Sculptures

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...

A tall limestone statue of a male torso carved in the Classical style. The details remind of the Italian Renaissance period. The large vintage Italian male torso sculpture is positio...

Majestic majolica Amphora vase, with a height of 200 cm (78,7 in) and a diameter of 70 cm (27,5 in): a unique piece, entirely handmade and hand-painted in Gubbio, Central Italy, in 1...

This is an alabaster and marble bust of Saint Clare of Assisi. It depicts a young lady head/face covered with a cloak. She is looking down, very peacefully...

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...

For the collectors of unique and remarkable works of religious art. About ten years ago I was fortunate enough to have been invited to Italy for a week. In that week we visited the St. Francis Basilica in Assisi, the place where the world famous Saint Francis was born and where he is buried. For these unique sculptures to have found their way to us, again felt like a blessing. These amazing workmanship and aesthetically pleasing saint statues, we feel, were not created for one person alone, they were made to be seen and appreciated by a larger community. Those who know about Saint Francis will probably know about Saint Clare...

A pair of bronzed cast iron Renaissance style andirons. Each with a figure of a cherub holding a cornucopia, on a ring turned and baluster column over stepped quadripartite plinth ba...

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...

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...

An antique bronzed terracotta bust of Dante. In Renaissance style and a desirable scale, this bust would make a striking decorative piece for any period property, particularly for th...

An exceptionally rare antique German Renaissance carving by Stephan Rottaler (1581-1533), Bavaria circa 1500. The carving is by Stephan Rottaler, Landshut, Germany, an architect who ...

A Very Fine Gilt & Patinated Bronze Centerpiece in the Empire style. France, circa 1890. Width 15 1/2" Height 18" Depth 5 1/2"

A pair of French Empire bronze models of recumbent Sphinxes on Verdi Antico marble bases. The bronze with the warm golden patina of age. The custom marble bases, stepped on one side ...

15th Century Italian Renaissance Giltwood Carving . This magnificent 15th century Italian Renaissance gilt wood carving with a serpent is displayed on a revolving iron base. This mou...

An eye caching figural sculpture of Saint George and the Dragon, After Antoine Louis Barye. As the legend goes, Saint George—a soldier venerated in Christianity—defeats a dragon. The...

Large sculpture of an eagle in silver plated metal, 20th century. Sculpture of an eagle in silver plated metal, could be a sculpture for a desk or a nice centerpiece, Empire style, ...

Reduction in patinated bronze with the high-relief decoration of the Monument to Dante, with glass top to form a pedestal table The Monument to Dante, sculpture dedicated to Dante A...

Handcrafted. Practical size sculpture of imperator Napoleon Bonaparte. If you are a collector of good quality antiques having to do with (French) historical figures then this rare a...

In pristine original condition, the item has been professionally cleaned, and its polish has been revived by our refurbishing team in Czechia. Polychrome and gilded wood carving T...

Grand Santon Napolitain en terre cuite, aux yeux de verre églomisé Pêcheur Italie 18ème siècle signé Chanato, Porto (quartier de naples) sous le socle 32 cm 1,3 kg

Friar (St. Anthony), polychrome and gilded wood sculpture, 16th century St. Anthony standing, caught in the act of preaching. Talar dress consisting of a tunic decorated in gold,...

Primitive hand carved polychrome shoulder length bust. Carve from wood with intricate detail and a rustic patina. Great for display on a pedestal or table. Dimensions: 17" x 11" x 2...

Vintage Marble Pedestal with Greek Key Carving This white marble column with grey streaks has a Greek key band and other minimal carvings. It ...

Indo-Portuguese sculpture "Lady Conception" 17th century, H 147cm. Our Lady Conception Indo-Portuguese teak wood carving from the 17th century. Upholstered and polychrome . T he ...

Large wooden Madonna and Child, painted and carved in hollow at the back. The theme of the Virgin and Child is the most represented in all Christian art, whereas the infancy of Jesus...

Gilded bronze sculpture representing a gallant young man in Renaissance costume, in the style of the French King Henry IV. He is dressed in a doublet for the top, and over that he we...

Spectacular Patinated Bronze SCULPTURE depicting "The Child and the Crab"19th century Italy late 19th century 100 x 70cm good conditions

Huge Antique P. Dubois. F. Barbedienne Bronze Soldier Sculpture.

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...

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...

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...

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...

Male profile relief in Marble Italian Renaissance of the 17th century Measures: 18cm - Height 27 Cm Good condition for the time.

Elegant couple costumed in Empire style: The lady in a dress that softly hugs the body with a high waist that sits just below the bust, a short cape covering the neckline and shoulde...

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...

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...

Beautiful set of two antique French Old Paris Porcelain "Porte Plume" - Statues for ink pens. These 2 antique French Porcelain Porte Plume from around 1820-1850 are beautiful hand decorated with a man and woman in oriental Arabic traditional style. This style is characteristic and popular from that time with oriental scenes atmospheres. The "Porte Plume" was used at the secretary desk for inserting the feather ink...

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...

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

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...

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.: ...

Beautiful bust made of lost wax cast bronze, depicting the goddess of hunting Diana. The work recalls the style of classical art, showing the goddess in profile, with her hair gather...

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...

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 is a mid 20th century Italian framed bisque Taglio. This Greco Roman style bisque porcelain medallion is framed in a gold leaf shadowbox frame with pink interior and gold detail...

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 ...

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...

Incredible J A Houdon bronze 1790 representing "Diane" with bow and arrow by Barbedienne founder.

ORIGINAL EMPIRE BATHTUB IN RED VERONA MARBLE WITH RINGS began 19th Century Impressive and rare Empire bathtub in red Verona marble with rings. early 19...

Beautiful pair of handcarved giltwood bird fragments. France circa 1805-1820 . Weathered and small losses Measurements individual and include the wooden base.

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...

Incredible rare and large bronze for JEAN-Baptiste CARPEAUX 1872 representing "Le GENIE de la Danse".

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 ...

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...

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 ...

French Empire patinated bronze sculpture of a group of boys and amphoras by Auguste Moreau By: Auguste Moreau Material: bronze, copper, metal Technique: patinated, cast, carved, pol...

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...