Italian Figurative Sculptures

Sculptural 'Sacred Heart' - 18th century Italian gilded angel mounted on a polished red hematoid quartz heart and adorned with a natural-forming baroque pearl.The piece is inspired by "The Sacred Heart" in Catholic art history which symbolizes God's unconditional love for mankind. Hematoid Quartz is a quartz crystal that contains Hematite inclusions. It is polished and sculpted into a heart and adorned with the Italian gilt putto and baroque pearl. The piece is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian putto...

Pair of Carrara marble Putti, depicted in a mirror-image position to each other: softly reclining, the torso advanced and slightly off to the side, one arm resting on the thigh, whil...

Pair of sculptures depicting the Virgin and St. John the Evangelist, portrayed in a mournful attitude. The former has a pained expression on her face, her hands clasped in front of h...

Exceptional hand carved baroque marble panel depicting a winged angel head , Italy, circa 1700-1750. Beautiful weathered.

Sculptural 18th century Italian hand-carved angel wing mounted on white aragonite and adorned with faden crystals, crystal quartz, and baroque pearls. The hand-carved angel wing was ...

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

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...

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

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...

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...

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...

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...

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...

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...

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...

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...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

This piece is an 18th century dancing putto marble statue, now available for purchase. The sculpture features a small dancing Angel 'Putto" supported on...

Iron Bust From 1600 depicting a boy with curly hair, dressed in a tunic that leaves one shoulder uncovered. Made of cast iron, the pommel has a dark patina and is in good condition, ...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

Great Italian sculpture from the second half of the 18th century. Finished wooden work from the center depicting an almost life-size Roman soldier. Statue complete with lacquered and...

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...

A 18th Century superb italian sculpture of a draped Madonna with a veil, base with richly carved relief with cherubs and a baby Jesus on her lap in carved polychrome and gilded wood....

A lovely angel, his right hand extended as if to touch something or hold something. He appears very calm and peaceful, clothed in a partial shroud which is draped over his shoulder...

An elegant and extremely decorative Italian 17th century Baroque period Giltwood and patinated wood Putti statue. The statue is raised by a Giltwood plinth with a Coeur-de-Rai carved...

Figure seated on rock work wearing a crown.

Sculptural 'Sacred Heart' - 18th century Italian cross mounted on a polished red hematoid quartz heart and adorned with natural-forming baroque pearls and a cross-shaped baroque pear...

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...

18th century Italian hand-carved gold leaf angel with fossil agate coral wings and mounted aragonite. The hand-carved angel was once part of a decorative, angelic depiction in a ...

A masterful large classical statue in cast bronze of a beautiful young woman in stride wearing a flowing ionic chiton. The exquisite casting of ...

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...

ABOUT An original 18th century Italian armorer's model with glass eyes and articulating arms. Used to fit different types of battle armor. Shows signs of light wear and paint loss...

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 ...

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

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...

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

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...

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...

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...

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

A Polychrome and Parcel-Gilt Marble Group of the Virgin and Child Attributed to Giovanni Di Balduccio (1317 - 1349) Marble Italy Circa 1330 - 1340 SIZE: 65cm high, 28cm wide - 25½ i...

A Superb Pair of Neapolitan Carved Figures of Dwarves Attributed to Francesco Celebrano (1729 - 1814) Marble Naples, Italy 18th Century SIZE: Male: 36cm high - 14¼ ins high Fe...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure. Circa 1st-2nd century A.D. Measure: height 24 1/4 inches (62 cm). Property from Mr. Radu Moldovan, Skokie, Illinois Provenance: B.C. Holland Gallery...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

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...

Callipygian Venus 19th Century Italian (Naples or Rome) White marble After the Antique: Naples Archaeological Museum (IT) Roman version of a Hellenistic 3rd Century B.C. model Height: 62 cm Width: 22 cm H 24 1/2 x W 8 2/3 inch The Callipygian Venus, also known as the Aphrodite Kallipygos or the Callipygian Venus, all literally meaning “Venus of the beautiful buttocks”, is an Ancient Roman marble statue...

This antique cherub figure was crafted in Italy, circa 1780. The hand-painted putti carving features its original polychrome and gold leaf finish for a luxurious result. The hand carved cherub is expressive in it's movement and features a wonderful facial expression. The colorful wall hanging...

18th century Italian hand carved and painted wood Madonna statue depicts the virgin Mary in contemplative prayer, and poised in triumph over evil. Orig...

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

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...

A wonderful original piece of the Renaissance Period - a carved wooden polychromed figure / statue of Saint Francis. This piece was found in France but most probably originated in 1...

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 ...

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

Pair of large statues carved in the round, probably representing cerulean angels (although there is no evidence of wings on the back), or allegories of fortune (in which case we can ...