Sculptures

A Bow Porcelain Figure of a Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked. Label for Albert Amo...

RENAISSANCE COAT OF ARMS in White Carrara Marble Italy 17th Century finely carved with roccaille inside reserve crowned heraldic coat of arms Ital...

20th-century Sterling Silver miniature belonging to the collection "The History of Fashion" of a 16th-century women's costume that belonged to Eleonora Gonzaga. Eleonora Gonzaga (Ma...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

A Bow Porcelain Figure of a Female Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked Origin : Bow, ...

Elkhorn Coral: Resting upon a meticulously crafted Antique Medici Style Base, measuring 14.5 inches, this captivating piece seamlessly blends the allure of the ocean with the sophist...

A wonderful original piece of the Renaissance Period - a carved wooden polychromed figure / statue of Saint Francis. This piece was found in France but most probably originated in 1...

Italian renaissance hand carved wooden "putto" angel head, circa 15th Century Width 14 inches / height 14 inches / depth 4 inches 1 available in stock in Italy Order reference #: FAB...

A Rare European Hardwood (Believed to be Elm) wall-mount Bust of the justly famous Playwright, Writer and Actor William Shakespeare (April 1564-April 1616). Unmistakeable with his po...

17th Century Italian Carved Wood Polychrome Painted Corpus Christi Starburst Crucifix/Cross An excellent example with intricate carved detailing to the corpus face and body Wall mo...

A scale white statuary marble sculpture of Moses after Michelangelo circa 1875. After the larger than life-size Carrara marble original from the tomb of Pope Julius II in St. Peter’s Basilica, Rome completed around 1515. This scale sculpture is exceptionally carved, capturing the quality and detail of Michelangelo’s Moses...

Bow Porcelain Figure - Seated Rustic Seasons - the Autumn Vendangeur, c1765 Additional information: Date : c1765 Period : George III Marks : none...

Bow Porcelain Seated Rustic Seasons Figure of Winter, c1765 Additional information: Date : c1765 Period : George III Marks : None Origin : New Canton factory...

Wonderful pair of Derby Porcelain "Mansion House" dwarfs. Both figures are modeled wearing large hat advertisements, most likely as they stood outside Mansion House in London. Both f...

20th century French stone lion holding a shield on a pedestal. A 20th century lion carved from stone holding a crest carved with a lion with wearing a crown. It is a representation o...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Albert-Ernest Carrier-Belleuse, (1824 1887) A Rare and Important Patinated Bronze Bust of Michelangelo On A Rouge Marble Base. Presenting an extraordinary and highly collectible ma...

This compelling Italian 19th century white glazed porcelain sculpture depicts ‘The Rape of the Sabines’, after a monumental work by the Renaissance artist, Giambologna (1529-1608) th...

Impressive realistic plaster statue of a muscular nude male that sits on top of a square block base. The elegant design shows intricate detail and quality craftsmanship. Incredibly s...

Exceptionally Rare Chamberlains Worcester Pea Hen and Chicks, c1821 Additional information: Date : c1821 Period : George IV Marks : Iron-red hand painted cursive Chamberlains Worces...

In a Renassaince style. Possibly Northern European or German. In the form of the Virgin Mary cradling the lifeless mortal body of Jesus Christ after his removal from the cross. This is known as the Pietà - the sixth of the "Seven Sorrows of Mary" and a common depiction in sculpture. Carved out of several joined wood blocks. Simply a wonderful antique Religious sculpture...

We are delighted to offer for sale this stunning circa 1800 hand carved Royal English Armorial Crest / Coat of Arms Lion. A truly stunning piece,...

Agnolo di Polo (Firenze 1470 - Arezzo 1528) Saint Nicholas of Tolentino Around 1510-1520 Painted and gilded terracotta 55.5 x 24 x 16.5 cm San Nicholas de Tolentino is represe...

Meticulously carved from beechwood, this cherub pair recalls the iconic Renaissance style of the fifteenth and sixteenth centuries. Better recognized by their Italian name, putti—the singular putto refers to the Latin putus, meaning “boy” or “child”—these types of figures often recur in religious artwork as symbols of God...

A very ornate French antique ewer urn with a gleaming, red ceramic jug body and gilt bronze foot and trimmings, dating from the beginning of the 20th century ...

I have seen the brass version of this doorstop many times, but never the early cast iron version! It is a cast iron fox from painted doorstop in very good ant...

Italian Alabaster Figure of the Medici Lion Late 19th century Italian carved alabaster 'Grand Tour' souvenir sculpture, after the antique, "The Medici Lion". Carved alabaster mode...

This 18th-century English carved giltwood eagle, hailing from the Georgian period, is a magnificent example of artisan cabinetry from the era. The eagle carving is expertly carved fr...

This is an alabaster group sculpture of the Cretan princess and daughter of the king Minos of Crete, Ariadne seated over her panther. Her left elbow is over the head of the panther a...

A set of 7 decorative antique plaster capitals of French origin, circa 1880. The set are displayed on bespoke steel stands at different heights to crea...

An early 20th century English plaster lion head centred on a large plaster roundel decorated with a bead and reel border in high relief. Perhaps once used as part of a frieze embellishment on the interior of a prestigious building or an ornamentation for a roof boss, this striking lion head mask now makes a stunning English architectural display...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

very beautiful oak sculpture representing a monk with a ciborium and a bible in hand - Germany -16 century Old trace of polychromy Sculpture of good quality with fine hands, be...

This is a marble and alabaster bust of Beatrice. It depicts a small, but heavy bust of an Italian lady dressed with a Renaissance style cost...

A Rare Italian White Marble Relief of "Young Saint John the Baptist" circa 1860 after Desiderio Da Settignano. The original pietra serena relief by Desiderio Da Settignano, is in ...

Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA Nicely hand carved 17th century Renaissance stone column base appliqu...

Solid Brass, Georgian Style, Cast door knocker Lion. - a compliment to any door, exterior or interior. A beautifully cast piece of solid brass with a lovely patination that will only...

Bronze sculpture of boy playing with a blown glass balloon by Curtis Jere. The bronze boy measures 13.5 inches tall, from the base to the top of th...

Saint John the Baptist 18th century Portuguese sculpture from the 18th century. in polychrome wood. The figure is represented standing with the lamb. Small flaws. Measure: ...

The Adoration of the Magi. Panel carved in high relief. Flanders, 17th century. Measures: 53 x 32,5 cm.

This marble figure of a sleeping child was crafted around 1800 in the style of François Duquesnoy, a sculptor active in Italy in the early 17th Century....

The Massacre of the Innocents Carved oak panel Normandy, late 16th century (Collection labels on the back) Measures: 43,5 x 61 cm.  

Indo-Portuguese sculpture Saint Ana teaching our lady to read 17th century Indo-Portuguese sculpture, from the 17th century. polychrome wood. The figure is represented sitting ...

Alabaster Golgotha Italy, 17th cenury Alabaster with traces of polychromy 16 x 10 x 9 cm The Golgotha (literally "Place of the Skull ») is a hill on the outskirts of the city o...

Saint Antony with Child Jesus, 18th century. Portuguese sculpture in polychrome and gilded wood, from the 17th century. The figure is represented stan...

19th century Renaissance marble relief. The relief is carved to the Renaissance taste and is in very good condition. It is framed in a later frame ...

Fra Mattia Della Robbia (Firenze 1468-1534) Saint Joseph Terracotta Tuscany, around 1505-1510 55 x 40 x 30 cm Marco della Robbia the Younger (April 6, 1468 in Florence - 15...

An exceptional antique, probably English, white glazed porcelain figure of a recumbent hound dating from the early 19th century. The figure is finely hand crafted with wonderful detail with the hound resting its head on its outstretched front paws and wearing a collar around its neck and with its tail resting against its back leg. The modelling is exceptional capturing the hounds features, rib cage and muscle tones. The hound has an unglazed flat base and is not marked. The figure is typical in quality of some of the early English porcelain...

Holy Bishop sculpture 18th century Portuguese sculpture, from the 18th century. in upholstered, polychrome and gilded wood. Fingers flaws. faults and defects, Measure: Height:...

Our lady with child Jesus savior of the world 17th century Portuguese sculpture in polychrome and gilded wood. Repaints. Height: 71 cm very g...

An small but exquisitely cast and highly detailed bronze statue of St Joan of Arc in full body battle armour including the horse with one hand holding ...

Amazing Portuguese sculpture "OUR LADY WITH CHILD JESUS " 17th century Renaissance, in polychrome "Ançã Stone ". The figure is represented standing...

A terracotta bust of Christ as The Redeemer Tuscany or Emilia Romagna, late 15th century Measures: 46 x 43 x 21 cm This powerful, moving bust of...

Calzetta Da Ravenna (Attivo Tra IL 1496 E IL 1543 circa) Severo. Circle of. Candlestick depicting a kneeling satyr. The model of the present bronze is the ""kneeling satyr"" attributed to Severo Calzetta da Ravenna, one of the main Paduan bronze sculptors of the first half of the 16th century, whose figure was rediscovered by Planiscig in 1935 (L. Planiscig, ""Severo da Ravenna...

This is a pair of Capodimonte glazed white Parian porcelain nude cherubs who are playing with some gilt round small balls. Both of them are standing n...

The bronze statue depicts a Turkish warrior with shield and sword. the warrior is shown bare without veils, with a base also made of oval-shaped bronze, acting in a war scene. Detai...

Rare pair of sitting Mastiffs dogs. Venice, end of 15th century - first half of the 16th century. Istrian stone. Provenance: - Important private collection of an architect and scenographer from Orvieto (Umbria) A regular exportation licence delivered by the Italian Ministry of Culture accompanies the work. The representation of the dog dates back to ancient times, when dogs were considered weapons of war and used to attack the enemy or stand guard to protect strategic locations. At the entrance to the Pompei’s villa, the presence of a "cave canem...

Sterling, Bone, & Semi-Precious Gems Figure of 'St. George & Dragon' Germany, Early 20th Century A meticulously cast and modeled Medieval / Renaissance Figure of St. George Slaying the Dragon, This figure with a moveable helmet visor, revealing his carved bone face...