Figurative Sculptures

Handcarved baroque wooden sculpture depicting the two accomplises Bacchus and Amor. Bacchus is wearing a grapevine in his hair and holds up a bunch of grapes. A jaguar skin...

Vintage, 18th Century Spanish Colonial Carved Polychromed and Parcel-Gilt, Painted Sculpture of a Bishop with Mitred Head

Artefacto 04 by Federico Stefanovich Dimensions: D 15 x W 22 x H 19 cm. Material: Brass. Available in a larger size: D 25 x W 36 x H 32 cm. Federico Stefanovich presents himself as ...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

Artefacto 03 by Federico Stefanovich Dimensions: D 19 x W 47 x H 36 cm. Material: Brass. Available in a smaller size: D 10 x W 26 x H 20 cm. Federico Stefanovich presents himself as...

Artefacto 02 by Federico Stefanovich Dimensions: D 16 x W 35 x H 33 cm. Material: Brass. Federico Stefanovich presents himself as a designer of furniture, accessories and lighting, ...

Vintage, 18th century Continental Rococo Carved Giltwood Figure of a Kneeling an Angel

Coppia di angioletti in legno di tiglio, sculture francesi del XVIII secolo, altezza di ognuno 17.5 cm e 16 cm, altezza complessive di basi lignee 36 cm e 31 cm, basi 9x9 cm. Si noti...

Sculptural 18th century Italian hand-carved angel wing mounted on white aragonite and adorned with faden crystals, crystal quartz, and baroque pearls. The hand-carved angel wing was ...

Artefacto 01 by Federico Stefanovich Dimensions: D 17 x W 55 x H 30 cm. Material: Brass. Federico Stefanovich presents himself as a designer of furniture, accessories and lighting, ...

Large figure standing with a book under his arm with hand extended.

Design by Salvador Dalí­, 1903 manufactured by BD Barcelona Solid Iroko wooden structure with polyamide wheels. Optional upholstered cushion with water repellent foam and material ...

Pair of "faux marble" lacquered wooden winged angels, seated, from the 18th century, resting on two turned lacquered wooden bases of recent manufacture, total height 102 cm, base dia...

Lock and Key Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 10.5 in x Diameter: 10.5 in Unique Her poetic porcelain plates examine and reimagine the history of ar...

'Marshmini' is a rad glossy hand crafted "groth". Perfectly nourisehd by air and love. Colors on request

Pair of 18th century Italian hand-carved and painted angel wings on titanium plated quartz crystal clusters with natural-forming baroque pearls. The hand-carved multi-colored angel wings are originally from a historical church in Venice, Italy. These are particularly rare and exquisite due to their unique coloring. The ecclesiastical artifacts are mounted onto a base of titanium plated quartz and adorned with coordinating baroque pearls. The minerals display...

This is a welded steel sculpture made by furniture creator Jim Rose. It is sustainable design created from salvaged and recycled steel panels left over from his larger projects. Thes...

Pair of Carrara marble Putti, depicted in a mirror-image position to each other: softly reclining, the torso advanced and slightly off to the side, one arm resting on the thigh, whil...

Raku skin sculpture by Vica Ceramica Dimensions: D 12 x H 17.5 cm Materials: High Temp. Ceramic. VICA CERÁMICA-STUDIO is a design and sculpture studio established in Mexico Cit...

Product Description: Material: Alabaster Subject: Saint Joseph with the Child Origin: Trapani, Italy Era: 17th Century Technique: Finely carved and polychromed Condition: Excellent,...

Pair of sculptures depicting the Virgin and St. John the Evangelist, portrayed in a mournful attitude. The former has a pained expression on her face, her hands clasped in front of h...

"Hooves of Thunder" buffalo of driftwood and scrap yard steel by a Montana artist. Very neat and well sculpted. Period: Contemporary Origin: Montana Size: 26" x 18" x 7" Tina grew...

Waiting Woman Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 10.5 in x Diameter: 10.5 in Unique Her poetic porcelain plates examine and reimagine the history of a...

Bronze Buddha depicted in meditation pose sheltered by a Naga (a seven-headed snake). I two parts. Naga's body coiled up to serve as a cushion for the Buddha with 7 pronged head prov...

I was able to obtain a very rare item. This is a sculpture of the god ``Shinzo''. "Shin" = God "zo" = statue Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines. In the 6th century, Buddhism was introduced and gradually spread throughout Japan. Around the 8th century, the idea that gods follow the teachings of Buddha spread. Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established. This statue was created during such a history. Originally, the image of God was invisible and could not be understood as something tangible. However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism. Around that time, around the 9th century, the first statues of gods...

Wooden sculpture depicting Ecce Homo. Christ, whose figure is cut off at thigh level, is standing, arms crossed at waist level. Long ringlets frame a face with a pointed beard, a hal...

Chinese Export Porcelain Figures of Attendants, Set of Five, Circa 1780 The set of five Chinese Export porcelain figures are painted in famille rose enamels with a purple robe and s...

Venus With Dolphin In Bronze 1600, small 17th-century Italian sculpture ending in a ferrule at the bottom. He holds a sphere in his right hand and with his left hand holds the dolphi...

Pair of 18th century Italian sculptures. Wooden works of great size and impact, pleasantly carved, depicting cherubs. Sculptures painte...

Carved bone and walnut figure of a beggar with a very expressive face holding a flute, with a satchel over his shoulder carved from wood with a leather strap. With inset glass eyes. ...

Hand-made and hand-painted metal flower with cast iron base. Leaves and stem can be twisted and warped to fit into different shapes.

Sculptural 18th century Italian hand-carved angel wing mounted on a calcite crystal cluster and adorned with citrine points. The hand-carved angel wing was once part of a heavenly, a...

A very whimsical and spirited Luohan from calls in the beasts of the forest as to protect them from harm. These bronzes are rare but come up for sale from time to time. This piece sh...

Beautiful pair of ceraferous angels sculpted in the round in a very lively position (the movement in the hair is remarkable), almost Baroque. Very fine execution of the plastron armo...

Sculptural 18th century Italian hand-carved angel wing mounted on aragonite and adorned with tangerine quartz crystals and a baroque pearl. The hand-carved angel wing was once part...

An Aztec Stone Sculpture of a dog-like creature, seated with one raised paw, having large round ears, deep set eyes, mouth with exposed upper fangs, and an unusual curved tail with c...

Soft Glow Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 10 in x Diameter: 10 in Unique Her poetic porcelain plates examine and reimagine the history of art in a ...

Exceptional pair of armchairs, in carved wood, decorated with acanthus leaves and volutes, the armrests ending in lions' heads, the footrests in dolphins' heads. Traces of "a mecca" ...

Sculptural 18th century Italian hand-carved brown and gilt angel wing adorned with citrine and quartz crystals and mounted on a polished hematoid slab. The hand-carved angel wing was...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

Rose as Sweet Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 11 in x Diameter: 11 in Unique Her poetic porcelain plates examine and reimagine the history of art i...

Silo is a sculpture that bases its beauty on the material in which it is made. Made of wild clay from the Mixteca mountains, this clay is cleaned in filters...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

A scarce antique English porcelain figure of a Putto holding a basket of flowers by the renowned Staffordshire factory Bow and dating from aro...

Chin Up, Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 11 in x Diameter: 11 in Unique Her poetic porcelain plates examine and reimagine the history of art in a w...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

Inherent Light, Portrait, 2019 by Alex Hodge Hand carved porcelain plate Height: 11 in x Diameter: 11 in Unique Her poetic porcelain plates examine and reimagine the history of art...

The figure stands with arms crossed in front, a pose that is often seen in tomb figurines which were intended to serve the deceased in the afterlife. The long robe and facial feature...

Tang Dynasty painted terracotta fat lady tomb figure China. Tang Dynasty Circa 618-907 Modelled in the form of a classically dressed fat lady, this terraco...

Sculptural 18th century Italian hand-carved angel wing mounted on a chalcopyrite and adorned with kyanite. The hand-carved angel wing was once part of a heavenly, angelic depiction i...

This Italian Limestone Venus Sculpture is a stunning depiction of the goddess of love, carved with incredible detail and from authentic 18th century limestone sourced from Italy. The...

This contemporary Italian sculpture, a Work of Art by the woman artist Monica Foglia, represents a human heart sculpted in bronze. The 2 finishes, half in polished gold bronze and th...

A late 17th-century figure in polychromed chestnut wood with excellent carving and gilding, dressed in a flowing veil and cashew hair down the shoulders. The cheekbones and nose are ...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

Pure Love, is the treasured dream for everyone, fulfilled itself in a new inhabitant of Yoomoota Universe. The white character, spangled with amorous looks and kisses, hides few impo...

This is a sublimely made porcelain figure of the female "Ranelagh Dancer", made by Derby between 1759 and 1769, which was the Rococo era. The figure would originally have had a male ...