Antique Alabaster Sculpture Of A Woman With Marble Base, Artist Signed, c1890

Carved figure of a woman resting along a figural console table, 19th century.

A Lovely Late 19th / Early 20th Century Carved Italian Alabaster Figure of a Woman with Flowers The woman wearing a white veined mottled orange alabaster...

A beautiful Italian 19th century white Carrara marble statue of a young lady. The statue is raised by a square base with a tree stump at the back. The lovely young lady is wearing a ...

A good quality 19th century alabaster statue of a semi nude young girl sitting on a rock.

Alabaster woman sculpture. Italy, Firenze, circa 1890.

A delicate and beautifully carved Carrara marble statue depicting a young semi-nude girl, holding a bouquet of roses in one hand and a vase in the other. This late 19th century Itali...

A lovely Italian early 19th century solid white Carrara marble statue of a young maiden. The seasoned figure is raised on a solid circular base. The bare footed maiden is draped in c...

A very impressive and grand scale Italian mid 19th century white Carrara marble statue on a Gris St. Anne pedestal, signed Lazzarini. The statue is of a maiden in classical drape, wi...

Stunning alabaster statue depicting a maiden selling flowers in the style of Ada Cipriani. Late 19th-early 20th Century - France No visible signature 16" W x 14" D x 49.5" H

"Highland Mary" (also known as Highland Mary or a portrait of Mary Campbell) Carved White Marble Sculpure by Benjamin Edward Spence (British, 1822–1866). A fine full-length, life-size neoclassical carved statue depicts the subject of Robert Burns’s poem Highland Mary (Mary Campbell), shown as a young woman standing in a contemplative pose. The sensual carved figure with a gentle contrapposto stance, weight resting on her left leg, right foot slightly advanced, and her head tilted downward with a solemn, introspective gaze. Her hair is centrally parted and styled in soft classical waves framing the face. She wears a long, fitted floor-length gown with a buttoned bodice and full skirt falling in graceful folds, over which is draped an asymmetrically arranged, heavily fringed plaid shawl (tartan implied through carved texture). Both hands are clasped together at her chest in a reflective gesture, fingers gently interlaced. She wears simple low-heeled slippers. The sculpture stands on a plain circular marble plinth. The work exhibits the refined carving and smooth finish characteristic of Spence’s mid-19th-century neoclassical style, with particular attention to the soft drapery, fringe details, and textural contrast between fabric and skin. Multiple versions of Highland Mary are known (including examples in the Royal Collection, Walker Art Gallery, Liverpool, and Sefton Park Palm House), with minor variations in pose and attributes; the present example corresponds to the clasped-hands composition. Signed: B.E. SPENCE Ft. ROMAE - 1862 Provenance / Literature note: Frequently exhibited and replicated during the Victorian period as one of Spence’s most celebrated works, inspired by the tragic romance between Mary Campbell and the poet Robert Burns. Benjamin Edward Spence (1822–1866) was a 19th century English sculptor, who spent much of his professional life in Italy. He was born in Liverpool in December 1822, the son of William Spence, a sculptor who later in life became a partner in a business house in Liverpool, and gave up the profession. In 1846 he was awarded the Heywood silver medal and a cash prize by the Royal Manchester Institution for a group in clay of the death of the Duke of York at the battle of Agincourt. His father was persuaded by John Gibson to send Edward to Rome. There he entered the studio of Richard James Wyatt, and also received help from Gibson. He died at Livorno (then known as Leghorn) on 21 October 1866. Between 1849 and 1867 Spence contributed to the exhibition of the Royal Academy five times: in 1850 with "Ophelia", in 1856 "Venus and Cupid", in 1861 "Hippolytus", and in 1867 "The Parting of Hector and Andromache". He contributed "Highland Mary" to the Exposition Universelle 1855, and two works, "Finding of Moses" and "Jeanie Deans before Queen Caroline", to the International Exhibition 1862. A number works of his that were not exhibited in England were engraved for the Art Journal. Works: • Highland Mary 1853, Buckingham Palace • Venus and Cupid, Philadelphia Museum of Art • Statue of Lavinia for Mr Holmes of Liverpool (1849) • Statue of Ophelia for Thomas Brassey MP (1850) • Tomb of Richard James Wyatt in the Protestant Cemetery, Rome (1851) • Highland Mary at Osborne House (1854) • Bas relief in a monument to Ann Catherine Jane Smith...