Figurative Sculptures

A truly wonderful and boldly designed Japanese bronze sculpture of a fierce samurai warrior perhaps in a moment of silent reflection. This piece has a great feel and heft. The fine...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Antique Roman Grand Tour Bronze Sculpture “Narcissus” 19thC. 24 1/2" x 12 1/2" x 12 1/2". ...

Created by the brilliant mind of Gio Ponti, this stunning decorative hand is crafted of glazed porcelain adorned with eclectic decorations in gold. The design harmoniously combines a...

Mid-Century Modern abstract bronze female torso sculpture. This is a striking bronze statue of a female torso. It is mounted on a black marble p...

Lalique France Crystal “Le Faune” Dancing Nude Lovers Pan & Diana Figurine, from the 1960s. This Crystal Figurine features two nude lovers, Pan and Diana, dancing in a romantic pose....

A pair of lovely figures of young children with beautiful hand painted facial features. One holds a bell and is leaning on a tree stump base and the other child with floral leaves. S...

Huge "Young Lady with Gazelle" by Charles-Georges BARBERIS, France, 1936. Terra cotta. Very stylized sculpture. A masterpiece from the French Art Deco period. Height: 29.7"(75.5cm), ...

Entirely handmade sculpture with a mixture of cements and volcanic sands from Etna and rose quartz. The deliberately-made porous texture and uneven colour is the result of a pigmenta...

A stunning French Art Nouveau pair of large vases with female figures of the era, signed by the Parisian Sculptor F. Citti, Paris 1900-1910. Measures: Height 19 in (48 cm) Width...

Original antique large unique sculpture of goblin made by Danish artist Anders Møller. Anders Møller resided on Funen and was born in 1890. He was a member of Danish artist group “Germinalen”, a part of the art and ceramic movement in Denmark at that time. The sculpture is estimated to be from the 1930s. This mythical, grotesque creature has exaggerated features and is possibly influenced by European Gothic or Art Nouveau aesthetics. The expression also has a resemblance to the work of earlier artist such as Niels Hansen Jacobsen...

Vienna Cold Painted Bronze Ten Piece Devil Orchestra, Attributed Franz Bergman Austria, circa 1925, attributed to Franz Bergman, unmarked Embark on a whimsical journey with this rare and delightful Vienna Cold Painted Bronze Ten Piece Devil Orchestra, made circa 1925 and attributed to the renowned Franz Bergman, though unmarked. This charming ensemble features ten individually cast and hand-painted bronze figures, each devil bearing its own instrument and unique action. From the authoritative Conductor Devil to the playful Flute Devil, every character in this orchestra exudes personality and mischief. The ensemble includes the Piano Devil, Cello Devil, Drum Devil, Heraldic Trumpet...

Art Deco bronze sculpture of a panther signed Rulas. Bronze gold patina, on a Belgian Black base. Signed and marked Bronze. Ca. 1930

The Archer - Antique bronze sculpture by Julius Paul Schmidt-Felling Dimensions: H x W x D: 32 x 10 x 12 cm Description: Bronze figure mounted on a cuboid base made of serpentine s...

A beautiful and exceptionally 19 inches tall classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the early 20th century, covered with a layer of wax. Signed by the artist on its underneath. In good condition with charming patina. A classic traditional doll with a simple but lovely design, a decorative piece. In Japan these dolls symbolize love, friendship and believed to be a lucky charm. We offer more large Kokeshi...

Wonderful Hand carved winged angel. Italy, circa 1750-1800 Weathered small losses and old repairs. Measurement here below inclusive the wooden base.

Vintage spaghetti sculpture of Don Quixote by Roberto Nischli, circa 1990s. This handmade ceramic sculpture has white gloss finish and a wonderful Brutalist look. The piece has a lot...

Large Terracotta Garden Gnome with Flower Pot, Germany ca. 1920s A large garden gnome from Germany, ca. 1920s. The gnome holds a flower pot. Good used antique condition with signs o...

These pieces have so much charm. A great addition to your collection.

French Art Deco sculpture by Demetre Chiparus (1886-1947), France, 1920s. Dancer. Cold painted spelter and marble. Measures: Width : 13.9"(35.2cm), Height : 10.4"(26.5cm), Depth : 5....

Female nude form ‘Sitting Pretty’ by Jude Jelfs. Slab-built earthenware with vitreous slips and sgraffito. Glazed inside. Due to the handmade nature, subtle variations in form and f...

Wonderful set of 6 handmade teapots, carefully realized by an italian artist with love and passion. Unique and exclusive pieces. The set includes only teapots. Cups and plates a...

This is a spectacular Daum Nancy France crystal Athena art glass paperweight or sculpture designed by the Mexican architect and statesman Pedro Ramirez Vazquez (1919 - 2013). The stu...

A Monumental and Truly Exceptional French Patinated Bronze Bust of Jesus Christ, Circa 1858, Signed J. Clesinger, Rome 1858 & F. Barbedienne Fondeur This monumental and extraordinar...

Introducing our stunning Nude Male Sculpture in Solid Lucite, Circa 1970's. This one-of-a-kind piece of furniture is a true masterpiece, expertly craft...

Antoine-Louis Barye (French, 1796-1875) "Guerrier du Caucase" cast bronze sculpture depicting a Caucasian warrior in full armor rendered in fine detail riding on his horse. Cast ci...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

Gufram icons have become smaller and have turned into Guframinis! Designed in a 1:8 scale the new miniatures perfectly reproduce the famous original sculptures. Each "mini" creation ...

A lovely antique 19th Century French gilded bronze doré farandole of cherubs / putti wall swag ornament. This beautiful wall swag has a beautiful gilt patina...

This is a beautiful pair of Derby figures called the "Garland Shepherds", made in about 1765. The pair is one of Derby's most famous figure pairs and it bears the catalogue number E2...

A bronze statue of a ballerina A beautiful abstract statue of a ballerina made in bronze on a rectangular base. The bronze ballerina in a beautiful pose of a dancing jump, mounted...

The Niobe Glass Vase was originally designed by Ettore Sottsass in 1986. The vase is made out of blown glass and signed on the base. For further information please see authenticity i...

Art Deco bronze sculpture circa 1930. A bronze girl with a double patina on a cream-colored marble base. Note some wear on the patina. Total height: 23 cm Base width: 8 cm Base dept...

This is a bronze sculpture, which may have been done by Frederic Weinberg. It is an incredibly stylized Roman Chariot and has a patina finish. Italian-made and great for any Mid-Cent...

Falconer on horseback after the original model by the French master, Pierre Jules Mene (1810-1879), measuring 28 in tall, 29 inches wide and 9 in deep.

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...

Beautifully cast bronze copies of the Furietti Centaurs, one elder and one younger. Each is mounted on a bronze base and both are unsigned with no foundry marks. These bronzes are copies of the two Roman (or Hellenistic) monumental marble versions excavated at Hadrian's Villa in December 1736 by Monsignor Giuseppe Alessandro Furietti. The original models now reside at the Capitoline Museum in Rome. These bronzes were a popular subject for collecting in both the 18th and 19th century Grand Tour periods. Engravings of the pair were widely disseminated in Europe in the 18th century which increased their fame. Provenance: The Estate of John Nelson, a noted Los Angeles antiques dealer...

A classic Italian Roman statue of the 'David' on a black marble base by sculptor G. Ruggeri, Italy, circa mid-20th century, Italy. White resin statue is on a black marble base with t...

A beautiful Thai or Khmer bronze verdigris and golden parcel-gilt Imperial guardian temple Singha lion/dragon/foo dog. This piece has a wonderful patina and heft to it. Likely mi...

19th century English Staffordshire figure, signed at the bottom.  

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

A large inflatable sculpture of "Nana", Pop, Post-Modernist, New Realist, in black plastic with a jersey with brightly colored pictorial motifs, marked on the thigh: Niki de Saint Ph...

Patinated Bronze Sculpture of a Youth, Italy, circa 20th century. Bronze Replica of "Ombra della sera / Shadow of the evening" Etruscan bronze, 3rd century BC, Museo Etrusco Guernacc...

Incredible vintage necklace by Anne Klein. This is a true burst of color in a rare piece that is sculptural and unique. Created with artistry and detail, resin and brass combine to...

Vienna cold painted bronze 'Carmen' attributed to Bergman, Brilliantly enameled, of a gypsy girl with tambourine standing on a oriental rug, mount...

With Earth Home, the renowned glass artist Bertil Vallien has created a miniature world inspired by our place on the planet. The object in clear glass is colored light green and blue...

Beautiful, large vintage Murano hand blown Sommerso glowing Uranium green apple with gray bird Italian art glass sculpture. Documented to designer Livio Seguso, with original label s...

American bronze cowboy sculpture resting on oval molded marble base depicting cowboys on horses coming in to town from cattle drive. Bronze sc...

Sculpture of Venus in resin and metal base, medium-sized model. Venus is the goddess of love, seduction and beauty in Roman mythology. She is the equivalent of the Greek goddess Aph...

This is a wonderful antique French Grand Tour bronze model of the Vendome Column, circa 1880 in date. This splendid bronze features Napoleon I standing atop in his 'redingote' coat...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Incredibly chic necklace from the Autumn-Winter 1996 Chanel collection. This beautiful goldtone chain with six faux baroque pearls in white and grey is simply irresistible. This nec...

Brass large Pear-Shaped Containers – Edizioni Molto Product Details Handcrafted in Italy in a limited edition. Produced with precision, these sculptures offer an appealing aesthetic ...

A superb antique Victorian Majolica Jardiniere on stand decorated in green blue and brown glazes on a navy blue ground,  Circa 1860 in dat...

Rosenthal, Germany. Octagonal porcelain bowl with iridescent, glossy glaze. Hand-painted with fruits and butterflies. 1930s/40s. Marked. In perfect condition. Dimensions: D 16.5 cm ...

Set of 2 Capodimonte Principe porcelain "Sleeping children", Made in Italy, 1980s Pair of Capodimonte porcelain figurines from the famous Principe company. They date back to the 80s ...

Rare Terracotta Stork for Garden Decoration, Germany ca. 1950s Item e7304 A large stork sculpture made of terracotta, produced as a garden decoration by Heissner, Germany, ca. 1950s....

This stunning Art Nouveau sculpture is a large-scale painted plaster figure of a partially draped female nude adorned with flowers and flowing drapery. Sculpted with remarkable grace...

PRESENTING AN ABSOLUTELY STUNNING Large ‘Huntsman/Valet with his Hounds’ Bronze Sculpture by PJ Mene – 1869. This is a LARGE sculpture, weighing over 175 lbs....

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

Rare Terracotta Garden Gnome with Pig, Germany ca. 1920s A large garden gnome manufactured by Heissner, Germany, ca. 1920s. The dwarf has grabbed a pig by the hind legs and is holdi...