18th Century and Earlier Figurative Sculptures

Extraordinary hand-carved Coat of Arms. Architectural fragment which was probably located above a doorframe. Material: Limestone Dutch / Flemish, probably 18th century. Dimensions:...

18th Century wooden hand-carved polychrome sculpture from the south of Spain. Head made from felt paper and dressed with original clothing.

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

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 ...

A medieval English alabaster statue, possibly dating as far back as the late 14th / early 15th century, mounted on one of our exclusive large display plinths. Well weathered over the centuries, this 600-year-old statue depicts a medieval cloaked figure, possibly a monk, offering a glimpse into English architecture and sculpture of the Middle Ages. This sculpture is possibly made from Nottingham alabaster. During the 14th and 15th centuries, Nottingham was the centre of alabaster carving and painting. Alabaster works were mostly made as small alabaster models with religious themes. During the 16th century Reformation, many alabaster carvings were destroyed under King Henry VIII's rule, making any surviving examples even more significant. Provenance From the collection of Peter Hone (b. 1941). A master plaster caster, he is an expert and experienced collector, building up an extraordinary, museum-worthy collection of items in his one-bedroom flat in London W11...

Italian Antique 18th century dancing putto marble statue. The sculpture features a small dancing Angel 'Putto" supported on a marble block with wonderful...

Vintage, 18th Century Spanish Colonial Carved Polychromed and Parcel-Gilt, Painted Sculpture of a Bishop with Mitred Head

Meissen gorgeous figurine group: The Lucky Parents, created by Michel Victor Acier (c. 1770-72) Manufactory: Meissen Hallmarked: Blue Meissen Sword Mark (bottom not glazed) First qu...

18th Century Japanese hand-carved fully blossomed chrysanthemum flower figurine made of white bone with branch and leaves painted. The flower is placed inside its original glass and ...

Rare golden angel head, to hang: in the entrance as a welcome, in the bedroom for sweet dreams. Intact, without any retouching.

Large base of molded hexagonal pilaster in burgundy stone carved with vines, grapes and rosettes in high relief. Burgundy, 15th century 28 x 63 x 30 cm Provenance : collection De...

A sensational true pair of French 18th century Terra Cotta statues of charming young children playing with a bird. Each statue is raised by a circular base with a ground like design,...

18th century handmade giltwood decorative element representing a basket surrounded by flowering branches. France, circa 1790.

Rare antique little base for statue: useful and very elegant. I'm selling it now because I'm closing the business. Sizes for statue: lenght 41 x wide 17 . ref. O/4820.

Wood carving of a putti Circa 1650 C1650 wood carving of a putti retaining polychrome decoration. Size 60 cms high 30cms wide and 26cms deep

Flemish man and wife, in the white. He wears an open coat, waistcoat, breeches and tricorn hat, and plays a hurdy-gurdy. She wears a sleeved dress, long apron and linen cap and carri...

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

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

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

She stands barefoot, wearing a long-sleeved robe in white, deep pink and washed pale yellow and partly edged with gold; a red and gilt-topped sceptre in her right hand, an outsize pe...

Base. Carved and polychrome wood. Spanish school, 17th century. Rectangular base base, made of carved and polychrome wood in gray tones, which has been decorated with a series of mo...

Bodhisattva, a religious sculpture, probably made in India 1750-1850. The sculpture has been painted and gilded, but with very little remains. Bodhisattva, in Buddhism, is one who s...

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

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

16th century German hand carved painted wood St. Sebastian.

An Indian carved teak wood guardian lion sculpture from the mid-18th century, with traces of original paint. Handcrafted in India during the 1740s-1760s in order to take place in a monument, this teak architectural carving features a guardian lion, his teeth resting on a man's head. The sculpture shows traces of its original paint, while carving technique presents a great attention to details. The flat top suggests this was used as a column base, perhaps in a temple. With its expressive character and original paint, this Indian mid 18th century carved lion figure...

Beautiful pair of 18th century Louis XV silvered bronze musical cherubs on columns. The silvering on these delightful and elegantly sculpted pair exhibits the most wonderful aged col...

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

Sculpture (figural candlestick). Carved and polychrome wood, wrought iron. Castilian school, 16tyh-17th centuries. Carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding with his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone...

Late 16th century Italian school oil on a wood panel painting of The Madonna with Christ Child and the infant St. John the Baptist. Mount Vesuvius is erupting in the background. This painting was part of the collection of Fred B...

Rider. Polychrome terracotta. Ming period. H 30cm. L 27cm. W 11cm. 1200€.

This Albast statue depicting Saint Christopher, beautiful polychrome Circa 1600 Alabaster

Beautiful pair of ceraferous angels sculpted in the round in a very lively position (the movement in the hair is remarkable), almost Baroque. Very fine execution of the plastron armo...

In excellent condition considering age. Some losses and chips as expected with the age. From a beautiful home in Santa Barbara.

18th Pair of Wooden Heads of Two Cherubs with Golden Wings

A striking and extremely charming French 18th century terra cotta statue from Paris. The high-quality statue is raised by a circular etched base. The base is decorated with a rocky t...

Calvary hand-carved in boxwood. Calvary is a traditional religious scene that shows Jesus crucified on top of Mount Golgotha.

Cleopatra and Mark Antony, in enamelled creamware. After a model by Ralph and Enoch Wood, and quite likely made by this important partnership. The figur...

A wonderful French 18th century terra cotta signed statue of mother and child. The statue is raised on a circular terrain designed base. The woman is barefoot donned in a traditional...

A personification of Winter, from The Four Seasons. Unusually fine condition for a figure of this period.

From a series of figures representing The Four Seasons, Autumn is shown as a young man squeezing grapes into a cup, symbolic of harvest time, and recalling classical representations ...

First half of the 18th century, Lombardy Putti (2) gilded wood, H 88 cm The work is distinguished by the high artistic quality and the remarkable executive care, as eviden...

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

Pair of 16th Century Italian carved polychromed angelic sculptures.

A lion, seated on its haunches, one paw up. Perhaps a heraldic reference; although the stump does not appear in heraldry, it is required in order to keep the paw in position during f...

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...

Italian Baroque painted and lacquered wooden sculpture of a kneeling figure. Circa 1650.  

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" ...

Probably an early prototype, the largely open base showing an apparently unique structure described by Watney as ‘a favourite primitive buttressed by a strong overall cone-shape and further strengthened by a cut-out additional layer inside the base in the manner of pastry making.’ (Freeman Collection, Forward, 1982). Toper is an old English word for a drunk. Annulet Mark. Prov: Taylor Coll, Albert Amor...

FRENCH SCULPTOR 17TH CENTURY, Sculpture "Saint Mary Magdalene" Sculpture from the Louis XIV era in carved wood with a contemporary base 45 x 35 ...

This stunning Chinese porcelain sculpture of the deity Guanyin, the Goddess of Mercy, was crafted in China in the 1880s. Featuring intricate details and fine-tuned craftsmanship, thi...

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...

18th century Personification of the Day Alabaster, cm 11.5 x 17.5 x 5 With base cm 14.5 x 20,8 x 11.7 Il Giorno is a marble sculpture (160x150 cm) that Michelangelo mad...

A Bow Porcelain Figure of a Turkish Dancer, c1765 Additional information: Date : c1765 Period : George III Marks : Unmarked. Label for Albert Amo...

Early 18th Century Spanish carved-wood polychromed sculpture of Saint Apollonia of Alexandria, Patron of Dentistry. This actual sculpture appears in th...

Patinated bronze urn-shaped inkwell rests on three winged-horses evoking movement and action. The body of the inkwell is decorated with faces among garlands and the lid is topped by a seated putti holding fruitVenetian patinated bronze figural inkwell...

Rome, 17th century Pair of angels Gilded wood, cm h 92 - Base, cm 25 x 40 The pair of putti examined is a masterpiece of the Roman Baroque period, a period of pomp and opulence w...

18th Century. Peace depicting the Crucifixion Dark patina bronze, 21 x 14.5 cm The bronze examined is an ancient peace (in Latin osculum pacis or table pacis), the object of th...

San Antonio Abad, Castilian school of the 15th century (1440-1501) Carving in polychrome wood, measures: 45 x 15 cm good vintage conditions.

A stunning and extremely decorative true pair of Italian 18th century Baroque period giltwood statues. Each statue is raised by a rectangular ground like designed base where the char...