Wood Figurative Sculptures

Beautiful Baroque hand carved angel-wing with traces of old paint and gilding. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inc...

An articulating wood figure sculpture piece, circa late-20th century. Used as a tool for learning to draw the human figure since the Renaissance. A fun, adjustable, artist model for ...

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved Italy, circa 1750 Weathered. Small losses and old repairs/restorations on arms and legs. Measurement her...

Torch-cut brass sculpture of lillies, mounted on a burlwood base, by Gerd Scharrelmann. This elegant sculpture has a delightful kinetic effect. The flowers and stems shiver, producin...

This charming hand-carved wood sculpture depicts a serene young child peacefully resting on a large pumpkin. Likely originating from Southeast Asia and dating to the 20th century, th...

Beautiful large Baroque angel-wing . Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathered small losses and old repairs. Me...

Cabinet of Curiosities with Plaster Figures – Olot, Spain, Circa 1950 This captivating cabinet of curiosities, crafted in the heart of Catalonia, Spain, circa 1950, features a colle...

Beautiful weathered oak panel depicting two baroque angels and an eagle standing on rams heads . Weathered and small losses, most likely it was once part of a larger panel. France ci...

Beautiful giltwood angelhead. Italy, circa 1650-1750 Weathered and small losses. Measurement here below inclusive the wooden base. H:18,5cm W:11cm D:11,5cm

Beautiful weathered oak panel depicting two baroque angels and an eagle standing on rams heads . Weathered and small losses, most likely it was once part of a larger panel. France ci...

Wonderful Hand carved winged angel. Italy, circa 1750-1800 Weathered small losses and old repairs. Measurement here below inclusive the wooden base.

Amazing baroque panel depicting a crowned reliquary . Beautiful weathered with traces of its original silver, gilding and colour. Italy circa 1750 Weathered, small losses . Measureme...

Beautiful Baroque hand carved wooden angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base.

Wonderful hand carved baroque angel figure. . Spain, circa 1750-1800 Weathered. small losses and old repair. Measurement here below includes the wooden base. H:57cm W:18cm D:20,5cm

Beautiful Baroque hand carved giltwood angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base. H:22...

Wonderful hand carved winged angel head with its original color and gilding. France, circa 1750 Weathered and small losses and old repair. Treated against woodworm. Measurement here...

Early 20th century hand carved pine architectural model A well modelled early 20th century hand carved pine architectural model of a rooftop corner. Showing natural age and minor lo...

Beautiful hand carved Baroque angel. Unique period piece with traces of its old paint . Spain, circa 1750 Weathered. Several small losses and old repair. Measurement here below in...

French Midcentury hand-sculpted granite bust on wood base, circa 1965. Signed by the artist G. Gregoire.

Beautiful small hand carved Baroque angel. Unique period piece . Italy, circa 1750 Weathered. Several small losses and old repair. More photo's available on request. Measurement her...

Beautiful weathered oak panel depicting two baroque angels holding a coat of arms. Weathered and small losses, most likely it was once part of a larger panel. France circa 1750. trea...

Beautiful giltwood angelhead fragment Italy, circa 1750 Weathered. Measurement here below inclusive the wooden base. H:22,5cm W:11cm D:10cm

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

Beautiful large Baroque angel-wing . Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathered small losses and old repairs. Me...

An extraordinary and museum-worthy 14th/15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and ...

Rare Gothic revival church crucifix and a wonderful hand crafted work of religious art. Made and marked by Brom, Utrecht (see image 17). Brom of Utrecht was a family (or dynasty) of...

A stately addition to any baroque-style decor, this fish tank is rich and bold in every detail. Equipped with an illumination system for the six glass panels composing the base in sa...

Beautiful small hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. Several small losses. Measurement here below inc...

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

This is a very old wooden sculpture. No details are known, but it was found in Japan. It appears to be based on a European female figure. So it is estimated to have been made afte...

French Art Deco Madonna Holy Virgen statue, France, 1920s. Oak. Hand carved statue from what appears to be a single piece of oak. The size is important and the silhouette fine. It sh...

This amazing German chandelier features a delicate hand-carved and polychrome hand-painted mythical lady or mermaid with a scaly fishtail. The adorable and handsome lady is holding a cartouche-shaped shield. The light fixture is hung on a chain suspension, mounted on real antlers, and decorated with red and yellow wrought iron...

Rare and finest Gilded bronze crucifix mounted on a oak cross. The striking details on this highest quality bronze sculpture of Christ are second to none and the antique gilt finish...

Unique and adorable late 19th or very early 20th-century smaller-size chandelier - Lüsterweibchen. Finely hand-carved from linden wood, a unique piece, made by a master wood carver ...

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

Life-Size Artist Mannequin Italy circa 1870, 19th century articulated lay figure, a carved beech life-size female figure of almost 66 inches, da...

Nice couple of two small gilded Baroque style wooden ornaments, Italy, circa 1850. Weathered and small losses. Measurement here below of the largest one and includes the wooden base.

Back to the drawing board! A remarkable piece for spurring conversation at home or for capturing attention in a store display. This massive vintage trompe l'oeil pencil is made of on...

Wonderful hand carved standing Baroque angel figure. Unique period piece with its original paint . Spain, circa 1650-1750 Weathered. small losses . Measurement here below includes ...

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

A 19th century Spanish Colonial santo depicting the Mary, full of presence and quiet devotion. Carved from wood with all original paint, she stands gracefully on her original base an...

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 ...

A beautiful and exceptionally 19 inches tall classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the early 20th century, covered with a layer of wax. Signed by the artist on its underneath. In good condition with charming patina. A classic traditional doll with a simple but lovely design, a decorative piece. In Japan these dolls symbolize love, friendship and believed to be a lucky charm. We offer more large Kokeshi...

Based on his world re known piece the "Hand Chair", this large artistic hand sculpture also highlights the palm and fingers. Rich and detailed with great patina, this piece is in ver...

An antique 18th century Walnut Figural Statue of Saint Peter on a plinth Anonymous Northern Europe, probably Belgium; first-half of the 18th century Walnut Approximate size: 17 (h) x 4.25 (w) x 4.25 (d) in. The present sculpture, perfectly suited for a curiosity cabinet or English-European country styled home, was likely realized for a church side chapel or choir stall niche. The serious look of the saint’s face...

These masterfully hand-carved wooden bookends feature the main characters of the famous Spanish novel "The Ingenious Nobleman Sir Quixote of La Mancha", or just "Don Quixote" by Miguel de Cervantes - Don Quixote and Sancho Panza...

A beautiful and exceptionally 18 inches tall Classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good conditi...

Early 20th Century bronze male nude sculpture on wood pedestal base.

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Vintage lot of 13 rare and high quality kokeshi dolls, authentic kokeshi made in Japan in the Showa period, circa 1950s to 1970s. This lot concerns 13 extremely beautiful kokeshi do...

Beautiful weathered oak winged angel head, France, circa 1650-1750 Weathered, small losses and old repair. Measurements include the wooden base. H:37,5cm W:37,5cm D:8,5cm

Beautiful hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. small losses. Measurement here below includes the wood...

Cacciapuoti Tragic Mask, Italian Art Dèco figurative sculpture by Neapolitan artist Guido Cacciapuoti (Naples 1892- Milan 1953) depicting a tragic mask, made of ceramic, hand-molded...

The Reinassance is inspired by the Maple Tree. The artisan always takes inspiration from nature and natural events. The materials are wood and metals, representing both the streng...

Love this set of Three Vikings . all original from the sixties . One slightly bigger . All complete with there armory . Very scary . Handmade .

Italian vintage Lamborghini oak wood rowing machine.Rowing machine is in good vintage condition . Previously we have one in our office on the wall.

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

This buddha is in Jade, in, a green color. He is sitted on his wood base. It has been done in china during the 20th century.

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...

Chinese Scrib, but handcrafted in Thailand. Sixteen feet long. Rosewood base. The sculptors of this enormous boat made of jade. You will admire the details of this vessel. The dragon is the ultimate symbol of auspiciousness. It is the most important symbol in both Feng Shui and in Chinese folklore. It's most powerful when displayed in the east sector of your home, office or location of the piece. This dragon jade boat...