antonio Canova (1757-1822), the greatest Italian neoclassical sculptor. Canova sculpted the marble lions for the monumental tomb of Pope Clement XIII in St. Peter’s, Rome in 1792 Canova Lions refers to the pair of copies of lion sculptures by Antonio Canova. When Canova created the sculptures in 1792, he installed them on the tomb of Pope Clement XIII. The marble sculptures are some of the most prominent features in St. Peter's Basilica in Rome. Given the intricacies of creating the original Canova lions, some artists created molds and replicated them. A good example is the pair of lion sculptures...

"Rabbit with ears down" with molded oval base by Antoine-Louis BARYE (1796-1875) Bronze with nuanced dark brown patina Stamped "Barye" Numbered "89" old edition cast – from the Bary...

Lion and snake n°3 by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark greenish brown patina signed "Barye" on the base old edition cast – probably from the Bary...

Italian Portrait White Marble Bust in a Heroic Attitude. Carrara statuary Marble. Tuscan school. Circa 1850.  Bust depicting a young man with bare shoulders. This model draws inspira...

Randolph John Rogers (American, 1825 - 1892) Randolph Rogers' Nydia, the Blind Flower Girl of Pompeii debuted in 1856 to critical and public acclaim, solidifying Rogers’ position as a pre-eminent American sculptor and it remains one of the artist’s most celebrated works today. The subject of Nydia is drawn from Edward Bulwer-Lytton's The Last Days of Pompeii 1834. After touring the ruins of the ancient city in 1833, and inspired by the stories of blinding volcanic ash, he composed the tale of Nydia, a slave who led her master, Glaucus, to safety. Rogers depicts Nydia at the moment that she and Glaucus have become separated in their perilous journey through the rubble and Nydia seeks familiarity in the surrounding chaos, her distress evident in her pained expression. The grace of the sculpture is at odds with the turmoil portrayed; a toppled Corinthian capital lies at her feet and obstructs her next step, indicated by the tilt of her back foot and grip on her walking stick. Examples of this model can be found in major American collections, including The Metropolitan Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Boston. Literature, Millard F Rogers, Jr. Randolph Rogers, American Sculptor in Rome. University of Massachusetts Press, 1971, American Figurative Sculpture in the Museum of Fine Arts Boston. Museum of Fine Arts, Boston, 1986. Joyce K Schiller. "Nydia, A Forgotten Icon of the Nineteenth Century." Bulletin of the Detroit Institute of Arts, Born in Waterloo, New York, Randolph John Rogers became an expatriate* sculptor of idealized figures, portraits, and commemorative works in Neo-Classical* and Realist* styles. He worked in clay, plaster, marble and bronze, and lived both in Italy and the United States. He made 167 examples of Nydia in two sizes (varies depending on base height) 36" and 54'. Rogers was raised in Ann Arbor, Michigan, and as a young man did woodcuts* for the local newspaper, The Michigan Argus, and also worked as a baker's assistant and a dry goods clerk. In 1847, he moved to New York City, where he hoped to find work as an engraver*, but failing to do so, worked in a dry goods store owned by John Steward...

Piccola scultura in legno (40 x 7 x 13 cm) con soggetto due figure femminili nude distese che si tengono per mano, su uno sfondo non riconoscibile ma che probabilmente vuole richiama...

Francisque-Joseph Duret (Paris, 1804-1865), busto virile in marmo bianco. Francisque Joseph Duret (19 ottobre 1804 – 26 maggio 1865) è stato uno scultore francese, figlio e allievo ...

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...

Reclining Doe by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Barye's workshop (...

Artist: After Pierre Jules Mene (French, 1810-1879) Title: Cheval Libre (Free Horse) Year: 1868 Medium: Cast bronze sculpture with dark brown patina Edition: Unknown Size: Inclu...

Untitled #10 (female bust), 2016 from Los Infortunios De La Virtud series Antique porcelain bust with the intervention of oil, gold, silver, lea...

Cantagalli-manufactured ceramics measuring 125 x 67 cm depicting a sweet Madonna adoring the Child Jesus and the Holy Spirit. At the beginning of the 19th century, Ulisse Cantagalli...

Portrait of a Lady by Charles CORDIER (1827-1905) A rare bust in white Carrara marble and onyx for the drape Signed on the backside " C. Cordier " Presented on a rounded white marbl...

ÉTIENNE-HENRI DUMAIGE French, (1830-1888) Avant Le Combat, Apres Le Combat Pair of patinated bronze; signed 'H. Dumaige' and titled ‘AVANT LE COMBAT, APRÈS LE COMBAT, GRENADIER D...

Antique Horse Bronze Exceptional Bronze of a Draft Horse Pierre Jules Mêne (French, 1810-1879) Circa 1860s 4 3/4 (W) x 3.25 (H) As Mêne personally ov...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

Bacchic revelry. A sexy and nude curvaceous young Nymph/Bacchante makes amorous advances to a Herm - whose facial expression reflects her erotic touch. The Herm is stylized where his...

"Musidora" by Odoardo FANTACCHIOTTI (1809-1877) Sculpture made in white Carrara marble signed on the side on the base " O. Fantacchiotti " Italy around 1862 height 110 cm diameter ...

For sale is the great looking large male nude bronze sculpture of Orpheus by German Artist Professor George Mattes (1874-1945). Orpheus is seen along ...

Superbly carved white statuary Carrara marble bust of Flora, the goddess of flowers. Flora was often associated with the coming of spring and the fertility of the land. She also sy...

Pietro Bazzanti (1842-1881) specialized in allegorical and genre subjects as well as copies of Antique and Renaissance sculpture. Regarded as one of the most talented sculptors of h...

Female Painter's Manikin Mid-1800s jointed and articulated, life-size Italian sculpture, 167 cm tall 66 Inches, made of beech wood with traces of lacquer preparation. This extraordi...

A. LACARRIÈRE PÈRE, FILS & CIE French, (Mid 19th century) Bronze Figural Torchères - Médaille d'or - Exposition de 1867 Monumental Patinated Bronze Figural Torchères on Pedestal; ...

Large 19th-century decorative shield. Finely carved and gilded wood work with mythological motifs and figures, signed F. Barbedienne Paris, attributed to the great French foundryman ...

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

Carved Carrara marble bust of Augustus Caesar. Italian grand tour. Mid 19th century. #roman classical greek sculpture not signed . rare. museum paris

Large white marble sculpture depicting Venus, from the workshop of John Gibson, Rome, circa 1850. Known as Venus Verticordia or Venus Colored, its history is fascinating. John Gibso...

Leonard Wells Volk was a famous American sculptor. He went to posterity after making one of only two life masks of United States President Abraham Lincoln. I...

Inkwell "Boar Hunting" by Christophe FRATIN (1801-1864) Cast in bronze with nuanced brown patina Signed on the hinge of the lid "Fratin" A very rare old cast France circa 1845 heig...

Susanna by Albert-Ernest Carrier-Belleuse (1824-1887) Bronze sculpture with nuanced brown patina signed to the side " A. Carrier " old period cast France circa 1860 height 62 cm ...

Superbly carved white statuary Carrara marble bust of Flora, the goddess of flowers. Flora was often associated with the coming of spring and th...

Antoine-Louis Barye (FRENCH, 1795-1875) Panthère saisissant un cerf (Panther seizing a stag) Signed: “BARYE” Stamped: Susse Fres bronze, dark-green/black patina Measures: Height ...

Pierre Jules Mene (French, 1810-1879) Chien Braque a la Feuille Bronze with brown patina 9.5 inches (24 cm) long 5 inches (12.7 cm) high Inscribed on base: PJ Mene Condition: ...

A signed, dated, 1855 terracotta, classical style sculpture of the robed figure of Fate holding the thread of life by listed, Austrian-born artist, Franz Melnitzky (1822-1876) whose ...

ANTOINE-LOUIS BARYE (FRENCH, 1795-1875) Panthère surprenant un zibeth, seconde version (Panther attacking a civet cat, second version) signed BARYE bronze, dark-brown patina with r...

Monkey Match Holder by Christophe FRATIN (1801-1864) Bronze with nuanced brown patina Signed on the base "Fratin" Old edition cast France circa 1850 height 14,5 cm width 10 cm dep...

As all of you will know, every Meissen figure is painted individually by an artist. While all Meissen is of high quality, I feel that the present figure is particularly fine, with th...

Bear carrying a basket, with a dog Match holder by Christophe FRATIN (1801-1864) Cast in bronze with a dark brown patina Signed to the front of the base "Fratin" Old edition cast F...

Self-portrait "Fratin by himself" by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina Signed on the base "Fratin" Raised on a wooden base, with an old collector s...

Pair of monkey candelabras by Christophe FRATIN (1801-1864) Bronze with nuanced dark brown patina signed "Fratin" on the foot old period cas...

Jean BULIO (1827-1911), "Venus and Love," bronze medal patina group signed on base. Susse Frères foundry mark engraved on the back. Otttimo state of preservation. Measurements :...

signed 'A. CARRIER-BELLEUSE' (on base)

"Elena di Troia", grande scultura in bronzo a patina bruna firmata alla base J.Clesinger-Rome 1864 - F. Barbedienne fonditore e recante il sigillo di riduzione meccanica Collas. Ecc...

Pierre Jules Mene (1810-1879). Original cast circa 1850 Chien épagneul-griffon attrapant un canard (Spaniel-Griffon canine capturing a duck). Exceptional and large bronze grouping ...

John Edward Jones (Irish – 1806-1862) “Portrait of Lady Lucy Henderson” Signed and dated London 1858, and inscribed, “Lucy Henderson, Nee Durham” 28 ½” high x 20 ½” wide x 11” deep Provenance: Collection Saratoga Springs, NY About John Edward Jones was born in Dublin on May 2nd, 1806. He was the son of a miniature painter Edward Jones. He was trained as an engineer under Alexander Nimmo and worked with him on many important works in Ireland, including the building of the bridge at Waterford between 1829 in 1832, of which he was in charge. A taste and an aptitude for sculpture induced him to relinquish his prospects as an engineer and he commenced practice in London as a sculptor. He achieved considerable success, especially in portrait busts, and was employed by many notable persons of the time. He first exhibited at the Royal Academy in 1844 and continue to do so until his death. He executed a considerable number of bust of Irish personages. He paid occasional visits to Dublin where he contributed to the Royal Hibernian Academy in 1847, 1852,1853 and 1854. A full-length statue by him of Sir Robert...

A good antique bronze sculpture of a brown bear by the celebrated French Animalier sculptor Antoine-Louis Barye, circa 1870. The bronze depicts a brown bear in a dynamic pose, head h...

Spaniel n°1 (second version) by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark brown patina signed "Barye" on the base old edition cast – probably from the Bar...

Isidore Romain Boitel (French, 1812 - 1861) "Jeune fille aux colombes et à la corbeille de fleurs". Young girl with doves and basket of flowers Bronze ...

Antique Porcelain Dog Portrait: Cavalier King Charles-Edmé Samson According to the model created by Johann Joachim Kaendler (MEISSEN around 1770). By the famous factory of Edmé Sams...

Antique Bronze Miniature Barnyard Scene (Cow, Sheep & Goat) Christophe Fratin (France, 1801-1864) Sand cast bronze 5 3/4 x 4 1/4 x 2 1/4 inches Highly refined and sensitively modeled miniature bronze representing a small herd of cattle, sheep and cattle on the terrace. Despite its small size, this bronze offers a complete view of a small herd of livestock: a bull is lying in a landscape near a sheep and a goat climbing a tree above a rocky mound. Here we find the skillful hand of the animalier sculptor Christophe Fratin (French, 1801-1864), immensely famous in the 19th century for his thoughtfully crafted animal...

JEAN-BAPTISTE CARPEAUX 1827 - 1875 Le Chinois N°1 (study for Asia) (1868). Model from the observatory fountain. Sketch Height ca.60 cm A similar copy auctioned on June 22, 2023, at ...

Djinn, Arabian stallion 1846 A French bronze horse with a dark patina with brown undertones entitled 'Djinn étalon arabe' cast from the model by Pierre-Jules Mène (1810-1879), secon...

Marble-based bronze statuette depicting Cupid, holding an arrow in his hand, walking caressing a lion's mane, lowered in the act of affectionately licking his little foot. The subjec...