Figurative Sculptures

Antique Polychromed Carved Wood Religious Spanish Priest 18" Sculpture Figure. Circa Late 19th Century. Measurements: 17.5" H x 9" W x 5" D.

A superb pair of late 19th century Austrian polychrome terracotta busts by Friedrich Goldscheider, both figures stamped to the reverse. This pair of busts are in excellent original c...

Pair of French mid-century Greek neoclassical patinated bronze female figures designed as torchieres. Currently without sockets, wiring and shades, but all may be added upon reques...

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...

This is a very old wooden sculpture. No details are known, but it was found in Japan. It appears to be based on a European female figure. So it is estimated to have been made afte...

Midcentury amazing sculpture table lamp in wood and metal attributed to Aldo Tura for Macabo. Made in Italy in the 1950s. It depicts a bearded monk holding a stick (removable) in ...

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...

A Memento Mori in wood with Chrismon, monogram of Christ. Valuable sculpture in fruit wood in almost true-to-life measurements, sculpted with art and finished with a wealth of detail...

This engaging sculpture of Memento Mori dated Late 17th Century, is part of a production of small terracotta figures for private use, which Giuseppe Maria Mazza, created throughout h...

A lovely large 20" Mid-Century Italian majolica basket of lemons topiary centerpiece. No maker's mark. Freshen up your kitchen or breakfast room with this charming hand painted arran...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

Elegant Art Deco 1920s Rose Pink German Porcelain Flapper Half Doll Vanity Powder Puff This rare 1920s Art Deco German porcelain half doll captures the glamour and playful charm of ...

A remarkably fine example of Archaic sculpture.  A figure of a discophoros, or discus bearer, standing with his right leg forward, gripping a discus in his right hand, the left arm raised with an open palm. Described with admiration in Münzen und Medaillen's 1961 auction, "The figure is a masterpiece and illustrates with rare vividness the essence of good Etruscan sculpture...

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...

This Carrara marble bas relief sculpture was hand carved in England in the late 1800s, in good condition. The antique relief sculpture depicts...

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...

Exquisite hand crafted Greek bronze full size display helmet mode. This was made in the 1950's and probably from Italy. Wonderfull details and patina. Great design and form. No signa...

Beautifully sculpted, cast and finished, this 1920s Swedish Grace relief sculpture is made from bronze and has an amazing patina. It was made in Sweden by an unknown artist. Art Deco...

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...

French Art Deco Crackle Glaze Ceramic Lady Sculpture, France, 1920s. This exquisite French Art Deco ceramic lady features a beautiful cr...

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...

This beautifully patinated bronze figure of Yoga Narasimha, the fourth incarnation of Vishnu as a man-lion is from Kashmir in North India. Nara means man and simha means lion. He is ...

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

Ceramic Art pottery figures. His and her figure carefully crafted. Unmarked. Listed as a pair. Work is consistent with Scandinavian pottery; attributed in style to Lisa Larson. 6...

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

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...

A beautiful, 7 lb, gilt bronze Tibetan sculpture of Buddha Vajrasatwa. Seated dhyana asana on double lotus throne, left hand holding a ghanta bell, right hand holding vajra thunderbolt, scepters of combined male and female energy to conquer evil. Dressed in a tight fitting dhoti and a shawl covering the shoulders, wearing layers of necklaces. The head tilted downwards adorned with an elaborate crown anchoring a high chignon. The face with downcast eyes...

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

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

A unique Anne Van Kleeck bronze, table top sculpture of abstracted figures, dancers perhaps. 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...

A Chinese porcelain statuette of Mao Zedong from the late 20th century, depicting him seated on a armchair with June style purple and blue glaze. Created in China during the last quarter of the 20th century, this porcelain statuette depicts Mao Zedong (26 December 1893 – 9 September 1976), also known as Chairman Mao. Seated on a low back armchair with out-scrolling arms and purple and blue glaze, Mao is crossing his legs, his right hand resting on his knees and his left on the arms. Mao was a Chinese communist...

Taino Pre-Columbian Carved Jade Kneeling Figure Zemi Pendant. 2.25" H x 1" W x 1" D. Provenance: From the Upper East Side Apartment of a Former Ambassador.

Bronze sculpture titled Sustraiak, created by renowned Basque artist Paulino Larrañaga in 2001, signed and numbered 13 of a limited edition of 50 pieces. Originating from the Basque ...

Tango, Art Deco bronze sculpture cubist dancers Pierrot and Colombine by Thomas Cartier, France 1930. The bronze has a silver patina and stands on a Portor marble base. Literature...

MAGNIFICENT! BENIN OBA 19TH CENTURY BRONZE WARRIOR SCULPTURE! SUPERB EXAMPLE OF OBA METALWORK! DIMENSIONS: APPROXIMATELY 13" TALL CIRCA 1860-1900 Offered is a rare 19th cen...

Belonging to the period 1603-1867, most likely between the end of 17th and the beginning of 18th Century, this beautiful armour is a 32-plate suji kabuto made of brown-lacquered iron...

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

The nude from Ancient Roman art is a conceptually perfected ideal person, each one a vision of health, youth, geometric clarity, and organic equilibr...

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...

Leda armchair designed by Dali manufactured by BD. Structure in polished cast brass varnish. Measures: 47 x 60 x 92 H.cm Year: 1935-1937 Taken from “Femme á la téte rose” 1935 (W...

A striking mixed-media sculpture by Mexican artist Emilia Castillo for the renowned Los Castillo workshop in Taxco. This stylized figure—reminiscent of a Madonna or cloaked female fi...

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...

19th century Grand Tour bronze statue of the ancient Greek Dionysus. Dionysus also known as Bacchus, was the god of wine, fertility and festiv...

Bronze sculpture of a beautiful female nude, created by Vincenzo Aurisicchio in the second part of the 19th century. The bronze sculpture is in really good conditions. Ø cm 23 Ø cm...

Chinese Scrib, but handcrafted in Thailand. Sixteen feet long. Rosewood base. The sculptors of this enormous boat made of jade. You will admire the details of this vessel. The dragon is the ultimate symbol of auspiciousness. It is the most important symbol in both Feng Shui and in Chinese folklore. It's most powerful when displayed in the east sector of your home, office or location of the piece. This dragon jade boat...

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...

Pair of table decorations, of metal, having a distressed finish, each fashioned as a leafy pineapple, set upon a classical fluted urn, on round foot and square plinth. Can be made in...

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...

Midcentury amazing rare sculpture ‘Onorevoli’ series in terracotta by Aldo Londi (1911-2003) for Bitossi. Made in Italy in the 1960s. Natural terracotta, unglazed and incised with ...

A very cool and well detailed solid cast brass medieval armored knight on horse sculpture, circa 1970s. The piece is in very good vintage condition and...

Beautiful porcelain statue of Mary with baby Jesus on her arm. The statue is hand painted in beautiful colors. The statue is marked on the bottom with t...

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

Large Bronze southern Gentleman sculpture in original paint. This sculpture depicts that of a man smoking a cigar sitting on a high stool or bench with a cane in the other hand. Ther...

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...

A pair of vintage solid stone court attendants. Of tall slender form, wearing long flowing robes flaring at the bottom with hands within wide, decorative cuffs. The realistically mod...

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

A large Murano sculpture after Michelangelos' David Beautiful surface and a large presence.

Back to the drawing board! A remarkable piece for spurring conversation at home or for capturing attention in a store display. This massive vintage trompe l'oeil pencil is made of on...

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...

19th-century Italian Grand Tour Bronze of the Gladiator, After the Roman Antique Attributed to the Naples Foundry, late 19th century This fine 19th-century Italian Grand Tour bronze...