18th Century and Earlier Figurative Sculptures

Circa 386-534 ADA well defined Chinese Northern Wei Terracotta Attendant Statue. The Figure is depicted standing with his hands along the body, wearin...

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...

Terracotta head remnant on tapered wood base

Sculpture depicting a man head, made out of black granite, mounted on a square iron base with a brass support. Russia early 18th century.

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...

This a classic hand carved figure of St. Sabastian tied to a tree during an attempted persecution. Said to be saved and healed by St. Irene of Rome. He is venerated in both the Roman...

A Pair of Japanese Mid Edo Period Carved Stone Sculptures of Female Buddha Sattva, ca. 1750 PERIOD Mid Edo Period (1603-1868) DIMENSIONS Height: 10.5 ...

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

Cercle of Juan Martinez Montañés (1568-1649) Infant St John the Baptist Spanish, 17th century H 74 cm Saint John the Baptist is here represented naked, sitting on a rock, with...

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 ...

Rare pair of monks from the 18th century-Ayutthaya-Thailand Superb pair of large lacquered and gilt bronze monks very beautiful face and expression ...

18th/19th Century Chinese Wood Sculpture Of A Emperor or General. Retains Some Polychrome Decoration And Horsehair Beard, Male Figure Seated On ...

This refined and precious white porcelain sculpture is depicting the sleeping Infant Christ that became a very popular subject in Baroque art sice the 17th Century. The delicate and ...

Introducing a remarkable artifact from the Pre-Columbian period—a primitive head figure intricately carved from stone. This ancient relic stands proudly...

Followers of Jean de la Huerta, Jean de Blany ? Saint Jerome Limestone Burgundy, second half of the15th century 60,5 cm ALR Ref : S00248050 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. The figure of Saint Jerome, a key figure in Christian history renowned for translating the Bible into Latin, is depicted wearing a cardinal’s hat and holding the Vulgate Bible...

17th Century Spanish Colonial Pietà Sculpture with Sterling Silver Halo An extraordinary and deeply devotional example of Spanish Colonial religious art, this 17th-century Pietà capt...

German, Late 18th-early 19th century Meissen, Mascolini (1774-1814) Porcelain Mark for Meissen Measures: Height 22 cm Width 15 cm Price US$8,500.

Pair of Sphynx sculptures made of Bluestone. Originates from Belgium. Circa, 1880's. Sold as a pair.

Egyptian Painted Sarcophagus Mask, gesso over wood composite, mounted on metal base. Overall: 11" H x 7.5" W x 3.75" D. Provenance: From a Fifth Avenue Collection.

Saint Erasmus or Saint Elmo (Antioch, ca. 240 – Formia, 303) was an Italian bishop and patron saint of the sailors. His attribute was the capstan, a winch on which the anchor chains were rolled up. He died as a martyr for his faith, and his bones were transferred to Gaeta in the 9th century, where they are kept in the cathedral to this day. The electric phenomenon of Saint Elmus fire is named after Saint Erasmus and the 16th C humanist Desiderius Erasmus. Little is known with certainty about Saint Erasmus' life. However, many legends may have been passed on orally until the - no older writings are known with certainty. His birthplace was in present-day Syria. However, the persecution of Christians under Emperor Diocletian forced him to flee to Mount Lebanon...

This remarkable carved wooden statue is approximately 380 years old and was carved from Italian Rovere or Durmast wood. This is a variety of European oak known for its tough and heav...

Splendid sculpture in white Carrara marble depicting a young Hercules holding the world. Originally, the work was conceived to be used as a caryatid at the beginning of a sumptuous m...

Rider. Polychrome terracotta. Ming period. Removable head. H 40cm. L 29cm. W 11cm. 1400€.

17th century Spanish pair of painted hand carved wooden cherubs.

17th Century Spanish carved oak wood sculpture of Saint Francis Xavier, the co-founder of the society of Jesus.

This masterfully carved 17th-century Flemish sculpture presents Jesus Christ as the “Salvator Mundi” — Savior of the World — a powerful icon of devotion and divine kingship. Sculpte...

Wooden angel should be French 1700/800s Not perfect condition, missing and broken Thank you

A South Coast wood ceremonial leeboard, Ica Valley region, Late Intermediate Horizon, ca. A.D. 1100-1400. This large 'remo' made from the hard algarrobo wood, features twelve figure...

One of the best: Harlequin & Columbine Dancing, after the Meissen figure, from the series of characters from the Commedia dell'Arte.  

Wearing a blue-glazed short child's apron knotted around the waist, his hair drawn into one or two topknots Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in ...

This 18th Century Italian Wooden Sculpture captivates with its rustic allure and storied past. Carved with a delicate yet masterful hand, it portrays the figure of a cherub, a timele...

Wonderful polychrome porcelain sculpture depicting the allegory of the four seasons. The figures personifying winter, autumn, spring and summer are harmoniously arranged around a tre...

This miniature ceramic table is from Shanxi Province and may have been made to represent Mingqi, a type of ancient Chinese burial good. Mingqi were plac...

This miniature robe rack made out of glazed ceramic is called a mingqi or “spirit object.” Mingqi were buried in tombs and represented all of the things the ...

18th century French or Italian Santo Nativity figure, a hand carved and painted fruitwood figure for a Christmas Creche 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 Chinese terracotta tomb figure (Ni Yong) from East Han Dynasty (25-220 AD), likely from the area of nowadays Sichuan. It depicts a horse groomer with tool and harness in hand. Dres...

Very elegant sculpture reprenting a Putti (angel) from the German renaissance period -16 century Rare sculpture in walnut of great quality with a very beau...

Two wooden sculptures depicting a bishop and a cardinal, attributed to the sculptor Francesco Bertoz. Active in Rome in 1693 and then in Padua and Venice from 1719 onwards. Above a l...

Depictions of young angelic boys are also known as putti, or putto for a single one. Since the 17th century on they remained popular and are found in various forms. Perhaps the most known version is Cupid. Looking at their attributes time periods can be narrowed down. In this example we see a rose Guirlande and a medaillon which are typical for the late 18th-early 19th century. The Rosso Verona Marble...

A Bow Porcelain Figure of a Female Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked Origin : Bow, ...

This French Limestone Saint Sculpture is a remarkable 17th century example of skilled artistry, enduringly fashioned from French Limestone to preserve...

Pair of 18th Century Carved Walnut Putti, Twin Caryatid A very fine pair of 18th Century Cherub figures, the detail of these charming angelic lit...

Pair of French church sculptures made of solid oak. These two antique figures are from a church in a private village in Luceram, in the south of France.

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...

Taino Pre-Columbian Carved Jade Kneeling Figure Zemi Pendant. 2.25" H x 1" W x 1" D. Provenance: From the Upper East Side Apartment of a Former Ambassador.

Decorate a wall or dress a over-door with this elegant antique gilt carving. Crafted in Provence, France circa 1780, the element features a center cherub sculpture holding a flower b...

Ludwigsburg 1765-1770 Porcelain Mark for Ludwigsburg Measures: Height 28 cm Diameter 31 cm Price US$12,000.

Prologue: An Ancient Mastery the Wooden Sculpture We begin our journey through Gothic art by presenting a magnificent Late Gothic Female Wooden Sculpture from the Flemish 500s. This ...

This exceptional pair of carved wood figures reflects the early Baroque aesthetic of Northern Italy during the late 16th to early 17th century. Executed with expressive dynamism, eac...

18th Century Carved and Decorated Figure of an Archangel, circa 1780, a splendid hand carved and polychromed kneeling male figure with long wavy brown hair pulled back, dressed in a...

16th Century Madonna and child wood carving, retaining some original polychrome decoration sizes 67 cms high, 30cms wide and 25 cms deep

Antique Italian carved stone fruits triumph for Garden or for the top of the staircase, ref. M/108.

Continental bronze figure of Gagged Justice, 18th century. Bronze on marble base.

German ceroplast from the 17th century Bust of a gentlewoman Wax, 36x32.5 cm The use of making wax figures was very common, since ancient times, among the Greeks and Romans, and, ...

18th 18th Century Pair of candle-bearing angels Carved and gilded wood, 28 x 71 cm The item is in good condition

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

15th century, Florence Madonna and Child Painted stucco, 29 x 14 cm This stucco Madonna of the 15th-century Florentine school exudes a gentleness and sacredness that is entirely c...

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...