Wood Figurative Sculptures

Created in the early to mid-20th century, by an anonymous artist of the Akan people of Ghana, probably Ashanti (Asante) or Fanti (Fante). What separates this stool from the standard ...

High quality wooden articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibili...

High quality wooden articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibilities. What is remarkable, is the en...

High quality wood articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibilities. What is remarkable, is the engi...

Sculptural 18th century Italian hand-carved angel wing mounted on aragonite and adorned with tangerine quartz crystals and a baroque pearl. The hand-carved angel wing was once part...

Wood Gargoyle carving c1860

Antique wood carved musician sculpture with gold leaf finish and crackle patina, circa 1960's.

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Fabulous glass sculpture of Adonis in bust form on a black glass plinth by Dino Rosin. Murano, Venice Italy. Signed in numerous places. In excellent condition.

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

Sculptural 18th century Italian hand-carved angel wing mounted on a chalcopyrite and adorned with kyanite. The hand-carved angel wing was once part of a heavenly, angelic depiction i...

Late 20th century dominican hand-carved varnished wooden hand sculpture/cigar holder By: unknown Material: wood Technique: carved, hand-carved, ...

Wax sculpture by Hervé Vernhes, 20th century. Wax sculpture of a pensive woman by Hervé Vernhes, signed on the terrace, 20th century. H: 17cm, W: 10cm, D: 10cm

Pair of gothic revival carved cherubs circa 1970. Good quality pair of hardwood cherubs which are coloured to match walnut. Each figure seated on a plinth base of carved rock, tree...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Very beautiful and refined antique dark patinated solid bronze sculpture depicting a naked woman blowing bubbles It is of German origin and dates from around 1920. Unsigned. This b...

This unusual Chokwe mask is probably Katoyo, representing non-Chokwe individuals. The deviation of the mask from the more common Chokwe masks is mainly because they represent Portugu...

Matched Pair of 19th Century Hand Carved Pine Angelic Figures A charming, matched pair of mid-19th Century hand carved pine angelic figures. With inserted glass eyes mounted on be...

We found this organic piece with another wooden sculpture from the same maker in a house on the countryside in Holland. The maker is unknown to us, but it’s a elegantly made with ver...

Bronze sculpture on wood pedestal Excellent quality Size: 50,5 x 15 x 13 cm Francisco Zúñiga (1912–1998) was a Costa Rican-born artist who later gained prominence in Mexico. Primarily a sculptor, he focused on themes of female nudes and motherhood in his works. Zúñiga's sculptures are characterized by strict composition, simple forms, and the portrayal of emphatic female figures. He began his artistic career in Paris in the 1930s and settled in Mexico in 1936, where he had a significant impact on the Mexican art scene. Zúñiga became a leading figure in Mexican surrealism...

A monumental African female fertility standing sculpture associated with the Zulu people in South Africa. The female form is exquisitely carved in the teakwood. A unique collector’s ...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

David Nyzio "Scaled Form" Sculpture, circa 1980s. Features a iridescent trench or rain coat on a wooden stand. Includes original crate David Nyzio (born 1958) is an American artist...

Capture the essence of early 20th-century French craftsmanship with this Antique French Wooden Mannequin. Crafted with precision, this unique p...

Hand-Carved Jadeite Figurine of an Oriental Woman on a Wooden Base

Elevate your space with this eye-catching 20th Century French Wooden Wine Decoration. The vibrant green base, adorned with a luxurious gold "foil" finish at the top, makes it a strik...

I was able to obtain a very rare item. This is a sculpture of the god ``Shinzo''. "Shin" = God "zo" = statue Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines. In the 6th century, Buddhism was introduced and gradually spread throughout Japan. Around the 8th century, the idea that gods follow the teachings of Buddha spread. Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established. This statue was created during such a history. Originally, the image of God was invisible and could not be understood as something tangible. However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism. Around that time, around the 9th century, the first statues of gods...

Exquisite C.1900 Articulated Wooden Hand on stand Unleash your creativity or add a touch of history to your space with these captivating antique articulated wooden hands.Carved from warm beech wood, their timeless design whispers of a bygone era. Originally crafted for artists' models or store glove...

A finely carved significant Yoruba Male Ibeji figure with a tall headdress, expressive eyes, original bead belt and heavy wear and polish from native use. Areas of encrusted camwood ...

Metal gondola sculpture in the Karl Hagenauer style. ¡¡Excellent Conditions!! Boatman in silver metal with wooden gondola, stamped Hagenauer, Austria height: 16 centimeters width:...

fantastic vintage department store half torso mannequin. Created for the Pellitiers store In Topeka Kansas. A beautiful email plaster bust in ...

Oriental sculpture from the mid-20th century. Finely carved and crafted exotic wooden object depicting a fisherman with fish, of good quality. Sculpture made from a single wooden blo...

Two Songye dolls, reductions of the ritual costume of the masked dancers, painted wooden head and body covered with animal skin, feathers and braided fibers. Private collection Brus...

Valery Pchelin’s distinct approach to sculpture has been shaped by his early experience as a carpenter: different pieces of wood are assembled to construct intriguing artworks full o...

Valery Pchelin’s distinct approach to sculpture has been shaped by his early experience as a carpenter: different pieces of wood are assembled to construct intriguing artworks full o...

The Pink Curls Bonsai is inspired by the weeping willow tree, a wonderful and unique tree. The materials are wood and metals, representing both the strength of life and the roots of...

Rare life size hand carved wooden woman figure / statue. Beautifully and intricately hand carved from solid wood. Original painted surface over a thin lay...

Embark on a journey through time and geography with this 1950s German Wooden and Glass Globe. Crafted to perfection, the globe encapsulates the world in a stunning representation of ...

Small Minimalist walnut and aluminum crucifix / cross, circa 1960s. The piece measures 8.5" high x 1.75" wide and is in very good vintage condition.

Antique French Siegel & Stockman "Haute Couture" mannequin on adjustable base, circa 19th century. Dimensions: 62.75"H x 14"W x 10"D. Ask us about our local NYC delivery.

Excellent walnut carving of a Carlo Boccomico c1600 Visible old dead worm holes, but great condition 72 cms high 30 cms wide

Trinity in carved and polychromed wood, in the round, the back partially hollowed out. It is represented here as a "Throne of Grace". In this original formula, which probably origina...

A deep and well carved panel English oak with many figures in deep relief and a good colour Circa 1520 33cms wide x 21cms high

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

Gallon base. Carved and polychrome wood. Inspired by models from the 17th century. Rectangular base with a similar cushion on the top (decorated with plant elements) and complex line...

Austrian Art Deco (for Rena Rosenthal possibly, by Hagenauer) Madonna and Child Carved Ebonized Wood & Silvered Metal ca. 1920’s MATERIALS Ebonized wood and silvered metal. MARKINGS Stamped with “Made in Austria” and "RENA" marks. DIMENSIONS Height: 6.25 inches Width: 4.25 inches Depth: 2.5 inches ABOUT SCULPTURE Quite extraordinary in its design, craftsmanship and selection of materials, this outstanding Art Deco tabletop sculpture of the Madonna and Child was most likely made in the Vienna studio...

1537 Neapolitan hand carved wood sculpture "the Finger" Beautiful detailed carving

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

Step into whimsical charm with this 20th Century French Carved Wooden Boot Decoration. Skillfully crafted, this wooden boot captures the essence of a well-worn shoe, complete with in...

Step into whimsical charm with this 20th Century French Carved Wooden Boot Decoration. Skillfully crafted, this wooden boot captures the essence of a well-worn shoe, complete with in...

JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century in iv... partially painted and gilded. The baby Jesus, asleep, is depicted sitting cross-legged. Posterior dobby. Dim.: ...

Step into whimsical charm with this 20th Century French Carved Wooden Boot Decoration. Skillfully crafted, this wooden boot captures the essence of a well-worn shoe, complete with in...

These handsome but quirky brothers designed by Miguel and Ilse Silva for Wooda are the result of an engaging mix of personality, love, fun and mischievousness. Los Hermanos Calavera ...

Elevate your décor with this charming 20th Century French Carved Wooden Boot Decoration. Crafted with meticulous detail, this wooden boot is adorned with a delightful bow on the side...

These handsome but quirky brothers designed by Miguel and Ilse Silva for Wooda are the result of an engaging mix of personality, love, fun and mischievousness. Los Hermanos Calavera(...

Oceanic Carved Wood Figure Of Two Lovers 43" tall.

Elevate your décor with the enchanting presence of this 20th Century French Carved Wooden Star Decoration. Crafted from dark wood, the star exudes a timeless elegance that seamlessly...

Capture the spirit of the season with this charming 20th Century French Carved Wooden Caroler Decoration. The delightful sculpture portrays a young boy adorned in winter attire, comp...