Figurative Sculptures

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

Beaded Flower Arrangement from the 1960's. The rage for beaded flowers started in the 1960's and ornate labor intensive, professionally made pots were de ...

"Nude #1", a rare figural wall sculpture incorporating a femaile nude motif in solid pewter by Philip & Kelvin LaVerne, American 1960's (signed with original gallery label on back st...

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

A rare plaster model of the human ear poised on a wooden stand. The model is made by renowned German manufacturer, SOMSO. This particular model is rare as it shows in incredible de...

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...

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...

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

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...

Unique Pop Art Fashion mannequin. Made by Schlappi circa 1960's.

Beautiful and incredibly stylish horse bookends. These bookends are tall and commanding. The etruscan profile is striking and a signature of mid century style. The lines are stylish ...

18th Century Neapolitan Crib Figure Collection A rare collection of five museum quality late 18th / early 19th Century hand carved Neapolitan crib figures...

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...

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...

A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure. Circa 1st-2nd century A.D. Measure: height 24 1/4 inches (62 cm). Property from Mr. Radu Moldovan, Skokie, Illinois Provenance: B.C. Holland Gallery...

Vintage Paolo Soleri Bronze Sculpture Wind Chime Bell for Arcosanti.

Miguel Berrocal La Mini Zoraida puzzle sculpture that is nickel plated and brass. The puzzle is made up of 25 elements. It comes with the book. The measurements without the base is...

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

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 beautiful crystal sculpture of a naked woman in an erotic pose, stylishly rendered. The crystal is matted while the foot is transparent.The sculpture features a frosted female nude...

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

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

A nicely carved Spanish Colonial carved wooden santos of San Miguel, Guatemalan in origin, dating to the 18th century. This wooden sculpture is mo...

Set of four beautiful and highly decorative hand-carved painted wooden putti / cherubs. Two of them are with label. L. Röger, Augsburg and Karl Storr, München. Made probably in 1960s...

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 fi...

Beautiful lucite ice bucket cube depicting the world captured in a sculpture that resembles an ice cube. The effect displays a frosted world map of continents and orbiting moon. This...

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 ...

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...

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...

A charming Japanese decorative bronze sculpture, okimono, of a gourd, hyotan, by Toyo Japan, Showa Era, circa 1960s, Japan. The realistic okimono, fashio...

17th Century German hand-carved oak religious sculpture. Possibly a saint or a bishop. The bearded man is cloaked in draped fabric with only left ...

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

A unique, bronze sculpture of a man with outstretched hand, with timeless, Prehistoric feel by Anne Van Kleeck. 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...

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...

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

ABOUT An original 18th century Italian armorer's model with glass eyes and articulating arms. Used to fit different types of battle armor. Shows signs of light wear and paint loss...

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...

A sailor with duffel bag over his shoulder. Coin bank with stopper marked Seamens Bank for Savings. Dated 1960. Weight: 1 lb. Overall Dimensions: 5"H x 5"W 3"D Made: Porcelain Mater...

Mari Simmulson, unique large handmade ceramic sculpture of a woman. Deep red glaze. From the 1960s. In perfect condition. Signed. Dimensions: H 29.5 cm x D 9.7 cm.

Midcentury ceramic sculpture designed by Jitka Forejtova and produced in 1960s in Czechoslovakia. Very good vintage condition.

Beautiful painted ceramic art piece crafted by groundbreaking 20th century Mexican surrealist artist Sergio Bustamante (b.1949). Titled "Man at the Window", This polychrome hand painted sculpture features a seated man with book gazing through a typical Hacienda style architectural white stucco wall interior with arched window. In a very typical of the artists style for the time the work features a heavy nature influence with numerous golden orange fish heads to the exterior wall. A crescent moon with face...

“Femme de Menage” aka “La Bonne”, a very rare and important large figural bronze sculpture attained via lost wax process, table with hand-painted abstract enamel decoration, by Phili...

Beautiful glazed ceramic statue attributed to Bohumil Kokrda, Czechoslovakia. The sculpture is in good vintage condition.

Genuine Venetian Murano Art Glass Apple and Pear Figurine, Sculptures or Bookends. Heavy gold-filled glass with gold speckled leaves and stem each with a polished side and bottom. ...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. The piece has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

17th Century Italian Carved Wood Polychrome Painted Corpus Christi Starburst Crucifix/Cross An excellent example with intricate carved detailing to the corpus face and body Wall mo...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement ...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. This beautiful gem has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

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 ...

An extremely rare Basalt model of one of the main temples in the Aztec capital of Tenochtitlan, perhaps the Templo Mayor itself, The Great Temple. As a way of reinforcing the centralized power of the Aztec Empire and its Religious institutions, thousands of small clay models of the main temples in Tenochtitlan were mass produced in press molds and distributed throughout the Empire, where they were installed in household religious shrines...

This antique baby Jesus figure was crafted in Italy, circa 1780. The hand-painted putti carving feature its original polychrome finish for a luxurio...

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

Egyptian Bronze Figure of a Seckhmet Lion-Headed Goddess, 21st/25th Dynasty, 1075-525 BC The lion-headed goddess possibly seated.8x4x5 cm.Bronce...

Vintage Italian Carved Wood Male Torso Sculpture On Acrylic Base. This handsome Italian Greco Roman style carved wood painted male torso is beauti...

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...

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...

Hand made bas relief from 1960 Italian, Mary holding baby Jesus accompanied by 6 Saints, made in resin on wood panel.

Mid-Century Modern Dancing Abstract Bronze Figures by Curtis Jere