Wood Figurative Sculptures

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

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...

This exceptional sculpture, finely carved from solid wood and dating back to the 18th century, pays tribute to the devotion and artistic skill of its era. Depicting the Virgin Mary, ...

A rare and unique baroque Spanish sculpture of the Immaculate Conception in polychromed chestnut carving wood and a silver crown, with a original wooden podium...

Technique: Tempera and oil on wood Dimensions: 25 x 11 x 8 cm Description: This exceptional work from the 12th century represents the Seated Virgin with Child (Sedes Sapientiae), standing out as an artistic treasure from medieval Spain. The portrayal of the Virgin enthroned with the Child on her lap is emblematic of Romanesque art, and this particular piece is a valuable and authentic example of that era. The current polychromy belongs to the Gothic period and overlays the original Romanesque layer. It is crucial to highlight that the current state of the artwork is the original, without any cleaning interventions, imparting a unique authenticity. The work exhibits architectural characteristics typical of Romanesque art, evident in the sides of the throne. The rigidity and symmetry characteristic of this style are reflected in the firm presentation of the Baby Jesus, noticeable in his gesture while holding his son. The Virgin wears a crown, symbolizing her royal character as the Queen of Heaven and Creation. Both figures retain traces of polychromy on the face and attire, adding layers of history and authenticity. While similar Romanesque Virgin...

This beautiful, antique sculpture of the Virgin Mary in prayers was created in Provence, France, circa 1780. Embellished with gold leaf and polychrome finish, the classic religious f...

niche in gilded wood from the 17th century from Italy Lovely niche with a carved wood in its center from the Italian Renaissance Beautiful original gild wood Dimensions excluding ba...

A scarce 17th century Spanish Colonial carved wood santo with provenance from the National Museum of the Philippines Manila. circa late 1600s A large part of what makes this example so very rare is not just the age and condition, but the saint depicted, San Roque. The Hispano-Philippine (Spanish-Filipinos) hand carved hard wood religious altar figure presents splendidly, with scattered remnants of original gesso and polychrome pigments, the exceptionally sculpted religious folk art depicting San Roque (Saint Roch or Rocco), the 14th century Catholic patron saint frequently invoked against the plaque, various infectious disease, as well as patron saint of dogs, invalids, of falsely accused people, and of bachelors, amongst others. Provenance / Acquisition: Retaining registration - identification label to verso from The Republic of the Philippines (RP) National Museum of the Philippines Manila with hand written registration number. Acquired from highly reputable auction house, Austin Auction Gallery, est. 1982, Austin, Texas. February 2022 catalog. Dimensions: (approx) Overall: 15.75" High, 5" Wide, 4" Deep. Figure: 14" High 1.5lbs Great original antique condition, especially considering it's around 350 years old. Nicely aged patina over the whole. Presented on a later wood plinth base. Typical loss to right arm, minor finish losses, old tiny metal plate added to prevent age related splitting, all wear consistent with age, and only adds to the overall sophisticated character, authenticity, and charming rustic warmth that can only be acquired over long periods of time. We here at Lynx Hollow Antiques absolutely love religious antiques, from an antique altar, church architectural salvaged building and ornamental elements, reliquary, tabernacle cabinet...

This is a cloud-shaped wooden sculpture made around the Edo period in Japan. It is an ornament attached to the central part of the roof of shrines and temples. It is likely that ...

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 ...

Corpus Christi in polychromed limewood.

Large Christ on the Cross carved in the round in walnut wood. With great realism, the sculptor has used the wood grain on the bust and to emphasise the shape of the legs. The right p...

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...

Beautiful pair of French 17th Century Baroque carved wood figural sculptures. Amazing carving details with fabrics and faces being perfectly detailed. Each is made of solid wood in a...

Large baroque wall sculpture in the shape of an angel with curly hair and a transfigured gaze. He holds a scroll in his hands and sits on a cloud. The polychrome paint is rubbed and ...

Jesus Christ Crucified Portuguese Sculpture 18th Century Crucified figure with the head turned to the right side, face with well-defined features, beard and long hair finely carved ...

18th century French or Italian Santo Nativity Figure, a hand carved and painted fruitwood figure for a Christmas Crèche or Krippe. Excellent and delicate details to the head and hands. The half figure stands on a dowel set into platform base, dressed in original fine linen robe...

Winged Putto Sculpture of Italian origin from the 1750s depicts the Face of Angel In Carved Wood from a liturgical ornament to which it was attached with two nails, holes can still ...

A very rare Baroque wooden carved sculpture by the Brazilian sculptor Antônio Francisco Lisboa, known as “Aleijadinho” (1738-1814) Original polychrome detailing Circa 1790 Height 1...

A Wooden Madonna with child Baroque art, Southern Italy, 17th century. Measure: H: 71cm Good condition for the time. With Export Certificate to USA.

The Infant St John the Baptist, A first half of 17th century Sevillian School Cercle of Juan de Mesa Velasco (Córdoba, 1583 - Séville, 1627) Polychrome and carved wood Height: 65 cm ...

Zwei geflügelte Engelsköpfe, Holz geschnitzt und einfarbig bemalt, Flandern, 18. Jh., alte Restaurierung H 25 / 27 cm, B 30 / 34 cm, T 10 cm

Wooden sculpture depicting Saint James the Greater. Saint James was an apostle of Jesus and witnessed with Peter the Transfiguration, the resurrection of Jairus' daughter and the ni...

19th Century Spanish Colonial wood and polychromed hand carved figure of a Santos or possibly Jesus. The practice of creating Santos figures began in Spain and they usually wore orna...

SICILIAN MASTER OF THE 17TH CENTURY "Christ on the Cross" Wooden sculpture Christ Sculpture in carved and carved cypress wood 71 x 18 cm Height 97 good condition for the time

FRENCH SCULPTOR 17TH CENTURY, Sculpture "Saint Mary Magdalene" Sculpture from the Louis XIV era in carved wood with a contemporary base 45 x 35 ...

CENTRAL ITALY SCHOOL Pair of Sculptures from the Louis XIV era "Angels" late 17th Century in carved and silver lacquered wood on contemporary bases lacquered with imitation red marb...

Very nice handcarved giltwood neoclassical angel, Italy, circa 1780-1820. Weathered, small losses Measurements include the wooden base.

Pair of Carved Wood Putti on Carved Base from the 1700s are two naked cherubs covered only by their golden loincloths; apparently two heralding angels without wings, they stand on ti...

Beautiful and very rare hand carved wooden coat of arms with a crowned lion standing on the water reaching to a star. The Netherlands, circa 1650- 1750. Weathered, small losses and...

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...

This antique baby Jesus figure was crafted in Italy, circa 1780. The hand-painted putti carving feature its original polychrome finish for a luxurio...

Sculpture of Mother Mary with the Child Jesus. Mary has the child on her right hand. Jesus makes a blessing gesture and wears a small globe. ( a sign off His power over the world) Mo...

Large painted and carved wooden Virgin and Child in the round, representing the Virgin and Child carrying the globe. The theme of the Virgin and Child is the most represented in all ...

Wonderful and unique hand carved oak lion fragment. Beautiful weathered. The Netherlands circa 1650-1750 Weathered. measurements include the wooden ped...

This important sculpture of the apostle Saint John, originating from Veneto, Italy, portrays one of Jesus' closest and most beloved disciples. Saint John, also known as "The Beloved"...

17th Century Italian Carved Wood Polychrome Painted Corpus Christi Starburst Crucifix/Cross An excellent example with intricate carved detailing to the corpus face and body Wall mo...

Pair of mid-1600s Italian Sculptures, lacquered and gilded carved candleholder angels, two cherubs with cornucopia in carved, gilded and polychrome lacquered wood, mid-17th century. ...

A nicely carved Spanish Colonial carved wooden santos of San Miguel, Guatemalan in origin, dating to the 18th century. This wooden sculpture is mo...

A late 17th-century Spanish wood sculpture of a penitent Saint Jerome, possibly Seville, circa 1680.

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...

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...

Italian Baroque Winged Putto Sculpture 17th Century Lombard School Carved Giltwood and Silvered Angel Figure Winged Putto Lombard Italian Figure from 1600 Angel in Gilded and Silvere...

Rare antique italan wood sculpture, 18th century. Finely carved wooden work depicting a religious subject, a saint, identifiable with the figure of John the Baptist prophet, of great...

ABOUT Contact us for more shipping options. Free Bay Area delivery. S16 Home San Francisco. Exceptional large Memento Mori sculpture in polychrome depicting a half flayed Monk. German 17th century. The sculpture presents half of the skeletal face, hand and foot. Shown with life size model...

Italian 18th century hand-carved Corpus Christi, in original paint, or in some small areas early paint. Note: Original/early finish on antique a...

A Pair of Late 15th or Early 16th Century Oak Saints carved in high relief and raised on polygonal bases. The female depicted standing in contrapose with low...

Handcarved polychrome wooden sculpture with glass eyes, Santos cage doll, capipota, dressing Saint Colonial school, possibly school of Quito Ecuador, ...

17th Century German hand-carved oak religious sculpture. Possibly a saint or a bishop. The bearded man is cloaked in draped fabric with only left ...

Rare antique italan wood sculpture, 17th century. Finely carved wooden work depicting a religious subject, a saint, identifiable with the figure of Saint Francis, of great size. The ...

18th century Jesus Child Terracotta Sculpture an Italian Holy and devotional art polychromed figure  depicting Baby Jesus standing on an a carved and go...

Antique French sculpture from the 18th century. Work of exceptional size in wood and plaster, sculpted, lacquered and gilded depicting a life-size Saint, Saint Francis de Sales, of e...

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...

Wooden sculpture depicting a female figure, 17th century. Dimensions: 14x18x72 cm

Hand carved playing children, original painted white. There is missing a part, a tree of life or something similar (see picture 6).

Antica scultura lignea Raffigurazione di Monaco Cinese Antica scultura presepe napoletano lignea Descrizione Antica scultura policroma lignea ...

18th Century Neapolitan Crib Figure Collection A rare collection of five museum quality late 18th / early 19th Century hand carved Neapolitan crib figures...

Deftly carved in what appears to be butternut with remnants of peg joinery, and exhibiting a fine mellow, old patina overall. The reverse showing an old eye screw previously used for...