Carved Busts

18th century Italian carved giltwood head of an angel. Hand carved with a vivid expression and just amazing hair. A peg on the reverse for attachment to a larger relief or group scul...

An elegant, classically inspired sculptural bust carved from two-tone marble, highlighting the refined contrast between the polished black marble of the face and the veined beige mar...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - a fantastic quality and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

An elegant late 19th-century Italian marble bust of Psyche of Capua, inspired by classical Roman models. Finely carved with delicate features and flowing drapery, this piece embodie...

An elegant, neoclassical-inspired female bust, hand-carved from white marble combined with veined marble in dark and ochre tones. The figure features a delicate, serene face, with he...

An Amedeo Modigliani-inspired brass bust featuring two Minimalist figures. Wonderful slight oxidation to finish over entire brass surface. Nicely scaled piece that can stand alone, y...

Sculpture of the god Silvanus. Ancient Rome · 2nd century AD. Marble. Height 46 cm. Condition: Good condition. He has lost half his head, the lower part of his legs and the cypre...

A striking late 19th-century Italian carved marble bust after the celebrated satyr faun (also known as the Laughing Faun), one of the most admired sculptures of classical antiquity. ...

Carved and painted wooden phrenology head Store display advertising model. Phrenology bust by unknown wood carver, circa 1870. Perfect to decorate a Do...

42 cm with the stand. Provenance - Private collection, Paris, France. Nero Claudius Drusus, better known as Drusus the Younger or the Minor to distinguish him from his uncle, Drusu...

A hand-carved white marble head of a satyr (or faun) in the Neoclassical style. The figure is depicted with characteristic caprine features, including recurved ribbed horns, a furrow...

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 ...

20th century Chinese carved stone head sculpture of Guanyin mounted on a custom wood stand. Guanyin (Quan Yin), the East Asian bodhisattva of compassion is a widely beloved figure i...

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 ...

An elegant pair of carved marble sphinx sculptures, each resting on a rectangular plinth. The figures combine classical female heads with reclining lion bodies, richly detailed with...

This monumental stone bust, hand-carved from granite, is a decorative sculpture featuring a closed-eye portrait. Its organic texture and tonal variation add depth and visual interest...

An Incredible and Large Gilt and Patinated Bronze Group of Gloria Victis, a Winged Figure of Victory with a Fallen Warrior. This incredible bronze piece was cast after a model by Maarius-Jean-Antonin Mercié, This model is signed 'F. BARBEDIENNE FONDEUR PARIS' demonstrating that it was cast by Ferdinand Barbedienne's foundry, the best bronzier of the 19th century. The base is further signed 'A. Mercie' and stamped 'Réduction Mécanique' with an inscription of '659'. The figure is mounted on a Belgian noir marble base with various stepped edges. Gloria Victis is one the most well-known and important bronze casts of the 19th Century. The quality of this particular model is absolutely incredible and all the marking indicate that this particular piece is one of the finest produced by the Foundry. A student of Jouffroy and de Falguière at the Ecole des Beaux-Arts, Marius-Jean-Antonin Mercié (1845-1916) won the Grand Prix de Rome at 23 years old with his work Thésée vainqueur du Minotaure. In 1872, he sent the plaster model of his work David vainqueur to the Salon, for which he won the first class medal. At the same time, he received La croix de la Légion d'honneur at the Villa Medici. His return to Paris, in 1874, issued in a long and brilliant career with numerous commissions, notably the monuments for Louis-Philippe and Queen Marie-Amélie for the Royal Chapel at Dreux (1886). By the age of 30 Mercié was already very well-known and his Gloria Victis received resounding success when it was exhibited at the Salon, in 1874 (in plaster) and in 1875 (in bronze). This work exalted the heroism and the patriotic sentiments aroused by the disasters of 1870. His predilection for patriotic subjects is shown in many of his works such as Quand même...

A very fine and monumental pair of French 19th century patinated bronze figural torchere sculptures titled "La Nuit" (The Night) attributed to Albert Carrier-Belleuse (French, 1824-1...

18th century Italian gold leaf angel head or "putto" adorned with baroque pearls. A putto is a cherub figure frequently appearing in both mythological and religious paintings and scu...

Sculpture Bust Roman in solid hand carved marble lightly red tinted and grey tinted. Exceptional piece. Available now on stock.

This Art Nouveau Italian bust embodies the movement's hallmark features and also incorporating elements influenced by Italian art and culture. Their historical and artistic value mak...

Large late 18th Century French hand carved ships figurehead. A rare survivor, this figurehead would most likely have come from a Southern Frenc...

Marianne is the embodiment of the French Republic. Marianne represents the permanent values that found her citizens' attachment to the Republic: "Liberty, Equality, Fraternity".

Antonio Tantardini (Italian, 1829-1879) An extraordinary Italian 19th century life-size carved Carrara white marble sculpture of "A Young Child and a baby in a wicker crib...

Top quality and mint condition bust sculpture from the early 1900s with maker's name. This incredibly well carved bust of Jesus is impressive both for its quality and its large size. With His head bowed down like in His final hours on the cross this design is obviously perfect for displaying on a tall stand. In this case a tall and ebonized wooden pedestal was used and thanks to the contrasting colors of this bust and its pedestal they are like a match made in heaven. The master sculptor / artist could not have done a better job in hand carving the exhausted yet serene facial expression of Christ. The large size of this bust combined with the rare sandstone material makes this work of religious art look extra ancient. Because of its size this archetype of Christianity can also be seen and worshipped from further away. Unfortunately we cannot read the name of the skilled artisan who signed this unique sculpture. Thanks to its amazing quality, its excellent condition, its deeper meaning and its powerful presence this work of religious art will never fail to impress, no matter where you decide to have it on display. For it to have come our way felt like a blessing and to be able to offer it to the 1stdibs community in this amazing condition is an honour for us. Our fair price for this museum worthy sculpture again includes perfect packing and also worldwide delivery from our store to your door in just 4 to 6 days. Total height x width x depth: 74 x 17 x 16.5 inches. Christ bust...

Rare Buddha wooden heads sculptures , with polychrome traces - smiling and peaceful - Rested on a pair of wood capitals, same era. Suitable for the...

CARVED ALABASTER BUST OF "VENUS OF MILO" Probably Italian, first half of the 20th century unsigned raised on an original shaped plinth 18" H x 10 1/4" W x 5 1/4" D Carved in a s...

JEAN-ANTOINE HOUDON (after) French, 1741-1828 "Bust of Voltaire" Patinated bronze signed to reverse HOUDON Foundry cachet for Susse Freres and engraved "cire purdue" Cast circa la...

Italian wooden sculpture of a mid 19th century woman's bust with purfled base. High quality hand-crafted item.

Carved marble portrait bust depicting Franz Liszt (1811–1886), late 19th century. Classic Romantic era sculptural portrait of the Hungarian virtuoso pianist and composer, realized...

Here is a wonderful pair of carved horse busts/heads dating from the mid-century and measuring an impressive 16.5" high and 12" wide. Although the country of origin and wood species ...

A compatible pair of superbly crafted African busts in an extraordinary exotic hardwood. Nzambu East African sculptures, hand carved, solid and heavy depicting the busts of two tribe...

A French 19th century bronze and marble bust of Marianne in full armor. The nicely cast Baroque Revival brown patinated bronze and carved white marble figure of Marianne, the allegorical personification of the French Republic, presented in her militaristic guise, reminiscent of Minerva, wearing a Phrygian helmet and armored breastplate centered by winged male mask and with lion shoulder armor pads, all raised on a conforming black marble base. Circa: 1890-1900. Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, as well as a portrayal of the Goddess of Liberty. Marianne is displayed in many places in France and holds a place of honor in town halls and law courts. She is depicted in the Triumph of the Republic, a bronze sculpture overlooking the Place de la Nation in Paris, as well as represented with another Parisian statue on the Place de la République. Her profile stands out on the official government logo of the country, appears on French euro coins and on French postage stamps. She was also featured on the former franc currency and is officially used on most government documents. Marianne is a significant republican symbol; her French monarchist equivalent is often Joan of Arc. As a national icon Marianne represents opposition to monarchy and the championship of freedom and democracy against all forms of oppression. Other national symbols of Republican France include the tricolor flag, the national motto Liberté, Égalité, Fraternité, the national anthem "La Marseillaise", the coat of arms, and the official Great Seal of France. Marianne also wore a Cockade and a red Phrygian cap symbolizing Liberty. Minerva and its pendant bust of Mars evoke the classicizing subjects, bust-length formats, and style that originated in France during the reign of Louis XIV (1643–1715) and that concurrently was popularized across Europe. The busts' simple forms, stiff poses, and solemn facial types are consistent with the late Baroque sculptures that were carved in Flanders during this period. In Flanders, especially in Antwerp and Brussels, sculpture and architectural decoration traditionally was carved using combinations of native black marble (noir belge), mottled red marble (rouge belge), and white marble or alabaster. The use of these stones in colorful counterpoint speaks most strongly to the busts’ Flemish origins. The veneration of ideal heroes and heroines in ancient costume and arms took on extravagant form in the 17th century, with countless variations. Within this imaginative tradition, the identification of the pair as Minerva and Mars cannot be certain. The female bust, for example, could be identified as Bellona, Roman goddess of war, who is depicted in 17th and 18th century French paintings wearing flamboyantly plumed helmets and low-cut cuirasses that expose her breasts. Whatever their identities, the female and male warriors are portrayed as calm rather than bellicose beings. The sovereign pair does...

Antique Egyptian Revival Carved Hardstone Sculpture, Man with Headdress, 19thC Measures - 4"H x 3"W x 4.25"D A finely carved hardstone sculpture from the 19th century, reflecting the...

A striking late 18th-early 19th century bust of the Roman Emperor Titus Domitian. The head is made from hand carved white Carrara marble, the tunic and t...

Pair of Allegorical Bronze Busts: "The Fallen King and the Laughing Revolutionary," After Jean-Baptiste Carpeaux, France, Late 19th–Early 20th Century A profoundly expressive and allegorically charged pair of patinated bronze busts, each mounted on veined pink marble plinths...

Behold an extraordinary pair of 17th Century Spanish ebonized wood sculptures that stand as a mesmerizing fusion of cultures and artistic mastery. These striking sculptures depict Eu...

A fine pair of carved fruit wood busts of young boys, or putti, South Germany, late 19th century. The realistically carved faces showing distinct personalities and intense gazes. Mou...

An unusual and rare processional or lecturer figure from the 17th century, also called Mannequins. Carved from wood and of very good quality. A detailed and particular elaboration of...

This marble figure of a sleeping child was crafted around 1800 in the style of François Duquesnoy, a sculptor active in Italy in the early 17th Century....

We are offering a wonderful hand carved burl wood nude female torso bust sculpture by artist Alexandria and dates from 2003. Signed on the lower bott...

Fine antique (19th century) continental bust of a lovely female in curls and dress adorned with bows at the shoulder. Apparently unsigned.

A 19th Century carved alabaster bust sculpture of a young girl with a frilled bonnet peeling an orange. After a work by Italian sculptor Pietro Giorgi. There is an old repaired crack...

A Pair of 19th Century Italian Hand-Carved and Hand-Polished Carrara Marble Models of Children Reading and Writing, Signed A. Piazza, After Antonio Canova. Antonio Canova (1757–1822...

Superbly carved and visually striking, this life-size depiction of a Peruvian man in a traditional knitted headdress is a superb example of stylized Art Deco sculpture, as well as th...

Well-figured decorative composition/resin bust of Roman Emperor.

19th century hand carved gold gilt cherub/putti fragment A high-quality hand carved 19th century gold gilt paint over sectioned pine example. This wonderful piece details realistic human features, which suggests it was carved for a special interior section of sorts. Likely to have been part of a larger collective at some point. It would look delightful and highly decorative positioned over a doorway entrance. Size in inches: H 10” x W 15” x D 5” Origin: France Material: Pine Date: 1850 - 1880 Completely solid in structure and form without any breaks. Detail loss across the painted surface as shown. We sell antique...

Masterfully carved Italian Vanitas bust in solid marble from late 19th century. White Carrara marble skull combined with a red Rosso Imperiale marble Ro...

An impressive and larger than life size hand-carved Carrara marble bust of Apollo, signed C. Scheggi (1833-1876). In excellent antique condition...

An Outstanding Pair 19th Century Italian Hand-Carved Carrara Marble Busts of Apollo & Artemis, One Bust is Signed on the Back, "F Vichi". This pair of stunning marble busts, hand-car...

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

A French Antique Carved Marble Bust of Louis XIV, a masterful embodiment of artistry and historical grandeur. Crafted with precision and reverence, this carved marble bust captures t...

More information coming soon… This large, decorative wooden boiserie element from the late 1800s is quite an interesting item. Based on the size, the fact that it depicts a female ...

A life-size French 19th-20th century carved marble sculpture of "Venus and Cupid" In the manner of Felix Maurice Charpentier (French, 1858-1924). The tall and slender nude figure of ...

An elegant, classically inspired bust carved from polychrome marble, depicting a Greco-Roman female figure with a serene expression and noble bearing. The sculpture is notable for t...

Masterfully carved and sculpted alabaster bust of a young girl with outstretched arms holding up a cup by Antonio Frilli. Smiling faced young girl, wearing lace and ruffled clothing,...

Marble Bust of a Girl Signed F'lli Pugi, Firenze (Florence).

52.5 cm with the stand. Provenance - Private collection, Paris, France, 1975. - Private collection, Petrus Hermanus Meeuws, Maastricht, 2002. - Private collection, Paris, France, ac...

Very Fine Carved Oiled Mango Wood Sculpture of a Nude Female Bust MINT