Marble Sculptures

The carvings of this marble stemma cartouche dates to the 1500’s. Hand-carved in Tuscany, Italy, the marble was mounted onto a geometrically shaped iron stand within the last century...

A charming true pair of Italian 18th century white carrara marble statuettes of lions. Each statue is raised by an oval terr...

Roman Emperors busts, Italy, circa 1800 Patinated bronze on white marble bases.  

Italian baroque marble angel. Partly painted, in original untouched condition. Is missing a few fingers. Previously repaired (see photos). Italy, 1680...

18th century carved fragment on iron and marble stand.

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

A magnificent Italian 17th century Louis XIV period, circa 1680 white carrara marble statue of a man and his dog. The striking statue, carved out of one solid marble block, is raised on a rectangular base. The extremely well sculpted statue...

Pair of small gold-patinated bronze busts of two ancient philosophers on Siena marble pedestals (added, 2nd half of 19th century).

We are delighted to offer for sale this very decorative original circa 180+ Million year old Atlas Mountains Morocco Fossil bowl polished to a marble f...

A large Bactrian marble staff circa late 3rd-2nd millennium BCE. The Bactrian culture was discovered by Soviet archeologists in the 1970s in Afghanistan. Also called the Oxus culture...

Masterfully executed marble sculpture of Marsyas with lover. French after the Greek Antique Ca 1780

A charming true pair of Italian 18th century Louis XVI Period white carrara marble statues. Each statue is raised by a lovely square base with a Les Oves pattern and circular central...

French terracotta bust of young man resting on circular marble plinth. Signed Houdon, Late 18th century.

Two Louis XV Period Rococo style marble sculptures of cherubs, French, 18th century Dimensions: Height 90cm, width 60cm, depth 60cm Superbly carved from subtly veined white-grey marble, this pair of...

A portrait of Roman aristocrat executed in the Veristic style. From the Latin "verus" meaning truth, the practice represented everyday subjects with great realism often including signs of age with exacting detail. Wrinkles, furrowed brows, and moles are presented as signs of wisdom and power and suggest the philosophical and moral character of the sitter. With the ascent of Emperor Augustus, eternal youth again took center stage, and verism fell into disfavor. The style enjoyed a resurgence after Emperor Vespasian came to power in 69 AD, Italy, 1st century BC. Provenance - the collection of Spanish fashion designer Elio Berhanyer...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). In terracotta with black marble medallion centered by a white marble profile...

Rare, pair of 13th century, Romanesque, marble, recumbent lions Recumbent lions were popular in 11th-13th century Italian architecture with pairs ...

A striking late 18th-early 19th century bust of the Roman Emperor Titus Domitian. The head is made from hand carved white Carrara marble, the tunic and t...

This expressive 18th century marble portrait bust is of Marie-Madeleine Guimard (1743-1816), a successful dancer and one of the most famous courtesans of pre-Revolutionary France. The bust is unsigned, but identical to one in the collection of London's V&A museum carved...

Bactrian marble column idol, circa 3000-2000 Bc. It has a elegant tapering form with a undeep groove running on the top and bottom. The marble is a breccia type with striking vains i...

This charming depiction of a boy measuring the earth with a compass is an allegorical sculpture of geography. This bronze was cast using the lost wax technique and is fire gilded. He...

An ancient Roman marble bust of a male, dating to the 1st-2nd century AD. Larger than life-size and depicting a male wearing a laurel wreath and milit...

The circular white-enameled dial signed ”Detour Paris” with Roman hours and Arabic quarter marks, a further inner Arabic chapter ring for the day of month. Pierced gilt hands and a b...

18th century pair of french gilt bronze sculptures on marble base representing Chinese figures This particular and lovely pair of sculp...

This is really very early and has incredible presence in person. Looks like many of the artifacts I've seen in the museums. It originated from the countryside of France and is a grea...

Exceptional, hand carved all the way around, 17th century, Carrara marble bust of Athena in a helmet surrounded by a laurel wreath. Fabulous expression,...

18th Century, Italian Bronze Sculpture with Venus Removing Her Sandal This bronze sculpture represents Venus as she takes off her sandal. Made in the neoclassical era in Italy, it consists of the bronze sculpture of the Greek goddess Aphrodite, Venus for the Romans. The naked goddess, getting ready for the bath, makes the very human gesture of loosing a sandal. The left arm is raised, as if to compensate the position while maintaining the balance. Next to her, wrapped around a rocky spur, is a dolphin, an animal iconographically linked to the goddess because of his birth from the foam of the sea. The figure rests on a cylindrical and concave bronze base, with finely chiselled reserves. The bronze element is in turn resting on a africano marble cylinder with black of Belgium marble base. Venus is one of the major Roman goddesses primarily associated with eros and beauty. It is traditionally understood as the equivalent of the Greek goddess Aphrodite, goddess of beauty, physical and passionate love, among the major deities of Olympus. His birth is due to a dramatic event: Uranus, Heaven, is mutilated by his son Cronus, who punishes him for the wrongs inflicted on his mother. The torn limbs of Uranus fall into the sea and fertilize the foam of the waves of the island of Cyprus. From the waves emerges in all its splendor Aphrodite. Since the 4th century, Aphrodite begins to be represented with characters more human and less heroic. Praxiteles with the 'Aphrodite Cnidia,' for the first time in the history of sculpture, depicts her naked, as she prepares to take a ritual bath. From the Pressitele’s model descend the Capitoline Venus (Capitoline Museums of Rome) and the Venus de’ Medici (Uffizi Museum of Florence) accompanied by Eros on the back of a dolphin. This vein also includes a subject frequently attested in the Hellenistic and then Roman Ages, with examples in bronze, marble and terracotta: the Aphrodite who fastens the sandal. The luck that this type of representation had in the following centuries is demonstrated by the vast number of sculptures that represent it. In this bronze work the goddess resumes the position of Oplontis’s Naked Venus: here Venus holds an apple in her left hand, a reminder of her victory in the beauty contest in which she prevailed over Minerva and Juno by judgment of Paris. In our bronze instead, the hand seems to want to shake the apple, which however has not been molded. Perhaps the bronze is inspired by another work, such as the bronzes kept in the archaeological museum of Padua. Another example is the famous 'Venus in bikini" found in Pompeii, so-called because it depicts the goddess in the same pose, but with the breasts and hips covered by bands painted in gold. The dolphin depicted next to it could be inspired instead to the Medici Venus...

18th century Italian mecca gold leaf candlestick with a red phantom crystal quartz point encased in Italian antique metal petal drip pan tray. The candlestick is decorated with chalcedony rosettes which are crystallized flower formations that are formed under the earth. The candlestick sits on a matrix encrusted with chalcedony rosettes on a coordinating distressed black marble base. The 18th century Italian candlestick is originally from a church in Coreglia Ligure. Interi works to both preserve and transform Italian ecclesiastical antiquities. The mecca candlestick, red phantom quartz...

Beautiful 18th century marble bust of Marie-Antoinette, wear and losses consistent with age and use.

A fine pair of George III statuary marble busts of a boy and a girl by John de Vaere (1755 – 1830), 1798. Signed J DE-VAERE Sculpr. 1798. Considering what a sensitive and accomplished sculptor he was, surprisingly little is known about John de Vaere. Born in France in 1755, he settled in England some time before 1786 when he enrolled as a student at the Royal Academy Schools. In 1787 he left to study in Rome, with the financial assistance of Josiah Wedgwood. In Rome he won a Silver Medal for Sculpture from the Pope and became an assistant to John Flaxman. On his return to England in 1790, he worked as a modeler for Wedgwood until the latter’s death in 1795, after which he worked with Eleanor Coade, probably replacing John Bacon...

Impressive early 18th century hand carved life-size marble bust of a Roman man, circa 1700 Italy, possibly older. Condition is good with minor chips and nicks consistent with age...

Pair 18th C. Carved Marble Terracotta Figures Lions Sculptures Garden Statues LA . Rare large Pair of early 18th century carved marble terracotta Figures of regal lions, holding an i...

17th century, Italian ancient carved stone bust of Roman Emperor Measures: H 33 (with base) H 28.5 (sculpture only) x 25 x 7 cm. The ancient bust, in ...

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...

This headless bust in white marble adorned in 18th century clothing on a later plaster pedestal on square wooden base Dimensions of bust: Length 21"...

Breathtaking 18th century french marble bust of Royal Military Commander with exposed metal detail on new, concrete column. 2 pieces.

Faun-Demon. Female figure with goat legs. Animal skin on her shoulders. Demonic face. She is holding a turtle.

These beautiful antique marble figures are truly timeless works of sculpture, though they are almost 300 years old, they will still make joyous additions to a classical or antiques,i...

Chic, 15th Century, Roman marble fragment of a left foot and calf mounted on a custom iron stand.

18th century Italian marble relief portrait of the Roman Stoic philosopher Seneca, carved in deep relief and mounted on a red and white variegat...

A very fine pair of Louis XVI period candlesticks of unusual form. Each with an ovoid white marble body issuing a floral spray with a flower head nozzle, supported by three curved mo...

18th century of marble Statue of Bacchus. The main body is leaning against a tree stump. Holding a basket of flowers. In his raised hand. He is holding a bunch of grapes. His body...

17th century Italian carrara marble bust of a Classical Roman. Finely carved Classical Roman Carrara marble bust sculpture from the 17th ce...

Pair of French 18th Century Louis XVI Bronze Sculpture of Faun and Bacchante Rare pair of bronze sculptures depicting Bacchante and Faun after a design by Jean-Hugues Taraval in 177...

Fabulous, hand-carved and veneered, 1700's, solid marble tabernacle from an Italian church altar. The scrolling, side pillars are surmounted by a ...

Stunning, solid white, Carrara marble lions head from a fountain in Florence featuring a flowing main and a fabulous patina. Mounted on a custom, iron base. The piece hails from the ...

Wonderful, Carrara marble relief portrait of a Cardinal in vestments, set in a 19th century, gray marble surround.

n. 1869. Rare antique important marble statue of Gopi, mounted on a plexiglass base, in modern taste. Statue high 47 cm; with base cm. 71 - plexiglas base is cm. 20 x 20. Unique ! ...

After the model by Pierre (Pietro Francavilla) de Francheville) (1548-1615) This energetic model of an athlete in motion has finely detailed musculature. The patina is a rich brown...

Fine, hand-carved, Carrara marble, robed figure from central Italy modeled in the Classical, contrapposto pose. The inscription fragment on the base reads "..under the auspices of...".

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 Rare French Marble Relief of PuttiFragment Late 17th Century Century Height 14 in. Width 33 in. Carved throughtout with three putti figures Provenance: Private Collector, Bor...

Hand-carved, Northern Italian, winged, marble cherub's head mounted on a custom, Lucite base.

Wonderful 17 century marble panel with a Madonna and child. Gorgeous period piece with great patina. Italy circa 1650. Weathered and small losses. Measurement include the wooden pe...

This is a large heavy rectangular carved marble relief of the Madonna and Baby Jesus. It depicts a caring Virgin Mary holding baby Jesus with her ...

A fine example of an Italian polychrome carved limestone crest architectural element with seven carved diamonds, perhaps from over a doorway or window, probably dating to the 15th or...

A large carved, lacquered and gilt Ava style marble head of the Buddha, Burma (now Myanmar), 17th century. Originally part of what must have been a monumental Buddha...