Carved Busts

Elegant 19th Century Italian Alabaster Bust of a Vestal Virgin A superb example of a 19th Century Italian craftsmanship, this finely carved alabaster bust depicts a serene veiled wom...

Spectacular and very decorative piece. Large carved wooden reliquary bust of a Madonna. Beautiful traces of color. Small losses and without the relics. Silver/silvered central piece ...

A hand-carved white marble head of a satyr (or faun) in the Neoclassical style. The figure is depicted with characteristic caprine features, including recurved ribbed horns, a furrow...

Stunning classical style display column with a wonderful and warm patina. This marvelous piece of early 20th century workmanship is another fine example of the quality that was made in those days. All handcrafted out of oak and beautifully patinated from top to bottom this antique stand is a real eyecatcher and over the many decades the patina has only made this antique more attractive. This highly stylish, strong and very stable stand will easily take one of your heavier sculptures as well. The combination of the circular, heavy stem with its classical carvings and cannelures and the square base and table top make this stylish antique an absolute joy to own and look at. Apart from a few minor imperfections, this antique display stand...

This large mid eighteenth century French hand carved olive wood bust depicts a bishop clad in liturgical vestments. The bishop with full beard and curly hair wears a distinctive mitr...

ENRICO CARUSO Italian, 1873-1921 "Laughing Buddha, a Self Portrait" (1909) Sand-cast patinated bronze executed early 20th century by Roman Bronze Works (cold-stamped verso) Signed ...

GRAND TOUR Italy, circa late 19th/early 20th Century Bust of Young Gaius Octavius Augustus Carved Carrara marble, unsigned 17 1/4" H x 8 3/4" W x 5 5/8" D A good Grand Tour bust ...

This painted limestone relief is an exquisite example of New Kingdom relief carving from the apogee of Egyptian artistic production. Carved in raised relief - a labour-intensive tech...

Vintage Buddha head statuette for tabletop display, made from carved stone. Minor chipping, natural patina.

18th century Italian carved giltwood head of an angel. Hand carved with a vivid expression and just amazing hair. A peg on the reverse for attachment to a larger relief or group scul...

Antique Egyptian stone bust 19th century This sculpture was purchased at a wine-producing château in Bordeaux. Good condition with good patina due to age. Shipping: 14 / 12 / 15 c...

CARVED ALABASTER BUST OF "VENUS OF MILO" Probably Italian, first half of the 20th century unsigned raised on an original shaped plinth 18" H x 10 1/4" W x 5 1/4" D Carved in a s...

Museum quality sculpture of a serene possibly Saint Catherine of Siena. This exquisite Italian alabaster bust, carved circa 1890 and set upon a dark, polished marble base, emanates ...

A classic Italian Roman statue of the 'David' on a black marble base by sculptor G. Ruggeri, Italy, circa mid-20th century, Italy. White resin statue is on a black marble base with t...

Beautiful marble bust of a young child. This statue is hand cut from Carrara marble. This statue dates from circa 1930, from the modernist Art Deco period. The beautiful, smooth fa...

Wonderfully detailed Art Nouveau style alabaster carved bust of a woman with a sheer dress wearing a head band by famous Italian artist Antonio Frilli. Signed “A. Frilli Firenze" ...

A very fine and monumental pair of French 19th century patinated bronze figural torchere sculptures titled "La Nuit" (The Night) attributed to Albert Carrier-Belleuse (French, 1824-1...

Fragment of a marble shelf statuette representing Asclepius/Aesculapius, Greek and Roman god of medicine. It is carved in the round, with the same level of finish on the front and ba...

An elegant late 19th-century Italian marble bust of Psyche of Capua, inspired by classical Roman models. Finely carved with delicate features and flowing drapery, this piece embodie...

7 Stunning Italian Marble Sculptures Representing "The Baths of Apollo" H: 220cm early 20th Century France. Versailles. Palace. Gardens. Grove of the Baths of Apollo. Hubert Robert....

Masterfully carved & most impressive Italian Vanitas bust in solid marble from late 19th century. White Carrara marble skull combined with a Belgian...

Masterfully carved Italian Vanitas / Memento Mori bust in solid marble from late 19th century. White Carrara marble skull combined with masterfully...

Crafted in Spain, circa 1680, this antique carved wooden bust depicts the head of Christ with a strikingly expressive, devotional presence typical of the Haute Époque period. The scu...

Sculpture, sculpted sandstone bust in the taste of ancient Egypt, XXth century. Bust, carved sandstone sculpture in the taste of ancient Egypt, 20th century. Dimensions : H: 58cm, ...

Top quality and mint condition bust sculpture from the early 1900s with maker's name. This incredibly well carved bust of Jesus is impressive both for its quality and its large size. With His head bowed down like in His final hours on the cross this design is obviously perfect for displaying on a tall stand. In this case a tall and ebonized wooden pedestal was used and thanks to the contrasting colors of this bust and its pedestal they are like a match made in heaven. The master sculptor / artist could not have done a better job in hand carving the exhausted yet serene facial expression of Christ. The large size of this bust combined with the rare sandstone material makes this work of religious art look extra ancient. Because of its size this archetype of Christianity can also be seen and worshipped from further away. Unfortunately we cannot read the name of the skilled artisan who signed this unique sculpture. Thanks to its amazing quality, its excellent condition, its deeper meaning and its powerful presence this work of religious art will never fail to impress, no matter where you decide to have it on display. For it to have come our way felt like a blessing and to be able to offer it to the 1stdibs community in this amazing condition is an honour for us. Our fair price for this museum worthy sculpture again includes perfect packing and also worldwide delivery from our store to your door in just 4 to 6 days. Total height x width x depth: 74 x 17 x 16.5 inches. Christ bust...

A lively and enchanting depiction, this exquisitely rendered flat-backed Herm bust depicts the Roman Bacchus (Dionysus to the Greeks). The youthful god of wine is shown with promine...

JEAN-ANTOINE HOUDON (after) French, 1741-1828 "Bust of Voltaire" Patinated bronze signed to reverse HOUDON Foundry cachet for Susse Freres and engraved "cire purdue" Cast circa la...

A circa 19th century Vietnamese carved wooden and polychromed seated Buddha with original patina. Measurements: Height: 31" Width: 22" Depth: 17"

A French Napoléon III period walnut carved putto sculpture from the mid 19th century, with grapes, flowers and the double flute. Created in France during the third quarter of the 19t...

A Large European Carved Limestone Celtic Votive Head of a Male Warrior Wearing a Typical Flowing Moustache Small Beard and Curling Locks of Hair Stiffened with Lime Wash the Slit Mouth Open as if in Command Circa 1st Century BC - 1st Century AD Size: 31cm high, 22cm wide, 25cm deep - 12¼ ins high, 8¾ ins wide, 9¾ ins deep / 42cm high - 16½ ins high (with base) From about 500 BC, first Greek and later Roman historians mention peoples living in a large area of non-mediterranean Europe as Celts. These classical chroniclers seem to have recognised these communities as having sufficient shared cultural traditions to justify their being given a common name, ‘Keltoi’ by the Greeks, and ‘Celtae’ or ‘Galli’ by the Romans. The earliest allusions to Celts by such Greek historians as Herodotus (485 - 425 BC) were followed by Polybius (200 - 118 BC) and Livy (59 BC - AD 17) who discuss the expansion of the Celts from their central European homelands during the 4th and 3rd centuries BC. They document the presence of Celts in Spain, France, Italy, Greece and Asia Minor, specifically central Turkey. They testify to the successful Roman resistance to the Celts in Italy, after the ignominy of the sacking of Rome by them in 387 BC, and describe the huge defeat suffered by the Celts at the battle of Telemon in northern Italy in 225 BC. The Celts in Greece who sacked the sacred site of Delphi in 279 BC were defeated by King Antigonos Gonatas of Macedon in 278 - 277 BC and in Turkey by Altalus of Pergamon in 240 BC. The Celts in Spain fell under the shadow of Rome from 2nd Century BC and the Celtic heartland known by the Romans as ‘Gaul’ was conquered by the Romans under Julius Caesar in the mid 1st Century BC. Britain was not referred to as Celtic by the ancient historians, but Caesar recognised the close similarities between Britain and Gaul especially in their political organisation. Tacitus (55 - 120 AD) and others chronicled the conquest of Britain between 43 and 84 AD some mentioning the fierce nature of the Celts who went into battle naked. Celtic art therefore belongs to an artistic tradition in the early history of Europe which is no less important than that of the classical world. Art was central to Celtic identity and was closely related to the objects which it decorated. The Celts were used to seeing art as an integral part of their everyday lives. Provenance: Ex Finch and Co...

We present this beautiful sculpture made of white marble, likely from Carrara. The sculpture dates back to the late 19th century. On the back is the engraved signature A. Cipriani, p...

A very fine and large French 19th century white marble bust of a young beauty, purported to be a young "Marie Antoinette" (Queen of France 1755-1793), by René Rozet...

Egyptian Gilt-Wood Bust of the Goddess Isis Late Period, 664–332 BC Carved from a single log of wood, this finely modelled anthropoid bust represents a goddess, most probably Isis, ...

This Roman bust came out of a prominent Pasadena estate.

Torso of Buddha Kingdom of Ayutthaya (1350-1767), 17th century. Carved sandstone, height (including base) 64 cm. Provenance: The Sassoon...

FILLI PUGI Italian, fl. 19th century Bust of the Capitoline Antinous after Antiquity Carved Carrara Marble signed verso “Filli Pugi Firenze” executed circa late 19th century Ite...

A Monumental and Rare 19th Century French Ormolu Mounted Multi-Marble Bust of Alexander The Great, After The Model by Francois Girardon. Drawing inspiration from the renowned "Bust of Alexander the Great (356-323 BC)" housed in the esteemed Palace of Versailles, this monumental work of art showcases exceptional craftsmanship and meticulous attention to detail, serving as a testament to the creator's artistic prowess. Central to this magnificent sculpture is the resplendent red marble face, neck, and hair of Alexander the Great. Capturing the youthful essence of the conqueror, the sculptor depicts him as a young man with a clean-shaven countenance, his moderately long curls delicately cascading from beneath a remarkably unadorned helmet, save for a magnificent plume. The red marble harmoniously accentuates the life-like features of Alexander, imparting an air of regal elegance to the composition. Adding to the allure of this remarkable sculpture is an ormolu robe cascading over Alexander's shoulders, exuding an aura of nobility and power. Of particular note, the breastplate bears an embossed ormolu mask of a deity in profile, surrounded by elegantly sweeping acanthus leaves, paying homage to the influential forces that shaped the life of this great conqueror. Once again, the sublime combination of precious metal and marble amplifies the robe's magnificence, further accentuated by the presence of an ormolu body chain swaying gracefully from Alexander's left shoulder to his right hip. The selection of marbles for the cuirass and plinth serves as an additional testament to the artist's commitment to crafting a visually striking and harmonious composition. The grey marble cuirass complements the overall color scheme of the bust while providing a subtle contrast to the red marble features. At the neck, a pleated ormolu linen undergarment discreetly peeks out, showcasing the artist's meticulous attention to intricate details and enhancing the sculpture's depth. The original Alexander The Great Bust...

This beautiful stone sculpture is a true masterpiece of African art from the beautiful country of Zimbabwe. This bust is lovingly hand-carved from stone that is said to have healing ...

A sensitively carved limestone monumental head of the Buddha, China, mid-20th century. The large carved limestone head displays a quiet sensuousness typical of the Northern Qi style, and follows Northern Qi stylistic conventions, with an oval shaped head covered in pinwheel shaped curls. His full lips...

Add a piece of history to your collection with this exquisite bust of Marcus Aurelus, sculpted in pure white marble and iridescent orange onyx. This bust is a classic depiction of on...

Top quality carved bust, signed by Cristoforo Vicari (Swiss-Italian, 1946-1913). This remarkable antique alabaster sculpture depicts a serene young woman dressed in a Florentine cos...

An impressive pair of hand-carved hardwood African busts, circa 1970s. The pair are made out of some type of exotic hardwood (zebra wood? very heavy a...

Antique Egyptian Revival Carved Hardstone Sculpture, Man with Headdress, 19thC Measures - 4"H x 3"W x 4.25"D A finely carved hardstone sculpture from the 19th century, reflecting the...

Antonio Tantardini (Italian, 1829-1879) An extraordinary Italian 19th century life size carved Carrara white marble sculpture of "A Young Child and a baby in a wicker crib...

Vintage fine bust depicts a beautiful young woman, hand carved in solid fruitwood. The woman is depicted with her eyes slightly downcast, as if she's looking at something at her fee...

a wonderful genuine 18th century piece of art, great patina !

Carved in France in the 17th century, this commanding walnut bust likely represents Saint Paul the Apostle, depicted with dramatic realism and spiritual gravity. The figure features ...

GRAND TOUR Italy, 19th century "Bust: Portrait of Socrates" Carved from a single solid block of white marble Unsigned Circa 1860-80 18 1/2" H x 10" W x 7 1/2" D Carved from a sin...

Sculpture Bust Roman in solid hand carved marble lightly red tinted and grey tinted. Exceptional piece. Available now on stock.

Grey Marble Socle From our Sculpture collection, we are delighted to offer this exceptional Antique Italian Marble Bust Augustus Caesar. The bust...

A compatible pair of superbly crafted African busts in an extraordinary exotic hardwood. Nzambu East African sculptures, hand carved, solid and heavy depicting the busts of two tribe...

Carved and painted wooden phrenology head Store display advertising model. Phrenology bust by unknown wood carver, circa 1870. Perfect to decorate a Do...

A monumental deconstructed ceramic male torso, signed by artist, 20th century. In tones of burnt pêche, apricot, and sienna, this stunning sculpture epitomizes cubism in three dimens...

A fascinating bit of history, this pair of carved wooden terms dates to the High Renaissance during the 1500s. A term is a beam support in the form of a human head where the bust con...

Well-figured decorative composition/resin bust of Roman Emperor.

Italian wooden sculpture of a mid 19th century woman's bust with purfled base. High quality hand-crafted item.

Pair of Allegorical Bronze Busts: "The Fallen King and the Laughing Revolutionary," After Jean-Baptiste Carpeaux, France, Late 19th–Early 20th Century A profoundly expressive and allegorically charged pair of patinated bronze busts, each mounted on veined pink marble plinths...

African Tanzania Contemporary carved wood Makonde fearsome demon head in stylized elongated form features incised hair, long narrow nose, flaring nostrils plus an openwork snarling m...

A pair 19th century (1850s) (Grand Tour) Italian carved multi-marble busts of Augustus of Prima Porta and Julius Cesar. These extremely fine an...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...