Sculpture, Carved Figure of Angel Gabriel, Likely Ohio, Full Length, In-the-Round
N. Young Lima incised on base, and dated MDCCCLXXIX
Measurement: Height: 44", Width at wingtips: 30"
Condition: Displays beautifully; old break and professional repair to one
wing near body. Two trivial losses to tips of one wing have been expertly restored.
Additional Information: A classically posed full length sculpture carved
in-the-round…an elegant peaceful composition evoking serenity and displaying
balance; outstretched arms, garments invite emotional participation.
Diminutive Bronze Bust, George Washington Date/Period: Late 18th–early 19th century
Measurement: Height: 7"
Additional Information: George Washington bronze bust. 18th century. The New York
Historical Society and Library owns a closely related if not identical
bust…however theirs is on an ornate marble plinth, this bronze plinth
is likely a later replacement but still early and very attractive.
Henry Clay Bronze Figure, Full Length Statuette, Thomas Ball, Boston, Modeled 1858
Thomas Ball (1819 to 1911) one of the leading sculptors of the post Civil War period
Charles Wynne Nichols (British/American, 1831 to 1903), after models by Thomas Ball
Signature (on lower back of drapery) T. Ball Sculp. Boston 1858 (H: 30")
Patent assigned to G.W. Nichols
A Fine and Rare Figure of a Great Statesman
Another example is in the collection of the Los Angeles County Museum of Art, also the United States Senate Art Collection at the Capitol
Abraham Lincoln Plaster Portrait Bust, No Beard, Signed: “J.S. Sculptor – 1860” Date/Period: 1860
Measurement: Height: 22.5"
Condition: Minor restoration to proper right front corner of base
Additional Information: Unique plaster model, no doubt intended for an otherwise
unknown, likely never produced marble or bronze bust.
Reverse signed: “J.S. Sculptor – 1860”.
Daniel Webster, Parian Figure After Thomas Ball, G.W. Nichols, Boston, 1853
Ball modeled this figure on the eve of the Statesman’s death and later received a first-
class gold medal from the Charitable Mechanics Association. During Ball’s long career
he modeled several portraits of Daniel Webster (1782-1852). In 1853 the sculptor sold
the reproduction rights for this statuette to George Ward Nichols, a Boston art dealer,
for $500.00 The artist was relieved to relinquish any further responsibility as he found
the details of copywriting, production and piracy to be vexing.
See Ceramics in America, 2002, pp. 62 to 79, Ellen Paul Denker, Parian Porcelain
Statuary: American Sculptors and the Introduction of Art in American Ceramics;
Figure 6 is discussed on page 69. (Excellent original condition; height: 26”)
Parian Figure, Massachusetts Governor John A. Andrews, After Martin Milmore
Boston [Governor: 1861-1866] Date/Period: Mid-19th Century [Milmore (American) 1844-1883]
Measurement: Height: 21"
Material: Biscuit porcelain
Condition: Fine original condition
Additional Information: Impressed on back: M. MILMORE / SCULPT – PUBLISHED
BY J.MC & D. & S. / BOSTON / COPYRIGHT. [Jones, McDuffie, and Stratton].
George Washington, Marble Bust, Confidently Attributed to Horatio Greenough
Horatio Greenough (1805-1842) Unsigned Date/Period: Circa 1840s - SOLD
Measurement: Height: 27"
Condition: Very good, an old fissure under neck (on chest) was expertly restored and is
not visible unless you know it’s there, displays pristine; cleaned and waxed
Additional Information: This handsome marble Neoclassical bust of George
Washington can be securely attributed to the hand of the renowned expatriate American
sculptor Horatio Greenough (1805-1852). The bust dates to the 1840s, just after
Greenough completed his magisterial seated sculpture of our national hero. It was
common for sculptors to create multiple versions of a figure once the initial one was
sold, allowing them to earn a greater profit. Often this was done when patrons placed an
order. This practice accounts for the different versions of the bust, some are draped
while others are not, for instance.
Characteristic of Greenough’s hand is the sensitively modeled, naturalistic bust of
Washington, the carved marble yielding a sensation of living flesh. The deeply carved,
rippled, volumetric hair is a distinctive and easily recognized feature of Greenough’s art
and is evident in other Washington busts by him in the collections of the Metropolitan
Museum of Art and the Museum of Fine Arts Boston. The eyes are also typical in
Greenough’s choice of a blank eye surface, conveying a timeless, classical appearance.
Classical also and employed in most of Greenough’s portraits of great historical
personages, is the draped toga. A dignified heroic image of the first president.
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