Wood Nude Sculptures

Late 18th Century Bronze Sculpture after the Farnese Hercules Grand Tour bronze with a fine encrusted patination on a later wooden base 16 in. h., overall 12.5 in. h., bronze 3.5 in...

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

“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. ...

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

Modernist nude bronze sculpture by Houston, TX artist David Adickes. The sculpture depicts an abstract armless female nude torse that stands on a wooden base. The piece is signed by the artist at the back of the sculpture's left leg. Artist Biography: Born (1927) and raised in Huntsville, TX, David Adickes is an artist whose art and heart are closely aligned with Paris, France. After studying art at the Atelier F. Leger in the late 40s, Adickes burst onto the art scene in Houston and elsewhere in the early 50s and has been a prominent member of Houston’s art community ever since. While his most visible works are his giant sculptures, from the Virtuoso in downtown Houston...

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 Italy, this California Post-Impressionist came to the United States at the age of one. Georgetti first worked as a merchant seaman to support his art studies and traveled all over the world accumulating sketches, many of which he later worked up into paintings. He made frequent visits to France, where he was influenced by the Post-Impressionists and, particularly, by the Nabis. An innovative theorist, Georgetti was the originator of the style known as California Fauvism. He exhibited widely and with success, both at exhibitions and at one-man shows (Oakland Art Gallery, 1942-44; Society of American Graphic Artists, NYC, 1944; Maxwell Galleries, 1940’s; de Young Museum...

This sculpture is a small replica of Wilhelm Lehmbuck's Kneeling Woman. The original sculpture is much larger at around 69.5 x 56 x 27", currently at th...

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

Elegant 15th-century wooden sculpture of a finely executed infant missing his arms. The work, of central Italian provenance, recalls the Donatello manner in the delicacy of the featu...

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...

Note: The measurements above are for each of the three skateboards in this listing Nobuyoshi Araki Geisha Skateboard Triptych (Hand Signed), 2014 Set of (3) Skateboards of Silkscreen...

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...

Splendid polychrome wooden sculpture depicting the Blessing Child Jesus, made by a Central Italian master in the 14th century. The work, 66 cm high, is distinguished by its harmoniou...

Male classical torso.

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

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...

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...

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...

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...

An impressiv sculpture by Joseph Wackerle ( 1880-1959 ). One of a kind from 1920, Germany. Wood, carved. Height: 59.06 in ( 150 cm ), Width: 12.6 in ( 32 cm ), Depth: 12.6 in ( 32 cm )

A tall dynamic chipped wood standing nude torso mounted on a stone base. Great form and patina. Stone, wood and ceramics sculptor Lorrie Goulet, who also makes drawings and lithograp...

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.

Classical female torso, polished walnut.

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...

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 ...

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...

Turquoise Woman, sculpture, by Troy Williams, wood, turquoise, steel, nude

This beautiful bronze shows a figure in place on top of a tall wooden base. The sculpture itself depicts a graceful nude standing, his right hand in a fist close to the body and his left arm pointing up high with his index finger. The action might be described as full of force and determination. Near the bottom of the wooden base is a copper plaque with the title of the piece "J'accuse," a phrase containing historical connotations, including that of the Dreyfus affair. Gay Malin...

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...

This Sculpture is made by Jos de Wit. The wood, and al other material he uses for his sculptures he also uses for building instruments. Violins, double bass, guitars, you all can fin...

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...

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...

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

This Sculpture is made by Jos de Wit. It is made of pear wood. The wood, and al other material he uses for his sculptures he also uses for building instrume...

Jos de Wit Baby 40 x 27 x 29 cm eucalyptus wood Painted with acrylic paint Dutch artist Jos de Wit can be seen exclusively in our gallery with his very spe...

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 ...

This Sculpture is made by Jos de Wit. It is made of mahogany wood. The pedestal is made of mahogany and maple wood. In the not of the fish there is a piece ...

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 ...

This expressive bronze figure "Raynie" stands on an attached wood base as shown. The artist added small strokes of red and green to highlight selected areas of the dark patina and cr...

1970s wooden sculpture of a woman looking upwards.

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 ...

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.

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 ...

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 ...

This exquisite pair of Art Deco wood sculptures attributed to Ferdinand Parpan features elegantly stylized nudes, masterfully carved with smooth, ...

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