Wood Sculptures

A pair of late 17th Century Italian Baroque carved wood, gold gilded and polychromed Archangel sculptures mounted on Lucite bases.

Atlantis in wood XIX century. Wood carving representing an atlantis from the XIX century. Measures: 70 cm high Very good condition.

A pair of antique Italian angels carrying a cornucopia, two exclusive Baroque polychrome hand painted and hand carved giltwood armorial sculptures dating back to late 17th century and coming from an private villa of Siena, a Tuscan city in Central Italy. This pair of hand carved, painted and gilded Cembran pinewood figurative sculptures represent two standing angels...

17th Century Italian wood image of Christ carrying his cross to calvary mounted on a hand-painted black panel and framed with a modern gold gilded hand-finished wood frame.  

A very fine pair of 18th century carved figures, of Court Jesters These bearded gentlemen have been superbly carved in the finest detail, they original came from a piece of early 18th Century Furniture...

A pair of 18th century carved wooden figurines Likely Central European originating somewhere in Germany, Austria, Switzerland, or Northern Italy. Both figurines depict a gallant gentleman in period dress holding a basket replete with fruit or flowers. Each is mounted on an integral wooden base with a rocaille base. These figures are rare and are a fine addition to any period room...

A most fascinating and intriguing hand carved objet d'art of a treen figure in burl wood, exhibiting wonderful form, grain, colour and patina. The underside bearing remnants of an ol...

A pair of early 17th Century Baroque polychromed carved wood Angel sculptures with torch shaped candleholders.

A very interesting Baroque period carved oak figure of a saint or prophet said to come from a demolished Russian Orthodox church. This compelling figure is ...

The kneeling Angel portrays a loosely draped gown and is kneeling amongst clouds, with the sacred heart of Jesus in its hand. The dramatic pose and composition of this piece, along w...

Stylistically, and to appreciate the stylistic differences, compare with the San Juan Bautista of the "Altarpiece of San Juan Bautista" by Juan de Juni and Inocencio Berruguete, dated in 1551 and today in the National Museum of Sculpture of Valladolid, or with the Sanint John the Baptist by Alonso...

18th century carved Venetian polychromed gondola figurerhead, realistically carved and painted, raised on a 6.5" diameter base.

One of a kind Set of two pieces belonging to a monumental Baroque altarpiece made in the 18th century. These are two magnificent carvings of large dimensions, which together make a semicircular piece with a profuse decoration also of monumental proportions of plant forms. Decoration with elaborate carved rolls, which stand out from the general structure. It comes from a Spanish church that housed an imposing altarpiece made in the second half of the 18th century. The entire visible surface is gilded with original gold leaf, with imperceptible subsequent touch-ups. The back is reinforced, which makes the pieces very strong and heavy. In the photographs you can see the approach of its collectors: they placed it as a headboard, it looked impressive! But these exclusive pieces can be presented in many possible ways, either as part of the wall or as a work of art. Due to its enormous size, the configuration chosen for transport is "the buyer picks up the piece" but if, once awarded, you want to contract transport, we will provide it (we have a team of experts). Total measurements: 450 cm (width) x 160cm (height) x 25cm (depth) Measurements of each piece (2): 225cm (width) x 160cm (height) x 25cm (depth) It is a unique opportunity to acquire two exclusive pieces in the world of antiques.

Pair of Late 17th/Early 18th Century carved and polychrome Italian angel figures. Now mounted in modern stands. Wonderful baroque carving and retain original paint   

Late 17th century French extremely fine carved wood polychromed and gold gilded pocket watch holder. It has a carved cup behind the front opening to hold th...

These beautiful French Baroque angels are over 350 years old, having been hand-carved in oak circa 1670. Oak was the predominate wood used for making furniture up through the 1700s. ...

17th century Italian candlestick base decorated with a selenite blade cluster, fossil shells. This fragment is from a church in Florence. It was found and saved from the notorious fl...

This is a mephistophelic figure in solid wood carved of "Mrs. Devil" in the form of a hall support. Italy 1875-1890. Measure: Height 185 cm - Good condition, Mother of pearl eyes.

Pair of generous scale Spanish or Portuguese decorative polychrome garnitures also known as porta palmas in hand carved wood.

This beautiful 17th century carved angel has retained its original paint.

This particular set of wooden tiles, was handmade with colorful rural scenes, to decorate the sides of the Sicilian carts used during popular folks. Thes...

Place this beautiful pair of antique carved figurines on a mantel or a console. Crafted in Italy, circa 1780, the tall sculptures depict two chubby cherubs standing on carved gilt ba...

A pair of beautiful Baroque style polychrome carved wood wall decors depicting deer and ibex figures. Painted in brown, green, red, and golden c...

Large 18th century Italian carved Santo figural icon sculpture depicting a boy with arms raised dressed in a blue parcel-gilt outfit with boots. Heavily aged and distressed polychrom...

A French Baroque style walnut putto from the late 18th century, sitting on a pillow. Created in France during the last quarter of the 18th century, this walnut sculpture charms us wi...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

A Mother & Child, Naïve, Baroque, oak, sculpture, upcycled into a 25” high, table lamp - Unusual statement & conversation piece; introducing an enduring classic theme into the int...

Italian carved and polychrome figure of an angel holding a torchère wearing a gilded robe. Beautifully realized face and hair, this lovely early carving had been mounted as a lamp. G...

Rare large sitting Baroque Putti. Hand-carved pine wood figure of Putti with loin cloth in original "antique white" paint baring the original antique bea...

Lovely putto sculpture in typical Baroque Style. This beautiful and chubby putto sculpture was probably part of a larger Church ornament/sculpture or ...

One of a kind sculpture of Crucified Christ in carved wood and crystal eyes (one of them its loose), 18th century Hispano Filipino School. The crown, ...

17th century distressed Italian decorated church candlestick with fossil agate coral and natural forming baroque pearls on a lucite base. The 17th century Italian distressed candles...

Early 19th century wooden statue of St Jerome, circa 1800. South Europe.

A large-scale 17th century Spanish carving of Christ on the cross. Possibly of a much earlier date, the features and posture owing much to Byzantine depictions of Christ, especially ...

Cast bronze figure of a priest holding a cornucopial form crozier. Mounted on a modern turned ebonized wood socle. The bronze figure is 9 1/2" tall. Overall height including th...

This large 18th century figure of a dramatic and animated Griffon was made in Italy in the mid-18th century. Carved in great detail then gessoed, painted and gilded the figure stands...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge.    

18th century Spanish Conquistador carved wood figure. 18th century Carved and painted wood Spanish Conquistador figure or sculpture. This beautif...

This unusual Baroque figure of Christ carved circa 1670 and 1700 is in a form associated with his removal from the cross after crucifixion but before his...

Large Antique Santos of St Roche (Roch), patron saint of Dogs, now custom mounted as a lamp with custom Lucite base and custom natural colored linen shad...

Wooden bust of a knight. A wonderful armored knight carved from lime wood. The knight is well carved with the face (with moustache) looking out of the ...

18th century continental baroque style poly chrome decorated wood carving.

Amazing Baroque sculpture of a woman wearing a crown in original paint. Her hands are missing. Colors are untouched, recently cleaned off from a thick dark coating, I have images fro...

Rare pair of carved oak newel post figures probably depicting Sir Robert and Lady Brown, circa 1735, removed from the ballroom staircase of Wiggenha...

18th century carved wood Santos head We are proud to offer a wonderful example of a fine 18th century solid carved wooden Santos or Apostles head. Of excep...

Monumental sculpture in painted wood, Swedish, 17th century. Measures: Height from head to toe 140 cm, from arm to toe 180 cm.

Pair of early giltwood book stands carved as doves mounted upon orbs, from the late 17th or early 18th century. Nice large scale. Books are laid open across the backs of the doves' w...

Charming and rare pair of carved wood and polychrome figures of joyous youths playing instruments.

Tuscan raw wooden lamp, entirely hand-carved, with fruits - It's perfect for a country house - It is not necessary to change the power supply, but also use Your lamps with 110 W - 12...

O/7283 - Wonderful Venetian antique angels in carved and gilded wood, with particularly expressive faces - That's a very great quality and an interesting size, rare to find.. Wh...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge

Pair of wooden gilded consoles. This beautiful rare ornaments were made in the south of France. Dates circa 1740.

A tremendously unique and rare barley twisted column / pedestal in solid oak, later painted in various colors. This architectural piece was made by an Italian cabinetmaker in the lat...

Very large scale winged angel (1.63 m high), on a sculpted sphere in the round, probably part of an altarpiece? The whole, imposing in size, nevertheless gives an impression of light...

Beautiful and detailed reliquary holder with its original gilding, Italy, circa 1750. Weathered and small losses.

18th century Italian cross adorned with tangerine quartz crystals on a tangerine quartz and crystal cluster base. The crucifix originally came from a church in Tuscany. The crystal quartz points replicate the original sunrays or halo around the cross. 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 cross is originally 18th century. The 18th century Italian cross has been preserved and transformed into a figurative, contemporary work of art. With the combination of the precious minerals, the church artifact...

Baroque carved and polychromed wood sculpture of a standing Christ, mounted on wooden base, likely 18th century. In very good vintage conditi...