California Figurative Sculptures

A rare and valuable modernist sculpture of a centaur, 20th century. Hand carved out of solid bronze with felted base. D’après Picasso with clear influence from Giacometti and Henry M...

Brutalist raw metal torch cut flower sculpture by Dan Jordan, circa 1983. The sculpture is in very good vintage condition and measures 12.5"W x 11"D x 17"H; it is signed and dated 19...

Carl Auböck model #4057 'Athlete' brass sculpture. Designed in the 1950s, this incredibly refined and sculptural figure is executed in polished and patinated brass. Price is per it...

Stunning large polychrome Santos carving from Spain, circa 1800s. The piece is hand carved in a soft wood with original paint, polychrome finish and gl...

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...

A Fine Italian 19th-20th Century Carved Alabaster Group of a Child with a Birdcage, depicting an infant boy Seated, naked, on a rocky base. After Jean-Baptiste Pigalle (1714-85) - L'enfant a la Cage. In his outstretched left hand he holds an empty bird cage with an open door. This sculpture is one of the popular motifs of the period among secondary figures in paintings was the Italian putto...

A unique, solid cast bronze sculpture of a hand holding three nude figures. Signed by sculptor at base, name is undecipherable as is exact d...

1980's hand blown finger sculpture from the women's parts series by René Roubícek, of Czechoslovakia. Sculpture measures 4.5"high by 19"wide by 4.5"deep and is unsigned. In very goo...

19th century Bronze Sculpture of Cupid After Pierre Chenet Base diameter 6" 9"W x 23"H

Beautiful art deco porcelain figure titled "The Captured Bird" by Goldscheidersche Porzellan Manufactur handmade in Austria by Josef Lorenzl.

Great original Victorian era Folk Art cast iron hand painted polychrome figural lady doorstop. Dates from the late 1800s. Features a woman holding a straw hat. Has the remains of the...

A pair of embossed brass crystal ball pedestals exude understated elegance. Crafted from gleaming brass, each pedestal features delicate embossing adding a touch of sophistication. A...

Vintage Museum Replica of a Winged Sphinx from the Freud Museum in London. England, circa 1970.

A silvered figure of Manjusri seated in dhyanasana on a Pala style Indian base, wearing an ornate crown and wearing body jewelry, Manjushri holds the sword of wisdom in his right hand and above his left shoulder is a lotus flower upon which rests a volume of the Perfection of Wisdom Sutras. Manjushri - Tibetan Buddhist Deity...

Very fine large sculpture by Robert Cremean Item is unsigned, but was purchased directly from Esther Robles gallery. The famous gallery that represented this artist on the 1960s. Th...

Interesting sculptural nose made of plaster. Cool tabletop object.  

Japanese Tachibina (Imperial couple), rare and exceptionally fine standing pair of figures for the Hina Matsuri. The emperor has his arms spread to the si...

After Johann Pilar Bronze Dutch Girl on circular marble white stand. Viennese bronze figure of a Dutch girl, with traditional dress, bonnet and clogs. 19th century Dutch farm girl on...

A very fine model of Cleopatra cast in bronze with multi-patinas. Mounted on an oval marble base bears the signature of the Artist ( M Turner ) on the base plate. Not many of these e...

Great sample of one most important designers of the 20th century, Glazed ceramic, Gio Ponti, made for Richard Ginori and marked S Christoforo, Milano.

Seated female figure on classic Akan stool holding a sword. From the Ewe people of Ghana, West Africa. Created as three separate carved pieces of wood that fit together for display,...

Kenya tribal wood headrest, stylized natural animal form, early 20th century, African. Early Rendille or Borana Headrest from Kenya. Using naturally found branch connections to form a stylized three legged animal form, these headrests were a treasured personal item...

An Imposing fine and large French Art-Deco Spelter (Petit-bronze) figure of a standing semi-nude orientalist maiden in a brown patina, attributed to Louis Hottot (French, 1834-1905). The smiling young topless beauty, posing with her arms outstretched, her hair wrapped with a headscarf centred with a green art-glass bead and a scantily scarf tied around her waist, standing barefoot among tropical shrubs and flowers and raised on a circular mottled green marble base. A brass plaque reads "TYPHA", Paris, circa 1900. Louis Hottot was a French sculpture who mainly specialized in Orientalist female figures and other Orientalist subjects and themes, most of his works were produced in spelter. He exhibited his works at the Paris Salon from 1885 to 1898. Hottot is best known for his Orientalist-themed sculptures, including Almie du Caire, circa 1887 and Fille d'Egypte, circa: 1885. He was a member of the Socie´te´ des Artistes Franc¸ais. Literature: Les Bronzes du XIXe Siecle, P. Kjellberg, Les Editions de L'amateur, Paris. S. Richemond, Les Orientalistes...

Beautiful polished brass apple trinket box, circa 1970's hand made in Mexico elegant and unique.

A young girl fully nude in a dance mode standing on one foot .A solid casting finished in an antique silver painted finish . Her hair is finished in a brown color . She is standing o...

Late Victorian bronze Art Nouveau nude women letter Wax seal stamp unused and never monogrammed. Circa 1890.

A dynamic sculpture by German artist Ludmilla Fischer-Pongratz (1899–1981), titled Raufende Buben (“Brawling Boys”). Executed in 1964, the work depicts two boys caught in a vigorous ...

A beautifully and completely hand crafted and carved from a root, the Holy man, Immortal Li. A complement to the space it finds itself. The hermit Li Tieguai by Huang Shen, 1757 Tr...

This series of made-to-order floor lamps is available in additional colors and finishes. Please reach out for customization. "Mycelium" by Alexey Krupinin is a sculptural exploratio...

This is a wonderful piece likely made by the Mangetu tribe of the Democratic Republic of the Congo. It is finely detailed and quite large and hefty. These pieces were originally made...

This very whimsical bronze features a young street kid, cigar in hand, and monkey on a chain in the other hand. A scene that should inspire a smile. Sculpted by the Danish artist Car...

French antique birdhouse find it in Paris. We painted the base only the dome is in original condition and it is beautiful. Dimension of the dome heig...

Small dancing Lobi figure with arms out, and cubist face from Ghana, West Africa. ex James Willis, San Francisco, CA. Damage to proper right hand, fingers absent. Heavy encrusted p...

Beautiful functional and decorative ceramic piece. This piece displays one main decorative statement, a stylized horse figure in profile from the back in a stunning red glaze that co...

Picassoesque Minotaur contemporary sculpture created by Carol Gentithes of Seagrove, North Carolina. Half man, half bull sculpture has two faces and a snakes head tail.. Sculpture measures 14" by 9" by 7" and is signed Gentithes. In very good condition. The following was taken from the Artists' website, with thanks: Carol Gentithes grew up in the flatlands of Ohio. She graduated from Duke University with a B.A. in English Literature. From there she proceeded to work many years in the travel industry where she managed a travel agency, escorted groups to Russia, handled tourist campaigns for international destinations and so forth. In 1989 she returned to academic life, graduated from Alfred University with a B.F.A. in ceramics and met her future husband, Fred Johnston. In 1997, Carol and Fred, established Johnston & Gentithes Art Pottery in Seagrove, NC. Both Carol & Fred have been artists in residence at Arrowmont School of Arts, TN and ArtLink in Tallin, Estonia. They received the NCECA 2010 International Artist Residency in Jingdezhen, China for 6 weeks at the Sanbao Ceramic Art Institute to explore ancient and contemporary Chinese porcelain...

Rare bronze "Daphne" sculpture on marble base by Thomas McKnight, circa 1985. The piece is in very good condition with a great patina measures 4"W x 4"D x 16"H. The sculpture is soli...

A trio of large size minstrels by Otello Rosa for San Polo of Venezia. They are in wonderful condition. They are 24 inches tall.

Beautiful vintage clown figurine itled "Knickers Eating Lunch", Created by Ron Lee, an American artist born in Southern California in 1947. Thi...

Beautiful and whimsical brass paperweight that adds personality and style to your office or décor. The weighty piece is signed “Made in England” and adds style to any place. A great ...

Gorgeous Italian ceramic glazed green limes on straw rope. Fabulous art piece for your home.

Small minimalist walnut and aluminum crucifix / cross, circa 1960s. The piece measures 8.5" high x 2" wide and is in very good vintage condition. #2472.

2013 Forged steel and cast bronze Measures: 9 H x 5 W x 16 D in. / 23 x 13 x 41 cm Hand crafted by William Roan, the blacksmith famous for making the original Bay Bridge Tro...

Striking and high design piece created by Paolo Tilche for Guzzini. It’s Space Age design consists of an ecru sphere with navy blue and red stripes with a silver chrome handle that a...

whimsical table sculpture circa 1970's in bronze sitting on onyx base figurative landscape , signed Jason nice well done piece .

1929 - Mr. Zajac is a California based artist. He is known for large bronze rams horns and skulls in abstract forms. This piece is from a series called 'Resurrections'. Cast Bronze o...

A very interesting patinated bronze figurative sculpture on marble base signed "KE 11/12", circa 1988. The piece has a wonderful patina and measures 6"W x 2.75"D x 11.25"H. To me, th...

1980s life-size Raku-fired ceramic female nude sculpture by American sculptor Eva Stettner. Constructed of ceramic that is low fired glazed, the stool is...

Stunning Bronze Sculpture designed by the American Artist Jim Davidson, ( it has the maker’s signature on it ). This charming statue depicts a boy and girl seated on a bench with a d...

A very nice bronze "Icarus" sculpture entitled "Blissful Angel" on a black marble base, circa 1990s. The piece has a wonderful patina and measures 5"W x 6"D x 8.5"H; the marble base ...

Dressed in vintage 1940s clothes, the pensive golfer stares down the fairway after completing the perfect swing; inscribed EG.

Beautiful Murano Seguso, Glass pear sculpture bookend flat on the side and bottom gorgeous colors and condition, no chips cracks, or scratches.Great for mid-century danish Modern and...

UH80304 Bronze Figure of a Korean Girl by Eudald Serra i Güell, circa 1940. A heavily cast bronze figure of a standing young girl in traditional Korean Hanbok dress consisting of a jeogori jacket and a long chima skirt. Her long hair braided...

A very nice MCM brass crucifix with Jesus on the cross, circa 1970s. Nice weight and detail. #3465

Midcentury embracing nudes resin sculpture on marble base by Peggy Mach for Alva Museum Reproductions (AMR), circa 1970s. The piece is very heavy, well deta...

Super cool pair of modernist figural sculptures in burlwood, circa 2000s. The figures are hand carved and measure: 7.5" W x 2.5" D x 6.5" H. The piece...

A French 19th century bronze and marble bust of Marianne in full armor. The nicely cast Baroque Revival brown patinated bronze and carved white marble figure of Marianne, the allegorical personification of the French Republic, presented in her militaristic guise, reminiscent of Minerva, wearing a Phrygian helmet and armored breastplate centered by winged male mask and with lion shoulder armor pads, all raised on a conforming black marble base. Circa: 1890-1900. Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, as well as a portrayal of the Goddess of Liberty. Marianne is displayed in many places in France and holds a place of honor in town halls and law courts. She is depicted in the Triumph of the Republic, a bronze sculpture overlooking the Place de la Nation in Paris, as well as represented with another Parisian statue on the Place de la République. Her profile stands out on the official government logo of the country, appears on French euro coins and on French postage stamps. She was also featured on the former franc currency and is officially used on most government documents. Marianne is a significant republican symbol; her French monarchist equivalent is often Joan of Arc. As a national icon Marianne represents opposition to monarchy and the championship of freedom and democracy against all forms of oppression. Other national symbols of Republican France include the tricolor flag, the national motto Liberté, Égalité, Fraternité, the national anthem "La Marseillaise", the coat of arms, and the official Great Seal of France. Marianne also wore a Cockade and a red Phrygian cap symbolizing Liberty. Minerva and its pendant bust of Mars evoke the classicizing subjects, bust-length formats, and style that originated in France during the reign of Louis XIV (1643–1715) and that concurrently was popularized across Europe. The busts' simple forms, stiff poses, and solemn facial types are consistent with the late Baroque sculptures that were carved in Flanders during this period. In Flanders, especially in Antwerp and Brussels, sculpture and architectural decoration traditionally was carved using combinations of native black marble (noir belge), mottled red marble (rouge belge), and white marble or alabaster. The use of these stones in colorful counterpoint speaks most strongly to the busts’ Flemish origins. The veneration of ideal heroes and heroines in ancient costume and arms took on extravagant form in the 17th century, with countless variations. Within this imaginative tradition, the identification of the pair as Minerva and Mars cannot be certain. The female bust, for example, could be identified as Bellona, Roman goddess of war, who is depicted in 17th and 18th century French paintings wearing flamboyantly plumed helmets and low-cut cuirasses that expose her breasts. Whatever their identities, the female and male warriors are portrayed as calm rather than bellicose beings. The sovereign pair does...

A very fine and charming Italian 19th century carved Carrara Marble Group "Playful Putti with Goat" depicting two young children, one riding the goat whose two front legs are in the ...

A very nice Chinese bronze "Happy Buddha" sculpture / incense burner circa 1960s. The piece is in very good vintage condition and measures 4.5"W x 5"D x 4.25"H. A laughing or happy B...

For your consideration, an antique Chinese Ming Dynasty hand carved glazed wood horse with rider. Dimensions: 22' H x 22" W x 5.5" D Delivery withi...

A very set of three art glass animal paperweights / sculptures by Kosta Boda Sweden, circa 1980s. The set includes a hippo, rhino and polar bear. They are in very good vintage cond...