Sculptures

Prehistoric Brazilian agate geode on stand. White, taupe with a thin rust line. Metal stand measures 6" x 4". One of several from a large collection o...

Sculptural 18th century Italian hand-carved angel wing mounted on a calcite crystal cluster and adorned with citrine points. The hand-carved angel wing was once part of a heavenly, a...

Venus With Dolphin In Bronze 1600, small 17th-century Italian sculpture ending in a ferrule at the bottom. He holds a sphere in his right hand and with his left hand holds the dolphi...

Pair of 18th century Italian sculptures. Wooden works of great size and impact, pleasantly carved, depicting cherubs. Sculptures painte...

18th Century Italian Marble Bust of Caesar Augustus. His draped robe is hand-carved in red rosso levanto marble with the face modelled in contrasting white Carrara marble. The piece ...

Carved bone and walnut figure of a beggar with a very expressive face holding a flute, with a satchel over his shoulder carved from wood with a leather strap. With inset glass eyes. ...

The figure stands with arms crossed in front, a pose that is often seen in tomb figurines which were intended to serve the deceased in the afterlife. The long robe and facial feature...

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...

A beautiful and very large Art Deco Meissen Porcelain sculpture of a polar bear by Otto Jarl, beautifully sculpted, hand engraved and hand-painted under the glaze. Jarl, Otto (1856-1...

Sculptural 18th century Italian hand-carved angel wing mounted on aragonite and adorned with tangerine quartz crystals and a baroque pearl. The hand-carved angel wing was once part...

Beautiful pair of ceraferous angels sculpted in the round in a very lively position (the movement in the hair is remarkable), almost Baroque. Very fine execution of the plastron armo...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

Exceptional pair of armchairs, in carved wood, decorated with acanthus leaves and volutes, the armrests ending in lions' heads, the footrests in dolphins' heads. Traces of "a mecca" ...

Sculptural 18th century Italian hand-carved brown and gilt angel wing adorned with citrine and quartz crystals and mounted on a polished hematoid slab. The hand-carved angel wing was...

An Italian 18th century antique bronze statue of Athena ex. private collection. Over 240 years old, this striking bronze depiction of Athena is ...

An Aztec Stone Sculpture of a dog-like creature, seated with one raised paw, having large round ears, deep set eyes, mouth with exposed upper fangs, and an unusual curved tail with c...

Classic early 1910s Desk Catchall figurine. This polychromed cold painted metal is probably something you need if you’re a Vienna bronze or a dog figure collector. Also nice as a gif...

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...

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

A large 18th century or earlier statuary marble head of Venus, goddess of Love. Life-size and beautifully carved with superb detail to her hair & face. Probably Italian and an early ...

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...

This piece displays the beauty of the Muonionalusta meteorite in the form of a cube. It is extreamly rare to find a cube of any meteorite above an inch and this piece is 2 inches cub...

A scarce antique English porcelain figure of a Putto holding a basket of flowers by the renowned Staffordshire factory Bow and dating from aro...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

DESCRIPTION: Etruscan sculpture head made with terracotta, the art represents a young man from the 4th century. It's a very decorative piece and the state of conservation is good. I...

Sculptural 18th century Italian hand-carved angel wing mounted on a chalcopyrite and adorned with kyanite. The hand-carved angel wing was once part of a heavenly, angelic depiction i...

This Italian Limestone Venus Sculpture is a stunning depiction of the goddess of love, carved with incredible detail and from authentic 18th century limestone sourced from Italy. The...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

A late 17th-century figure in polychromed chestnut wood with excellent carving and gilding, dressed in a flowing veil and cashew hair down the shoulders. The cheekbones and nose are ...

Fossilised Colla Wood Cross-Section Miocene, circa 23-5 Million years before present Recovered near the town of Zile, Turkey Fossilised wood fragment displ...

Prehistoric Brazilian thick agate geode on stand. Center hole reveals beautiful natural silver crystals. Metal stand measures 6" x 4". One of several ...

A scarce 17th century Spanish Colonial carved wood santo with provenance from the National Museum of the Philippines Manila. circa late 1600s A large part of what makes this example so very rare is not just the age and condition, but the saint depicted, San Roque. The Hispano-Philippine (Spanish-Filipinos) hand carved hard wood religious altar figure presents splendidly, with scattered remnants of original gesso and polychrome pigments, the exceptionally sculpted religious folk art depicting San Roque (Saint Roch or Rocco), the 14th century Catholic patron saint frequently invoked against the plaque, various infectious disease, as well as patron saint of dogs, invalids, of falsely accused people, and of bachelors, amongst others. Provenance / Acquisition: Retaining registration - identification label to verso from The Republic of the Philippines (RP) National Museum of the Philippines Manila with hand written registration number. Acquired from highly reputable auction house, Austin Auction Gallery, est. 1982, Austin, Texas. February 2022 catalog. Dimensions: (approx) Overall: 15.75" High, 5" Wide, 4" Deep. Figure: 14" High 1.5lbs Great original antique condition, especially considering it's around 350 years old. Nicely aged patina over the whole. Presented on a later wood plinth base. Typical loss to right arm, minor finish losses, old tiny metal plate added to prevent age related splitting, all wear consistent with age, and only adds to the overall sophisticated character, authenticity, and charming rustic warmth that can only be acquired over long periods of time. We here at Lynx Hollow Antiques absolutely love religious antiques, from an antique altar, church architectural salvaged building and ornamental elements, reliquary, tabernacle cabinet...

The electric intensity of this piece's coloration makes it both stunning and unique. The sparkling color and natural wave-like form makes for a hypnotic sculpture evoking a sense of ...

This is a sublimely made porcelain figure of the female "Ranelagh Dancer", made by Derby between 1759 and 1769, which was the Rococo era. The figure would originally have had a male ...

Weight : 143.28 Gram Dimension: 5.7 x 5.4 x 4.2 Cm Origin : Paprook Mine, Afghanistan Tourmaline is a crystalline silicate mineral group in which boron is compounded with element...

Banded Iron Fossil Formation Circa 2.9 Billion y/o This spectacular banded iron formation from Port Hedland, Western Australia, provides evid...

An interesting soft-paste porcelain figure of a Dominican Nun, perhaps the theatrical figure Heloise. Although the Nun appears in various versions in European and English porcelain,...

very big and massive bronze door knocker, German or maybe Italian in origin, 16-17th century, amazing green original patina to the face, some scares and dings to the face which gives...

Lotto di sei bicchieri con coperchio a forma di cappello (tre scheggiati come da video) e una bottiglia (la bottiglia ha una crepa ma non è rotta, si nota poco e sembra che sia part...

Spinosaurus (meaning "spined reptile") is one of the largest carnivorous dinosaurs to ever exist. This behemoth lived in present-day Morocco during the upper Albian to upper Turonian...

Prehistoric Brazilian thick agate geode on stand. White center with brown border. Metal stand measures 5" x 3.5". One of several from a large collecti...

This 100% complete trilobite fossil of the species crotacephalina on its natural limestone matrix is estimated to date back as far as 400 million years. Out of Morocco, this specimen...

A large and rare ceramic monochromatic putto holding grapes (Autumn from "The Four Seasons") by Austrian designer Michael Powolny for Gmundner Keramische Werkstatte. First designed b...

Modelled as a yellow bird, green deer, and yellow monkey grouped together on a brown-glazed stand. These brush rest with a bird, a monkey and a deer probably refers to the rebus 'may you receive high rank and emolument' or 'general long life, happiness and wealth' Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Ca Mau...

A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...

This 100% complete trilobite fossil of the species drotops megalomanicus on its natural limestone matrix is estimated to date back 400 million years to the Devonian period. Out of Mo...

A deep and well carved panel English oak with many figures in deep relief and a good colour Circa 1520 33cms wide x 21cms high

Delicate and rare Meissen Art Nouveau porcelain group: Skating couple in elegant winter clothing: The lady in a long, white skirt with a green decorated hem, green jacket and white cap, and long ermine scarf, the gallant in a fine, sporty, brown checkered suit...

French bronze sculpture by Henri Désiré GAUQUIE (1858-1927), France, ca.1910. The sower. Height : 18.25"(46.4cm), Width : 7.9"(20cm), Depth : 8.1"(20.5cm). A sharp line, an indisputa...

Trinity in carved and polychromed wood, in the round, the back partially hollowed out. It is represented here as a "Throne of Grace". In this original formula, which probably origina...

JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century in iv... partially painted and gilded. The baby Jesus, asleep, is depicted sitting cross-legged. Posterior dobby. Dim.: ...

Unveil the enigma of our Marble Male Bust from France, an undated masterpiece shrouded in historical allure. This finely sculpted piece captures the essence of a bygone era, portrayi...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

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...

Coppia di Angioletti di legno in oro Zecchino del 700 Condizioni discrete compatibilmente con l'età Piccole crepe sugli arti e sulle ali Piccole parti mancanti su un piede e su un al...

This 100% complete trilobite fossil of the species crotacephalina on its natural limestone matrix is estimated at approximately 400 million years old, dating back to the Devonian per...

Iron Bust From 1600 depicting a boy with curly hair, dressed in a tunic that leaves one shoulder uncovered. Made of cast iron, the pommel has a dark patina and is in good condition, ...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...