Marble Figurative Sculptures

An Unusual and Rare English ‘Memento Mori’ Carved Shrine with Two Human Skulls to the underside, a carved ‘Dragonfly’ Marble 16th / 17th Century England Size: 36cm high, 28cm w...

Beautiful late 18th century marble stoup Copy of the stoup located in the Romanesque church of the first century AD. of San Clemente in Rome. Body wit...

Romanesque sculpture is bold, dignified and gets our attention. This Neo-classic form is all that and more. This is a large female figure with a gentle S curve. Her tunic has beautif...

Splendid sculpture in white Carrara marble depicting a young Hercules holding the world. Originally, the work was conceived to be used as a caryatid at the beginning of a sumptuous m...

XVII secolo Rilievi raffiguranti papa Innocenzo XI e Pio V (2) Marmo, cm diametro 29 I due manufatti in esame, una rara coppia di tondi in marmo riferibili al XVII secolo, rappre...

Splendid bronze sculptural group depicting the rape of the Sabine women, made with the ancient lost wax technique. The drama of the scene is rendered with great mastery: in the cente...

18th Century Monumental Marble Sculpture Representing Neptune

Monumental sculpture representing the Venus Pudica (Medici-type) 18th Century Italian (Rome) White marble Based on a model from Antiquity, the Medici Venus, currently in the Uffizi ...

Beautiful and unique handcarved white marble winged double angel head ornament. Italy, circa 1750. Weathered . Measurement includes the wooden base. H:24cm W:23cm D:10cm

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

XVII secolo, Roma Putto sdraiato con colomba Marmo, cm 37 x 18 x 25 L'oggetto è in buono stato di conservazione

Exceptional hand carved baroque marble panel depicting a winged angel head , Italy, circa 1700-1750. Beautiful weathered.

Unique and wonderful hand carved grey marble angel head, France, circa 1780-1800. Beautiful weathered. Measurement includes the wooden base.

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...

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...

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...

A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

This 1890s French White Carrara Marble Sculpture is a timeless and elegant masterpiece, hand-crafted from the finest marble in France. Its classic design and high-quality material ma...

Roman column. Made with marble. 1st Century A.D, Spain Very decorative. Good Condition. With certificate of authenticity. Provenance: Caldes de Mont Bui N...

Louis XIV style bust of a man in armor. France, Late 17th century Alabaster on a griotte red marble base Base diameter 7 cm Bust width 8.5 cm

We present you this elegant and incredibly charming titled 'le baiser', translating to 'the kiss' in French. This statuette is rendered in bisque porcelain and depicts a bust of a te...

Standing Roman emperor Germany, 17th century Bronze and marble base

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

A Polychrome and Parcel-Gilt Marble Group of the Virgin and Child Attributed to Giovanni Di Balduccio (1317 - 1349) Marble Italy Circa 1330 - 1340 SIZE: 65cm high, 28cm wide - 25½ i...

A Superb Pair of Neapolitan Carved Figures of Dwarves Attributed to Francesco Celebrano (1729 - 1814) Marble Naples, Italy 18th Century SIZE: Male: 36cm high - 14¼ ins high Fe...

Callipygian Venus 19th Century Italian (Naples or Rome) White marble After the Antique: Naples Archaeological Museum (IT) Roman version of a Hellenistic 3rd Century B.C. model Height: 62 cm Width: 22 cm H 24 1/2 x W 8 2/3 inch The Callipygian Venus, also known as the Aphrodite Kallipygos or the Callipygian Venus, all literally meaning “Venus of the beautiful buttocks”, is an Ancient Roman marble statue...

A well carved Indian white marble Jain temple relief fragment featuring an image of a Jina, circa 12th century, Rajasthan or Gujarat, India. The Tirthan...

RENAISSANCE COAT OF ARMS in White Carrara Marble Italy 17th Century finely carved with roccaille inside reserve crowned heraldic coat of arms Ital...

Marble Roman relief representing a Christogram Roman relief - 4th century 25 x 22 x 8 cm Provenance : Collection of the Château de B. À Nevers by Georges C.S., scholar born in 1833 and deceased in 1909 The entire castle and its collections were acquired in 1938 by the current owners of the estate A christogram is a monogram or combination of letters that forms an abreviation for the name of Jesus Christ. This rare fragment combines chi (X) and rho (P), the first two letters of Christ's name in Greek and it is one of the oldest and most popular early christian symbol. The monogram of Christ, or chrismon, is also a powerful symbol of imperial victory: it appeared to Emperor Constantine the Great before his battle against Maxentius in ad 312, promising victory in the name of Christ. In Plato's Timaeus, it is explained that the two bands which form the "world soul" (anima mundi...

Ligurian school, 18th century Madonna and Child and St. John Marble, cm h. 43 - Base, cm 16 x 8 The sculpture under consideration, depicting a Madonna and Child with St. John at h...

Beautiful bas-relief in white Carrara marble depicting the allegory of Friendship. It features three sculpted putti holding hands. Slightly protruding base.

ITEM: SCULPTURES ORIGIN: ITALY PERIOD: LATE 18TH/EARLY 19TH CENTURY Dimensions: The figure: 74 ¾ in. (190 cm.) high The marble pedestal: 31 ¾ in. (65x75x83 cm.) high The scul...

A Roman Marble Sculpture of Hercules, Circa 1st / 2nd Century AD The sculpture is nude except for the draped Nemean lion skin. Provenance: Sotheby's London, December 14, 1981, lot ...

Carlo Marcellini (Florence 1644 – 1713) Putto White and green marble 41.5 x 73.5 cm This marble putto carved in high relief, almost a tutto tondo, and set on an elegant green marble background, appears almost naked, sitting on a cloud. His peculiar pose, in adoration, suggests that the work was a part of a larger composition including other figures in devotion. Published in 2007 by Sandro Bellesi in the monograph dedicated to Gioacchino Fortini (pg.155), this beautiful marble putto was included in the catalog of Carlo Marcellini, a prominent figure in the baroque renewal of Florentine art. Born in Florence in 1644, Carlo Marcellini received his artistic education in the city of the lily, specializing in stone sculpture and stucco modeling under the guidance of Bartolomeo Cennini before continuing his studies in Rome in the Accademia Medicea founded by the Grand Duke Cosimo III in order to familiarize some more promising artists with the essential “ taste of Rome ”. Under the guidance of Ercole Ferrata and Ciro Ferri, Giovan Battista Foggini...

A hand carved late 18th/19th Century mythological marble Satyr mask with horns, weathered patina in good condition. The hand sculpted Italian Carrara marb...

An impressive and very high quality Italian late 17th / early 18th century white Carrara marble bust of Athena. The bust is raised by a rectangular base with cut corners and a fine w...

ITEM: A MARBLE FIGURE OF THE CAPITOLINE VENUS AFTER THE ANTIQUE. MATERIAL: MARBLE. ORIGIN: ITALY. PERIOD: LATE 18TH CENTURY Dimensions: 40 ¼ in. (1...

A late 18th century grand tour era Egyptian marble sphinx. Sphinx is sitting on attached black marble base.

Roman Marble Fragment of jupiter Circa 2nd-3rd Century A.D. Measure: Height: 19.7 cm This beautiful Roman fragmentary statuette depicts Jupiter, the king of the gods, here recognisable from his two chief attributes, the eagle with outstretched wings - according the Pseudo-Hyginus, singled out by Jupiter because ''it alone, men say, strives to fly straight into the rays of the rising sun'' - and the base of the scepter, which remains at the side of the left foot, an aspect likely borrowed from the statue of Zeus at Olympia, once one of the Seven Wonders of the World. Though much of the original piece has been lost, the subtle anatomical detail in the feet mark this out as a piece of exceptional quality, and the work of an artist of particular talent and patience - as Johann Winckelmann once said of the famous Belvedere Torso, ''if you contemplate this with a quiet eye [...] the god will at once become visible in this stone.'' This fragment once caught the eye of Henry Howard, 4th Earl of Carlisle (1694-1758), a Knight of the Garter and among the most prolific collectors of his day. The piece, acquired during his travels to Rome, was proudly displayed on an alcove of the Western Staircase of Castle Howard...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

Roman marble Fragment of a Right Foot with Sandal Circa 1st - 2nd Century A.D. An evocative Roman marble fragment, preserving the front portion of an over-lifesized sandalled foot. The toes, nails, and bridge of the foot have been sensitively carved. The outer sole of the sandal remains, with delicate, pointed straps joining between the first two toes in a diamond shape. This fragment once belonged to Danish sculptor Jens Adolf Jerichau...

Ancient Roman marble sculpture. Includes custom iron stand. This is the real thing!

Beautiful weathered marble baroque angel. Italy 17/18th century. Weathered, losses and old repairs. More pictures are available on request.

Antique bathtub in Carrara white marble with rings 18th century Height 60 cm Width 76 cm Length 176 cm Internal depth of the basin 50 cm Weight 300 Kg ...

Beautiful and unique handcarved white marble winged angel head ornament that once adorned a facade. Italy, circa 1650-1750. Weathered and small losses. Measurement includes the wo...

Original 18th Century Roman Marble Lion Bath It has the Lions head to the front, rings either side,with a beautifully veined patina These ...

Italian Holy Water Stoup in Red Verona Marble 18th Century Dimensions: h 112 cm x 75 cm x 75 cm With front frieze depicting an angel very good c...

18th century Immaculate Conception and saints Marble, 60 x 50 x 9 cm In the center of the marble oval we find an Immaculate Conception accompanied by St. Vincent Ferrer (identifiable thanks to the presence of the wings and the Dominican dress), and by two saints of difficult identification, one of them with a monastic habit. The theme of the Immaculate Conception began to appear in artistic works ever since the debate began, which saw the Franciscans and the ramifications of the Benedictine Order lined up on one side, linked to the thought of Anselmo d'Aosta and Bonaventura da Bagnoregio, and on the other the Dominicans, linked to the discussion offered by Thomas Aquinas...

Marble lion white marble France, probably Périgord, 17th century Small marble lion wearing a coat of arms pendant with the engraved date, ...

Roman manufacture of the 18th century. Pair of sculptures in burnished and gilded metal. Measures: Height 40 cm. Marble base. Good conditions.

A Carrara Marble Bas-Relief depicting Apollo Italy, 18th Century 30,5 x 16,5 cm very good condition.  

A stunning and extremely high quality Italian 18th century white Carrara marble statue of Diana and her dog. The statue is raised by an impressive thick square base with a wonderfull...

BRONZE MODEL OF "SLEEPING PUTTO" IN THE MANNER OF FRANÇOIS DUQUESNOY Situated over sienna marble base, unmarked; circa late 18th/early 19th century ...

A very stunning 18th century Italian Blasson - Family Crest. Expertly carved from Carrara Marble with heraldic lion, a crown and vines. A spectacular pie...