Sculptures

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...

Two Neolithic basalt celts mounted on black steel bases. In archaeology, a celt is a long, thin, prehistoric, stone or bronze tool used as an adze, hoe, h...

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 rare fossil of a prehistoric fish is an impressive specimen originating from Brazil, preserved by time over millions of years. Mounted on a metal bracket with complementary ston...

Gorgeous and beautiful weathered small pewter treasure. Great and rare pewter panel depicting a neoclassical scene. France circa 1780 Weathered and small losses. measurements include...

Scultura, Torso maschile, arte classica, arte greca, Torso, marmo bianco Carrara, scultura classica, torso antico, torso discoforo Torso maschile scolpito su bellissimo marmo bianco ...

Horse, running horse, horse sculpture, marble horse, Italian sculpture, made in Italy, white marble horse. Valuable sculpture representing a running horse. Carved on white Carrara ma...

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...

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 ...

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...

Tyrannosaurus Rex Tooth in Fossil Matrix. Late Cretaceous, circa 65 Million years before present. Lance Formation, Marchant Ranch Quarry, Niobrara County, Wy...

A natural rock crystal cluster with polish brass stand. Measures: I 12” /L x 8” /D x 4” /H without stand.

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

1990s Boterismo in the Style of Fernando Botero Exaggerated Ceramic Art Pottery Sculpture Fat Guy He is adorable. 9 h x 13 w x 5.5 d Unmarked Original preowned vintage condition wit...

Beautiful weathered oak panel with an wonderful primitive angel figure. On the bottom of this angel you can also see two small eagle heads. France, circa 1550-1650, weathered, small...

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...

Maitland Smith Cast Bronze Monkey with Lidded Basket/ Planter Pot/ Statue/ Sculpture. The piece features cast bronze construction. A solid ...

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 ...

A well made Sculpture of a Young Lady holding an Alabaster Shade . Cast in lost wax bronze with an Antique Silver patina finish . Standing mounted on a solid Black marble base . A n...

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...

Unique and wonderful hand carved grey marble angel head, France, circa 1780-1800. Beautiful weathered. Measurement includes the wooden base.

I was able to obtain a very rare item. This is a sculpture of the god ``Shinzo''. "Shin" = God "zo" = statue Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines. In the 6th century, Buddhism was introduced and gradually spread throughout Japan. Around the 8th century, the idea that gods follow the teachings of Buddha spread. Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established. This statue was created during such a history. Originally, the image of God was invisible and could not be understood as something tangible. However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism. Around that time, around the 9th century, the first statues of gods...

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...

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

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,...

Sculpture, marble centaur, Roman art, classical art, Greek art, bust, white Carrara marble, classical sculpture, ancient sculpture, ancient bust, made in Italy Centaur carved on whit...

Scultura, altorilievo, bassorilievo, busto romano antico, arte romana, arte classica, arte greca, busto, marmo bianco Carrara, scultura classica, altorilievo scolpito, scultura antic...

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...

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...

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

An art nouveau pewter ornamental vase with glass cabochons. Stamped - B&G Imperial Zinn Design Period - 1900 to 1909 Style - Art Nouveau Detailed Condition - Good with minimal d...

White marble floor sculpture with black marble base One of a kind sculpture Signed by the artist Jean Frederic Bourdier

Dimensions: 17.5cm W, 5,5cmD, 4cm H With stand: 8cm H Signed by artist

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...

Sculptural metal mobile signed and dated '92. Made up of 5 semi-circular metal pieces. Black, blue, red, yellow and white. Each level slowly rotates while hanging. Great piece of art.

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...

Excellent walnut carving of a Carlo Boccomico c1600 Visible old dead worm holes, but great condition 72 cms high 30 cms wide

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...

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...

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

Sculpture, Hippocrates bust, Hippocrates, medicine father bust, ancient Roman bust, Roman art, classical art, Greek art, bust, white Carrara marble, classical sculpture, ancient scul...

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...

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...

Scultura, Torso maschile, arte classica, arte greca, Torso, marmo bianco Carrara, scultura classica. Torso maschile scolpito su bellissimo marmo bianco di Carrara, ispirato ai Kouros...

Arman (after) : "La main tendue" Commemorative patinated bronze medallion showing a bas-relief made from the famous monument standing down the building of "the Credit suisse" locate...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

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...

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...

Sculpture, Female torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso Female torso with toga carved on beautiful white Carrara marble, or...

Large spectacular iridescent ammonite fossil. 75 Million y/o A magnificent example of one of the most spectacular fossils. A large and int...

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...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

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.: ...

Sculpture, Female torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso, Venus Gabii Female torso with toga carved on beautiful white Carra...

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 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...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

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, ...