Figurative Sculptures

Antique large size sculpture and an impressive, religious work of art. Looking at Christ suffering like this, the crucifix (in our view) is a symbol of what 'telling people the trut...

Beautiful hand carved wooden Figure, found at an estate sale in Germany. We believe that this piece is from around 1990s, because it's dated at the base like seen in picture. A nice ...

At the base of a staircase, or in front of a fireplace, the silhouettes of this pair has a lifelike quality. Pharaohs light the way from atop their geometric base. The bronze Egyptian-style statues will dominate the entryway and the conversation. The silhouettes are stunning, on or turned off. The Art Deco style parcel verdigris bronze figural floor lamps...

One of a kind black terracotta Greek tragedy decorative mask. French art from the 50's. In good vintage condition. Minor dent on the back. Holes are present in order for the mask...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

A 1980s bronze sculpture of a helmeted figure on a solid walnut base by Louisiana artist William Ludwig (1935-2011).. Although New England born in Hartford, CT., he was known as a so...

Durga is a warrior goddess in the Hindu culture, she is the protector of the good depicted here multi-armed with a sword, a trident, the wheel and a jewel in her hands. She is flanke...

Carl Aubo¨ck Model #4867 'Egg' brass paperweight. Designed in the 1950s, this incredibly clean and refined Viennese paperweight is hand fabricated in polished brass by Werkstätte Car...

This is a fabulous pair of figures of Liberty and Matrimony made by the Bow Porcelain factory between 1760 and 1764. These figures were a popular pair portraying marriage. The bow...

"It's the kind of art you hang on you, not on a wall." Roy Lichtenstein "Modern Head" Brooch/ Pendant. Sterling Silver and Enamel. C. 1968. Made by Multiples Inc., NYC. Overall gre...

Great pair of mid-century polychrome glazed ceramic foo dogs, circa 1960s. Great detail and a beautiful color combination of green, brown, cream and blue; the pair measure 12" W x 8....

A fine quality therapeutic musical automaton clown toy in wonderful vintage condition. Features porcelain head, hands and feet. Made in France during the ...

Precious bronze medal designed by the master sculptor Godefroid Devreese and made by Fonson & Cie in Belgium in 1939, equal to the one acquired by the British Museum in 2003, in whic...

The beautiful bronze sculpture is of The Tibetan Amitayus, the Bodhissatva/Buddha of infinite life. Adorned with necklaces, crown and sashes decorated with rosettes, pearls and medal...

Beautiful pair of brass spread-wing eagle bookends by Virginia Metalcrafters, stamped 1952. The eagle is shown with its wings fully spread and a laurel branch and bundle of arrows clutched in its left talon. The eagle clutches a Union shield across its breast. The Union shield has a chief with three stars and six stripes completing the design. The eagle motif in décor and Folk Art has been widely used throughout our nation's history, most notably as part of our Great Seal. The founders of the United States were fond of comparing their new republic with the Roman Republic, in which eagle imagery, usually the golden eagle, was prominent. On June 20, 1782, the Continental Congress adopted the design for the Great Seal of the United States depicting a bald eagle grasping 13 arrows and an olive branch with its talons. When Charles Thomson put together the final design for the Great Seal, he placed a bundle of arrows in the eagle's left (sinister) talon. The official description specifies the bald eagle holding "in his sinister a bundle of thirteen arrows." The thirteen arrows are tightly aligned – a symbol of "strength in unity" that's found in the traditional cultures everywhere, from the Romans to the Iroquois— in this case a nod to the unity of the original 13 colonies. William J. Loth founded Virginia Metalcrafters in 1890, under the name Waynesboro Stove Company. The company, which made ornately cast Cook...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle colle...

Superb pair of plaster sconces by Serge Roche. 1 light, 60 watts Max bulb. US rewired and in working condition.  

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

Rare Leather Elephant Sculpture in the style of Dimitri Omersa for Abercombie & Fitch, 1940'. It is a gorgeous hand-made stuffed leather figurine of an elephant. Original condition....

This is a Lalique Crystal Sculpture Perfume Bottle. It depicts a clear and frosted crystal Samurai sculpture standing over a round crystal bottle tha...

A monumental nude sculpture of a femme torso in bronze by Hattakitkosol Somchai, signed, circa 1970. A striking rarity of Somchai’s oeuvre, this piece stands at nearly twenty-six inc...

French Art Deco Madonna Holy Virgen statue, France, 1920s. Oak. Hand carved statue from what appears to be a single piece of oak. The size is important and the silhouette fine. It sh...

A lovely and rare Spanish colonial statue of a madonna or female saint in carved and polychromed wood with movable arms and hands. Philippines, circa 1700s. In her time and within th...

1538 Jemez Pueblo Pottery fertility figure

20th century Chinese hardstone flowering tree in a cloisonné planter Chinese, 20th century Height 42cm, width 33cm, depth 31cm This exquisite 20th-century Chinese hardstone tree is ...

Large beautiful figurative sculpture by Danish artist Jens Jacob Bregnø in jugend style. The sculpture is made of raw sandstone and is signed by the ...

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...

1930s Art Déco chryselephantine bone and bronze mounted knight sculpture with marble base by Alexandre Kéléty, France By: Alexandre Kéléty Material: bronze, bone, marble, stone, met...

An amazing earthenware Kwan Yin statue with lamp and reverse incense burner by master potter Liu Li Hui. Seated dhayana asana on wood ledge, Kwa...

A lovely green bronze sculpture in shape of a jumping frog. The frog is 26 cm (10.4") tall and in excellent condition. Marked A.P.G below.

This exquisite 19th-century French bronze sculpture captures the essence of rural life through the figure of a young peasant boy. The boy is depicted with a charming, rustic appeal,...

This German nude strongman archer is one of the finest examples of a nude male figure that I have seen in my 50 years of selling antique bronzes. His musculature is perfect and rema...

This is a Realistic and wonderfully pleasing cluster of carved jade grapes with darker jade carved leaves. I love these semiprecious stone carved stone fruit sculptures and have othe...

Incredible Huge Clown in Murano glass with pivoting had by Gino Cenedese

A beautiful 9.25" tall Swarovski Crystal Macaw, chrome green, #685824 comes with original box and paperwork. This Paradise bird is made of green crystal and is beak is made of chrome...

Measurements and infos: Type: figurine of boy and fish. Height: Approximately 21 cm (8.5 inches). Base diameter: Approximately 9 cm (3.75 inches). Material: terracotta w...

Carl Auböck model #3603L large brass and leather bell. Designed in the 1950s, this incredibly refined and sculptural bell is executed in polished brass an...

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...

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...

Sculpture amethyst flower I on marble base with metal gold finish leaves, with minerals stones sticks and with amethyst stone in the heart of the flower.

Antique Italian Terracotta bust of a Greco Roman. Handsome large antique Italian terracotta bust of an ancient Greco Roman. This stunning s...

A Rome 1960s Souvenir sculpture. Some wear with a nice patina, but this is old-age. Made of metal on a marble base. This was bought as a souvenir in Italy. A beautiful nice desktop item or just a display item...

Striking and detailed bronze relief sculpture from Benin, now known as Nigeria, in Africa. This piece was modeled after ancient Benin bronzes, but is from the 20th Century. The intri...

Green patinated bronze sculpture of an archer by Michel Decoux (1837-1924). This petite Art Deco sculpture beautifully captures the elegant formal language of the period. Crafted in ...

Bullseye Lucite sculpture signed by Shlomi Haziza. Haziza started as a painter and later began to explore new mediums. He ran a small studio in his hometown. Later on he started his...

Model supersonic concorde aircraft with structure and base in polished aluminum.

Mid-20th century hand-painted traditional figure made of wood. Made in Barcelona, Spain. In original condition, with minor wear consistent with age and use, preserving a beautiful p...

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.

Monumental Leza McVey Surrealist "Eye in Hand" Ceramic Sculpture, 1977 Partially glazed stoneware Signature: Signed "Leza" inside the hand Dimensions: 23¾" H × 14¼" W × 7¾" D Conditi...

Large bronze dancer with a brown patina, on a green marble base: she bears the name of Pompeian Dancer on a cartouche. She plays delicately with her veil, balanced on one foot, on a ...

A wonderfully carved hardwood statue of a jumping horse. c.1940 Slightly naïve but full of charm whittled from hardwood. Beautiful detail throughout. Obvious loss of one rear leg. M...

Manuel Felguerez Mid Century Metal Golfer Sculpture This figurine measures: 7 wide x 4 deep x 14.25 inches high We take our photos in a controlled lig...

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)

18th century Italian crucifix with gold-plated kyanite, calcite crystals in matrix, and baroque pearls. The crucifix is originally from a church in Liguria. It is hand-carved and pai...

Concorde Model Scale 1/36 sculpture, in resin fiber, on aluminium polished base. From Air France Agency. On base: height 110cm.

Stunning copper water cans with great patina. France, circa 1850-1900. Weathered, losses and old repairs. Great to use as decorative objects in or outside. Might have leaks.

A group of three fruit sculptures by Monique Gerber, French sculptor, ca' 1970's. Done is solid patinated bronze. Each one signed with engraving.

Art Deco style seated Pierrot hollow-cast sculpture by David Fisher, Austin Productions, 1986. A Pierrot in classic attire is depicted expressing a melancholy demeanor with arms outs...