Italian Figurative Sculptures

Pair of 18th century Italian sculptures. Wooden works of great size and impact, pleasantly carved, depicting cherubs. Sculptures painte...

Beautiful Italian Bronze Sculpture of Gladiators on a Marble Base 19th Century Dimensions 25x20 cm very good condition

Wooden sculpture depicting Ecce Homo. Christ, whose figure is cut off at thigh level, is standing, arms crossed at waist level. Long ringlets frame a face with a pointed beard, a hal...

Beautiful solid lucite ice bucket cube depicting the world captured in a sculpture that resembles an ice cube. The effect displays a frosted world map of continents and orbiting the ...

An Italian 18th century antique bronze statue of Athena ex. private collection. Over 240 years old, this striking bronze depiction of Athena is ...

Carlo Nason designed these objects in the 1970s for V.Nason&Co, the company of his father Vincenzo Nason. They are made of Murano glass in four striking colours. The items could be ...

Sculptural 18th century Italian hand-carved angel wing mounted on a calcite crystal cluster and adorned with citrine points. The hand-carved angel wing was once part of a heavenly, a...

BRONZE “ THE SHEPHERD” RAPHAEL HUBERT FRANCE Circa 1920s An incomparably beautiful, large, dark brownish patinated bronze. A very detailed representation of a standing “shepherd”. ...

Genuine tall alabaster sculpture by Guglielmo PUGI (1858-1941), Florence, Italy, 1880s. Young girl with tambourine, perhaps a gypsy. On its base....

Roman Relief "Warrior" late 19th Century in Carrara Marble Italy 45cm x 19cm good condition for the time

A Grand Tour Regency bronze figure of Mercury (Hermes) on a composite marble column, the messenger of the gods is shown running on winged feet supported on a puff of wind with a torc...

Sculptural 18th century Italian hand-carved brown and gilt angel wing adorned with citrine and quartz crystals and mounted on a polished hematoid slab. The hand-carved angel wing was...

20th Century Large Patinated Metal Sculpture of a Seated Nude Lady signed Roland Excellent quality.

Exceptional pair of armchairs, in carved wood, decorated with acanthus leaves and volutes, the armrests ending in lions' heads, the footrests in dolphins' heads. Traces of "a mecca" ...

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...

"Arc en Ciel" Sculpture by Lucio Del Pezzo for Plura Edizioni, Milano. Steel and colored plexiglass sculpture. Signed and limited numbered edition on paper label.

Venus With Dolphin In Bronze 1600, small 17th-century Italian sculpture ending in a ferrule at the bottom. He holds a sphere in his right hand and with his left hand holds the dolphi...

Stunning Dore Bronze Sculpture of a Centaur in Battle on Slate Plinth. The Powerful Centaur Comes Barreling Out Of The Realm Of Greek Mythology Wielding A Sword And Shield Of Snakes...

Carlo Nason designed these objects in the 1970s for V.Nason&Co, the company of his father Vincenzo Nason. They are made of Murano glass in four striking colours. The items could be ...

Standout mid century Italian tole sculpture or object of art crafted in metal with a painted green top over a stylized gilt pineapple. Stamped Italy on ...

A lovely and well cast example of the Pompeian Dancing Faun. This grand tour bronze stands approx 11.75 inches tall about half size of the original unearthed in Pompeii. Beautiful p...

YELLOW SIENA MARBLE ROUND OF ALEXANDER THE GREAT AMMON late 19th Century This roundel is part of a series of roundels inspired by wonderful ancient Greek coins. Freely reproduced f...

Beautiful and unusual, large vintage Murano hand blown white with red, blue and black spots Italian art glass "Dandy" clown figure sculpture. Created in the manner of designer Alfredo Barbini and the Salviati company. He wears an oversized white suit with large bell bottom pants and large jacket...

A wonderful whimsical massive pottery terracotta sculpture from 1962, signed Selbmann Roma, Italy. The piece just conveys joy and happiness. Muted colors. The piece has an old repai...

ANTIQUE ORIGINAL MARBLE SINK 19th Century Interesting sink from the end of the 19th century, made by copying the Kaolin sinks that appeared between ...

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...

Pair of sphinxes made of patinated stucco, produced in Italy at the beginning of the 20th century. The sculptures were created following the model of archaeological finds, as was typ...

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...

19th century Grand Tour bronze statue of the ancient Greek Dionysus. Dionysus also known as Bacchus, was the god of wine, fertility and festiv...

Carlo Nason designed these objects in the 1970s for V.Nason&Co, the company of his father Vincenzo Nason. They are made of Murano glass in three striking colours. The items could be...

Beautiful vintage Murano hand blown sky blue with green spots Italian art glass mushroom / toadstool paperweight. Created for the Fornasa De Murano A L'Insegna Del Moreto company, by...

ANTIQUE ORIGINAL MARBLE SINK began 20th Century Original antique white marble sink. WIDTH 39 cm LENGTH 70 cm INTERNAL DEPTH OF THE BASIN 8 cm THICKNESS 11 cm OVAL HOLE DIMENSIONS 40...

A beautiful Grand Tour statuary marble torso of an athlete, after the antique. Probably Rome, 19th century. Raised on a later Nero Marquina ...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

Italian Relief in Carrara marble late 19th Century Original condition 90cm x 29.5cm x 5cm With hook to hang on the wall

TERRACOTTA CACHEPOT, Ø32CM ANCIENT FLORENTINE MODEL OF THE RICCERI FAMILY 20th Century Handmade in Tuscany Cachepot made from the original cast of the ancient Ricceri factory. Achan...

A nice metal sculpture of Pan playing his pipes or flutes. neoclassical grand tour sculpture after the antique. This beautifully cast and finished example is mounted on a round marbl...

A finely detailed and very impressive Italian 19th century Neo-Classical st. white Carrara marble statue of Ariadne on its original Verde Mare marble pedestal, signed signed F. Vichi...

Narcissus Bronze Sculpture early 1900s, the figure is a reproduction from the classical-era bronze of the Greek god Dionysus found in the 1862 excavations at Pompeii and preserved a...

Sculpture depicting a semi-nude female bather in the Roman neoclassical style, finely sculpted from white alabaster stone. Apparently unsigned.

PAIR OF LARGE MEDICI TERRACOTTA GOBLETS FROM IMPRUNETA BACCELLATO 20th Century Handmade in Tuscany. Typical low and wide Medici chalice. Impruneta terracotta. HEIGHT 48 cm DIAMETER...

This is a matched pair of hand blown, tall and fanciful Murano "Birds Of Paradise" or Exotic Birds which stand a rare 16 1/2" tall! Cased with clear crystal over a fabulous color com...

Beautiful and very unusual, vintage Murano hand blown deep red-orange and white spots Italian art glass mushroom / toadstool sculptural paperweight. The mushroom has been sculpted in...

TERRACOTTA CACHEPOT, Ø32CM ANCIENT FLORENTINE MODEL OF THE RICCERI FAMILY 20th Century Handmade in Tuscany Cachepot made from the original cast of the ancient Ricceri factory. Achan...

ANTIQUE ORIGINAL MARBLE SINK 19th Century Interesting sink from the end of the 19th century, made by copying the Kaolin sinks that appeared between ...

Bronze sculpture Orientalist Dancer Artist Fatori origin Italy circa 1920 orientalism style signed in the flame onyx marble base perfect condition.

Italian classical bronze sculpture of the Dancing Faun of Pompeii. Fauns were an example of spirits of untamed woodland, often connected to Pan and Greek satyrs by Romans, or followe...

A whimsical wonderfully detailed metal sculpture of Pan playing his flutes to 2 dancing goats. Mounted on a dyed alabaster base. The sculpture is likely b...

Italian Classical bronze sculpture of Narcissus with a verdigris patina, believed to by Chiurazzi, or a similar foundry, Naples, circa 1900. Narcissus is shown nude except for a pai...

An antique Carrara marble sculpture “Venus Italica” after Antonio Canova (1757-1822) Made in Italy during the 19th century. When the Medici Venus was forcibly removed from the Tribu...

Massive nude art glass sculpture of a young woman by Loredano Rosin for Murano Glass, circa 1970s. The sculpture is crafted in the unique style of Rosin and has exceptional detail. ...

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...

ANTIQUE ORIGINAL ITALIAN CARRARA MARBLE SINK began 20th Century Italy Original antique white marble sink. Soundhole dimensions: 42cm x 33cm x 4cm. original condition WIDTH 57 cm LENG...

Fantastic sculptural clay mask candle sconce made in Italy. Hand made in an aged adobe color with a place for a single candle inside. Mask has a metal frame which gives the piece a n...

ORNATE CYLINDER WITH 20th Century CACHEPOT TERRACOTTA CHERUBS Impruneta terracotta, made in Italy. Hand modeled in Tuscany. HEIGHT 24 cm DIAMETER 20 cm WIDTH 20 cm WEIGHT 12 Kg BAS...

PAIR OF ANCIENT 20th CENTURY SIENA TERRACOTTA VASE Sienese ORNAMENTAL VASE for GATE and FENCE. Medici chalice decorated with crowns of leaves and three crowns of mamille 24 vertical...

PAIR OF ANCIENT ORIGINAL RICCERI IMPRUNETA GOBLET VASES 20th Century Stunning original nineteenth-century vases from Florence. A pair by Raffaello AGRESTI copy. HEIGHT 83 cm SQUARE...

A very fine handcrafted blown Murano art glass female figurine with gold and toned flecks . This classic looking form is of a lady in waiting with Baroque overtones made in Italy in ...