Stone Figurative Sculptures

Continental solid silver sculpture of large cherub mounted on marble base measuring 11 1/2 inches in height on its base and holding a large garland of flowers. The figure is of very high quality and is very detailed and its height is 9 3/4''. The square marble base measures 4 2/3'' in length. Solid 0.800 silver sculpture...

Pair of antique four seasons statues. Solid stone. Woman holding a flame and woman holding grapes. The four seasons are an ancient decorative motif and became especially popular as...

Wonderful whimsical large scale bronze by the noted Californian artist Ramona Rowley. Signed on the bottom foot, it is mounted on a round stone swivelin...

Bronze statue with a sky-blue marble vault, on a white marble base. Italy, early 19th century. Dimensions: 32 x 10 x 10 cm. Situated and shipped from Italy. This object is shipp...

Probably Austrian, this lovely Jugenstil desk-sized black-patinated bronze figurine on its original marble pedestal depicts a fawn youth, checking the size of his tail to see how muc...

Sculpture in regula representing a Poulbot, circa 1900-1920. A regule sculpture of a Poulbot, a newspaper seller, circa 1900-1920, Napoleon III style. h: 53cm, w: 23cm, d: 23cm

Pair of coral colored ewer statues carved in marble in the form of winged Females set on a square base.

Early C19th ‘Grand Tour’ statue of ‘Diane de Gabies’, finely carved in Carrara marble. Diane stood next to a tree stump with her hair tied back and her head tilted to the right where...

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...

Late 19th century french patinated bronze sculpture of violinist 'Sans Souci' with marble base by Léon Tharel for Susse Frères By: Léon Tharel, Susse Frères Material: bronze, metal, marble Technique: cast, patinated, hand-crafted, metalwork Dimensions: 6.5 in x 9 in x 9.5 in Date: late 19th century, circa 1890 Style: Belle Époque, Romanticism Place of origin: France Antique reclining...

Large Carrara marble sculpture signed Barrias for Louis Ernest BARRIAS (1841-1905), depicting a young musician. He is seated on a cushion with pompoms resting on a pedestal, playing ...

Marble sculpture "Captivation" 2024 by Grishigiano. "There is no abstract art" is the phrase that inspired sculptor Grishigiano in creating this unique piece titled "Captivation." Th...

Charming cast stone statue with fine detailing and relief of a young girl or woman dressed in classical draped chiton, her hair in chignon style secured with a ribbon, with eyes cast...

This antique bust is signed by the artist consistent with the work of the renowned Emelio Zocchi of Italy and dating to approximately 1900 and done in the period Renaissance Revival ...

Grégoire Calvet (French, 1871-1928) A Fine Late 19th Century Life-Size White Marble Sculpture representing "Peace & Love". The beautifully carved white...

A very fine bronze study of Venus taking an arrow from Cupid her son, who at times would shoot his arrows without meaning or reason into the hearts of men, igniting their desire. Exhibiting excellent rich brown patina and good detail, signed Sul Abadie and stamped. Additional information Height: 93 cm Condition: excellent condition Circa: 1885 Materials: bronze & marble SKU: 4979 ABOUT Jean Sul-Abadie Jean Sul-Abadie (Born 1850 ~ Died 15th April 1890) was a French artist, a pupil of Jouffroy and Falguière. Specialising in bronze sculpting in the Art Nouveau style. He made his Salon debut in 1872. Cupid & Venus Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born. In the following painting you see Venus with Mars, who is being disarmed by Cupid. Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist. In classical mythology, Cupid (Latin Cupido, meaning “desire”) is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the war god Mars, and is known in Latin also as Amor (“Love”). His Greek counterpart is Eros. Although Eros is in Classical Greek art as a slender winged youth, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who is shot by Cupid’s arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a main character only in the tale of Cupid and Psyche, when wounded by his own weapons he experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as “Love conquers all” and the retaliatory punishment or torture of Cupid. In art, Cupid often appears in multiples as the Amores, or amoriniin the later terminology of art history, the equivalent of the Greek erotes. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto. Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he often had a dual nature as Heavenly and Earthly love. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings. In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentine’s Day. Venus is the Roman goddess whose functions encompassed love, beauty, sex, fertility, prosperity, victory, and desire. In Roman mythology, she was the mother of the Roman people through her son, Aeneas, who survived the fall of Troy...

A good quality late 19th century marble statue of a young female nude, seated on a rock holding a jug collecting water.

Richard Walter Bock Bronze Bust of Theodor Menges Sculpture on Marble Base This sculpture measures: 20.75 wide x 13 deep x 26 inches high This bust is in Good Vintage Condition with...

An enchanting 19th Century Italian carved marble statue of a young child sitting on a rock holding a bunch of flowers. Indescript signature.

Marble Bust of the Emperor Augustus The Carrera marble head and base with a salmon and white colored marble toga. Height 30 in., Width 22.5 in., Depth 19 in. Condition Report Good c...

Depictions of young angelic boys are also known as putti, or putto for a single one. Since the 17th century on they remained popular and are found in various forms. Perhaps the most known version is Cupid. Looking at their attributes time periods can be narrowed down. In this example we see a rose Guirlande and a medaillon which are typical for the late 18th- early 19th century. The Rosso Verona Marble...

An adorable and finely detailed Italian 19th century White Carrara marble statue and Portoro marble pedestal, signed 'Galli Firenza', circa 1885. This emotional and high quality marb...

A beautiful cast bronze and black marble sculpture of flower with woman by McLean from 1986. The sculpture is signed McLean and dated 1986. Dim: ...

Alabaster sculpture designed and produced by Mario Urbani in 1930, Volterra. Single piece. Biography Urbani, Mario, architect, painter, artist, (Rome 1885 - Pesaro 1961), SIUSA Mar...

An exceptional, fine and impressive vintage Elizabeth II English sterling silver presentation harp trophy made by Edward Barnard & Sons Ltd; an addition to our presentation silverware collection This exceptional vintage Elizabeth II cast sterling silver presentation piece has been realistically modelled in the form of a harp. This impressive harp trophy is embellished with cast strings conjoined to the structural frame, accented with an array of engraved geometric shapes. The hallmarked sterling silver harp ornament is displayed on a rectangular green marble base fitted with an applied vacant silver inscription plaque; the plaque may be engraved with a personal inscription if so desired. The underside of the plinth is fitted with green baize. This impressive example of vintage silverware...

Dante and Beatrice Alabaster, 33 x 20 x 36 cm Early 20th century The present alabaster relief, of which great technical skill is evident, imitates the pages of a book, On the two...

This pair of Art Deco bronze figural bookends are signed, but the artist could not be identified. It is presumed this pair of bookends was made in Austria in approximately 1920 in th...

Original bronze sculpture "Family" by T. Bowie marked 1969 with a marble base.

A fine pair of Italian Grand Tour patinated bronze gladiators. One with his dagger drawn, the other about to draw his. Both in plumed helmets. Superb ...

Female Portrait is an original marble sculpture realized in 1993. This elegant sculpture was entirely realized in Carrara marble and represent a female figure stylized. Under t...

Bonsai Sculpture Made of Hand Carved Hard Stones and Wooden Basel.

This is an incredible Garden Statue of Aphrodite the Greek Goddess. its in 100% Original condition with NO Cracks!

A beautiful and very high quality Italian late 19th century Trets and white Carrara marble statue by Pasquale Rizzoli. The statue, in the manner of Etienne Maurice Falconet (1716-1791), is raised by a most decorative circular Trets marble base with a superb double mottled and elegantly curved design. The wonderfully executed white Carrara marble statue above depicts a charming winged young man...

Extremely rare and top quality carrara marble loves sitting on a rock by Hippolyte Francois Moreau ,one of the best sculptor at the biginniing of the 20 th century

A French carved walnut putto feeding a swan sculpture from the late 19th century, with marble base. Created in France during the last quarter of the 19th century, this walnut sculpte...

Interesting fun whimsical carved stone garden sculpture. Base measures: 12 x 9 at 6" tall.

A most unusual Austrian polychrome cold painted bronze of a boy with cheroot cutter. The boy lying down and having a wide brimmed hat on his head and knee length britches. In his mou...

A high quality and most patriotic American 19th century white Carrara marble statue on its original Vert de Patricia marble pedestal, entitled "Fourth of July". This wonderfully carved white Carrara marble statue depicts playful siblings in action and dressed in Revolutionary costumes. The young boy with a small drum below him blows a horn as he lights a miniature cannon...

1990s Bust of a woman, hand carved by craftsmen using Carrara white marble for the head and Alicante red for the toga and hut, where the white veins give movement and realism to the ...

Sculpture of an abstracted head hand-carved from alabaster.

Cast stone Sculpture of Nude with Cat by William Zorach Incised signature near base '©WZ Zorach William Zorach' with publisher's mark. This work is from the edition published by Robi...

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...

Fantastic bronze bookends. Gilt bronze sculptures of North American native tribal chief. Mounted over green marble. Signed A. Bofill and numbered 35 an...

Early 20th century Expressionist patinated bronze woman sculpture with marble base signed by italian sculptor A. Monti By: A. Monti Material: bronze, marble, copper, metal Technique...

Large hardstone Forbes Sullyare protected by spirits fruit serpentine, measure: 18" high x 29" diameter.

Jugendstil, Art Nouveau, Liberty We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982.If you have any questions we are at your disposal. Pushing ...

Exceptionally rare Scottish 20th Century Bronze Statue by the Acclaimed Scottish Sculptor, Ann Henderson RA (1926-1976). Title: Flowers. This sculpture was exhibited at The Royal Aca...

Large bronze group with brown patina signed Clodion on the base of the group, dating from the 19th century, representing a fauna with her two children, one on her knees the other lyi...

Almost life-size depiction of Venus with dolphin by Robert I Cauer (1831-1893). Full sculptural execution in marble. Inscription on the base "R. Cauer" as well as date 1874 and place...

This elegant vintage Regency French outdoor figure is crafted from cement over fiberglass, offering a timeless blend of durability and artistry. The figure features intricate detaili...

Pair of Sicilian stone statues depicting sphinxes. Their provenance can be traced to the staircase of a Palermo villa. One can observe the original mixture of human and feline featur...

Modern abstract sculpture of gymnast on marble base. Measures: 12 inches.

Cipri Adolf Bermann (German, 1862-1942) a very fine 19th century gilt-bronze miniature figure of a Bacchus Herm, depicting Bacchus, also known as Dionysus, the god of the grape harve...

White marble sculpture of Hercules, beautiful execution of old Italian manufacture. origin sculptors central Italy, probably workshops of sculptors Viterbo, Etruria. ADDITIONAL PHOTO...

A very fine french 19th-20th century Louis XV style ormolu and white marble three-light candelabra, attributed to François Linke (1855-1946). The single allegorical and whimsical finely chased gilt-bronze Belle Époque group representing a pair of mermaid Putti supporting a cornucopia filled with flowers and fruit topped...

A lovely modern sculpture by 20th century Italian artist Oriani.

The elongated cast bronze sculpture of abstracted figures in a deep patinated brown show jagged figures together but separated in the conversation of life. They look away from each i...

A most charming and finely detailed Italian 19th century white Carrara marble statue of young cupid. The statue is raised by a circular base with a fine wrap around mottled design. T...