Baroque Sculptures

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recu...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Carved and painted wooden sculpture - Figure of a saint - Italy, 17th-18th century. 36 x 25 x h 74 cm. Entirely in carved, lacquered and painted wood. Some missing parts and colour...

Large late 20th Century shell encrusted grotto wall mirror in the style of Anthony Redmile of London. A magnificent and exuberant mirror created from sea ...

“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. ...

Carved alabaster sculpture - Hercules and the Cretan Bull. Rome, 17th century. 20 x 12 x h 33 cm. Entirely in carved alabaster, small marks and defects. Separate alabaster base. ...

A rare and important Italian alabaster bust sculpture of Jesus Christ, C. 1860 A modeled bust of Holy Christ wearing a crown of thorns, exceptional...

CITES Documentation: IT/CE/2023/MI/00454 Exceptional composition with ivory microsculptures and landscape made of semi-precious stones, shells, and small corals in coeval carved and...

Melanie Sherman Vintage Peacock III (Wall Piece/Dish (handpainted) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster, Brass Wire (for hanging, can be removed) Year: 2023 (and following years) Size: 5.5x4x0.25in Signed by hand COA provided Ref.: 924802-1333 *Made to Order Every piece is unique, design might differ slightly Customization possible **Lead time approx. 2 weeks for qty 1-3 ------------------------ My ceramics are handmade and painted with the finest overglazes from Europe. The gold luster used is 24k liquid Gold from Germany. Every piece is unique. My imagery is inspired by vintage Meissen dinnerware, William Morris wallpaper and other historical sources. Porcelain, Ceramics, Pottery, Ornament Vintage Moth Wall Piece Ornament Small Dish Candy Sugar Tea handpainted handmade butterfly peacock 24k German gold luster ceramics porcelain charm, jewelry, personalized, family, tree, retro, heart, mother, moon, baby, feet, gemstone, flower, mom, birth, year, art, chinapaint, luster, lustre, contemporary ceramics, futility of pleasure, herend, meissen, sevre, pattern, arita, arita ware, imari, imari ware, dresden, germany, japan, jingdezhen, china, photography, momento mori, flowers, flower motif, drawing, illustration, peacock, cherry blossom, chrysanthemum, kiku, 菊, kikka, 菊花, Ōka, 黄花, Kiku no hana...

This remarkable early 17th-century Flemish bronze of Hercules and the Lernaean Hydra exudes classic Baroque grandeur and beauty. Flanders was one of the richest artistic and cultural...

The Art of Currency: The Sculptural Mastery of Kim Seungwoo In the vibrant art scene of South Korea, one artist stands out for his innovative approach to sculpture: Kim Seungwoo. With a profound appreciation for both traditional craftsmanship and contemporary themes, Kim has carved a unique niche for himself by transforming real Korean coins...

An extraordinary 17th century, hand-carved, solid Carrara marble, life sized figure fragment on raised base of the same. The subject is swaddled in a luxurious, gathered robe and tun...

Diorama in Wood and Polychrome Stucco Attributed to Thomas Gaudiello (Naples, active 1685-1727) This fascinating diorama depicting the Nativity is distinguished by its complex three...

Angelo Basso (Italy, 1943 – 2011) Gabriella  Dimensions 17.0" W x 18.0" H x 7.0" D This sculpture was cast in the Dyansen Studios Foundry in 1991 under...

Great king vulture on tree trunk Porcelain, Model by J.J. Kaendler 1734. This present porcelain sculpture was made after the model by Kaendler, in the 19th or 20th Century. There are no visible marks. Kaendler and Porcelain: Dresden in the 18th century owed its Europe-wide fame as a centre of courtly splendour to the elector Frederick Augustus I (1670-1733). 'August the Strong' had a distinct passion for collecting and was not only a patron and lover of the arts, but also an enthusiastic patron of science. His natural history cabinet was regarded as the most important collection of its kind in Europe and contained a large number of exotic animals. He financed expeditions, from which the researchers were to bring the 'most possible species of their animals alive or in skins and skeletons or even crushed' back to Dresden. Johann Joachim Kaendler had this extensive collection of partly living exhibits at his disposal when he was commissioned to design life-sized animal sculptures for the 'Japanese Palace...

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.

Exceptional 16th-century Neapolitan nativity scene, framed by a gilded frame with elegant marbled details in shades of green. The exquisitely decorated frame lends depth and prestige...

This extraordinary Italian bronze embodies all of the hallmarks of the very best Florentine sculptures of the 17th century. The work is crafted in the Mannerist style of the late Ren...

Muy interesante puerta de sagrario de madera tallada y policromada del siglo xvii. Es de comienzos del barroco, hay la representación del agnus dei con...

(MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster) *Lead Time may vary between 1-3 weeks Melanie Sherman "Just A Little Tipsy" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k Germ...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recu...

The Art of Currency: The Sculptural Mastery of Kim Seungwoo In the vibrant art scene of South Korea, one artist stands out for his innovative approach to sculpture: Kim Seungwoo. With a profound appreciation for both traditional craftsmanship and contemporary themes, Kim has carved a unique niche for himself by transforming real Korean coins...

Gilded bronze sculpture - Mars, god of War. Rome, 17th century. 9 x 9 x h 31 cm. Entirely in cast, chiseled and gilded bronze, resting on an ebonized wooden pedestal decorated with...

Signed: A. Carrier-Belluese Two large bronze matching busts of an unknown male and female 22 x 10 x 11" male 23 x 10 x 9" female Both show signs of wear with their age but are in fa...

After François Girardon 1628-1715 French Pluto Abducting Proserpine Bronze This High Baroque period composition captures the famed narrative of Pluto and Proserpine from Roman mythology. The late 17th-century patinated bronze, created after François Girardon's marble composition, captures the very moment that Pluto seizes Proserpine. The anguished goddess reaches skyward, attempting to escape the god’s grasp while Pluto’s stoic face betrays his knowledge that his ploy will succeed. This pivotal moment in the mythological tale has captured the imagination of many art historical greats, from Bernini to Rubens. François Girardon’s version of the climax demonstrates incredible finesse and artistry, modeled expertly in bronze in the present work by a later sculptor. The statue brings a twist of intertwined bodies into a dynamic frenzy, paralleling the tension of the legendary story. In ancient Roman mythology, Proserpine, the beautiful daughter of Ceres — known as Persephone in Greek mythology — was picking flowers in the fields when she was suddenly abducted by Pluto, the god of the underworld, and taken to his kingdom. Consumed with grief, her mother Ceres, the goddess of agriculture, scorches the earth, stopping the growth of grain and fruit. Jupiter attempts to intervene and secure Proserpine’s return to earth, negotiating a compromise with Pluto and the Fates that allows Proserpine to be released for part of the year before returning to Pluto’s underworld. Proserpine’s journey back and forth is an allegory for the changing seasons; when Prosperine is with her mother, the earth warms and provides bountiful harvests. Upon her annual return to the underworld, however, the earth once again becomes cold and barren. After returning to France after years of training in Rome, François Girardon quickly rose to become one of the greatest artists in France. He was elected a member of the Académie Royale de Peinture et de Sculpture in 1657 and would become Chancellor of the Royal Academy in 1695. The artist was approached frequently for royal commissions and Girardon’s Pluto was originally commissioned by Louis XIV for the gardens at his Palace of Versailles. It was one of four monumental marble groups intended to decorate the corners of Charles Le Brun’s never completed garden at the chateau, the Parterre d’Eau. Each group of three figures symbolized one of the four elements: earth, air, fire and water. Pluto’s association with hell made him the apt...

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...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Angelo Basso (Italy, 1943 – 2011) Siren Signed and marked AP Foundry Mark FAA Beauty & Mythology Collection Sculpture 23″ inches tall (Base 5″ Siren 18″) Box size 20″ x 17″ x 27...

Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conjunction of the transcendental and the ephemeral; playing elegantly with shapes that veer towards abstraction, and that combine organic cuverneality with the fortrights arrangements of modern formalism. The aim is for these works to open up spaces of potentiality and transformation; To use extroversion and introversion to resonate with the possibility of constructing a future reality according to our shared dreams and desires; To ensue that these constructions and convictions are as real and magnificent as anything. Tartuffe was created in partnership with Mariana Custodio...

A rare example of late Renaissance sculpture, this impressive Italian bronze captures one of the greatest divine heroes of myth and legend: Hercules. The figure is rendered with stun...

This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...

(MADE TO ORDER) (Sabbath, Kiddush, Ceremonial Vessel) *Lead Time may vary between 1-3 weeks Melanie Sherman "Yunomi" Year: 2021 Porcelain, Glaze, ChinaPaint, 24k German Gold Luster,...

A pair of carved oak angels, circa 1700, with a lovely warm patina and faint traces of polychrome to the face and gilding to the body. The angels are both kn...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculpt...

Mercury, circa 1700s. Bronze with green patina. Height with base: 58 cm (22 7/8 in.)

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman "Small Vase" Year: 2021 Porcelain, Glaze, China...

"The Baptism of Christ," richly carved wooden bas-relief, Italy, 17th century. Carved into the frame, richly carved with branches of leaves and fruit, are the figures of Christ and ...

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.

Angelo Basso (Italy, 1943 – 2011) Evolution Signed and marked IX / XXXIII Beauty & Mythology Collection Sculpture 23″ inches tall (Base 5″ Siren 18″) Box size 20″ x 17″ x 27″ ...

"Untitled 1" Sculpture 23" x 13" x 8" inch Edition 1/1 by Isaac Pelayo Unique work. Signed by the Artist. Comes with COA. Hand embellished plaster/fiberg...

Important patinated plaster bust representing the Faun of Vienna. the original of which is in the collections of the Louvre museum (marble statue discovered in Vienna in 1820 and dat...

A beautifully hand carved, full size Carrara marble figure of a boy. The robe is elegantly draped with clasps.

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculptures in the world. Three intertwined bodies, two men and a woman, spiral upwards as the woman tries to escape the clutches of the younger man standing over the older one. It is an absolute masterpiece by the Flemish sculptor Giambologna. After the original in Florence’s Loggia dei Lanzi, Piazza della Signoria...

Bust of a Lady, thought to be Elisabeth Petrowna, also known as Elisabeth of Russia Depicted before she was crowned Terracotta Bust Elizabeth Petrovna (Russian: Елизаве́та (29 Decem...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was among a select group of the esteemed Ken ...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculptures in the world. Three intertwined bodies, two men and a woman, spiral upwards as the woman tries to escape the clutches of the younger man standing over the older one. It is an absolute masterpiece by the Flemish sculptor Giambologna. After the original in Florence’s Loggia dei Lanzi, Piazza della Signoria...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Exceptional 16th-century Neapolitan nativity scene, framed by a gilded frame with elegant marbled details in shades of green. The exquisitely decorated frame lends depth and prestige...

Pair of early 17th-century medallion profiles in antique yellow marble and onyx Pair of medallions depicting Agrippina and Faustina, Rome, 17th century. Ra...

This is a hand-carved wood polychromed sculpture of the Infant Jesus. A baroque figure probably from the 18th century, this religious figure was obtained in Mexico. It appears to hav...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculpt...

Carved and painted wooden sculpture - Madonna praying - Italy, 17th-18th century. 35 x 20 x h 65 cm. Entirely in carved, lacquered and painted wood. Some missing parts and color lo...

Melanie Sherman Large Corset Platter Porcelain, Glaze, ChinaPaint, Vintage Decals, Flocking Cone 6, oxidation + multiple cone 018 firings, handpainted 2016 Size: H 0.75" x W 16" Sign...

Pair of white marble sculptures - Allegory of Summer and Winter. Italy, early 17th century. 13 x 10 x h 30 cm including base, 11 x 9 x h 28 cm excluding base. Entirely in carved wh...

Pair of elegant Louis XVI style candelabra with six arms with flowering branches France, 19th century Gilt bronze and blue porcelain Dimensions: h. 77 cm Pair of magnificent candle...

Large mirror made by a Florentine woodcarver working in the early 18th century (it can be hung on the wall in either direction) Tuscany (Florence) Louis XIV style Carved and g...

Carpi, mid-17th century, scagliola panel. The panel, in black and white two-tone, features insertions of polychrome marbled elements and a central scene depicting St. Michael defeat...

15 x 15 x 31 cm PetG and Metal Gold Paint Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyper...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was among a select group of the esteemed Ken ...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

Large terracotta group depicting interior scene, northern France, second half of the 17th century. The fine execution of this delightful family interior takes us back to the product...