Figurative Sculptures

Art Deco style sculpture of a dancer with ball Jeu signed by Max Le Verrier. With the Le Verrier foundry mark. Design 1930. Posthumous contemporary cast of the Le Verrier foundry. ...

Large crystal sailboat sculpture by Daum, France, circa 1970s. The piece is invery good vintage condition with no chips or cracks and measures 8"W x 4.5"D x 16.5"H. The sculpture is...

“Ritorno dai campi" is a museum quality, limited edition, handmade and hand painted, collectible Capodimonte Italian porcelain by Italian artist, S. Agostino. It is a finely detailed, very large porcelain sculpture depicting a boy riding in a hay filled, horse drawn wagon. The horse has leather reins and is lead by a man with a dog. The man is on foot and holding a hat, and is followed by a barefoot woman with a basket and a rake. The scene is decorated with flowers, a tree and a stump. Porcelain scene sits on a wooden base with a brass plaque reading "Ritorno Dai Campi Collezione Porcellane S. Agostino" Signed on the back, “Capodimonte Limited Edition no. 1/100 Made in Italy" with the artist's signature and a blue and white Capodimonte...

Bibendum Michelin Man Bronze Car Mascot, Hood Ornament, Automobilia, France 1909. This is a highly collectible Bibendum Michelin Man bronze car mascot, Hood Ornament, Mascotte Voitur...

Patinated bronze sculpture of Emperor Napoleon on horseback after the original model by Henri Louis Levasseur (1853-1934), mounted to the rotating top of a marble pedestal with neocl...

Postmodern David Fisher for Austin Productions Faces of Love Sculpture. Stamped in the back by the manufacturer and Dated 1980. “Face of Love” ceramic s...

Grand Tour Bronze statues of three nude males from mythology, all in various poses. These small statues range in height from 5.5" to 5.75" and in width 2 to 2.5". These would have be...

Large decorative cane cactus, 1960s. In very good vintage condition with minimal wear of use.

'Hoop Girl' Art Deco Bronze Sculpture Signed Ferdinand Preiss (1882-1943) Germany, Circa 1920's We are pleased to offer the 'Hoop Girl' Art Deco Bronze Sculpture, a signed work by...

French terracotta sculpture of a classical male. This stunning French terra cotta sculpture of a classical Roman male is expertly executed ...

Baroque Virgin and Child in Polychrome Wood with Silver Crown, Spain, 17th Century An important Spanish Baroque sculpture of the Virgin and Child, datable to the 17th century, made ...

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...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

A wonderful hand carved head of Hardwood. A stunning sculpted and carved piece. A stand alone decorative piece or can be used as a large book end. Trul...

This elegant pair of Chinese figural statues, crafted by renowned Murano glass artist Pino Signoretto in the 1970s, exemplifies the exquisite art...

1960s Large Hand-Carved Wood Sculpture of Man Praying / Weeping Buddha Abstract Yoga Wrestler There is a story about two warriors associated w...

Joseph A. Burlini (American, b.1937) winged female bronze on wood base Incised signature and date to base ‘J.A. Burlini 79’. 2 ½ inches wide by 1 ¼ inches deep by 3 ¾ inches t...

Sculpture Samurai Raku red and silver made in Raku ceramic which have metallic silvered sheen. Raku ceramics Samurai are distinguished by their raw appearance. The smoking techn...

A large and rare second half of 15th century religious marble sculpture group, hand carved, mounted on bronze base for display. This sculpture group depicts the death of Saint Joseph...

Bronze Statue of Cleopatra Reclining on Red Marble Base - Classical Sculpture of Great Charm This elegant bronze statue depicting Cleopatra in a reclining position is an extraordinar...

Superb Lalique Virgin and Child sculpture on a black lacquered wooden base, France 1970s. Beautiful crystal form which captures the subject's devotion a...

Polished bronze Venetian face by CM Volare, 1994.

An August Moreau bronze table sculpture. This lovely art nouveau table sculpture features a full cast bronze construction, sitting atop a beautiful tapered marble base. This vase dep...

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

A Large Pair of Egyptian Revival Vintage Patinated Brass Sphinxes. The impressive pair of brown patinated resting sphinxes, with an unverified...

A beautiful composite alabaster bust of the famous Greek god Apollo, dating from middle of 20th century. The attention to detail throughout the piece is impeccable and the figure is...

Large model of art deco sculpture "Danseuse aux cerceaux" pati. Subject in spelter with green patina on black marble base, signed on the base. Model by Le Faguays published by Max Le...

19th century Italian marble bust of Aphrodite. Our antique Italian Carrara marble bust of Aphrodite is expertly carved and rests on a...

An extraordinary and wonderfully rendered 19th century Italian cast bronze depicting a seated Hermes, the Greek god of messengers, travelers, and merchan...

Cascavel snake is part of Bichos do Brasil collection that is decorative and collectible objects of wooden figures that represent animals of the Brazilian Fauna. The design of the co...

A Very Fine and Charming Italian Late 19th to early 20th-Century Carrara Marble Sculpture Group Titled “The Village Celebration” by Professor Antonio Garella (Italian, 1863-1919). The intricately, impressive and exceptionally carved statuary marble group depicting a dancing and singing group of Italian villagers, dancing and singing in a lively embrace, holding hands and arms. The joyful scene includes a figure playing an accordion, another holding a wicker basket, and a hunter with a rifle slung over his back, accompanied by his hunting dog. The sculpture is elegantly mounted on a swiveling, carved green marble pedestal. Signed: Profre A. Garella – Galleria P. Bazzanti, Firenze. Circa: Florence, 1900. Antonio Giuseppe Garella (1863–1919) was an Italian sculptor renowned for his work in marble, alabaster, and bronze during the late 19th and early 20th centuries. Born in Ferrara (some sources cite Bologna), he trained at the Accademia di Belle Arti in Florence and in Bologna before establishing himself in Florence, where he became a prominent figure in the city’s artistic community. Often referred to as "Professor Antonio Garella," he was closely associated with the Galleria P. Bazzanti, a prestigious hub for sculpture sales and exhibitions. Garella’s career spanned the fin-de-siècle period, blending neoclassical influences with romantic, narrative themes inspired by everyday Italian life and classical antiquity. His sculptures, known for their intricate carving and emotional expressiveness, include lively portrayals, as seen in The Village Celebration. Other notable works include The Love Letter, a white marble figure of a young woman reading, evoking tender emotion; La Notte (The Night), a nude sculpture of a flying maiden above an orb; Diane of Gabii, a life-size marble inspired by classical antiquity; and Apollo and Daphne, a large marble sculpture modeled after Gianlorenzo Bernini’s 17th-century masterpiece in the Borghese Villa, Rome. In Apollo and Daphne, drawn from Ovid’s Metamorphoses, Garella captures the myth of the chaste nymph Daphne, pursued by the young god Apollo, who is bewitched by Cupid to fall in love with her. As Daphne prays to her river-god father to escape Apollo’s advances, she transforms into a laurel tree. Garella, like Bernini, sensitively carves Daphne’s feet and hands morphing into leaves and branches, while Ovid notes that Apollo can still feel her heart beating beneath the bark. Garella’s monumental commissions further highlight his prominence, including a 1904 statue of Garibaldi in Pistoia and two statues, L’Architettura and La Musica, for the Vittorio Emanuele II Monument in Rome. Though not as celebrated as Antonio Canova (1757–1822), Garella significantly contributed to Florence’s marble sculpture tradition, bridging academic styles with emerging 20th-century trends and influencing decorative arts. His masterpieces, often crafted through ateliers like Galleria P. Bazzanti, remain highly valued in European and American private collections, with limited auction records due to their scarcity in the antiques trade market. Related Literature: A. Panzetta, Nuovo dizionario degli scultori italiani, Turin, 2003, vol. I. Museums: • Museo Civico di Prato (Prato Civic Museum) - Prato, Italy Ritratto di Filippino Lippi (Portrait of Filippino Lippi) Bronze and marble bust portraying the Renaissance painter Filippino Lippi (1457–1504), reflecting Garella's skill in portraiture and historical homage. • Fondazione Sgarbi (Sgarbi Foundation; a private cultural institution with museum-like functions, focused on art collections) - Ro Ferrarese, Italy Saffo (Sappho) Polymaterial bust (likely marble and other media) depicting the ancient Greek poet Sappho, emphasizing classical themes. • Muzeum Palac-Herbsta – Łódź, Poland...

A wonderful example of a hollow-cast bronze crocodile skull. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to invoke conversation. ...

A vintage terra cotta pottery figurative sculpture of a seated fertility goddess. Made in Kula, Turkey by replica artist S. Askit and marked on the base.

FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched f...

Antique Hand Painted Bisque Porcelain Mother & Child Figure in the Manner of Meissen c1920 Measures- 17.25"H x 9.25"W x 9.25"D

Royal Copenhagen, a porcelain figurine of a girl in regional dress from Faroe Islands. Overglaze. Dressed in regional costume and holding a bouquet of flowers. Model: 12416. Juliane...

18th/19th century Buddha Statue carved of Alabaster. Burmese Shan Buddha Statue 1800ca, collected in Myanmar Shan State 1998. Legs crossed, the left hand in the lap, and the right ha...

This bronze standing Buddha mounted on a turned wood base has his right palm held outward in the abhaya mudra position, a gesture of fearlessness and reassurance.

Horse. Patinated metal. 19th century. Figure of a walking horse with a bronze base and a patinated iron animal. It shows a strong influence from the animal figures common in the 19...

Large Porcelain Sculpture: Lady on Horse Large Sculpture by Lladró, Spain, 1960s Very rare Lladró "Horsewoman" #1036 Spanish Name "Amazona" Item Number A...

Mid-century pink and green ceramic open-wing mother flamingo tabletop pottery statue by Leftons. The statue features a beautifully detailed pink flamingo mother with her child. It co...

This is a fine antique pair of French Grand Tour patinated-bronze sculptures of the Marly Horses, Circa 1850 in date and signed to one base. The original Marly Horses were commissi...

Standout 19th century majolica pedestal handcrafted in terra cotta. In an orientalist theme with a woman and an ostrich under a palm tree, decorated and glazed. Signed G & S 1847 on ...

Art Nouveau ceramic figurines Rstk Amphora Austria Turn Teplitz - a pair Attributed to Riessner, Stellmacher and Kessel for Amphora, Turn Teplitz Austria...

The antique Buddha head is an icon of confidence, awareness, knowledge, compassion and concentrated meditative practices. Every faculty of the Budd...

Eleanora & M. Magdalena Dei Medici Wax Portraits on Slate Measures: 4.5" DA 18th Century or Earlier Wax Portraits of Eleonora de' Medici and Maria Magdalena de' Medici in Ormo...

A spectacular matched pair of large and extremely rare Emile Louis Picault cold painted bronze sculptures from the late 19th century. Exquisitely handcrafted in France, circa 189...

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 p...

This wonderful vintage mini Miguel Berrocal puzzle element sculpture of the bust of a woman called Portrait de Michelle is comprised of 17 individual c...

A stupendous representation of Ares, half-brother of Athens, son of Zeus and Hera, and the God of War, this sculpture will make a unique and sophisticated addition to a personal coll...

French bronze sculpture of Cupid after Auguste Moreau (1834-1917)

Bronze with brown patina of Joan of Arc, signed by Marie d'Orléans and the stamp of the foundryman Susse frères. In very good condition. The original marble proof, intended for the H...

Pair of squirrel bookends, in green metal (spelter) on a marble base. Both are signed Max le Verrier. Good overall condition - very minor chips to the marble. Height 15 ...

A beautiful pair of foo dogs, temple lions, vintage figurines made of turquoise and light blue glazed crackle ceramic, China. One is numbered 14 on the bottom, circa mid-20th century...

Beautiful pair of Grand Tour Style polished onyx obelisks. Offered as a pair consisting of two items.

Rose blossom sculpted entirely by hand starting from a solid block of rare rose quartz. Dimensions: approximately D 12 x H 12 cm. Available in different...

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...

Indulge in a rare opportunity to own a piece of art history with this Limited Edition Salvador Dali Armchair, featuring the artist's iconic "Invisible Personage" design. One of only ...

Heavy and very nice quality statue of an imperial temple lion, or Singha or foo dog, partly gilded bronze, partly green patinated, Thailand or Cambodia, circa mid 20th century or lat...

Edouard Marcel Sandoz (1881-1971) Figure "Pierrot Musicien", ca. 1917. Hard-paste porcelain with a white glaze, and painted gold. Signed to the base, appears to be Théodore Havil...