Wood Figurative Sculptures

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

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...

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

Painter's articulated mannequin depicting a woman, with a metaphysical face. The mannequin is made of carved national walnut wood for the body parts and maple wood for the spheres in...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

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...

A Carved and Polychrome-Painted Group of the Virgin and Christ, 18th Century The modelled standing in robes holding the Christ child, on a rockwork base with a seraphim mask to the ...

An intriguing set of 4 Spanish Wooden Molds used in shaping toile and other soft metals. A wonderful collection for any bookcase or table top. Super patin...

19th century French marbleized painted crucifix with green mica. The crucifix originally came from a collector in France. The crucifix is painted ...

Italian Mid Century Marble Sculpture of Grapes Italy, 1970s A Italian mid-century marble sculpture of grapes from the 1970s is a striking example of craftsmanship and natural beauty...

Antique Sicilian Opera dei Pupi Theater Marionette, ca. 1930s A large Sicilian theater (Opera dei Pupi) marionette, which is made of tin, wood and canvas ca. 1930s. The Sicilian Pu...

IMPORTANT SEDES SAPIENTIAE VIRGIN AND CHILD ALSO CALLED « THRONE OF WISDOM » ORIGIN: FRANCE, BURGUNDY PERIOD: EARLY 13th CENTURY Height : 75 cm Len...

Beautiful hand carved bust head African sculpture circa 1950's, nice clean condition.

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

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...

Large scale late 20th century decorative asian carved wood sculptures of good luck children sleeping on melons. Feature hand painted girl and a boy figures...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle colle...

Well used and loved Nupe carved hardwood wood stool with four legs and central post, openwork geometric design, with stylized multiple dancing animal or lizard forms. Large conical ...

A renown tradition in Puerto Rico is the making of Santos de Palos by Masters Carvers since the 19th century. They hand carved and hand painted the saints inspired in their personal ...

Charming hand-carved wooden figurines in folk art from northern Sweden. The set of 6 figurines are made by hand in solid Swedish pine and painted by My...

A wonderful hand carved head of Hardwood. A stunning sculpted and carved piece. A stand alone decorative piece or can be used as a large book end. Trul...

An amazing earthenware Kwan Yin statue with lamp and reverse incense burner by master potter Liu Li Hui. Seated dhayana asana on wood ledge, Kwa...

1960s Carved Wood Tiki Totem Sculpture Of A Knight Solid Wood feels heavy - initials RJP Bit of wood missing on underside of base (as shown - part of carving)

Pair of Antique Giltwood Angels Hand carved and gilded with silvered clouds to base. Made in France at the end of the 19th century, Very decorative architectural wall elements. ...

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...

Pair of Hand Carved Signed Balinese figure bookends or sculptures - two outstanding carved wood figures - both intricately carved. The pair are lovely island people and can work as ...

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

ABOUT Price is per collection. 4 collections available. (1st set, image #1 has sold) Please specify which set to purchase. Decorative only. Original cobbler's wooden shoe forms. S...

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 ...

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

Hans Bolling for Orskov & CO teak and beech wood figurine with furry mustache. Stamped on the bottom. Made in Denmark

Stylized Art Deco standing sculpture of Jesus Christ (may be influenced by Christ the Redeemer "Cristo" in Rio de Janeiro, Brazil) by Austrian desig...

Atelier mannequin graven and carved stone pine wood Italy, late 19th century Measures: H 102 cm x 25 cm x 14 cm H 40.15 in x 9.84 in x 5.51 in Weight: circa kg 4 State of conse...

A folk-art nutcracker carved in oak wood. This is an elusive antique black forest nutcracker created in northern Europe, most probably in Germ...

This is truly a spectacular work A beautifully sculptured Buddha head (the features and finial suggest that it is Thai/ Siam) on a custom display stan...

Antique large size sculpture and an impressive, religious work of art. Looking at Christ suffering like this, the crucifix (in our view) is a symbol of what 'telling people the trut...

Contemporary abstract wooden "VERVE" wall-mounted sculpture created by circular sawing, sandy-white painted on white-stuff. Signed Christofer Kochs, 2019 Due to the exaggerated leng...

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...

Pair of intricately hand carved Teak temple guard dogs. Foo dogs are symbolic, protective statues, and they are designed in pairs — one is female, the othe...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

Sculpture Earth Globe Black and Teak n°1 all in hand-carved natural teak root and with black volcanic sand. On swivel base with easy rotative syste...

Sculpture Stormtrooper Black Helmet Butterflies with original black Stormtrooper helmet in matte black resin ornamented with black papillo gambrisius butterflies (no cites required f...

Cascavel snake is part of Bichos do Brasil collection that is decorative and collectible objects of wooden figures that represent animals of the Brazilian Fauna. The design of the co...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

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...

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...

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...

These stunning angel sculptures are sold as a pair. They were originally placed on an church altar, with one facing left and the other facing right. With their detailed facial features and sweeping wings, they are truly captivating works of art. They were designed by Daprato Statuary Company in the 1910’s. Daprato Statuary Company was founded in 1860 in Chicago by four brothers, who were statue-makers from Barga, Italy. By the 1890’s, the company had grown to be a worldwide ecclesiastical art...

Original Curtis Jere 3-D Brass Copper Flower Cart Sculpture Circa 1960's Signed with brass tag on edge of base as well as original label on bottom.

Mid-20th century hand-painted traditional figure made of wood. Made in Barcelona, Spain. In original condition, with minor wear consistent with age and use, preserving a beautiful p...

18th century Italian cross mounted on a polished pink hematite quartz heart and adorned with aurora (sunset) quartz and a natural-forming cross shaped baroque pearl. The 18th centu...

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...

Whimsical carved figure of skin diver , spear fisherman . Decked in wet suit with spear gun and fresh catch . Hand carved in Italy late 1960s into the ...

A large scale carved wood sculpture with extraordinary detail. The entire piece represents Krishna on his peace mission and preparation for war with the hostile Duryodhana. Later in triumph, here Krishna is the charioteer for the famed Archer Arjuna who rides in the Palaquin at back, in prayer and with his Bow and Arrow lying in front. The god Hanuman, with his monkey face and hiding a prayer scepter sits under an arch, flanked by carved peacocks. The chariot is drawn by four horses and the Palaquin has an elaborate top. Every inch has carved decorative details. The entire piece is mounted on a carved base with leafy details and scalloped base edge. Protected in a custom Plexiglass Display Case...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...

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...

Massive vintage display pencil. Made of one solid piece of wood and a machine engraved metal ring wrapped around the end by the eraser. Size: 60" long. Marked ARTIST GRADE - GRAPHITE...

Rare female articulated mannequin from an artist’s studio in Paris, circa 1910-1920. The charming figure is carved from lime tree and signed on the back: Marquette Artistique C.M.B –...

A lovely and rare Spanish colonial statue of a madonna or female saint in carved and polychromed wood with movable arms and hands. Philippines, circa 1700s. In her time and within th...

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...