Sculptures

A beautiful miniature bronze sculpture, part of a collection

16th Century Madonna and child wood carving, retaining some original polychrome decoration sizes 67 cms high, 30cms wide and 25 cms deep

SCHORL TOURMALINE WITH AQUAMARINE Shengus, Roundu District, Gilgit-Baltistan, Pakistan 19.2 cm tall x 6.2 cm wide Gilgit-Baltistan (formerly known as the Northern Areas) is home to m...

An impressive skull of an Edmontosaurus, a large herbivorous dinosaur that lived during the Late Cretaceous period, 68-66 million years ago. The three rows of sixty or more teeth on either side of the jaw, known as the ‘dental battery’, mark the Edmontosaurus as part of the Hadrosauridae, or duckbill family of dinosaurs. It belongs to the flat-skulled, or solid-crested, Hadrosaurinae, which replaced the older hollow-crested hadrosaurs. Edmontosaurus was one of the last non-avian dinosaurs to ever exist, living shortly before the Cretaceous-Paleogene extinction event. The Edmontosaurus was named in 1917 by Lawrence Lambe, after a partial specimen from Edmonton in Alberta, Canada. The existence of large Edmontosaur bone beds...

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

Introducing our exquisite collection: Capipota Sanctuaries - XVII-XIX Century Devotional Statuettes. Originating from the Catalan expression "cap i pota" (head and feet), Capipota V...

A large scale natural amethyst specimen originating from Brazil. Crystals from Brazil are most often found as radiating masses, with individual crystals appearing as pyramids. This e...

Beautifully stylized horse head figurine with a great balance of harmony, it portrays the beauty of the inner world through love and beauty. This unique art piece is a great chance to bring your office or home decor and interior the eternal opposites in an everlasting fusion dance. SCULPTURE, horse figure. Antique Decorative Figurine ANETTE EDMARK...

Beautifully carved and painted. Nice patina. From a beautiful house in Santa Barbara. They do hold candles on a spike.

From a beautiful home in Santa Barbara. Slight chipping in silver leaf on back side. Beautifully detailed.

Hand carved marble shield with a rampant Baroque style lion in custom, later, iron 2" wide banded frame.

Pair of 18th century Italian carved wood figures. Originally polychromed and now aged to a shabby chic look.

A striking Italian 18th century giltwood and polychrome statue of two eagles. The statue is raised by a most decorative polychrome ground and branch like designed base. Above are two...

An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.

A bronze sculpture of Venus on a terracotta marble base, circa 1900 Measures: Height 53cm Width 19cm Depth 16.5cm.  

Very rare, carved Limewood Mythological Reclining Lions, probably Italian. Mounted on base.

A Rare Pair of Italian Popes made of Carved Wood and Papier Mache.

18th century French carved-wood panel of a scene of Cherubs burying their pet, expressing that God cares about all of creation, and since pets are part of that creation, they are included in His care and attention. The piece is mounted on a Lucite panel framed with a double walnut molding...

A Very Fine and Rare Pair of 17th c. Italian Allegorical Figures carved in Limewood. The Large Italian Marble Pillars are 19th c. The height of the Pillar only is 57.5 inches and it...

Elegant Standing Court Dignitary with joined hands in blue robes and a bird headdress. Polychrome Traces. When China was unified again, first briefly ...

A Roman bronze and gilt-bronze figure of a Bacchante, circa 1780.

A Large European Carved Limestone Celtic Votive Head of a Male Warrior Wearing a Typical Flowing Moustache Small Beard and Curling Locks of Hair Stiffened with Lime Wash the Slit Mou...

Christ in Boxwood, France, late 16th-early 17th century Beautiful corpse of Christ with missing arms. He must have been on the Cross, arms in a horizontal position. Great expressiv...

An Italian 18th century sculpture of St. Peter of Verona. A magnificent sculpture of St Peter martyr of Verona, created by a member of the Lombard art school in Verona Italy, in the...

Lifeguard Bronze Statue on Stunning Marble Pedestal Signed by GUILLEMIN 🌟 A unique piece for art enthusiasts and passionate collectors! We are offering for sale a magnificent lifeg...

Geometric Forms, 8" tall Italy circa 1900 Collection of (10) with taped lettering. 3”-8”h

XVII secolo Rilievi raffiguranti papa Innocenzo XI e Pio V (2) Marmo, cm diametro 29 I due manufatti in esame, una rara coppia di tondi in marmo riferibili al XVII secolo, rappre...

It features a depiction of Tripurantaka Murti, as a manifestation of Lord Shiva. This relief was carved from red sandstone, most likely in Central India, circa the 10th or 11th Cent...

Discover the timeless beauty of this exquisite French Faience Bust of Madame Recamier, a tribute to the renowned sculptor Jean-Antoine Houdon. Made of ...

One of a kind Baroque Spanish St Michel sculpture. A museum piece !! The artistic imprint shows the typical Castilian traces in the conception and interpretation of the subject. This allows us to frame the attribution to a close circle of the stela left by Gregorio Fernández (1576-1636) in the very recognized Castilian circle. The artist responsible for the creation of this magnificent carving has undoubtedly been trained in the footsteps of Fernández in the Castilian Baroque context. He powerfully remembers the Archangel San Miguel preserved in the reliquary of the Church of San Miguel de Valladolid; belonging to the first third of the seventeenth century. Both carvings show great parallels in the spatial conception, in the configuration of the cloths...

A Monumental and Fine Pair of French 19th, 20th Century Empire Style Red Porphyry-Like Granite and Gilt-Bronze (Ormolu) Mounted Obelisks on Four Gilt-Bronze Lion Paws both resting on...

Ancient pre-Columbian, Nayarit, Mexican, circa 100 BCE to 250 CE, hand-built ceramic pottery redware sculpture of a seated male figure with arms crossed and wearing a headdress and m...

Beautiful Art Nouveau bacchant in plastered terracotta; her mane with bunches of grapes, leaves and vine tendrils, the inclination of her head with her sensual expression of satisfac...

This antique cherub figure was crafted in Italy, circa 1780. The hand-painted putti carving features its original polychrome and gold leaf finish for a luxurious result. The hand carved cherub is expressive in it's movement and features a wonderful facial expression. The colorful wall hanging...

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...

Beautiful pair of men's leather riding boots with stretcher inserts created from maple. Boot is 11.5 x 4 x 18 H. Great for display. Leather is still soft. Soles were well worn.

Antique Gilt Bronze with Green and Red Jewelled Royal Tiara. Jewel encrusted. British history. c1900. Very interesting piece that I had to have.

Weight: 207.32 Gram Dimension: 8.2 x 6.7 x 3.2 Cm Origin: Afghanistan Aquamarine is a pale-blue to light-green variety of beryl. The color of aquamarine can be changed by heat. Aqu...

Gorgeous small hand carved wooden coat of arms with several lions heads, a crown and a standing bull, Italy, circa 1650- 1750. Weathered, small losses and old repairs. Measurement ...

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

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

A varied and colourful collection of 7 natural mineral specimens, each presented on an exclusive small wooden display base. Ex. private British collection, this group contains a ran...

Hugo Franz Kirsch (1873-1961 in Vienna) was one Austrian Pettler and ceramist of the Wiener Werkstätte. After training at the Teplitz technical school and the Munich arts and crafts...

This complete cross-sectional slice from the Imilac meteorite has been prepared to reveal shimmering olivine and peridot gems embedded in an iron-nick...

Majolica white swan jardinière Nimy, circa 1900. A real treasure for the ceramics' collector. Small chip to top rim not visible during use see photo. Please don't hesitate to get i...

South Arabian Alabaster Inscription Calcite Alabaster circa 1st century A.D. ‘’Consequently, neither white marble of Paros nor any other stone which men admire can be compared with the precious stones of Arabia, since their whiteness is most brilliant, their weight the heaviest, and their smoothness leaves no room for other stones to surpass them.’’ - Diodorus Siculus, Library of History, Book II, 52.9 This inscription, finely worked on an alabaster tablet, is a remarkably well preserved example of Ancient South Arabian script, with its distinct bold, angular forms, written in the Qatabanic dialect - that is, the dialect spoken by the people of the kingdom of Qataban, which ruled much of modern day Yemen from the 7th Century B.C. to the 2nd Century A.D. The text, which reads: ‘[... ...]sa?d and Ma?add?i- / (of the lineage) of Hawfa- / She entrusted Anb- / against any malfeasance (which would remove it) from its place’ - indicates that it likely served to commemorate a temple offering. The quality of the script, incised so neatly into the surface of the alabaster, tells us that this piece was commissioned by somebody of considerable wealth and prestige, employing a scribe of equally considerable expertise. South Arabia was known throughout the ancient world for its incredible wealth - so much so that the Romans termed the region ‘Arabia Felix’ - literally, ‘Happy, or Fortunate, Arabia.’ That wealth was built largely on the trade of spices and incense, in which the Kingdom of Qataban played a major part. According to Pliny the Elder, this was the sole country through which frankincense could be exported, first being collected in the city of Shabwa, on the South Arabian coast, and from there travelling by camel up to Gaza, to be shipped all across the Mediterranean - not only that, but all growers of myrrh across Arabia were required to give a quarter of their yield to the king of the Qatabanians. As such, the kingdom became exceedingly rich and powerful, and Pliny goes on to tell us that ‘The nations of the Larendani and the Catabani, and the Gebanitæ [...] occupy a great number of towns, the largest of which are Nagia, and Thomna (the capital of Qataban) with sixty-five temples, a number which fully bespeaks its size.’ Because of the nature of its exports, frankincense in particular - the ‘sweat of of the gods’ according to the Egyptian Book of the Dead, and perhaps most famous as one of the three gifts brought to the newborn Christ - being closely associated with the divine, South Arabia’s reputation in antiquity was as a mysterious, almost sacred, and - crucially - extraordinarily wealthy region, at the very edge of the known world; in the words of Herodotus: ‘’Enough of marvels, and yet the land of Arabia gives off a scent as sweet as if divine.’’ This inscription invokes the protection of god Anbay, the judge-oracle of the chief god ‘Amm, who he served as an attendant. Much of what we know of the religious life of the ancient South Arabians comes to us from early Islamic texts, describing what is known in Islamic scholarship as ‘Jahiliyyah’ - the age before the advent of Islam in Arabia. What comes across in much of these texts is that these religious practices placed a great deal of emphasis on sacred stones, perhaps linked to the brilliance of the alabaster which is local to the region, and which a great many of the cult-objects produced in this time are made from. Hisham ibn-Al-Kalbi’s Book of Idols records: ‘’The Arabs were passionately fond of worshipping idols [...] Whenever a traveller stopped at a place or station in order to rest or spend the night, he would select for himself four stones, pick out the finest among them and adopt it as his god, and use the remaining three as supports for his cooking-pot.’’ This inscription was once in the collection of the intrepid British-Australian travel...

Majolica white swan jardinière Nimy, circa 1900. Stamped: Nimy Faiences imperiale 1789-1951 Belgium. A real treasure for the ceramics' collector. ...

Corinthian helmet with Bull Horns and Lotus Flower Decoration. Archaic Period, c.550-500 BC. Cast, hammered and incised bronze. An exceptionally well preserved example of one of the most iconic ancient Greek...

Important bas-relief in carved wood with traces of gilt, in an architectural frame with two angels in the corners, representing Saint Rocco. Considered, among other things, the Patro...

French Pressed Botanicals in a Set of (12) found in a closed Monastery School that opened in the late 1800's. The Pressed Botanicals are dated c1901 and are in as found condition. Wh...

A large pyrite cluster specimen originating from Peru, displayed on one of our exclusive museum-quality painted plaster bases. Naturally formed over millions of years, this huge pyr...

An 18th century Italian carved wood and gilded, sitting robed saint with glass eyes. One hand missing otherwise and very good condition, no shrinking cracks or losses to lacquer. Can...

Wood carving of a saint (Peter)with a lot of original paint and gilding size 70cms high 27 wide and 20deep

An Unusual and Rare English ‘Memento Mori’ Carved Shrine with Two Human Skulls to the underside, a carved ‘Dragonfly’ Marble 16th / 17th Century England Size: 36cm high, 28cm w...

Splendid sculpture in white Carrara marble depicting a young Hercules holding the world. Originally, the work was conceived to be used as a caryatid at the beginning of a sumptuous m...

A complete prehistoric polished jigsaw ammonite fossil, originating from Madagascar, presented on an exclusive museum-quality painted plaster base. A natural historical artefact, pre...

A collection of 6 natural, native copper specimens, each presented on an exclusive small wooden display base. Ex. private British collection, this group includes a range of superb s...

An unusual blacknite quartz cluster specimen with covelline and bornite from Ambositra, Madagascar, presented on one of our museum-quality painted plaster bases. This striking and un...