Sculptures

The monk is depicted with an oval face, marked with high and strong cheekbones, sunken cheeks, strong jawbones and a cleft chin. His almond shaped eyes are opened under very strong a...

A pair of 16th Century Italian wood carved figures of Saint Ambrose Archbishop of Milan and Saint Augustine Bishop of Hippo, two of the four original Doc...

18th Century Carved Limestone Sculpture of the Mythological Figure Pan. In ancient Greek mythology, Pan is the god of the wild, protector o...

Pair of patinated bronze sculptures after Giambologna French, late 19th century Measures: Mercury height 86cm, width 19cm, depth 27cm Fortuna height 83cm, width 18cm, depth 28cm ...

Early 16th Century Spanish gold gilded and polychromed carved wood sculpture of John The Baptist.

This important George III tazza is attributed to famed Scottish-Swedish architect Sir William Chambers. The magnificent piece features a base carved from statuary marble in the shape of a stylized dolphin, which relates to Chambers' extraordinary 18th-century architectural designs. A marvel of beauty and craftsmanship, the tazza is also inset with specimens of Derbyshire Blue John in both the plinth and bowl. Blue John is one of the most in-demand decorative stones in the world, and its inclusion in this piece elevates the tazza to a true Georgian masterpiece. Due to its popularity, the largest veins of Blue John had disappeared by the early 19th century, and only a small amount of the stone remains today. Because of its scarcity, most examples of Blue John furniture feature only small inset veneers. By contrast, this rare tazza features not one, but two substantial specimens of the stone. It represents some of the last ornamental wares created of such grand size and proportion, though other smaller examples still grace the stately British estates of Chatsworth, Hardwick, Kedleston and Haddon, among others. Not only does this tazza boast a highly rare material, but it was also designed by one of the most important architects and designers of the Georgian era. Sir William Chambers was a Scottish-Swedish architect based in London who was active during the reigns of Kings George II and George III. Celebrated for his combination of English Palladianism...

Pair of Italian Renaissance style (17/18th Century) walnut and gilt trimmed large crouching figures with musical instruments on pedestal bases (PRICED AS PAIR).  

This fine 19th century copy of the famous group is in a sumptuous Serpentine marble. The Sabine man crouches in submissive pose, whilst the Roman carries off the writhing woman. It is well-presented on the original matching plinth and pedestal . This perhaps forms part of someone's Grand Tour along with mosaics and bronzes after the antique...

French bisque porcelain portrait bust in the Renaissance manner. French, 19th Century Measures: height 65 cm, width 40 cm, depth 22 cm. Th...

French painted bisque porcelain bust of a woman French, 19th century Measures: Height 68cm, width 40cm, depth 30cm This fine bust is crafted from painted bisque porcelain. The bust depicts a young woman in a historicised Renaissance style: the sitter tilts her head to her left, her eyes glancing to something in the distance. She wears an ornate feathered head...

Staffordshire Pottery pearlware bocage figure with a musical theme which features a man playing a bagpipe, his dog beside him, seated on a shaped base. Decorated 'in the round', deco...

The statue of the Biblical figure, David, is considered to be one of Donatello's landmark works and a milestone in the Italian Renaissance. This statue is entirely made of silver dep...

English pottery model of a lion, Whieldon-type creamware tortoise-shell glaze, circa 1765-1785 The English pottery model of a seated lion with a Whieldon-type creamware tortoise-she...

Antique French Spelter Sculpture Statue of Woman Carrying Bundle of Sticks Causset Cadet ? Cast spelter metal figure of woman carrying a bundle ...

Early 16th Century Spanish carved-wood and polychromed panel of The Betrothal and Love of Joseph and Mary mounted on a Lucite panel and framed with a walnut wood hand-finished frame.

Easily recognizable with his gesture of showing pest effect on his thigh this pilgrim saint is accompanied by an angel curing him. The quality of the wood is noteworthy. Bibliography Louis Réau, Iconographie de l’Art Chrétien...

17th Century Italian polychromed and gold gilded on wood panel Sienese style painting of the Madonna Enthroned with the child and two adoring angels behind them. The halos are beautifully adorned with punch work. She is framed by a hand-carved gold gilded and velvet lined frame and sitting on a hand-carved matching base. The piece is mounted on a Lucite panel and framed with a contemporary hand-finished wood molding.

This is an unusual pair of 17th Century (or earlier) Flemish (?) carved lions that once formed part of a large cabinet or, perhaps, the feet of an elaborat...

19th century salin foundry French neoclassical cast iron sculpture statue, France Features two boys playing Front of plinth inscribed Salin, France Salin Foundry, Dammarie-sur-S...

In Medieval Europe and even more during the early 16th century fantastic beasts could be found in Bestiaries, a literary genre close to poetry. A bestiary used the characteristics of...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). As a bearded man wearing a fur-lin...

Here are three brilliant, carved mahogany horse sculptures that display an uncanny talent for capturing the spirit of the animals. Carved with rare atte...

This is an old large Spaniard hand painted and carved wood nude baby Jesus. He has hand painted large expressive eyes and eye brows. His abundant hair is bro...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Very elegant sculpture reprenting a Putti (angel) from the German renaissance period -16 century Rare sculpture in walnut of great quality with a very beau...

A pair of cast bronze cherubs or putti standing contrapposto on a square red marble base, France, circa late 1800s. Note: These charming cherubic figures were probably used in combi...

Extremely large, hand molded, painted, and majolica-glazed, relief sculpture "Tondo" (meaning "art in the round") after famed Renaissance artist, Andrea della Robbia...

A fine late Georgian marble portrait bust of 18th century barrister, politician and judge, Edward Willes. Signed by the artist, this superb bust was made by 18th century sculptor, John Bacon. It demonstrates his exceptional artistic skill and perfected sculpting technique for which he was much celebrated. We believe this bust was sculpted at the height of Edward Willes career, when he became a justice of His Majesty’s Court of King’s Bench...

Decorate a study or a man's office with this elegant antique plaque. Crafted in France circa 1880, the wall decor features a coat of arms with a medieval royal knight...

"Michelangelo prèt-a-porter " - Unique piece, 2017 glazed earthenware A RING THING collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomical detail...

The fox's prey is the rabbit, and in the 19th century, rabbits abound in the countryside, so it is no surprise they are find in porcelain toys. Adorable Chamberlain Worcester porcela...

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

Italian patinated bronze sculpture of Hercules and Antaeus after the antique by Pier Jacopo di Antonio Alari-Bonacolsi, 1500-1510.

Ceramic figurine of a woman in blue and white glaze. For grand millennials and chintz lovers, this small porcelain figurine will make a superb addition to your blue and white collection. This lovely piece depicts a peasant woman carrying her wares. Her hair is styled in a swept-up style, with a blue glazed hat. Her features are hand-painted in black, with bright red lips. A blue corset...

Pair of Italian Renaissance style green patinated bronze figure of horse walking (from a series of 1,000 titled: "Cavalli di San Marco II", signed by L...

A very fine copy of the Renaissance sculpture entitled 'A Little Boy'. After Italian Renaissance sculptor Desiderio da Settignano, or Deside...

Fine Georgian marble bust of Major General Montagu-Roger Burgoyne, the 8th baronet of Sutton, Signed G. Garrard. Sculp, 1818. Sir Montagu-Roger Burgoyne, eighth baronet (d. 1817), army officer, was, like his father, a cavalry officer who rose to the rank of major-general. He entered the army as cornet in the Scots Greys in 1789, and in 1795 became lieutenant-colonel ofthe 32nd light dragoon guards. He was afterwards an inspecting field officer of yeomanry and volunteer corps. On 1 November 1791 he married Catherine (1772/3?1855), daughter of John Burton of Owlerton, Yorkshire; they had three sons and three daughters. Burgoyne died at his mother's house on Oxford Street, London, on 11 August 1817, whereupon the baronetcy passed to his eldest son, John-Montagu Burgoyne George Garrard ARA (31 May 1760 – 8 October 1826) was an English animal, landscape and portrait painter, modeller, sculptor, engraver and printmaker. He played a major role in lobbying Parliament to introduce legislation to protect the copyright of works by modellers of animal and human figures. Garrard came from a family of artists, tracing his descent back to Marcus Gheeraerts the Younger (c. 1561/62–1636) who was a painter to Queen Elizabeth I of England. He studied art first under a well-known drawing-master called Joseph Simpson,[3] then with Sawrey Gilpin, and in 1778 became a student of the Royal Academy, where, in 1781, he first exhibited some pictures of horses...

Rare 18th century Whieldon-type creamware pottery cow, circa 1765. The rare press-moulded cow stands on a flat slab base with lobed edges. The cow is s...

A very finely cast late 19 century Grand Tour bronze replica of the renowned statue of Bartolomeo Colleoni on horseback set on a verde antico marble base after the life sized bronze statue by the Renaissance sculptor Andrea Del Verrocchio...

A great set of six (6) German white porcelain putti sculptures in the Renaissance or Neoclassical styles, circa 20th century, Germany. A fun set of six baby male nude tumbling putti ...

Two patinated bronze sculptures featuring Fortune, the goddess of luck and chance and Mercury, the god of good fortune in Roman mythology. Each divinity is represented with their symbols: Fortune is carrying grains in one hand and a scepter in the other; Mercury is holding a purse. The two are being propelled into the air by the face of an infant blowing upward. The bases are decorated with putti representing Painting and Sculpture. The two bronzes are signed: J. de Bologne. The model is after Jean de...

Four antique bronze plaques depicting water-nymphs, by Ferdinand Barbedienne French, 19th century. Measures: Height 47cm, width 12cm, depth 2.5cm Finely cast in relief from patinated bronze with parcel gilt patina, these French 19th Century panels each depict a Classical female water-nymph. The relief structure and design is after four panels from the important marble fountain from the Renaissance period in Paris called the Fontaine des Innocents. This was created by the French sculptor Jean Goujon...

"Michelangelo prèt-a-porter " -peneculo - Unique piece, 2017 glazed earthenware A RING THING collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomi...

Also known as "The Insolent" Moriscan, Morisken, Moriscon or Moorish Dancer, this handmade and hand carved, hand painted, richly textured linden wood Morisco Dancer from the Dementz ...

Ralph Wood Staffordshire pottery earthenware color glazed figure which features a Medici lion, stood on a plinth base. Decorated 'in the round', decoration...

4 Italian Renaissance style (19th Century) carved soapstone wall plaques of Medieval scenes under glass in black frames.

Fantastic reproduction of the famous saltcellar of Benvenuto Cellini, symbol of the world goldsmith's art. The master goldsmith made only very few copies of this wonderful object that makes it a unique piece in the world. 6.641 grams of solid silver. Some information on the original piece by Benvenuto Cellini: The Cellini Salt...

Antique statuary Carrara marble bust depicting a male in the classical Roman portrait style. Life-sized and beautifully carved in the purest of white statuary marble. The bust is o...

16th C. hand carved Capital stone base architectural element sculpture pedestal. Very rare 16th century Renaissance corner Capital. Hand carved limestone Chapiteau Capital from a Cloister in France. From an ornamental point of view, it is the coronation, the upper part of a post or a column or pilaster pillar. A beautiful Architectural element garden ornament. It can used as a Base for a coffee glass table or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture. Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room, in an office, it will create an incredible focal point. It can make a beautiful base for a floor lamp by a leather reading chair...

Pair of bronze sculptures of Mercury and Fortuna French, late 19th century Measures: Mercury: Height 64cm, width 11cm, depth 27cm Fortuna: Heigh...

A rare, early 19th century English hard-paste porcelain pug & puppy figurine. These early English figurines are all modeled after the Meissen facto...

Life-size draped classical male ship's figurehead of English 19th century origin. The carving is quite similar to that of the figurehead rescued from the HMS...

"Michelangelo prèt-a-porter " - Unique piece, 2017 glazed earthenware A Ring Thing collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomical detail...

Mid-19th century over life-size carved marble statue of Michelangelo's "Bacchus". Grand Tour copy through the "Point To Point" method directly from the original keeping its masterful proportions and Fine details in an exact size to Michelangelo's work. We have never seen a 19th century copy of this Renaissance Masterpiece of this size and are quite fortunate to be responsible for its stewardship until purchase by a discerning collector The original "Bacchus" is a marble sculpture by the master, Michelangelo, created circa 1496 when the artist was 21. This statue was originally commissioned by Cardinal Raffaele Riario. However, it was rejected by him and eventually found its way to Jacopo Galli, Cardinal Riario’s banker and a friend of the sculptor, who purchased it in 1506. Some 66 years later it was bought for the Medici and transferred to the royal house in Florence, Italy. Currently it can be viewed at the Museo Nazionale del Bargello in Florence. It is one of just two sculptures surviving Michelangelo’s initial period in Rome, with the other being Pieta. The artwork: This somewhat oversized...

Pair of Italian Renaissance style silver plate bronze figure of horse walking (from a series of 1,000 titled: "Cavalli di San Marco II", signed by LUDOVICO De LUIGI, 1979).  

Scottish brass Highlander Royalty Guard doorstop dressed in full military attire standing on a step back rectangular base with lions paw feet, Mid-19th ...

English cast brass woodsman doorstop leaning against tree with axe, hatchet under belt , and his canine companion . Mid-19th Century.

An amazing frosted acrylic sculpture of the Virgin Mary by New Renaissance Art. This was cast from the master made from the Vatican's mold of the original. The mold was created under the supervision of the Vatican's own artisans. This is piece is stamped on the side (molded into the acrylic) with the name New Renaissance Art, the head of David...