Wood Sculptures

An exquisite, antique early 19th Century Burmese Mandalay Buddha statue, masterfully hand carved from wood, partially gilded, and lacquered in rich tones, in good condition. This lar...

Great stoneware sculpture designed by Sven Wejsfelt for Gustavsberg, Sweden, during the 1980s. This pike belongs of the designers series 'Stim'.

Early 19th Century Black Forest Carved Wooden Deer Head with Antlers Carved from solid wood and mounted with naturally shed antlers, this expressive deer head exemplifies the rustic...

Elevate your interior with this striking Vintage Articulating Hand-Carved Crocodile Figure—an exceptional decorative object that seamlessly blends craftsmanship, character, and conve...

This monumental Apatosaurus femur embodies the immense scale and enduring legacy of one of the largest animals ever to walk the Earth. Originating from the renowned Morrison Formatio...

This captivating and delightfully expressive vintage folk art articulated wooden figure is a striking creation by American artist Don Ellefson. Evoking a playful mix of traditional A...

Large Hollywood Regency style crane bird sculpture by Maitland Smith. The tall crane bird is made out of tessellated stone, rattan reeds, and polished gold brass. Labeled underneath...

18th Century Carved Giltwood & Gesso Coat of Arms with Eagle – Rare Decorative Crest on Metal Stand A stunning and rare 18th-century carved giltwood and gesso coat of arms, this ...

IMPORTANT GERMAN PIETÀ FROM THE 14th CENTURY ORIGIN: GERMANY, REGION DE COLOGNE PERIOD: BEGINNING IF THE 14th CENTURY, ca. 1330 Height: 98 cm Length: 45 cm Depth: 33 cm Polychromed linden wood Good condition of conservation Provenance : particular Alsatian collection The theme of the Pietà or Vesperbild appears in Germany at the end of the 13th century, reflecting the mysticism of the late Middle Ages. Although the theme does not exist in the Gospels, it was often mentioned in contemporary devotional literature. Indeed, during the first half of the 14th century, mystical thought and devotional practices changed under the impulse of a number of religious, among them Heinrich Suso and St Bridget. In his writings, Suso placed important emphasis on contemplation and meditation in the footsteps of Christ's martyrdom. This will have great impact in the field of art, especially in Germany and later in France. The emphasis will from now on be on grief, death is shown in a straightforward way. The wounds of Christ are gaping and bloody. The suffering of Christ and the seven sorrows of the Virgin Mary are meditated upon. This piece demonstrates the interest of the faithful in these representations where pathos reigns. The virgin is represented seated in a frontal position. The bust is very elongated. She is wearing a red dress with a simple neckline and a blue mantel...

Vintage Candy Dispenser An authentic icon of the 1990s American aesthetic, this charming "Candy Cable Car Co." candy dispenser is an original Blackdog creation, made in the United S...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

Mid-Century Modern figurine “Pessimist" by Hans Bolling for Orlov & Co. Teak and fur. First edition.

Leather Shield, South Sudan A small leather shield typical of the region known as an upwal, concave hide is attached to a reed spine with plaiting to form a strong grip. Mounted on ...

This donkey is so unique and charming! It was lovingly made by hand in Spain back in the 1950s. The donkey is carrying two baskets, and each one can hold two flowers. Your imaginatio...

Handsomely carved solid mahogany decorative post. Vintage, and originally intended as a banister stop. This is a strikingly beautiful piece that can serve as an eye catching art obje...

Japanese Meiji period (1868-1912) patinated bronze sculpture of a tiger with cub. Mounted on a carved hardwood base decorated with foliage. High...

VIRGIN OF CALVARY ORIGIN : ITALY PERIOD : SECOND HALF 13th CENTURY Height : 75 cm Length : 19 cm Depth : 13 cm Polychrome wood carved in the round This rare sculpture of a Virgin of Calvary originally belonged to an ensemble depicting the Crucifixion. The Virgin would be accompanied by a sculpture of the apostle John, both flanking the Christ. Depictions of Joseph of Arimathea and Nicodemus could complete the ensemble. The portrayal of the Descent from the Cross had to be a touching and moving scene for the viewer. Quite rare during the 10th and 11th centuries this particular scene of the Passion was very much in favour during the 12th century before other scenes took over in turn. Mary is standing with her head slightly tilted to her right shoulder. In a gesture of intercession she raises her left hand – note the long and delicate fingers – towards the missing Christ while with her right hand she holds her cloak around her elbow. Those calm and restrained movements break with the hieratism of Romanesque sculpture...

A tobacco tasting pipe, made of genuine carved meerschaum, with a genuine amber mouthpiece. It depicts a hunter with a rifle, sitting with his dog. Original wooden case, covered in l...

Unique and all handcrafted, practical size antique circular chandelier. Some chances you only get once in your life and that is exactly what we thought when we first saw this unique...

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...

These large hand-woven palm sculptures are made from natural palm and provide rustic, organic modern, contemporary design for any home decor. Their unique w...

Yaacov Agam — Abstract Kinetic Silkscreen on Glass, Signed and Numbered 25/27 Dimensions: W 33 × H 23 × D 4 cm (W 12.99 × H 9.06 × D 1.57 in) This striking kinetic artwork by Yaaco...

Abercrombie & Fitch Mallard Drake Duck Decoy. Shows some wear from light use.

17th century Italian silver leaf distressed angel wing with coordinating layers of mica layers creating a 3D effect of the angel wing. The wing sits on a smokey quartz crystal with n...

Natural abstract white birch branch on a chrome stand in Italian design 21th Century This is a white mat lacquered natural birch branch mounted on a meta...

This is a Puerto Rican Group Sculpture of the Three Wise Men. It depicts three sculptures of the Wise Men kneeling down and made in different woods. The sculptures are supported by a...

Wharton Esherick important sofa for Lawrence and Alice Seiver. We are pleased to offer this exceptional item, the epitome of the Americ...

Stunning and complete unique early Baroque altarpiece with beautiful and very rich carved and gilded decor, Spain, circa 1650 Weathered, small losses, old repairs and adjustments of ...

Design by Salvador Dalí­, 1903 manufactured by BD Barcelona Solid Iroko wooden structure with polyamide wheels. Optional upholstered cushion with water repellent foam and material ...

Bring a touch of whimsy to your home or office with the charming wooden bird from the Tweety series. Designed by Kateryna Sokolova, this minimalist sculpture is an attractive accent...

Carved wood powerful portrait of a Makonde man with a traditional lip plug in his upper lip, high carved cheek bones in the form of a finely carved helmet mask, with attached hair on...

Presenting a set high-end and important Japanese dolls of Musha Ningyo Samurai Dolls containing Takenouchi No Sukune,Grandson,Bannerman on two wooden stands from the Edo period, a traditional Japanese warrior doll...

Dating from the late Meiji to Taisho period, circa 1900–1920, this Japanese antique low stand is crafted entirely from solid keyaki (zelkova), featuring a thick single-board top and ...

A tall northern Thai ancient driftwood carving from the Chiang Mai Region. This tall ancient driftwood carving, originating from the Chiang Mai region in Northern Thailand, is a striking piece of natural art. Found near the Ping River, it features a tall and narrow rustic silhouette that embodies the raw beauty of nature. Its weathered appearance and textural depth make it a captivating decorative item, perfect for adding a touch of organic charm to a modern décor. Ideal for placing against a plain wall to create a focal point, this driftwood carving can be dramatically enhanced by directional lighting, such as a spotlight positioned below to cast intriguing shadows and highlight its unique contours. This approach not only accentuates its form but also imbues your space with a sense of historical mystique and natural elegance. Whether positioned in a living room, hallway, or large open-plan area, this Northern Thai wood carving...

Very pretty and decorative early 20th century French articulated life-size mannequin's arm in dark brown painted and plastered heavy solid wood. To lay or hang and use for extraordi...

Make a striking statement on a mantel, console, or buffet with this important antique fruitwood clock, crafted in Switzerland circa 1860. The exceptional timepiece is richly hand carved throughout, centered by two seated cherubs poised above the dial, engaged in a lively scene with a woven grape basket...

Design inspired on an artwork by Salvador Dali´: Interpretation project for a stable-library, 1942 Stuffed lamb, elaborated with a technique by a taxidermist. Drawer and table top i...

This series of made-to-order floor lamps is available in additional colors and finishes. Please reach out for customization. "Mycelium" by Alexey Krupinin is a sculptural exploratio...

2020 Honduran rosewood on a custom teak and walnut base Measures: 8.75 x 4 in / 22 x 10 cm.

Japanese Takedo Sculptural Rendering of a Kabuki Actor, Circa 1800, Youth Dressed in Gold Paper, Brocade Textiles and Silk Crepe Sleeves Embroidered in Multicolor Floral Design, He H...

A natural Wunderkammer specimen: a marine diorama with two decoy fishes (Pterois volitans), a brunch, fan shaped, of Horny coral, starfish, and reef. The Specimens are mounted inside a glass...

Deconstructed Lobster (Homarus Gammarus) Specimen Under Glass Dome. The European lobster, scientifically referred to as Homarus gammarus or commonly known as the common lobster, is ...

Stunning wooden Holy Heart of Christ statue. An exceptional and deeply moving life-size hand-carved wooden sculpture of Jesus Christ, depicting the Sacred Heart. This monumental chu...

**The Tree of Seven Possibilities** by Elvio Becheroni is an extraordinary and unique sculpture, part of the renowned series "Amazonia - Disenchanted Forest" created in 1992. This pi...

Large pair of carved and lacquered black wooden bookends, depicting two black Labrador dog heads. England, late 19th century.

Antique Southeast Asian Polychrome Wooden Oversized Temple Horse from India. Large Antique Southeast Asian Carved Polychrome Wood Horses. Antique Southeast Asian carved wood model of a parade horse. the body with allover polychrome, saddle and reins carved in high relief, the tail lacquered. 19th century hand carved oversized wooden Indian temple horse...

A tall vintage Japanese kokeshi doll. Made of wood with a lovely hand painted design of red flowers.

This is a beautifully sculpted marble nude, signed and dated 1978 by noted Sculptor Eugene Gauss. The reclining nude is reminiscent of Picasso and is executed in fine statuary marble...

Antique Primitive Glider Rocking Hobby Horse Rustic Carved Wood Cast Iron Red. Item features a carved wood horse, red painted wood base, cast iron hardware with star accents, and lea...

1960s Carved Wood Monk or Friar Wearing Robe Smooth Wood Robe's Mantel/Hood covers head

An ancient Indian cart wheel mounted on custom black lacquered base, with brown patina. Imagine the rhythmic creak of wooden axles and the dusty trail of a bygone era. Envision the s...

This fabulous vintage abstract signed Italian sculpture is Mid-Century Modern. It says on the label made in Italy and the signature is Esafedritolle. The bronze has 2 surfaces both p...

Taxidermy marine natural Wunderkammer specimen, embalmed sickle pomfret (Familia: Bramidae. Genus: Taractes. Species: Rubescens). The Specimen is stuffed and mounted over a base that...

Wonderfully charming hand-carved 19th Century American folk art horse sculpture on stand. Pay special attention to its face and the carved details to appreciate this fine specimen. ...

Rare small musk Ox figure/carving. Hand worked Norwegian Pine wood and leather. Burnished makers marks to bottom. Arne Tjomsland was Norways leading souvenir designer in the 1950s...

A large hand-carved iron wood eagle perched on a tree stump and surveying the surroundings ready to fly. Hand carved wood vintage extremely detailed bald eagle perched upon rockery with glass eyes. Hand carved Ironwood Southwestern seri...

1537 Neapolitan hand carved wood sculpture "the Finger" Beautiful detailed carving

Beautiful and important wooden memorial temple covered in faux marble. From the purest neoclassical form, this Grand Tour piece of furniture is a classic piece of furniture of grea...

A rare and impressive life-sized carved wooden artist's mannequin dating to the early twentieth century, of continental origin and executed with remarkable attention to anatomical fo...

Pedro Friedeberg Moon Face / Half Moon Table top Sculpture. Walnut and wood with gold leaf. Very good condition. Few if any signs of handling. Signed to the back "Pedro Friedebe...