Figurative Sculptures

"Tashlich" by Samuel M Segal Judaism Vintage Brutalist Green Plaster Sculpture. Item features painted plaster, brutalist form, brass plaque to base, impressive vintage sculpture. "Ta...

Pair of circa 1960's Italian blown glass fish. Measurements: Height: 11.25" Length: 17.5" Width: 5.25"

You are viewing a unique Italian Murano glass clown Standing at almost four feet tall - 109 CM - this really is a big piece Such a characterful piece with vivid colours and the juggl...

Mid Century Modern crystal glass head table sculpture by the famous Piero Fornasetti. Piero Fornasetti (1913–1988) was an Italian designer and artist known for his creative and whi...

Wonderful Victorian-style bracelet cuff. All in sterling silver haute couture - iconic. This piece is not only a ready-to-wear creation but also the most dynamic piece of modern scul...

Tall marble abstract or cubist torso sculpture on wood plinth titled, "Venus". Signed.

Set of four beautiful and highly decorative hand-carved painted wooden putti / cherubs. Two of them are with label. L. Röger, Augsburg and Karl Storr, München. Made probably in 1960s...

Wonderful abstract bracelet cuff. All in golden brass metal by Pierre Cardin haute couture - iconic and sculptural, this cuff is from the height of Cardin's creative output, 'Futuris...

Ermanno Nason for Cenedese. Homage to Oskar Kokoschka.

Miguel Ortiz Berrocal 1969 Portrait de Michèle Puzzle Sculpture Offered for sale is a 1969 Miguel Ortiz Berrocal limited edition nickel-plated puzzle sculpture titled, "Portrait de ...

This unique vintage bronze abstract figurative sculpture is on a black veined marble base it is not numbered. The style is very much reminiscen...

1960s Copper And Brass Brutalist Floral Table Sculpture On Marble Base Bright Copper and Rose Metal Sculpture of Flowers and Grasses on a black ...

A charming and uncommon Danish mid-century art pottery eskimo figure made by Hyllested Keramik and dating from around 1960. This highly collectable figure is referenced by some as re...

Pal Kepenyes (1923-2021) abstract figure in metal, signed by the artist, purchased by the original owners from Pal in his studio in Acapulco during the 1960s. Kepenyes was known for ...

Vintage Dimitri Omersa leather elephant for abercrombie and fitch.

Mid-20th century astronaut bronze sculpture by italian-brazilian artist Doménico Calabrone By: Doménico Calabrone Material: bronze, copper, metal Technique: cast, hammered, hand-cra...

André Rozay was a French ceramist born on September 29, 1913 in Foëcy (Cher) and died on September 7, 1991 in La Borne (Cher). He was one of the architects of the revival of French ceramic art in La Borne. A former student of the Vierzon ceramics school and the Bourges Beaux Arts school (where he met Jean Lerat), as well as the Beaux Arts school in Paris, he has a solid background in drawing and painting. He arrived in La Borne in 1943 to work for François Guillaume...

Murano glass sculpture of a Chinese man, created by the renowned glass artist Archimede Seguso. Made in Italy in the 1960's, this sculpture features a Chinese man in a contemplative ...

1960s Hand Craved Wood Head Tiki Totem Sculpture Black highlights Carvings in the round

A fantastic, quite whimsical, engaging Mid-century Modern abstract owl/bird sculpture/belt buckle by New York artist Albert Leon Wilson. Wilson was born in 1920 in Jamaica, New York. In the mid-1950s he relocated to Rochester, New York, where he worked until 1967 as an art director, illustrator, and photographer, winning over 20 graphic art awards from the Rochester Society of Communicating Artists. Afterward, he found his calling working with welded and bent metals and designing abstract sculptures often featuring figures and animals. He passed away in 1999. This unique and rather heavy piece is signed and dated (1968) with Wilson's traditional imprint/stamp. Wilson's work has been exhibited at the York State Craft Fair, Ithaca College, NY; Northeast Craft Fair, Am. Craftmen's Council, Mount Snow...

This important sculpture of the apostle Saint John, originating from Veneto, Italy, portrays one of Jesus' closest and most beloved disciples. Saint John, also known as "The Beloved"...

The very expressive Virgin, in a strictly upright posture, carries the child Jesus on her (damaged) left arm. In her right hand, she holds the shaft of a scepter. She looks at the ob...

Most likely Ming 15th/16th Century, carved chicken bone jade figure of a standing Guanyin (Quanyin) holding a scroll in one hand, prayer beads in the other. Affixed to carved wood ba...

Presenting a captivating piece of Italian ceramic artistry from the 1960s, this ceramic wall hanging features a beautiful representation of the Virgin Mary. Crafted by the renowned I...

Incredible sculpture representing Hermes in Italian Bronze after Jean Bologne with marble base.

Beaded Flower Arrangement from the 1960's. The rage for beaded flowers started in the 1960's and ornate labor intensive, professionally made pots were de ...

In the heart of ancient China, within the resplendent Ming dynasty, a masterpiece was cast in bronze, a testament to a culture steeped in mysticism and spirituality. This Taoist bron...

A standing nude with a contemplative stance by Roland Alf (1929-2020) entitled 'Elin'. Plaster of paris and glazed with a patinated bronze. A unique and original piece signed and dat...

A large patinated (bronze powder) clay head of Zeus, on a bronzed metal base.

8-102 cast marble stone sculpture designer by Vincent Glinsky in 1930s Original sculpture done in 1930 Newly cast in Italy 1960s Russian born/American artist 1895-1975.

1478 Balancing ball dancer bronze sculpture on marble base

1960s Carved Wood Tiki Totem Sculpture Of A Knight Solid Wood feels heavy - initials RJP Bit of wood missing on underside of base (as shown - part of carving)

A chinese porcelain table screen from the Ming period, 16/17th century. Decorated in High Relief With Shoulou on his crane and the Eight Immorta...

Beautiful vintage statue of a sitting ballet dancer. Produced in 1966 by Jihokera company in Czechoslovakia. The statue is made of glazed plaster. The color is cream white. The statu...

Rare terracotta figurative sculpture by Alessio Tasca, Italy 1960. Elegant composition of several panels that creates an important panel.

Rusha Wall Plaque, Glazed Ceramic, (Image tree poppy 'kapok') West Germany Was produced in the 1960's handmade, and made in Germany. Very collectible.

Fabulous two piece covered jar in the form of a hen - bird glazed in Rimini Blue by Aldo Londi and Bitossi. Beautiful workmanship and a very serene color combination with fantastic i...

Impressive Beaded Flower Tulip Arrangement from the 1960's. The rage for beaded flowers started in the 1960's and ornate labor intensive, professionally made pots were de rigeur in m...

Max Finkelstein brutalist welded and hammered brass sculpture in heavy patina. Signed Finkelstein 64

Incredible vintage mid century modern brass sculpture. Subject is pair of dolphins swimming.

An unusual, sinuous teak wood sculpture, signed Appu. Indian artist, circa 1960s. While abstract the form is clearly derived from female figure.

Beaded Flower Arrangement from the 1960's. The rage for beaded flowers started in the 1960's and ornate labor intensive, professionally made pots were de ...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

"Nude #1", a rare figural wall sculpture incorporating a femaile nude motif in solid pewter by Philip & Kelvin LaVerne, American 1960's (signed with original gallery label on back st...

An unusual cast bronze sculpture by Anne Van Kleeck. Elongated figure-exaggerated and inspired by Giacometti. From the artist's estate. A note about the artist: Anne Van Kleeck was primarily known for her works in cast bronze and ceramics. She attended Ohio Wesleyan University (B.A.) and Ohio State University (M.A.) and spent several years as a professor of art in Ohio and Florida. In 1957, Anne traveled to Venice, Italy to study bronze and lost wax casting, beaten iron and mosaic techniques. During that stay she employed an Italian foundry expert and together they established a small foundry on the island of Murano where they cast bronzes for her one woman show in Venice. Van Kleecks work has won multiple awards and is owned worldwide by private collectors and museums, including the Metropolitan Museum and MOMA in New York. She was contemporaries of and exhibited with Ruth Asawa, Gary Knox Bennett...

There are few accessories you can place in a room that immediately elevate the level of decor and easily synchronize, yet demand attention and Stand out. This Cartier style Italian h...

Miguel Berrocal La Mini Zoraida puzzle sculpture that is nickel plated and brass. The puzzle is made up of 25 elements. It comes with the book. The measurements without the base is...

A rare plaster model of the human ear poised on a wooden stand. The model is made by renowned German manufacturer, SOMSO. This particular model is rare as it shows in incredible de...

Vintage Paolo Soleri Bronze Sculpture Wind Chime Bell for Arcosanti.

Unique Pop Art Fashion mannequin. Made by Schlappi circa 1960's.

A large electrotype and bronzed metal model of a Gladiator after Emile Louis Picault, French, 1833-1915 'Honor Patria'.

SAINT CATHERINE OF ALEXANDRIA ORIGIN : SWABIA, ULM REGION PERIOD : ca. 1510-1520 Height : 118 cm Length : 39 cm Depth : 17 cm Limewood...

IMPORTANT POLYCHROME LOW-RELIEF DEPICTING CHRIST IN THE MOUNT OF OLIVES ORIGIN: SOUTH GERMANY or ALSACE PERIOD: ca. 1500-1510 Height : 78 cm Length : 57 cm Depth : 8 cm Limewood ...

IMPORTANT WOOD SCULPTURE REPRESENTING SAINT BARBARA ORIGIN : NORTHERN FRANCE OR FLANDERS PERIOD : 16th CENTURY Height: 103 cm Length: 40 cm Depth: 30 cm Oak wood Good condition Saint Barbara was the daughter of Dioscorus who imprisonned her in a tower to prevent her from being corrupted by Christianity. Despite this, she was taught and baptisted by a local priest. According to legend, she proved her faith by carving a third window into the tower, symbolic of the Trinity. Once her father learned this, he threatened her with his sword. She managed to escape and hide, not before being revealed by a sheperd. She was thrown in jail and tortured, refusing to denounce her faith. Her father forced her up to the mountain’s summit and decapitated her, afterwhich God struck him down by lightning. Saint Barbara`s following was popularized in the Occident in the 13th century because of the Golden Legend...

A beautiful crystal sculpture of a naked woman in an erotic pose, stylishly rendered. The crystal is matted while the foot is transparent.The sculpture features a frosted female nude...

A charming Japanese decorative bronze sculpture, okimono, of a gourd, hyotan, by Toyo Japan, Showa Era, circa 1960s, Japan. The realistic okimono, fashio...

SAINT JOHN OF CALVARY ORIGIN : SOUTH GERMANY PERIOD : 16th CENTURY Height: 104 cm Width: 42 cm Depth: 29 cm This Saint John belonged to a Crucifixion group depicting three figur...

A sailor with duffel bag over his shoulder. Coin bank with stopper marked Seamens Bank for Savings. Dated 1960. Weight: 1 lb. Overall Dimensions: 5"H x 5"W 3"D Made: Porcelain Mater...