Figurative Sculptures

Spanish school of the sixteenth century. "Saint Paul". Carved and polychrome wood. Devotional image of a round piece carved in wood, polychrome and gilded, representing the Apostle ...

Vintage Murray "Fire Chief" Flat Front Original Steel Pedal Car Circa: 1950 Dimensions: H: 17.5” W: 16” D: 32.5”

Rare antique italan wood sculpture, 18th century. Finely carved wooden work depicting a religious subject, a saint, identifiable with the figure of John the Baptist prophet, of great...

Franze Anton Bustelli, one of the most important porcelain modellers of the Rococo, in 1754 for PORZELLAN MANUFAKTUR NYMPHENBURG. Porcelain, glazed, sculpted representation of Consor...

Beautiful and very rare hand carved wooden coat of arms with a crowned lion standing on the water reaching to a star. The Netherlands, circa 1650- 1750. Weathered, small losses and...

1950s Wood Carving Of A Boxer Folk Art Carving Age Cracks in wood (as shown)

A finely modelled pale turquoise glazed Ushabti, Circa 26th Dynasty 664-525BC Provenance: Sotheby’s London Lot 76 14/12/1981 for 725.00 Pounds sterling as part of a group lot.

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

1950s Italian Carved Wood Folded Leaf or Shell Sculpture on Wood Base Spirals carved in base Carved Scalloped Edges Light brown, tan, peaches, and cream colors Italy carved on unders...

Incredible museu reproduction in plaster and wood by Auguste Rodin sculpture "Le Penseur" circa 1950 signed in the piece.

Antique French sculpture from the 18th century. Work of exceptional size in wood and plaster, sculpted, lacquered and gilded depicting a life-size Saint, Saint Francis de Sales, of e...

A wonderful original piece of the Renaissance Period - a carved wooden polychromed figure / statue of Saint Francis. This piece was found in France but most probably originated in 1...

Rare antique italan wood sculpture, 17th century. Finely carved wooden work depicting a religious subject, a saint, identifiable with the figure of Saint Francis, of great size. The ...

Italian Baroque Winged Putto Sculpture 17th Century Lombard School Carved Giltwood and Silvered Angel Figure Winged Putto Lombard Italian Figure from 1600 Angel in Gilded and Silvere...

Incredible Jose Pedrosa brazilian sculpture in black bronze circa 1950 "Surfer"

Incredible set Cenedese Murano glass pears multicolor circa 1950

Deftly carved in what appears to be butternut with remnants of peg joinery, and exhibiting a fine mellow, old patina overall. The reverse showing an old eye screw previously used for...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

Enigmatic and sublime bronze sculpture of owl of Athena. Traditionally a companion to the goddess of wisdom, the owl representation has been associat...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

CARVED POLYCHROME WOOD DEPICTING SAINT FLORIAN ORIGIN : SWABIA, SOUTHERN GERMANY PERIOD : LATE 15th CENTURY Height : 98 cm Length : 29 cm Depth : 24 cm Polychrome limewood Very fine condition Provenance - Swiss collection STAEHELIN-PARAVICINI - March 1939 - Auction Jacob Hecht -18 April 1929, Berlin - Sammlung Prof Q.A. LEIMHAAS Munich, Helbing - 26 May 1908 (Research by Thierry Fraslin) During the Middle-Age Saint Florian was particularly popular, subject to worship in Austria -Tyrol- Bavaria and Bohemia. Embodying courage and commitment Saint Florian was invoked to protect the soul of the living against sins and to keep the soul of the deads from the purgatory. From the mid-15th century he safeguards from water and fire. The legend has it that when he was young the saint had contained the fire of a burning...

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 ...

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

Wooden sculpture depicting a female figure, 17th century. Dimensions: 14x18x72 cm

Hand carved playing children, original painted white. There is missing a part, a tree of life or something similar (see picture 6).

Made in Italy, 1950s. This glazed ceramic piece is made by Giovanni Girardi, a famous ceramic artisan from Vicenza that worked for Lenci in Turin. It...

IMPORTANT WOOD SCULPTURE, GOTHIC DEPICTION OF SAINT WENCESLAUS ORIGIN : CENTRAL EUROPE PERIOD : MID-15th CENTURY Height : 83 cm Length : 30 cm Depth : 20 cm Basswood Good condit...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to en...

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...

The Mid Century Roman Marcus Aurelius Head Sculpture from the 1950s is a striking artistic representation of the ancient Roman emperor's likeness. Crafted in the iconic style of the ...

Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to en...

A Bow Porcelain Figure of a Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked. Label for Albert Amo...

Extremely Fine and large Teotihuacan sculpture of a standing Lord wearing a layered tunic, and having strong and beautifully sculpted facial features. Teotihuacan Culture, Teotihuaca...

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...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

Antica scultura lignea Raffigurazione di Monaco Cinese Antica scultura presepe napoletano lignea Descrizione Antica scultura policroma lignea ...

A Bow Porcelain Figure of Winter, c1765 Have named this version of winter "Dave" in tribute to the great and sorely missed observational Irish comedian Dave Allen. Additional information: Date : c1765 Period : George III Marks : None Origin : New Canton factory...

SMALL SCULPTURE FIGURING AN ANGEL ORIGIN : GERMANY PERIOD : 15TH CENTURY Height: 48,5 cm Width : 20 cm Depth : 12 cm

A large vintage decorative Rolls Royce silvered bronze sculpture, The Spirit of Ecstasy, dating from the mid 20th century. The winged maiden was designed by Charles Robinson Sykes (1875-1950), and she stands on an attractive round black marble plinth base. In 1910 Rolls-Royce slowly became aware that some owners were affixing 'inappropriate' ornaments to their cars. Claude Johnson's brief to Sykes was to sculpt a mascot for Rolls Royce that embodied 'speed with silence, absence of vibration, the mysterious harnessing of great energy and a beautiful living organism of superb grace' to become the standard emblem of the Rolls-Royce brand and it was Sykes' daughter, Jo (born 1908) that believed it was on the road from London to Beaulieu that her father first became 'Very impressed with the smoothness and speed of the Rolls Royce car.... imagining that even so delicate a thing as a fairy could ride on the bonnet without losing her balance.' In early 1911 Sykes' presented his mascot, entitled "The Spirit of Speed", to Rolls-Royce. This figurine had her arms outstretched behind her and her gaze firmly fixed forward. She was soon retitled "The Spirit of Ecstasy" by Johnson and became the official symbol of Rolls-Royce automobiles on 6th February 1911. It is a striking piece thought to be a former Rolls Royce car showroom sculpture. Condition: In excellent condition, please see photos for confirmation of condition. Dimensions in cm: Height 70 x Width 31 x Depth 42 Dimensions in inches: Height 2 foot, 4 inches x Width 1 foot x Depth 1 foot, 4 inches The Spirit of Ecstasy is the bonnet ornament on Rolls-Royce cars. It is in the form of a woman leaning forwards with her arms outstretched behind and above her. Billowing cloth runs from her arms to her back, resembling wings. The Spirit of Ecstasy, also called "Emily", "Silver Lady" or "Flying Lady", was designed by English sculptor Charles Robinson Sykes and carries with it a story about secret passion between John Walter Edward Douglas-Scott-Montagu, (second Baron Montagu of Beaulieu after 1905, a pioneer of the automobile movement, and editor of The Car Illustrated magazine from 1902) and the model for the emblem, Eleanor Velasco Thornton. Eleanor (also known as Thorn) was the secretary of John Walter, who fell in love with her in 1902 when she worked for him on the aforesaid motoring magazine. Their secret love was to remain hidden, limited to their circle of friends, for more than a decade. The reason for the secrecy was Eleanor's impoverished social and economic status, which was an obstacle to their love. On the other hand, Montagu was married to Lady Cecil Victoria Constance Kerr since 1889. Eleanor died on 30 December 1915 when the SS Persia was torpedoed by a U-boat south of Crete. She had been accompanying Lord Montagu who had been directed to assume a command in India. He was thought to have been killed too, but survived and was saved after several days adrift in a life raft...

This table lamp, is carved in the wood. The wood has this light brown color of this wood, with the old patina. This lamp was made in France, circa 1950, The wood is olive wood. U...

A Bow Porcelain Figure of a Female Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked Origin : Bow, ...

his plaster sculpture from the 1950s hails from a workshop located in the southern region of France. Despite bearing a few minor imperfections, it stands as a quintessential example...

Set of two French terra cotta bas relief, 1950. You can hung on the wall. Sculptures from Italy , Green and blue colors.

Wonderful hand carved vintage Buddha sculpture in the Chinese depiction. Features a detailed sculpting of children crawling on the man.

Small French figurative ceramic representing the Virgin praying. Very nice glazes in blue tones with yellow tips. Very nice vintage condition, signature of the artist under the ceram...

18th century wooden Madonna with child (South-Europe). Exceptionally well-preserved, given the age.

Pair of large statues carved in the round, probably representing cerulean angels (although there is no evidence of wings on the back), or allegories of fortune (in which case we can ...

Incredible Guido Cacciapuoti porcelain representing "Putan" circa 1950 signed and sealed.

Gorgeous pair small late 18th century neoclassical mythical figures. france circa 1780. Weathered and old repair Measurements are individual and include the wooden base.

Incredible vintage Chinese ceramic sculpture. Subject is Kwan-yin Bodhisattva.

An extremely rare Basalt model of a temple in the Aztec capital of Tenochtitlan, perhaps one that was next to the Templo Mayor itself, The Great Temp...

18th century Italian "Young John the Baptist" painting framed with purple and yellow fluorite. The painting original came from Tuscany and depicts him as a young man with a lamb. Thi...

Exceptional vintage handmade marble sculpture of St. Anthony holding a child. Features a fantastic smooth polished finish of a green stone.

Description 18th Century Carved Wood Panel – Polychrome Head Of Cherub – Putto Magnificent decorative panel from an altarpiece in carved polychrome w...