Mid-19th Century Busts

Staffordshire Pottery porcellaneous bust with a religious theme which features John Wesley, resting on a marbleized base. Decorated 'in the round' - decoration to front and reverse. ...

A fabulous 19th century oversized classical plaster bust of Apollo by Louis Brugiotti of 4 Leather Lane London 1845-1885, in original untouched condition. 89cm in height 60cm in w...

A charming marble bust of a young girl, unsigned, execute in the mid 19th century in Italy. it is in very good condition and the expression of the girl is attractive from all angles.

Bust of general Hoche, one of the most important generals under Napoléon the 1st. Signed and dated on the left: H. Lemaire and dated 1830. The plaster with polychrome painting has be...

Pair Antique French Terracotta Busts Signed "Houdon" on Marble Bases, Circa 1860. Male Bust: 17 3/4" H x 9 1/2" W x 8 1/2" D Female Bust: 19 1/4" H x 10" W x 6 1/2" D

I could not identify the sitter. Socle base. From a Mississippi collection.

A large bronze bust showing a beautiful young woman depicted as a Bacchante, the Greek Goddess of Wine, her head festooned with grape branches. The bust is supported by an integral bronze plinth that at the back is inscribed with the name of the sculptor, J. Clesinger Rome 1857 dating the bronze to the time when the sculptor was 33 years old. The sculptor whose full name was Jean Auguste Baptiste Clesinger was born in 1813 in Besancon in Southern France. His father, Georges-Philippe, was a sculptor and trained Auguste in art. Auguste first exhibited at the Paris Salon in 1843 with a bust of Vicomte Jules de Vaidahon. At the 1847 Salon, he created a sensation with his Woman bitten by a serpent, produced from life-casts from his model Apollonie Sabartier who was a notorious Parisian and the mistress of many perhaps even of Clesinger himself. Later he also produced this bust of her as Bacchante. In private life, the sculptor was awarded one of France’s highest honour, the knight’s cross...

Carved from reddish brown hardwood, the hollow form rises from a cylindrical neck, the lowest part being a rounded base, then surrounded by diagonal sections. The neck is surrounded by nine rows of coral beaded necklaces (odigba) that extend to a thread motif on the back of the head. Face in full relief with straight lips, flared, flattened nose and oval eyes with set shell (nut) for the pupils. Along the forehead are six frontal scars treated with rectangular cavities in which should have inserts nutshells. In this case there is only one left Small ears on each side of the head, each C-shaped. A headband consisting of three rows of almost completely distroyed. On the right side of the head, a single feather extends upward from a beaded rosette. Behind the ear, two long braids of hair hang down to the beaded collar and then become bows that reach the roots. The left side of the head has a long, single braid behind the ear that hangs down to the beaded collar and becomes a bow that ends at the base. On each side, three strands of hair appear at the temples under the headband. Featuring an open hole with a circular motif on the top of the head and a rectangular open slit down the back. Insect damage in different areas; very old worn finish showing a lot of age. Very heavy insect damage in all areas; very old worn finish showing a lot of age. “Wooden shrine heads were permitted to sit on the altars of chiefs and important figures, in contrast to the copper alloy heads used exclusively by the kings of Benin. (Frederic Backlar, Bonhams, New York, 2012, lot 172) Osemwede (reigned 1816-1848) was the first Oba to decree that human heads could be carved for the altars of chiefs of royal lineage, rather than just wooden antelope and perhaps goat heads. Therefore, chiefs of blood enjoyed in Benin City (but not throughout the Kingdom of Benin, where antelope heads continued to be placed on the altars of their ancestors well into the 20s. Thus, the (wooden) human heads are said to be later than ca. 1816, but the actual age depends condition, insect damage, etc." (Fagg, William, Christie's, London, 1988, lot 206) "Feathers were worn by chiefs as a sign of status. The heads have a hole at the top intended to hold a large carved ivory tusk...

XIX Century child wax bust. Curious bust in wax representing a child of the xix century on wooden base total measurements: 22 cm height only the bust 16 cm.

Pair of French Victorian patinated bronze busts of Louis XVI and le Titien each on a square rouge marble base (signed: Chardigny/1858)

An early 19th century Italian carved marble bust of a young Caesar, sitting on an antique marble and bronze column base. Measurements: Total height 51.5" Length 10" Depth 7" D...

Italian mid-nineteenth century bronze bust of Lucius Verus, circa 1860-1870, on circular waisted socle. Lucius Verus ruled Rome alongside Marcus Aureli...

Marble bust of Corneille Van Cleve by Jean-Jacques Caffieri, France, 19th century.

English Marble bust of Parliament gentleman displayed on a circular plinth. Signed by maker John Graham Lough, London Mid 19th Century. Lough sculp...

Neoclassical bronze bust of Zar Alexander II, with yellow patina. Marked on the side: Giesserei Burgdorf 1852. Height: 19 cm Depth: 8 cm Width: 11.5 cm Switzerland 1852

Royal house antiques. Royal house antiques is delighted to offer for sale this sublime antique William IV circa 1830 Flamed Mahogany Pedestal stand with small coat rail from Princess Diana Spencer’s London family home Spencer House...

In the Napoleonic style with much later faux marbre plinth.

Collas Reduction by David Danger.

A very finely carved marble bust of William Ewart Gladstone dated 1868 and signed W.Theed SC William Theed was born in Staffordshire, his father, William Theed the elder being a sculptor and a craftsman at Wedgwood, known for his major work, Hercules and the Thracian Horses for one frontage of the Buckingham Palace complex. The younger Theed studied at the Royal Academy Schools, then worked for the sculptor E. H. Baily. Five years on, in 1826, he went to Rome, where he was to stay a total of 22 years, during that time working in the studios of Thorwaldson and John Gibson. Returning to London in 1848, Theed enjoyed a good reputation, being a favoured sculptor of Queen Victoria, and was commissioned to produce many portrait statues, busts, and large monuments. He showed work in the 1851 Great Exhibition, and among other high points were a group for the Albert Memorial, and five standing figures on the Inland Revenue side of Somerset House, representing Manchester, Edinburgh, Glasgow, Belfast and Dublin. Theed's statues may be seen in St Paul's (Henry Hallam), Manchester (Monument to Chetham in the Cathedral, Gladstone and Thomas Bright for the Town Hall, and James Watt in Piccadilly Gardens), Huddersfield (Robert Peel), Winchester (David Williams monument in the Cathedral), and Prince Albert statues for Grimsby, and in Australia in Macquairie Street, Sydney. He was also responsible for three of the portrait statues (Bacon, Locke, Adam Smith...

Female bust of maiden with bouquet of roses ( Spring). The maiden is portrayed with a slight smile and a deep, attentive gaze, combed with a low chignon and hair lightly held back by...

A very handsome and impressive pair of relief portrait busts in copper depicting portrait busts of Arthur Wellesley, 1st Duke of Wellington (1769-1852) on the left, and Napoleon Bona...

An Italian alabaster sculpture, circa 1860. Perfect for desktop, coffee table or bookcase accessorizing or to add to an existing collection of 19th century sculptures.

Christian Daniel Rauch (1777-1857), very fine bronze showing the standing figure of Goethe in his typical thinking pose, wearing his 'Hausrock' ...

Although the first American President has been much portrayed in paint and bronze; I have not been successful in locating another bronze on which this is based. He is dressed as General Washington...

The bust of Napoleon with a medallion detailed with Medusa's head over his shoulder behind an eagle and its outstreched wings and with a palm tree on the back. Marked Eneret on the b...

Incredible bust in alabaster representing Mme Pompadour circa 1850

We delighted to offer for sale this lovely and very rare bronze head of a Russian Priest with a paper label from the very famous James Bourlet & Son's L...

This most impressive life sized characterful plaster bust dates to circa 1860. It is finely modelled and depicts a medieval gentleman wearing a simple hat and tunic top. The features...

19th century French Female bust in Carrara Marble. Masterfully sculpted

A Fine Pair of Mid 19th Century English Carved Carrara Marble Busts on Wooden Pedestals By John Denton Crittenden Depicting a well-to-do man and woman. Each signed J.D. CRITTENDEN....

A Chinese polychrome bronze depiction of Guanyin the Goddess of compassion and mercy. What makes this presentation more unique is the fact that G...

A male portrait bust in the Roman manner by Lawrence MacDonald (1799-1878) Carved in Carrara marble, rising from a round socle supporting a waisted column, the bust having resemblances to Arthur Wellesley, the Duke of Wellington as a young man. Signed by the artist, 'L. MacDonald, Romae, 1847'. Dated 1847 Dimensions: H: 26 in / 65 cm W: 19.5 in / 49 cm D: 10 in / 26 cm Lawrence MacDonald (1799-1878) Macdonald worked as an ornamental sculptor for the architect James Gillespie Graham before entering the Trustees' Academy, Edinburgh, in 1822. In Rome, in 1823 he was one of the founders of the British Academy of Art. He returned to Edinburgh in 1826 and became a member of the Royal Scottish Academy in 1829. Four years later he settled in Rome, and from 1844 he worked in Bertel Thorvaldsen's former studio. He became the city's most fashionable portrait sculptor and, according to the Art Journal, his studio was filled with 'the peerage done into marble, a plaster galaxy of rank and fashion'. His sitters included the essayist Henry Taylor...

Large portrait bust of a middle-aged man in antique garb. The plaster bust is signed A. Frederich and dated 1843 on the underside and stands on an ebonised wooden column base. The bu...

Barbedienne cast. Look at the Metropolitan Museum for a larger example.

This portrait bust in relief of a French nobleman is mounted in the original gilt frame, though the subject’s identity and the artist remain a mystery. Beautifully sculpted, the bust...

A plaster bust of a Victorian gentleman by Boehm, this white plaster bust shows an authoritative gentleman with a moustache and whiskers wearing a high collar and bow tie with a wais...

Now on a Sevres porcelain socle dated 1849.

A favored royal residence, Château d’Amboise was confiscated by the monarchy in the 15th century. King Charles VIII actually died at the chateau in 1489 after knocking himself unconscious on a door...