Metal Figurative Sculptures

Citrine crystals in matrix mounted on a gilded 18th century Italian base. The citrine crystal specimen is adorned with baroque pearls and it sits in a bed of crushed crystals and coo...

An Italian 18th century sculpture of St. Peter of Verona. A magnificent sculpture of St Peter martyr of Verona, created by a member of the Lombard art school in Verona Italy, in the...

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...

A Captive Soldier Gilt Bronze, Lost Wax Italie (Rome), 17th century H 17 x Dia 10 cm H 6 2/3 x Dia 4 inch The 17th century witnessed a flourishing of artistic expression across Eur...

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

18th century Italian silver and gold leaf crucifix adorned with baroque pearls and mounted on a mica cluster and a calcite crystal. The mica specimen is from the Great Smoky Mountain...

Sculpture of Saint Paul, an ancient statue Ancient statue of Saint Paul from the 17th century Large sculpture depicting Saint Paul, from the 1600s, carved in solid Walnut wood. Or...

This 18th Century French Wooden Sculpture of Jesus on a Metal Stand is a profound piece of religious art that exudes a sense of history and devotion. Carved with reverent detail from...

Antique Italian Copper Wine pitcher 18th Century Venetian Venice European A fine example of Italian copperwork from the 1700s, with fine embossed decoration including Fish, Leav...

A Spanish colonial reliquary with St. Joseph. A very rare early Spanish colonial large pendant in the shape of a reliquary, created in the Americas back in the late 18th century. It...

This Ming Dynasty iron-standing Guanyin sculpture from China in the 16th century is a masterpiece of cast iron with a rustic patina wear and a faded washed gold leaf finish. Perfect ...

A masterful large classical statue in cast bronze of a beautiful young woman in stride wearing a flowing ionic chiton. The exquisite casting of ...

A savage or folk-art figure in bronze on a (recent) bluestone base. The figure with his long pointed beard is wearing a cape with hood. In front is a cross. In his hands he holds a ...

Fine 18th Century bronze figures of a military drummer and a soldier loading his musket. Both bronzes are placed on a square shallow plinth base with titled ...

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

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

18th century Baroque/Rococo english glazed painted porcelain of a goat-riding tailor by Chelsea Pottery By: Chelsea Pottery, Meissen Porcelain (in the style of) Material: porcelain,...

Sculptural 'Sacred Heart' - 18th century Italian gilded angel mounted on a polished red hematoid quartz heart and adorned with a natural-forming baroque pearl.The piece is inspired by "The Sacred Heart" in Catholic art history which symbolizes God's unconditional love for mankind. Hematoid Quartz is a quartz crystal that contains Hematite inclusions. It is polished and sculpted into a heart and adorned with the Italian gilt putto and baroque pearl. The piece is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian putto...

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...

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...

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...

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...

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 ...

Iron Bust From 1600 depicting a boy with curly hair, dressed in a tunic that leaves one shoulder uncovered. Made of cast iron, the pommel has a dark patina and is in good condition, ...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

A 18th Century superb italian sculpture of a draped Madonna with a veil, base with richly carved relief with cherubs and a baby Jesus on her lap in carved polychrome and gilded wood....

This magnificent matched pair of bronze figures was created by the well known bronzier Clodion in the late 18th century. The pair is a fantastic reflection of Clodion’s skill and cel...

Winged angel head. Polychrome wood. Spanish school, 16th century. Carved and gilded wooden sculpture that shows a child's head with blonde, curly hair adorned with two wings. This ty...

Sculptural Sacred Heart - 18th century Italian sunray mounted on a yellow hematoid heart and adorned with yellow crystal quartz points. The piece is inspired by "The Sacred Heart" in...

Sculptural 'Sacred Heart' - 18th century Italian cross mounted on a polished red hematoid quartz heart and adorned with natural-forming baroque pearls and a cross-shaped baroque pear...

Incredible J A Houdon bronze 1790 representing "Diane" with bow and arrow by Barbedienne founder.

18th-century distressed Italian mecca arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic Itali...

18th-century distressed Italian mecca gilt arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic ...

Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative ...

Pair of 18th century Italian hand-carved gold leaf angels with tangerine quartz crystals and mounted on aragonite. The hand-carved angels were once part of a heavenly, angelic depiction in a historic church in Tuscany. The angel arms and feet are adorned with the tangerine quartz crystals to restore the broken aspects of the figurative pair. They appear partially crystalized in form. The aragonite is from Morocco and has many different formations. This one in particular emulates a cloud which is compliments the 18th century Italian gilded angels. The piece is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the pair of Italian angels...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

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 with his legs crossed, his right foot resting on a naga hood, a gada supporting his right knee, two Nandi bulls on the square base, the god's two l...

Pair of antique agate cameos on mother-of-pearl on horn in gilt brass Louis XIV style frame. Provenance : Collection vente YSL

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

18th century Italian hand-carved and painted angel wing with baroque pearls and mounted on honey calcite crystal. The hand-carved angel wing was once part of a heavenly, angelic de...

In the heart of ancient China, within the resplendent Ming dynasty, a masterpiece was cast in bronze, a testament to a culture steeped in mysticism and spirituality. This Taoist bron...

An exquisite Thai cast bronze Buddha head, Sukhothai kingdom, circa 15th century, Thailand. The Buddha's pleasing face, with its narrow, oval ...

Auction. Carved and gilded wood. Spanish school, 17th century. Carved and gilded piece of wood probably coming from a Spanish school altarpiece decorated with deep carvings of archi...

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...

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

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...

Pair of 18th century Italian hand-carved gold leaf angels with golden quartz crystals. The sculptural pair have the original metal wall hangers to be hung on the wall. The hand-carve...

A rare and unusual Chinese Ming Dynasty bronze figure of the Buddha as an infant. The young Prince Siddhartha, who would grow up to become the Buddha, is portrayed standing, one hand pointing to the sky, the other to the ground. He is naked, save for a baby apron...

The base is circular, with a wavy profile, prepared with pastiglia (refined plaster) and finished with gilding in the upper band. The median band has a pale celadon green covering th...

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood with a rectangular and flat shape, slightly raised on circular legs and...

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...

This is a very rare and extremely unusual figurative solid bronze handcrafted sculpture. The figure is most likely Inca-Mayan and worshiping Inti, also called Apu-punchau,-in Inca religion the sun of God. The work is incredibly detailed, starting with the man’s feet...

18th century Italian gold leaf angel head or "putto" adorned with baroque pearls. A putto is a cherub figure frequently appearing in both mythological and religious paintings and scu...

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 18th century Italian hand-carved gold leaf angels mounted on amethyst and calcite in matrix. The hand-carved angels were once part of a he...

18th century Italian gold leaf angel wing with rutilated quartz crystals on natural-forming aragonite crystal cluster. The hand-carved angel wing was once part of a heavenly, angelic depiction in a historic church in Italy. The aragonite is from Morocco and is known for this particular type of crystalized formations. The mineral emulates a cloud which is compliments the 18th century Italian gilded angel wing. The rutile quartz crystals are adorned on the base and aspects of the wing and the gold of the rutile perfectly matches the original gilded 18th century Italian artifact...

From a beautiful home in Santa Barbara. Slight chipping in silver leaf on back side. Beautifully detailed.