Sculptures

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

A well carved hardwood bust reminiscent of sacred and religious sculpture of the Gothic and Renaissance eras. Antique carved wood head of a mal...

A Large 19th Century Meissen Porcelain Figure of a White Pug Mother and Child with Gilt Bells on a Blue Collar. This large model is very rare to find in this quality, condition, and...

Finely sculpted antique marble bust of Marie Antoinette after the original sculpture by Felix Lecomte (1737-1817).

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

Winged angel head. Polychrome wood. Spanish school, 16th century. Carved and gilded wooden sculpture that shows a child's head with blonde, curly hair adorned with two wings. This ty...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...

Expectacular Antique Library, Bookends, Throne, medieval, revival Alabaster and marble bookends in the shape of monks sitting on a throne reading a book Medieval style figur of a mo...

Pair of large terracotta busts depicting Apollo, crowned with laurel, and Diana, with a forehead surrounded by a crescent moon, from the Louis XVI period. These busts are presented ...

A charming and high quality French 19th century Louis XVI st. patinated Bronze, Ormolu, and Gris St. Anne marble statue. The statue is supported by four Ormolu ball feet beneath a ci...

Sèvres (Attributed) biscuit porcelain and ormolu bust of Marie Antoinette after Felix Lecomte (French sculptor 1737-1817) exquisitely cast and modeled, the face in white biscuit porc...

A Massive Pair of 19th Century French Terracotta Sculptures of Royal Sphynxes, raised on Wooden Bases. Resting on wooden bases, these impressive, superb-quality sphinxes epitomize t...

Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative ...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

niche in gilded wood from the 17th century from Italy Lovely niche with a carved wood in its center from the Italian Renaissance Beautiful original gild wood Dimensions excluding ba...

An exceptional Renaissance style patinated and gilt bronze cherub base made in the early to mid 19th century. The figure holding a 10 inch diameter crystal ball. Beautiful quality ...

Renaissance bronze medallion made by Master IOFF in the mid 15th century, showing the mythological scene of Ariadne on Naxos. Made in the mid-15th ...

We present you this elegant and incredibly charming titled 'le baiser', translating to 'the kiss' in French. This statuette is rendered in bisque porcelain and depicts a bust of a te...

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

Gilded bronze bust of Louise Brongniart by Houdon. Sculpture of a bust of Louise Brongniart by Jean-Antoine Houdon (1741-1828), reproduction of the XIXth century.     h: 23cm , w: 1...

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

Large painted and carved wooden Virgin and Child in the round, representing the Virgin and Child carrying the globe. The theme of the Virgin and Child is the most represented in all ...

This antique, elegant early 19th Century allegoric figure composition was hand crafted in terracotta clay and placed on an oval wooden base, in good condition. Two cherubs are drapin...

Sculpture of Mother Mary with the Child Jesus. Mary has the child on her right hand. Jesus makes a blessing gesture and wears a small globe. ( a sign off His power over the world) Mo...

Discover the timeless elegance and symbolism of the Sèvres biscuit group featuring Psyche and Eros. This delicate work of art captures a mythical moment of love, sacrifice, and divin...

A most charming and true pair of French 19th century Louis XVI st. patinated Bronze and Vert Patricia marble statues of cherubs. Each statue is raised by a circular base with a mottl...

19th Century, French Marble and Gilt Bronze Centerpiece This particular centerpiece was made, in white marble and finely chiseled gilded bronze, in France between the end of the eigh...

The very expressive Virgin, in a strictly upright posture, carries the child Jesus on her (damaged) left arm. In her right hand, she holds the shaft of a scepter. She looks at the ob...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

We present you this unique Carrara marble bust dating back to the end of the 19th century. It represents a young Louise Brongniart, daughter of a prominent French architect and membe...

The clock is signed by the Clockmaker Festeau Le Jeune. The case after a design of François Vion in form of a lion supporting a cylindrical case draped with ribbon tied laurel swags ...

A Set of Four 19th Century French Patinated Bronze Marble Mounted Busts of Philosophers. The stunning patina adorning each bust accentuates the intricate facial expressions, breath...

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

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Modeled as a satyr, incised CLODION...

A charming and high quality French 19th century Louis XVI st. patinated Bronze and Ormolu statue of a young cherub. The statue is raised by a square Gris St. Anne marble base on Ormo...

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 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...

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...

Probably Mdme. Pompadour and Mdme. DuBarry caricatures, popular motif in the 19th century. On coral colored marble bases, and probably of architectural origin. Great color contrast b...

A charming pair of French mid 19th century Louis XVI st. Ormolu and Rouge Griotte marble statues. Each statue is raised on a wonderful circular Rouge Griotte marble pedestal with a t...

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...

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...

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...

The marble bust facing frontal with her eyes looking to her right. The hair fastened in a skillfull knot behind, the drapery covers her shoulders and breasts, with another section un...

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 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...

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 ...

This is a stunning bisque fired porcelain figural group depicting the Toilet of Venus in the Louis XVI style. The sculpture was originally modelled by ...

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...

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...

A monumental 19th C. Italian Marble Bust of The Grandparents, Titled: Rimembranze, Signed Vichi. Presenting an exquisite Italian masterpiece from the 1800s, we have a captivating white Carrara marble bust group entitled "Rimembranze" (Remembrance). This remarkable sculpture portrays an endearing elderly couple locked in a tender embrace, their love emanating through the gentle touch of the man's hand on the lady's chin and face. The profound affection and mesmerizing connection between them are beautifully captured in the expressions gracing their faces. Renowned for his exceptional talent, Ferdinando Vichi meticulously crafted this sculpture, paying meticulous attention to every detail. The couple's wrinkles, veins, and musculature, as well as the delicate rendering of their clothing and expressions, are expertly brought to life by Vichi's craftsmanship, establishing this artwork as one of his most remarkable and meticulously executed pieces. The sculpture rests on a contrasting black marble base with the title "Rimembranze" etched into the side, further enhancing its aesthetic appeal. Vichi's artistry is truly captivating. The old woman's knitted shawl, meticulously fashioned out of marble, appears astonishingly lifelike, while the choice of beautiful white marble exudes a refreshing allure. The old man's playful gesture of touching the lady's chin is captured with natural grace and warmth. Vichi's exceptional ability to sculpt fabric with such finesse creates an illusion of softness that defies the medium of marble itself. The remarkable attention to detail, from the intricately carved wrinkles and smile lines to the depiction of a lifetime shared in joy, evokes a profound sense of admiration. Ferdinando Vichi, a member of the esteemed Florentine School and associated with the Bazzanti Gallery in Florence, Italy, was part of a talented group of Tuscan sculptors. His body of work encompasses a wide range of subjects, including romantic busts, orientalist themes, and Renaissance-inspired models. Similar to his contemporaries from the late nineteenth century, Vichi often drew inspiration from romantic and tender subjects. This is exemplified in the beautifully detailed marble group depicting an elderly man's playful courtship and deep love for his wife. This 19th-century Italian marble group titled "Rimembranze" is signed by the esteemed artist Ferdinando Vichi, who was associated with the renowned Pietro Barzanti...