18th Century and Earlier Figurative Sculptures

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved Italy, circa 1750 Weathered. Small losses and old repairs/restorations on arms and legs. Measurement her...

Eleanora & M. Magdalena Dei Medici Wax Portraits on Slate Measures: 4.5" DA 18th Century or Earlier Wax Portraits of Eleonora de' Medici and Maria Magdalena de' Medici in Ormolu F...

Wonderful chalk/ cast stone angel head. Italy circa 1750 Weathered, small losses. Measurements include the wooden base. H:20cm W:11cm D:10cm

Beautiful large Baroque angel-wing . Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathered small losses and old repairs. Me...

Wonderful hand carved baroque angel figure. . Spain, circa 1750-1800 Weathered. small losses and old repair. Measurement here below includes the wooden base. H:57cm W:18cm D:20,5cm

Wonderful hand carved winged angel head with its original color and gilding. France, circa 1750 Weathered and small losses and old repair. Treated against woodworm. Measurement here...

Beautiful weathered oak panel depicting two baroque angels and an eagle standing on rams heads . Weathered and small losses, most likely it was once part of a larger panel. France ci...

Wonderful Hand carved winged angel. Italy, circa 1750-1800 Weathered small losses and old repairs. Measurement here below inclusive the wooden base.

Beautiful weathered oak panel depicting two baroque angels and an eagle standing on rams heads . Weathered and small losses, most likely it was once part of a larger panel. France ci...

Beautiful small hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. Several small losses. Measurement here below inc...

Magnificent carved stone head fragment with a very beautiful and strong expression. France, circa 1750. Beautiful weathered and small losses. Measurement is with the wooden base. H:3...

Amazing baroque panel depicting a crowned reliquary . Beautiful weathered with traces of its original silver, gilding and colour. Italy circa 1750 Weathered, small losses . Measureme...

Beautiful Baroque hand carved giltwood angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base. H:22...

Beautiful Baroque hand carved wooden angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base.

Beautiful hand carved Baroque angel. Unique period piece with traces of its old paint . Spain, circa 1750 Weathered. Several small losses and old repair. Measurement here below in...

Beautiful small hand carved Baroque angel. Unique period piece . Italy, circa 1750 Weathered. Several small losses and old repair. More photo's available on request. Measurement her...

Lovely small carved stone head of a Saint with a great expression. France, circa 1750. Weathered. measurements include the wooden base H:20cm W:8,5cm D:10,5cm

Beautiful large Baroque angel-wing . Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathered small losses and old repairs. Me...

Beautiful weathered oak panel depicting two baroque angels holding a coat of arms. Weathered and small losses, most likely it was once part of a larger panel. France circa 1750. trea...

Beautiful giltwood angelhead fragment Italy, circa 1750 Weathered. Measurement here below inclusive the wooden base. H:22,5cm W:11cm D:10cm

This is a stone statue of two priestly deities carved side by side, believed to have been made in the mid to late Edo period (around the 18th to 19th century), and is one of the obje...

Unique and wonderful hand carved grey marble angel head, France, circa 1780-1800. Beautiful weathered. Measurement includes the wooden base.

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

This is a beautiful pair of Derby figures called the "Garland Shepherds", made in about 1765. The pair is one of Derby's most famous figure pairs and it bears the catalogue number E2...

Beautiful weathered oak winged angel head, France, circa 1650-1750 Weathered, small losses and old repair. Measurements include the wooden base. H:37,5cm W:37,5cm D:8,5cm

An exceptionally fine quality highly detailed pair of German Sitzendorf pottery porcelain Parrots Feathered Figures of quite generous size, together with another single example, late...

Amazing gilded paper mache dove/ Holy spirit. Beautiful detailed. The Dove is a symbol for the Holy Spirit inspired by Jesus’s baptism. The dove has been used among many Christian de...

We have a rare stone Buddha in stock. This is a small twin-figure stone carving made in the early to middle Edo period (1600–1800). It features two standing monk-like deities side b...

Beautiful hand carved wooden ornament depicting two angel holding a laurel wreath. Unique period piece . Spain, circa 1700-1750 Weathered. Small losses and old repairs. Measurement ...

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

Beautiful weathered marble baroque angel. Italy 17/18th century. Weathered, losses and old repairs. More pictures are available on request.

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

This is an extraordinary pair of warrior sculpted in gilded wood with red lacquer on the garments. These very rare pieces hail from the Mid-18th Century, and showcase exquisite craftsmanships through meticulously carved depictions of the garments, of the muscular arms and in particular for the refined and elaborate scroll designs on the garments in rare red lacquer. At the top of the long branch in the figure's hands there is a flat base that can be used to place vases or objects. The predilection for the exotic, which always played a preponderant role in Venetian artistic history, finds striking confirmation in the proliferation of these figures which make their appearance as polychrome furnishing elements already in the inventories of the 17th-Century. The 18th- Century decreed the triumph of these powerful figures sculpted in the round, variously used as torch holders, tray holders or vase holders. One of the most Venetian furniture expert, D.ssa Clara Santini, said about these magnificent sculptures: On rocky pedestals, this spectacular pair of warriors appears magnificently dressed in effortful oriental-style costumes. The bright gold of the dresses, embellished with red lacquer curlicues, are counterpointed by the ebony black lacquer and the red of the lips. The bodies seem to arch in the gusts of wind which also inflate their clothes The pieces are in very good state of maintenance and they are guaranteed original in every parts. The surface was only cleaned not restored and it is original. The pair of gilt wood and carved red lacquered sculptures...

An exceptional 18th-century Spanish Baroque sculpture of the Immaculate Conception, carved in chestnut wood and richly polychromed and crowned. The sculpture retains its vibrant pi...

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...

Ancient Greek mould-made terracotta antefix decorated with the female head of the Goddess Artemis Bendis. Western Greek, Italy, Taranto, early 4th century BC. Two small feathered win...

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...

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...

A large and rare second half of 15th century religious marble sculpture group, hand carved, mounted on bronze base for display. This sculpture group depicts the death of Saint Joseph...

Belonging to the period 1603-1867, most likely between the end of 17th and the beginning of 18th Century, this beautiful armour is a 32-plate suji kabuto made of brown-lacquered iron...

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 Gilt Bronze Tibetan Representation Of A rare Green Tara Buddha Statue. Sounds like there is an item sealed inside. Gilt Bronze and Copper. Early 1...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement ...

This late 17th-century Portuguese Baroque sculpture in polychromed wood depicts the Madonna holding the Christ Child, carved with exquisite detail and spiritual grace. The Virgin is...

This is a fabulous pair of figures of Liberty and Matrimony made by the Bow Porcelain factory between 1760 and 1764. These figures were a popular pair portraying marriage. The bow...

This engaging sculpture of Memento Mori dated Late 17th Century, is part of a production of small terracotta figures for private use, which Giuseppe Maria Mazza, created throughout h...

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...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

18th century Italian crucifix with gold-plated kyanite, calcite crystals in matrix, and baroque pearls. The crucifix is originally from a church in Liguria. It is hand-carved and pai...

Polychrome wooden sculpture depicting Christ Crucified, with emaciated limbs and head reclining on the chest; the body is painted with an earthy hue, around the hips a loincloth that...

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 remarkably fine example of Archaic sculpture.  A figure of a discophoros, or discus bearer, standing with his right leg forward, gripping a discus in his right hand, the left arm raised with an open palm. Described with admiration in Münzen und Medaillen's 1961 auction, "The figure is a masterpiece and illustrates with rare vividness the essence of good Etruscan sculpture...

Possibly a Noblewoman Elegant stone sculpture from 14th-century Gothic France, possibly representing a noble lady. The bust features finely carved details in the attire, with attent...

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...

A fine antique limestone carving. Modeled as a Madonna. With her head slightly tilted, holding an orb in one hand, and with her other hand resting on her breast. By repute ...

Italian early 18th century terracotta fragment of an face mounted on stand. Ca 1690 - 1710 Italy. Measurements with stand H 15 W 9 D 6.6 cm.