Wood Nude Sculptures

An original carved wood sculpture of an Art Deco standing nude . German sculptor (1871 Berlin to 1942 ibid), studied at the Dresden Academy, took part in exhibitions in Munich, Düsse...

Classical female torso, polished walnut.

Large Scale Mahogany Wood Relief Sculpture of Prometheus, The Giver of Fire In the Style of WPA artist Peterpaul Ott Wonderfully executed wood r...

Chaim Gross (American, 1904-1991) Cast bronze sculpture Caring (or Mother and Child) signed Mounted on wooden plinth Featuring a mother raising her child up in superb high relied i...

Male classical torso.

Inscribed on base, 'W.G.' for Wedo Georgetti (American, 1911-2005) and created circa 1950. Acquired directly from the artist and accompanied by certificate of authenticity. Born in ...

striking hand carved Carrara marble and linden wood sculpture by contemporary Italian sculptor Lorenzo Vignoli, incorporating classical references and Greek mythology influences Med...

Burled Maple Sculpture Nude Woman with Arms Over Head Beautiful burled walnut sculpture of a nude woman. The woman stands with her arms stretched over her head. Behind her a dark st...

1970s wooden sculpture of a woman looking upwards.

18th Century Italian Carved Neoclassical Semi Nude Female Busts Wood affixed to wood plinths "Leone Della Torra / Italy Country of Origin" labels on b...

Canadian sculptor WW Hung has chosen another poignant and powerful pose to explore the human condition in this contemporary mixed-media piece. A nude male sit...

Two Figures (Mother and son) 9" x 17" terracotta sculpture, signed lower left mounted to wood panel, 15 1/2" x 23 1/2" George Aarons (born Gregory Podubisky, in St. Petersburg, Russ...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947...

Ryan Thomas Monahan hails from Yorkville, Illinois. Utilizing a combination of physical and imaginative exploration Ryan creates miniaturized three dimensional portraits of urban lan...

Hand-carved eucalyptus wood sculpture by the artist Álvaro de la Vega (1954, Lugo, Spain) in 2013. It is part of a series of sculptures of bodies made with chisel and hammer, in the ...

An elegant African sculpture from the West African Baoulé or Baule people, depicting a young woman wearing a loincloth. Smooth black lightly worn patina.

A late 17th c. Italian carved figure of Mermaid, Circle of Filippo Parodi (Genoa, 1630 – July 22, 1702) Dimensions: h. 29.13 in, w. 30.31 in, p. 18.9 in (at the base) Magnificent Italian Baroque sculpture depicting a mermaid seated on the rock. All the virtuosity of the sculptor unfolds in this carved group. The fantastic creature is featured seated, the upper part of the body darting forward, the head looking upwards. Sophisticated hairstyle with rows of pearls intertwined in her hair, her loose locks fly in the wind and bring movement to the whole sculpture. The wide-open eyes with hollowed-out pupils make it possible to follow the mermaid's gaze, towards the sky. The half-open mouth further magnifies this bewitching and seductive attitude. Its long double tail ending in fins wraps on either side of a rocky mound strewn with objects evoking the underwater world: seashells and shells, branches of coral. The ornamental richness combined with the great care taken in its execution make it a work in which the splendor of Italian Baroque art unfolds in such characteristic scenic movement. The composition betrays a strong influence from Filippo Parodi, the leader of Genoese Baroque sculpture, and points to an artist from his circle. Our sculpture was probably part of a decorative monumental palace. The iconographic theme evoking the marine world finds its application in the numerous fountains and artificial grottos, designed in Italian palaces at the turn of the 17th and 18th centuries. Giacomo Filippo Parodi (Genoa 1630 – July 22, 1702) was an Italian Baroque sculptor of the Genoese school, who introduced Bernini's aesthetic to Genoa. In his youth fathers a first apprenticeship with a carpenter, he went to Rome where he became a pupil of Bernini. He had the opportunity to admire in person the works and style of the French sculptor Pierre Puget...

“Putti” is a 19th c. terracotta antique of two nude children, babies, as mythical figures. This piece is beautifully rendered with a rich brown patina. ...

Zero Gravity. The idea behind this sculpture is to create a feeling of weightlessness. A woman's torso is suspended within burned wood. The rough texture of the wood highlights the p...

Tree Athena by Troy Williams female nude blonde wood sculpture Santa Fe artist Sculptor Troy Williams unites the timeless and the contemporary in scul...

A Songye Male Power Figure, Democratic Republic of the Congo, the male figure resting on one knee, with openwork arms and hands resting by the abdomen which contains various charms a...

Donna by Lorenzo Vignoli hand carved marble + oak wood sculpture by contemporary Italian sculptor Lorenzo Vignoli Sculpture dimensions: 30in W x 9 inch H x 19in D 75cm W x 23cm ...

Places In The Heart, Nut wood sculpture on steel base, female nude, brown, Williams Sculptor Troy Williams unites the timeless and the contemporary in sculptures of rare beauty and meaning Beyond all the narrative potential of the three obvious physical dimensions of Troy Williams’ sculpture, there are many other considerations that contribute greatly to the enjoyment, appreciation, and understanding of his entrancing 360-degree works of figurative art. Among these are the emotional responses and intellectual interpretations that first go into the artist’s creative process and then into every subsequent spectator’s viewings at least somewhat differently each time. Some artists insist on leaving these entirely up to each viewer, but Williams is glad to enrich the experience by inviting the viewer in for a little insight into the artist’s intention. Certain ambiguities and unintended provocations might otherwise arise, as Williams uses original combinations of materials or ideas in highly original ways. Williams specializes in figurative and facial sculptures...

The relief sculpture is framed. The visible jumps on the legs were intentional and existed from the start, because the artist was inspired by ancient ...

Abigail Varela (1948-) Atrapando un corazón 2008 Madera, resina y acrílico Catching a Heart Wood, Resin and Acrylic Hand signed verso with initials and...

Sydney Kumalo. Features a bronze stylized female figural form sculpture fixed to a marble plinth and wood base. Bears signature on base. Measures 9 1/2" x 4 1/4". There is no edition number on the piece. Sydney Kumalo (1935 - 1988) was born in Sophiatown, Johannesburg, on 13 April 1935. His was one of the families who had to move out of the "white" city to the South Western Townships, or Soweto. Raised in Diepkloof and educated at Madibane High School, he took with him from old Sophiatown the curious and diverse heritage of its heyday. Art classes in the Catholic school, "Sof' town" blues and jazz, the vibrant street culture and growing defiance of its population of various races who were gradually forced out into separate race-group areas. So it was that these various aspects of his early life created for Kumalo a cultural mix of a Zulu family related to the traditional royal house; city schooling, nascent township music and lingo; growing urbanised political defiance and the deep-rooted Zulu pride and respect for the legends and ancient stories of a tribal people. This mix of old and new cultures was reinforced when he began his studies at the Polly Street Art Centre in 1953 where he became a member of Cecil Skotnes group of serious artists who were encouraged to acquire professional skills. Skotnes introduced a basic training programme with modelling as a component, which marked the introduction of sculpting (in brick-clay) at Polly Street. Kumalo was Skotnes’ assistant at Polly Street from 1957 to 1964, and having recognised his great talent as a sculptor, Skotnes encouraged him to become a professional artist. After Kumalo’s very successful assistance with a commission to decorate the St Peter Claver church at Seeisoville near Kroonstad, with painting designs, sculpture and relief panels in 1957, Skotnes arranged for Kumalo to continue his art training by working in Edoardo Villa ’s studio from 1958 to 1960. Working with Villa, he received professional guidance and began to familiarize himself with the technical aspects of sculpting and bronze casting. In 1960 he became an instructor at the Polly Street Art Centre. Kumalo started exhibiting his work with some of the leading commercial Johannesburg galleries in 1958, and had his first solo exhibition with the Egon Guenther Gallery in 1962. He was a leader of the generation who managed to leave behind the forms of African curios, reject the European-held paternalism which encouraged notions of "naive" and "tribal" African art, and yet still hold fast to the core of the old legends and spiritual values of his people. He introduced these subjects into his bronze sculptures and pastel drawings, evolving his own expressive, contemporary African "style". Together with Skotnes, Villa, Cecily Sash and Giuseppe Cattaneo, Kumalo became part of the Amadlozi group in 1963. This was a group of artists promoted by the African art collector and gallery director Egon Guenther, and characterised by their exploration of an African idiom in their art. Elza Miles writes that Cecil Skotnes’ friendship with Egon Guenther had a seminal influence on the aspirant artists of Polly Street: “Guenther broadened their experience by introducing them to German Expressionism as well as the sculptural traditions of West and Central Africa. He familiarised them with the work of Ernst Barlach, Käthe Kollwitz, Gustav Seitz, Willi Baumeister and Rudolf Sharf.” It is therefore not surprising that some of Kumalo’s sculptures show an affinity with Barlach’s powerful expressionist works. Guenther organised for the Amadlozi group to hold exhibitions around Italy, in Rome, Venice, Milan and Florence, in both 1963 and 1964. Kumalo’s career took off in the mid 1960s, with his regular participation in exhibitions in Johannesburg, London, New York and Europe. He also represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the São Paulo Biennale. EJ De Jager (1992) describes Kumalo’s sculpture as retaining much of the “canon and formal aesthetic qualities of classical African sculpture. His work contains the same monumentality and simplicity of form.” His main medium for modelling was terra cotta, which was then cast in bronze, always paying careful attention to the finish of both the model as well as the final cast. He began casting the pieces he modelled in clay or plaster into bronze at the Renzo Vignali Artistic Foundry in Pretoria North. He worked throughout his life with its owners, the Gamberini family, and enjoyed learning the technical aspects of the casting process, refining his surfaces according to what he learned would produce the best results in metal. De Jager further writes that Kumalo’s distinctive texturing of the bronze or terra cotta is reminiscent of traditional carving techniques of various African cultures. “In many respects Kumalo thus innovated a genuine contemporary or modern indigenous South African sculpture”. Kumalo came to admire the works of the Cubists, and of British sculptors Henry Moore and Lynn Chadwick. He became noted for adapting shapes from them into his own figures. The success of his use of the then current monumental simplicity and purely aesthetic abstractions of natural forms has been emulated by many South African sculptors since the 1970s. He was in many ways the doyen of South African Black art. As such he was an important influence especially on younger African sculptors, by whom he is greatly revered. Through his teaching at Polly Street and at the Jubilee Centre, as well as through his personal example of integrity, dedication and ability, he inspired and guided students who in their own right became outstanding artists, for example, Ezrom Legae, Leonard Matsoso and Louis Maqhubela From 1969 onward, he allied himself with Linda Givon, founder of The Goodman Gallery in Johannesburg, where he exhibited regularly until his death in December 1988. Working with Givon also perpetuated his associations with his many friends of strong principles. Skotnes, Villa, Legae and later such peers from the Polly Street era as Leonard Matsoso, Durant Sihlali and David Koloane have all exhibited at The Goodman Gallery. Kumalo, Legae, and later Fikile (Magadlela) and Dumile (Feni) were among the leading exponents of a new Afrocentric art...

This unique sculptural wall work, dated 1987 and signed James Elkins, is a finely crafted, studio-made interpretation based specifically on Tom Wesselmann’s Monica Nude in Robe and S...

A very cool and stylish mini folding screen of carved figures hand painted by an unknown artist. It is likely from around 1970, the figures are a bit surrealist and match in a stiff ...

Illustrated: "Walt Kuhn, Painter, His Life and Work, by Phillip Rhys Adams, page 67, plate 27, Courtesy of Kennedy Galleries-Kuhn Estate (see photo) Kuhn’s sculptures were collected...

1961 Coty Award Plaque Kenneth Hairdresser Jacqueline Onassis Bronze Fashion Bronze on wood. The wood plaque measures 12 3/4" by 20 3/4 inches. The bronze plaque itself is 13 3/4 x 8 3/4 inches and the the bronze inscription, which reads "COTY, American Fashion Critics Special Award 1961 to KENNETH of LILY DACHE...

Exceptional and expressively carved solid walnut near life Size statue of nude woman raised on attached fluted column pedestal base in overall beautifully aged original rich surface ...

The main theme of Kitade’s artwork is focused on questioning. The sources of the ideas are picked up from his own life experiences, starting from personal experiences and expanding ...

Unique metal sculpture with a ceramic mask and a wood base Hand-signed by the artist

Oriental sculpture from the mid-20th century. Finely carved and crafted exotic wooden object depicting a fisherman with fish, of good quality. Sculpture made from a single wooden blo...

Sculpture in plaster Signed and numbered by the artist Possible to order this sculpture in Bronze. Please contact Parisian Parrots for further infor...

Cornelio Palmerini, born in the heart of Versilia, was a sculptor trained between Tuscany (Pietrasanta, Carrara and Florence) and Rome, the city where he went in 1913 to the studio o...

ABOUT THE ARTIST - Aaron Sheppard was born in 1976, York, Nebraska, He lives and works in Joshua Tree, California. "Fragmenting static ideas of sexuality and gender identity, he use...

Beautiful sculpture by French artist Claude Gilli entitled "Femme au Figuier de Barbaries" dating from 2007. Made of wood and acrylic, it measures 170 cm x 133 cm.

One flame candle holder putto made of gilded wood. Those kind of objects were present in churches or noble villas, specially during the Baroque times. The base is not coeval.

Unique metal sculpture with ceramic masks and wood Hand-signed by the artist