Medieval Figurative Sculptures

This antique sterling silver knight figurine from the 19th century is a captivating masterpiece. Dressed in full medieval armor with a staff and fl...

A Pair of Late 15th or Early 16th Century Oak Saints carved in high relief and raised on polygonal bases. The female depicted standing in contrapose with low...

15th Century Oak Wood Sculpture of the Virgin of the Annunciation beside a lectern supporting an opened book, the Virgin with both hands upraised ( one repaired) turning slightly to the left, her demeanour redolent of strength, compassion and benignity. Franco Flemish origin, circa 1480, 56 inches in height x 26 inches wide. Provenance : Lot 347, The Notable Art Collection, New York, April 1949, Joseph Brummer Collection Part 1

Very rare, 19th century statuette of Victor Hugo's famous novel character. If you are a collector of rare novel and/or famous movie characters then this 19th century sculpture of Quasimodo, better known as the Hunchback of Notre Dame...

France / 1550 / statue Saint Eligius / Antique / reliques Religious statue of Saint Eligius from the 16th century in full wood found in France. This very rare find has a beautiful ...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Cast bronze life size gothic skeleton / bone praying hands sculpture, titled on base Eternal Hope and signed Park '92. In the style of Blackman Cruz Workshop.

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

Early 17th century carved limewood figure of st michael circa 1640. Beautiful floor standing figure of the st michael the dragon slayer, also known as archangel michael.  Michael ha...

SMALL Antique French Cast Iron Cemetery Cross Crucifix Child Angel Garden Chapel. Direct from France, a beautiful antique French cast-iron cemetery cross, in a SMALL SIZE with fabul...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

A medieval English alabaster statue, possibly dating as far back as the late 14th / early 15th century, mounted on one of our exclusive large display plinths. Well weathered over the centuries, this 600-year-old statue depicts a medieval cloaked figure, possibly a monk, offering a glimpse into English architecture and sculpture of the Middle Ages. This sculpture is possibly made from Nottingham alabaster. During the 14th and 15th centuries, Nottingham was the centre of alabaster carving and painting. Alabaster works were mostly made as small alabaster models with religious themes. During the 16th century Reformation, many alabaster carvings were destroyed under King Henry VIII's rule, making any surviving examples even more significant. Provenance From the collection of Peter Hone (b. 1941). A master plaster caster, he is an expert and experienced collector, building up an extraordinary, museum-worthy collection of items in his one-bedroom flat in London W11...

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...

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

Chiseled bronze sculpture with gold and black patina. Crusades soldier in armor. The time of the Crusades is between the 1095-1291 centuries. the sculpture dates from the end of the ...

A Sicilian Marionette head depicting a Saracene, it's a part of " Opera dei Pupi " inspired by The French poem " La Chanson de Roland ". This one it's in original condition with consistent signs of use and age, original fabric and natural hair. A Late 19th Century Hand-Carved Wood Sicilian Head...

Unique and adorable late 19th or very early 20th-century smaller-size chandelier - Lüsterweibchen. Finely hand-carved from linden wood, a unique piece, made by a master wood carver ...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

SICILIAN MASTER OF THE 17TH CENTURY "Christ on the Cross" Wooden sculpture Christ Sculpture in carved and carved cypress wood 71 x 18 cm Height 97 good condition for the time

19th Century bronze statue of a medieval page holding a book, it is raised on a stepped rectangular marble plinth.

Rare romanesque capital with sirens France, XIII century Limestone 25 x 28 x 22 cm This finely carved Romanesque capital, executed in high relief from limestone, features four hyb...

Beautifully and expertly hand made in Austria, finest quality Swarovski Crystal Jet Hematite faceted crystal skull with ruthenium finish metal accents on the face and base. Skull fea...

Sizeable crucifix with a finer quality carved corpus of Christ. Looking at Christ like this and thinking about the gruesome way in which He lost His earthly life, the crucifix (in our view) is a symbol of what 'telling people the truth' can lead to. 'The truth does not have many friends' is something I once read. Looking at what is going on in the world today, in most countries that still is the case. However, we feel that we (humans), nevertheless, are still becoming more loving, civilized, empathetic and self-conscious. Mind you, this good size wall crucifix dates from the early 1900s and the cruelties that people did to one another for acting or being different than 'normal' in those days, in most cases were far worse than what we see in this day and age. Looking at Christ on the cross with this in mind, we have come along way and we are slowly, but surely evolving in the right direction. Maybe it is just some of our 'leaders' who are lacking behind. Christ on the cross should therefor also be a reminder of someone who has lived and foreseen all this and who should therefor always be a beacon of hope and light when things are not going our way, yet. What attracted us most in this work of religious art are the quality details of His anatomy and the warm patina of this finely carved corpus. The facial features of this superb corpus of Christ reveal...

Alabaster plate in high relief illustrating a forgeron working on a metal object (a helmet?). A young woman is in front of him holding in her left hand an ovoid vase or reliquary tha...

This beautiful antique bronze figure, was created in France, circa 1880. The realistic sculpture, titled on the front: "Escholier, 14eme Siecle", (meaning middle French, 14th century...

17th Century German hand-carved oak religious sculpture. Possibly a saint or a bishop. The bearded man is cloaked in draped fabric with only left ...

Rare Large 15th Century Renaissance English Oak Roof Angels Corbel. Truly astonishing rare roof angels, circa 1450. The large Medieval carvi...

A 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.

Large heavy 18th century or earlier carved oak corbel. The corbel depicts a large male open-eyed smiling face with broad features. Finly carved details with wonderful old patina.

A Pair of 16th Century Oak Saints: One being a male depicted wearing a long hooded cloak held together with a brooch over a flowing tunic tied at the ...

Sculpted stone head on a modern base, of a mustachioed man According to the 1983 sales certificate, it would be a 17th century sculpture, even before, of United Kingdom or Ireland o...

A Late 15th/Early 16th Century Oak Sculpture depicting ‘The Grief of Mary’, carved almost in the round with Mary wearing a head scarf, neckerchief and...

An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.

A polychrome sculpture depicting the Virgin and the Child Mosan region, second half of 13th century Polychrome wood 73 x 29 X 12 cm Provenance : Former Belgian private collection from the beginning of the 20th century This remarkable early artwork portrays the Enthroned Virgin and Child, also known as Sedes Sapientiae, which translates to the 'Seat of Wisdom...

Gothic canopy France, 15th century Alabaster, some traces of polychromy 33 x 23 x 20 cm Provenance: - Private collection Genève, Switzerland ...

Engaged Romanesque capital representing Daniel in the Lion’s den France, 12th century Limestone 38 x 29 x 18 cm Provenance : Private coll...

A large and impressive Indian carved sandstone architectural frieze featuring a central image of the Hindu goddess Lakshmi flanked by two atten...

Articulated medieval style steel gauntlet. Well made, mid-20th century.

Fine hand carved oak figure of Saint Anthony of Padua Late 18th- Early 19th Century Saint Anthony is depicted with his head raised, mouth ajar, as if in the process of speaking. He stands upright wearing his traditional Franciscan robes and holding open a book. Beautifully carved with high level of detail, unusual for oak pieces. Oak is a dense hardwood which is difficult to carve and it's rare to see this level of detail in an early oak sculpture. Saint Anthony is the Patron Saint of lost things. While living at the monastery, he had a treasured book which contained psalms and personal observations. His book was stolen by a man who decided to leave the monastery and Anthony ferverently prayed for its return as the cost of a new book would have been beyond his means. The thief repented and returned the book which is believed to be preserved at the Franciscan Library in Bologna. He is one of the most popular Catholic saints...

ITALIAN PROCESSIONAL CROSS 17th Century in cut brass and bronze. Mounted on a wooden back base. Usage signs. Dec. Height: (total) 50 cm; (Ch...

Saint Ambrosius Italian sculpture 17th century in painted and gilded wood. The figure is represented standing up blessing with the hand. Faults and defects. Dimensions. Heigh...

Antique 17th-18th century Italian carved wood seated saint figure fragment with beard. Possibly earlier. Remains of paint or pigments. Arms and one leg missing, old damage to nose and other areas. Mounted on vintage base...

Gothic architectural fragment representing vine leaves France, 15th century Sandstone H 21 x 21 x 17 cm mounted on a modern metal pe...

A very cool and well detailed solid cast brass medieval armored knight on horse sculpture, circa 1970s. The piece is in very good vintage condition and...

Large stone capital carved on each side in strong relief. The basket is covered with two crowns of vertical acanthus leaves which sprout from the astragal and fill the space between ...

RARE Carved Oak Statue Figure~~Medieval Saint or Lady Holding Bible~~c. late 19th to early 20th century MASTERFULLY CARVED from one piece of oak depict...

This extraordinary museum piece Enthroned Virgin Mary with the child on her lap comes from the Rhone region in France. The saint symbol and protector ...

Crafted in France circa 1760 and resting in a carved oak niche, the figure depicts the prophet Moses, the most important prophet in Judaism and Christianity. Moses is best known from the story in the biblical Book of Exodus and Quran as the lawgiver who met God face-to-face on Mount Sinai to receive the Ten Commandments after leading his people, the Hebrews, out of bondage in Egypt and to the "promised land" of Canaan. He is represented with horns on top of his head. The horns came about because of an ambiguity of the Latin version of Exodus 34, 30. After being addressed by God on top of Mount Sinai and given the Tablets of the Law containing the Ten Commandments, Moses descended to his people in the desert. His face was seen to shine with a divine light. (The first Moses with horns was commissioned in 1505 by Pope Julius II for his tomb; it was based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time). The religious and biblical item...

Large base of molded hexagonal pilaster in burgundy stone carved with vines, grapes and rosettes in high relief. Burgundy, 15th century 28 x 63 x 30 cm Provenance : collection De...

Mid 17th century Northern European carved figure of a saint. This striking statue depicts a saint who is dressed in robes, whilst holding his hand over his heart. This figure is freestanding and is stood within a leaning position which makes him stand out. It has been beautifully carved from oak and has remnants of its original paintwork. Likely to have stood within a church for many years and would have been removed due to renovation reasons. This historical figure...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

Masculine and fierce looking viking warrior calling for battle via the large Scandinavian Lur. The base reads:" Resounding lures for battle rallied each hero-son. Strong as bears - b...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

This fine amber sculpture depicting Jesus Christ is a very rare object. Exemples of this sort can only be found in Germanic countries. Already used during Prehistoric times, amber have always fascinated people. Because of the virtues associated with this material amber was carved as amulets and prophylactic ornaments. As an expression of luxury and means amber was also used for adornments and small figures collected by the upper classes. This fossilized resin was picked on the Baltic Sea shores and soon entered a intense trade system. From the 14th century onwards knights of the Teutonic Order...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

San Antonio Abad, Castilian school of the 15th century (1440-1501) Carving in polychrome wood, measures: 45 x 15 cm good vintage conditions.

Seating on a bench-like throne the Virgin carries her child on her left knee. She bears an important crown high on her head .The Virgin has an ovoid face with bulging eyes, straight long nose and thin lips. The hair parts in the middle and are carved as thick horizontals parallel hair strands...