18th Century and Earlier Figurative Sculptures

A scarce antique English porcelain figure of a Putto holding a basket of flowers by the renowned Staffordshire factory Bow and dating from aro...

A late 17th-century figure in polychromed chestnut wood with excellent carving and gilding, dressed in a flowing veil and cashew hair down the shoulders. The cheekbones and nose are ...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

An interesting soft-paste porcelain figure of a Dominican Nun, perhaps the theatrical figure Heloise. Although the Nun appears in various versions in European and English porcelain,...

A deep and well carved panel English oak with many figures in deep relief and a good colour Circa 1520 33cms wide x 21cms high

Excellent walnut carving of a Carlo Boccomico c1600 Visible old dead worm holes, but great condition 72 cms high 30 cms wide

A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...

Trinity in carved and polychromed wood, in the round, the back partially hollowed out. It is represented here as a "Throne of Grace". In this original formula, which probably origina...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century in iv... partially painted and gilded. The baby Jesus, asleep, is depicted sitting cross-legged. Posterior dobby. Dim.: ...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

Iron Bust From 1600 depicting a boy with curly hair, dressed in a tunic that leaves one shoulder uncovered. Made of cast iron, the pommel has a dark patina and is in good condition, ...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

Great Italian sculpture from the second half of the 18th century. Finished wooden work from the center depicting an almost life-size Roman soldier. Statue complete with lacquered and...

This 1890s French White Carrara Marble Sculpture is a timeless and elegant masterpiece, hand-crafted from the finest marble in France. Its classic design and high-quality material ma...

Beautiful and very rare hand carved wooden coat of arms with a crowned lion standing on the water reaching to a star. The Netherlands, circa 1650- 1750. Weathered, small losses and...

Likely from a piece of furniture. Featuring a well carved male and female over an ebony panel. Now used as candlesticks.

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Portrait Medallion of Edward Bourne, bricklayer at the Wedgwood factory. A bricklayer was kept on staff in order to maintain the kilns. This was modelled by Hackwood as an excercise...

A 18th Century superb italian sculpture of a draped Madonna with a veil, base with richly carved relief with cherubs and a baby Jesus on her lap in carved polychrome and gilded wood....

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...

ABOUT An original 18th century Italian armorer's model with glass eyes and articulating arms. Used to fit different types of battle armor. Shows signs of light wear and paint loss...

An elegant and extremely decorative Italian 17th century Baroque period Giltwood and patinated wood Putti statue. The statue is raised by a Giltwood plinth with a Coeur-de-Rai carved...

A pair of 18th century German figures of one legged beggars after the engravings of Rembrandt in box wood. Circa 1780

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

This magnificent matched pair of bronze figures was created by the well known bronzier Clodion in the late 18th century. The pair is a fantastic reflection of Clodion’s skill and cel...

Figure seated on rock work wearing a crown.

Technique: Tempera and oil on wood Dimensions: 25 x 11 x 8 cm Description: This exceptional work from the 12th century represents the Seated Virgin with Child (Sedes Sapientiae), standing out as an artistic treasure from medieval Spain. The portrayal of the Virgin enthroned with the Child on her lap is emblematic of Romanesque art, and this particular piece is a valuable and authentic example of that era. The current polychromy belongs to the Gothic period and overlays the original Romanesque layer. It is crucial to highlight that the current state of the artwork is the original, without any cleaning interventions, imparting a unique authenticity. The work exhibits architectural characteristics typical of Romanesque art, evident in the sides of the throne. The rigidity and symmetry characteristic of this style are reflected in the firm presentation of the Baby Jesus, noticeable in his gesture while holding his son. The Virgin wears a crown, symbolizing her royal character as the Queen of Heaven and Creation. Both figures retain traces of polychromy on the face and attire, adding layers of history and authenticity. While similar Romanesque Virgin...

A charming translucent soft-paste german porcelain figurine of a dancing couple of the Volkstedt, Muller & Co, Dresden manufacturing of the late 18th century, mark on the base

Sculptural Sacred Heart - 18th century Italian sunray mounted on a yellow hematoid heart and adorned with yellow crystal quartz points. The piece is inspired by "The Sacred Heart" in...

Sculptural 'Sacred Heart' - 18th century Italian cross mounted on a polished red hematoid quartz heart and adorned with natural-forming baroque pearls and a cross-shaped baroque pear...

Italian Baroque painted and lacquered wooden sculpture of a kneeling figure. Circa 1650.  

An antique English porcelain figurine. By Bow. In the form of a boy clothed in 18th century garb and holding a flute. We've noted losse...

Roman column. Made with marble. 1st Century A.D, Spain Very decorative. Good Condition. With certificate of authenticity. Provenance: Caldes de Mont Bui N...

Rare vintage Buddha, the Bodhisattva of compassion and mercy.

Wearing a blue-glazed short child's apron knotted around the waist, his hair drawn into one or two topknots Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in ...

A rare and unique baroque Spanish sculpture of the Immaculate Conception in polychromed chestnut carving wood and a silver crown, with a original wooden podium...

In good condition From a private collection Free international shipping 17th Century Flemisch Madonna & Child Bone Carving

This exceptional sculpture, finely carved from solid wood and dating back to the 18th century, pays tribute to the devotion and artistic skill of its era. Depicting the Virgin Mary, ...

Tang Dynasty painted terracotta fat lady tomb figure China. Tang Dynasty Circa 618-907 Modelled in the form of a classically dressed fat lady, this terraco...

A Wooden Madonna with child Baroque art, Southern Italy, 17th century. Measure: H: 71cm Good condition for the time. With Export Certificate to USA.

Incredible J A Houdon bronze 1790 representing "Diane" with bow and arrow by Barbedienne founder.

18th-century distressed Italian mecca arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic Itali...

Beautiful pair of French 17th Century Baroque carved wood figural sculptures. Amazing carving details with fabrics and faces being perfectly detailed. Each is made of solid wood in a...

18th-century distressed Italian mecca gilt arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic ...

This intriguing head fragment was once attached to a pre-Columbian bust or full effigy figurine. Earthenware figurines like this were made in great abundance throughout Mesoamerican history, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events across Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, or coiffure, and ear spools...

This is a wooden Buddha statue made during the Edo period in Japan. The material is cypress wood. After that, it is painted white, then covered with black lacquer, and then painted o...

Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative ...

A very rare Baroque wooden carved sculpture by the Brazilian sculptor Antônio Francisco Lisboa, known as “Aleijadinho” (1738-1814) Original polychrome detailing Circa 1790 Height 1...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

Standing with his legs crossed, his right foot resting on a naga hood, a gada supporting his right knee, two Nandi bulls on the square base, the god's two l...

A fine 19th painting of the Virgin del Castillo's South American Peru or Bolivia school 19th century Signed Balbino Edo, Pinto 1859 Oil on canvas, 72 by 98cms. 36 x 27 inches Con...

Zwei geflügelte Engelsköpfe, Holz geschnitzt und einfarbig bemalt, Flandern, 18. Jh., alte Restaurierung H 25 / 27 cm, B 30 / 34 cm, T 10 cm