Wood Figurative Sculptures

Pair of Igorot tribesmen figural wood carvings depicting hunter and huntress with companion canines, weaponry, and displayed on circular fluted plinth...

Tribal wood carved statue. Unknown origin.

19th century Black Forest hand carved figure of a Chamois deer, bending down to eat foliage. The carving is lovely and in very good condition for its age.

Old Skull Board Old Skull Board/ Life After Life Board è una tavola da skateboard decorativa, disponibile in due varianti colore e con un disegno intarsiato simbolo della continui...

Set of 2 sculptural stools joined and carved by hand vintage black oak unique pieces France. French work, the stools are hand-carved, the curves are soft and the veins of the wood ar...

Antique mid-19th century French Monumental solid silver statue, standing on on a turned ebonised base, the statue realistically modelled as a cast...

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...

Heavily carved barrel head in the black forest style.

This stylish and dramatic German, black-forest tavern piece dates to 1930s-1940s and it represents the "May Pole" celebration. The figure is hand-carved wood, natural horns and brass...

19th century silver plate bust Menelaus mythological king of Sparta. A fine casting with rich patina. Ebonized wood base. Illegible hallmark. In Greek mythology, Menelaus was a king ...

A small pair of antique Dutch carved wooden ladies' clogs from the 19th century, with black paint, square noses, wrinkled tops and small heels. Created in the Netherlands during the ...

19th Century Pair of Antique Horticultural Black Forest Figures These very fine examples are of exhibition quality. Their scale, modelling, and superb artistry of carving are rare and difficult to find on the open market. They depict two rural figures and are of a large scale. The first is an 18th century male gardener dressed in typical European costume walking through trees and foliage whilst pushing a rustic wheelbarrow into which he is collecting cut flowers. The second figure in this remarkable pair is a flower girl who is also dressed in a typical period style, and she is carrying an assortment of woven baskets that are full of cut flowers. She is on her way to the market to set out her stall and sell her wares. She is depicted on a rural hillside heavily laden and carrying a tall stick...

3-634 Black Forest German hand carved walnut traveler figural sculpture.

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...

The bubble standing clothes stand is available in black aniline wooden spheres, with a lacquered structure in white, black, silk grey, dusty grey or intense blue. Born in Croatia...

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...

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...

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...

This beautiful nutcracker in the German Black Forest style is decorated with a hand carved sculpture of a man's head with a hat. His mouth opens and closes to crack the nut. Dimensi...

This beautiful nutcracker in the German Black Forest style is decorated with a hand carved sculpture of a gnome. His mouth opens and closes to crack the nut. Dimensions: height 22 c...

Life After Life Board Old Skull Board/ Life After Life Board è una tavola da skateboard decorativa, disponibile in due varianti colore e con un disegno intarsiato simbolo della con...

A Black Forest period carved wooden fragment from the early 20th century, with bear motif. hand carved in Switzerland during the turn of the century, this wooden fragment features a ...

Life After Life, Wooderkammer Limited Edition Collection Design by Marcantonio for Scapin Collezioni Life After Life è una sedia esclusiva, realizzata in edizione limitata di 8 pezz...

Marie-Louise Simard (French, 1886-1963) A large and important original French Art Deco silver and parcel gilt bronze sculpture of a female figure holding a parasol in a canoe. The figure wears a gilt bodice and a two-tone ruffled skirt, details typical of the Art Deco movement, while she floats effortlessly in a narrow boat...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

18th century pair of Spanish torch holder angel gold gilded wooden figures. Total dimensions with base: 33 x 10.5 x 21 without base 30 x 9 x 21 cm.

18th century Spanish Conquistador carved wood figure. 18th century Carved and painted wood Spanish Conquistador figure or sculpture. This beautif...

Large and beautifully sculptured, floor lamp. If you are looking for unique and decorative antiques to bring joy and class to your interior then this marvelous, sculptural floor lam...

A beautifully crafted Black Forest hand carved walnut hunting presentation cup, the basket weave bowl supported by the figure of a gentleman hunter l...

A very unique sculpture entitled "Mr. Architekt" by surrealist Mexican artist and designer Pedro Friedeberg (b. 1937). Circa 1960s, this sculpture was made from carved and painted wood, found objects such as rules and combs, and antique santo...

Silver pottery and wood base.

Black forest carved wood coat hooks, late 19th century with genuine chamois horns. Measurements: 13 x 3.9 x 3.9 in / 32 x 10 x 10 cm 11.8 x 3.3 x 3 i...

An antique lacquered hard wood figure of a reclining immortal. He is resting on a basket and with a miniature fisherman presenting him a large fish. The figures are disproportionate ...

These graceful sculptures were created in the late 19th century by the prestigious French sculptor, Auguste Moreau (1834-1917). Auguste was born into a family of artists, which inclu...

A carved wooden cubist sculpture of a seated nude woman by Boris Blai (1893-1985). This carving likely dates to the 1920s-1930s (during Blai's time in Philadelphia). Most likely constructed of sections of laminated basswood stained with a dark stain, it has an integral plinth with button feet and a carved signature the base. The sharp angular lines of the body are starkly contrasted by the soft-edged, almost nondescript depiction of the head and face. Blai was born in Russia and studied in academies in St. Petersburg, Paris, and eventually under Auguste Rodin. After WWI, Blai emigrated to the US, where aside from his prolific art production, he was also instrumental in the founding of the Tyler School of Art at Temple University, the Long Beach Island...

Tribal wood carved statue... Unknown origin...

Mid-19th Century carved and decorated counter-top Tobacconist’s Trade figures, circa 1850. Each with striking detail and beautiful patina, with the original gilding rubbed well into ...

19th century St Francis wearing a rob with rope tied around his waist. Holding with two-arm a child.

A carved wooden sculpture of a knight crusader from the mid-20th century painted in a silver color with brown undertone. The knight is kneeling on a later rectangular black wooden stepped pedestal, holding his sword horizontally while wielding a kite shield mounted on his forearm, emblazoned with a cross and a forked lightning. Looking determined to battle for glory, he wears a silver painted chainmail coif on his head and chest beneath a helmet framing his bony face, a cuirass above a hauberk, greaves and sabatons. The perfect recreation of a crusader’s battle armor enhanced by the silver paint and numerous details make this carved wooden sculpture of a kneeling knight...

A large carved oak tondo, measuring 73 cm in diameter, representing Maria Magdalene as a penitent, contemplating on a skull and with her attribute: The ointment pot. Flanders, 18th c...

Italian 17h century sculpture of a Santos in carved wood - resting on his steel display stand, circa 1680.