Figurative Sculptures

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...

Antique French Siegel & Stockman "Haute Couture" mannequin on adjustable base, circa 19th century. Dimensions: 62.75"H x 14"W x 10"D. Ask us about our local NYC delivery.

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 cast iron flatback panel originally from a balcony rail in France. Dating to the mid-late 19th century, these decorative objects were used as building or garden elements. Heavy, weighing about 25 pounds, and aged with a beautiful patina, the panel shows a robed figure within an ornate scrolled frame. Imagine it as a piece of outdoor sculpture, used as a fireback, turned into a table base, or framed in a garden gate. Measures: 26.5 inches H x 15.5 inches W x 1.25 inches deep. In very good antique condition with the desired rusted patina.

A beautiful and large hand carved Italian green serpentine marble sculpture of the original early Roman statue, of life size, which was discovered in 1622 at Villa Ludousi and then r...

A striking, fine quality pair of late 19th Century Meissen porcelain Parrots pirched on tree trunks, each having wonderful bold colouring and detail. Batch 76 62436 DHKZ

Finely cast and exhibiting a fine dark brown patina overall.  

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...

American cast bronze garden fountain with standing figural boy holding Koi fish on a two-tiered shell form scrolled base with turtle at his feet, Late 19th century.

This antique patinated bronze cast spelter table lamp was designed by A. Renieri and made in France in circa 1890 in the Victorian style. The casting is quite detailed and is entitle...

Wood Gargoyle carving c1860

Roman Relief "Warrior" late 19th Century in Carrara Marble Italy 45cm x 19cm good condition for the time

Meissen porcelain Parrot, late 19th Century, having wonderful bold colouring, perched on a tree trunk, blue crossed swords signed to the base. Batch 76 YNKZ. G100038/23

19th century French bronze sculpture of a Classical Greek. This meticulously executed antique French bronze sculpture is of a handsome male figure holdi...

This cold painted Austrian bronze dates from the late 19th century and is extremely detailed. The figure is signed, or titled on one edge of the carpet, but we could not determine th...

A fine quality late 19th Century Meissen porcelain Parrot perched on a tree trunk, having wonderful bold colouring. Signed to the base with blue crossed swords. Batch 77 62748 DNKZZ

YELLOW SIENA MARBLE ROUND OF ALEXANDER THE GREAT AMMON late 19th Century This roundel is part of a series of roundels inspired by wonderful ancient Greek coins. Freely reproduced f...

Large bronze sculpture by A.CARBIER from the 19th Century. Elegant sculpture by A.CARBIER in patinated bronze from the 19th century, Napoleon III period, signed A.CARBIER, stamped i...

Our exceptional bronze by Jules Moigniez (1825-1894) depicts Prince Albert (1819-1861) on the hunt on horseback with his hound below. Signed on right side. Prince Albert of Saxe-...

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...

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...

Italian Classical bronze sculpture of Narcissus with a verdigris patina, believed to by Chiurazzi, or a similar foundry, Naples, circa 1900. Narcissus is shown nude except for a pai...

MANNER OF CONSTANTIN MEUNIER [French, 1831-1905] A Shivering Worker Sand-cast patinated bronze signed to the base "Meunier" in script Item # 304PBD20W An incredibly fine and com...

Tang Dynasty painted terracotta fat lady tomb figure China. Tang Dynasty Circa 618-907 Modelled in the form of a classically dressed fat lady, this terraco...

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...

Important edition in bronze with brown patina representing "Pegasus carrying the poet towards the regions of the dream" also called "Apollo on Pegasus" after a model of Jean Alexandr...

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...

ANTIQUE ORIGINAL MARBLE SINK 19th Century Interesting sink from the end of the 19th century, made by copying the Kaolin sinks that appeared between ...

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 ...

The original statue is the work of Charles Petre (1828 - 1907). This is a larger version of the original without markings. The term "putti" is generally used in Greek-Roman mytholo...

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...

An enchanting 19th Century Meissen porcelain group depicting 'The Broken Bridge' having wonderful bold colours, the lovers attempting to cross the bridge, with a cherub at their feet...

This beautiful bust would make any wall interesting and unique, adding a touch of feminine, old-world charm. Crafted in southern France circa 1880, the large antique wall-hanging statue...

Auguste MOREAU "Vici" 19th Century Brown and gold patinated bronze Titled on the base, signed Aug Moreau and stamped "Fabrication française, Made in France, Paris". H. 32 cm origina...

An enchanting pair of fine quality late 19th Century Meissen porcelain Parrots, perched on tree trunks feasting. Blue crossed swords signed to the base. Batch 62747 DHKZ

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 ...

Italian Relief in Carrara marble late 19th Century Original condition 90cm x 29.5cm x 5cm With hook to hang on the wall

Small pair of enchanting late 19th Century Meissen porcelain Parrots, each with wonderful bold colouring and signed with the blue crossed swords to the base. Batch 76 G9490/21 CEKZ

This lovely bronze is the epitome of art nouveau movement. The stylized nature themes, flowers, movement, and a young girl who has butterfly wings and is holding a bird in her hand....

A finely detailed and very impressive Italian 19th century Neo-Classical st. white Carrara marble statue of Ariadne on its original Verde Mare marble pedestal, signed signed F. Vichi...

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,...

A Very Fine European Life Size Cast Iron Garden Statue of the Goddess Aphrodite modeled after the Aphrodite Napels Frejus now at the Louvre Mus...

Step into the elegance of the Roaring Twenties with this 1920s French Marble Bust of a Woman, a piece reminiscent of the renowned work "Vichy, Sourc...

Finely cast and patinated bronze statue after Emile Louis Picault (French, 1833-1915) known as Ad Lumen (To the Light), measuring 41 1/2 inches tall.

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...

Decorate a lady's office or a library shelf with this fine antiquity. Crafted in France circa 1880, this elegant bronze sculpture titled “La Cruche Cassée” (The Broken Pitcher), fea...

A lovely antique Italian Capodimonte white porcelain biscuit male and female figurines sculptured in the round depicting in a very romantic moment. This centrepiece group features tw...

A Pair of Patinated Bronze Figures Of The Egyptian High Priest 'Pastophore' and The Egyptian Scribe 'Hierogrammate' By Emile Louis Picault (French, 1833-1915). Each signed 'Picau...

A French patinated bronze figure of Diana di Gabii, late 19th century.

JESUS CHRIST CRUCIFIED European, Germany ? 19th century Christ and font in bronze, wooden cross, covered with enamel. Slight wear. Dim.: (cross) 50 x 30 cm; Height: (christ) 16 cm...

A pensive figure, evocative to the many depictions of Sappho produced during the Romantic Era, of a seated woman by the French sculptor Eugène Louis Lequesne (1815-1887). She and her...

A pair of polychrome earthenware statues of a Baroque styled couple (man and woman) not common in Creil Montereau and signed 'CREIL LM C'. Dimensions: 53.5 cm height 25 cm diameter

A Fine Late 19th Century White Carrara Double Figure Marble Entitled “Tendresse” by Émile-André Boisseau Depicting an early Middle Eastern couple, the man with his arm around his wi...

A wonderful and unique French 19th century patinated Bronze statue of a woman and child signed Stella. This finely detailed statue depicts a beautiful wo...

This couple of sculptures was made by Albert-Ernest Carrier-Belleuse, a French artist and one of the founding members of the Société Nationale des Beaux-Arts, who lived in the 19th c...

Bronze Sculpture by Louis Grégoire, 19th Century "La Charité" Excellent conditions!! Bronze with brown patina; signed to base "L. Gregoire", signed again and titled to plaque. Tit...

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...