Wood Sculptures

Preciousness and uniqueness merge in this horn sculpture. An exclusive addition to elegant private studies or sideboards in refined living rooms, it features burnished brass elements...

Wonderful vintage Table Decoration - hand-carved Walnut Music Box Trivet with Art Nouveau Motifs. Colorful hand-painted Ceramic Art Pottery ...

Bring nature indoors. Large ball natural burl wood.

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Vintage Australian Aboriginal Art Wood Carving Animal Figurines, Set of 2, in Very Good conditions. Designed 1970 to 1979. Additional information: Materials: Wood Color: Brown Count...

Vintage wooden Marwari horse covered with red and yellow copper, or brass, characterful horse statue, sculpture, from India, mid-20th century. This beautiful statue is handmade from...

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...

Rare authentic natural California Purple Coral or Allopora Californica from Catalina Island region mounted on Asian form base, c.1960s. Allopora calif...

19th century Black Forest hand carved figure of a Chamois deer, bending down to eat foliage. The carving is lovely and in very good condition for its age.

Arne Tjomsland Scandinavian Mid-Century Modern carved teak Polar Bear sculpture , marked Norway. The polar bear was the first animal he carved in the 1...

A lifetime collection of birds. A set of 25 some made of porcelain some carved from wood or resin. Of the 25 of them 5 are music boxes. I actually think it's quite charming. Siz...

Early 20th Century Folk Art Fairground Elephant We share what we love, and we love this charming and naively formed early 20th century hand craved fairground ride figure. With a de...

German hand carved wood and decorative painted carousel horse with carved flowing mane, carved hairy tail, upholstered muslin saddle seat, flanking original glass eyes, and mounted o...

Crucifix Lombardy, mid-17th century Bronze, iron, and wood Sculpture: 33 cm height x 35 cm width x 10 cm depth at the knees; Cross: 42.12 in height x 19.68 in width (107 cm x 50); Ba...

A big hand carved painted stag sculpture in wood, early 18th century. Pre-owned by a collector. This sculpture are one of a kind. The stag deer are a symbol of spiritual authority, a deer stag is here depicted in all its magnificent elegance. Wooden sculpture of a life-size deer stag laying upon a rectangular platform base. The symbol of the stag: The deer’s antlers are one of the characteristics that have made it the figure of a spiritual superiority, according to some. Like a crown, the antlers grow beyond its body, bringing it closer to the sky and making it sacred. In many cultures, the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of reGeneration. In the Christian imagination, the deer is a symbol of piety, devotion and of God taking care of his children: men. The legend of Saint Eustace...

This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering example of beauty in craftsmanship. Hand and digital machine made; the standing sculpture stan...

Stunning classical style display column with a wonderful and warm patina. This marvelous piece of early 20th century workmanship is another fine example of the quality that was made in those days. All handcrafted out of oak and beautifully patinated from top to bottom this antique stand is a real eyecatcher and over the many decades the patina has only made this antique more attractive. This highly stylish, strong and very stable stand will easily take one of your heavier sculptures as well. The combination of the circular, heavy stem with its classical carvings and cannelures and the square base and table top make this stylish antique an absolute joy to own and look at. Apart from a few minor imperfections, this antique display stand...

A female fertility statue of West African Senufo (Mali, or Ivory Coast) origin in solid wood. Hand-carved from a single piece of Mango wood, this expr...

Pair of Italian Renaissance style (19th Century) walnut life-size carved figures of the Devil and his wife standing on pedestal bases. (PRICED AS Pair)

An Indian early 20th century hand carved architectural temple carving from Gujarat, depicting a mother and her child with nicely weathered patina. Crafted in the Western portion of India, in the culturally rich state of Gujarat, this early 20th-century hand-carved temple sculpture captures the tender bond between a mother and her child. The mother, adorned with a delicate headdress and detailed clothing and jewelry, stands in a dignified, frontal position. Her small child, clinging affectionately to her flank and grasping her dress, turns his head back towards us, a big smile illuminating his face. This heartwarming scene is beautifully rendered with a keen attention to detail, showcasing the artisan's skill and devotion. The sculpture's nicely weathered patina, along with traces of polychrome, lends it an air of antiquity and authenticity. The piece's unfinished back hints at its original architectural context, meant to be viewed from the front as it adorned a sacred space. Ideal for a variety of settings, this temple carving will enliven any wall, bringing a touch of historical and cultural depth to your home. Its charming depiction of maternal love, combined with its rich textures and colors, makes it a captivating focal point. Whether displayed in a living room, hallway, or study, this early 20th-century Indian temple carving...

Beautiful pair of Indian horse statues covered with pieces of bone, the floral metal trim is silver plated, these very decorative statues date from the first half of the 20th century...

Like scholars' rocks, petrified, or fossilized, wood is appreciated for its natural beauty. Sometimes called "Tree Jade," petrified wood is thought to bring peace and prosperity to i...

This taxidermy African Zebra Head is a truly impressive piece that captures the beauty and majesty of this iconic animal. Mounted on a white washed wooden rustic column pedestal, thi...

A set of three coordinating 17th century Italian 'Florence Fragments' all topped with varying collections of selenite rock crystal and naturally free-forming copper. These fragment...

Anthropomorphic Sculpture, Hand-Carved Wood Owl, France 1970s. The sculpture was made by French artist François Blanquet. This owl sculpture, created in the 1950s, is carved from ...

A extra ordinary sculpture in leather in the style of Dimitri Omersa, Unmarked. Brown tones, Glass eyes leather over a sculpted form. Preowned original good vintage condition. A nic...

Western African, Guinea or Senegal Baga serpent sculptures on Custom Iron Stands Offered for sale is a pair of outstanding Western African (Guinea) Baga society carved and painted wood serpent...

Sea Trout Trophy Fish Model. An excellent carved wooden half block sea trout mounted on the original bevelled edged polished backboard, The back of the boa...

A lovely and rare Spanish colonial statue of a madonna or female saint in carved and polychromed wood with movable arms and hands. Philippines, circa 1700s. In her time and within th...

This buddha is in Jade, in, a green color. He is sitted on his wood base. It has been done in china during the 20th century.

3-983 Japanese owl hand carved rosewood sculpture.

Victor Vasarely tower sculpture "MC 31" Signed lower panel edition 39/50 Wood and plastic.

This is an intense bronze abstract sculpture and it was created by the Italian artist Andrea Picini. This artwork is a multiple of 70 specimen and thi...

Pair of Serge Roche Gesso & Painted Plaster Exotic Fruit & Flower Topiaries France, Circa 1950s This rare pair of French Modern sculptural masterworks, attributed to the workshop ...

The initial inspiration for the elemental top collection by Alvaro Uribe for Wooda was wooda’s iconic logo of a tree. We felt it captured the company’s synergy for working with wood ...

Mannequin Sculpted and carved wood Italy or France, second half of the 19th century. It measures 25.59 x 6.29 x 3.54 in (65.5 x 16 x 9 cm) It weighs 2.2 lb circa (1 kg circa) St...

1814 Oversized hand carved wood horsehead sculpture

A charming pair of Gandharan molded stucco heads of donors, ancient region of Gandhara (modern day Pakistan / Afghanistan), probably Taxila, circa 3rd-5th century. The two heads most likely represent donors. Donors to temples would often have their images enshrined in the artworks of temple walls in thanks for their support. One head portrays a youthful figure with a plump, smiling face, and full head of hair arranged in fat curls and secured by a headband. The androgynous figure...

Bent Metal Table with Wood Legs in the Trompe L'oeil Style of John Dickinson A truly unique and original console table crafted from solid wood and be...

Set of pedagogical models of polygonal shapes in red lacquered zinc with wooden bases - Sogeresa Madrid - c. 1960 Measurements: 60 x 35 cm (the largest) 22 cm Ø (the smallest) 9 uni...

This captivating Art Deco sculpture, created around 1920, is inspired by the depiction of Ariadne, the heroine of Greek mythology, atop a majestic panther in motion. Crafted from car...

18th century Neapolitan Terracotta Santo Presepio Figure of Saint Anna Anonymous Naples, Italy; ca. 1760 Polychrome terracotta, wood, silk, gla...

Antique 32" Spanish Latin Polychromed Carved Wood Figure Depicting Madonna and Child. Item features is a tall impressive form, hand carved details with weathered gilt polychromed fin...

Decorate an office of a study with this wonderful antique statue of Joan of Arc. Crafted in France circa 1870, and resting one a wooden base, the figure depicts Sainte Jeanne d' Arc,...

A pair of Chinese Qing Dynasty period hand-carved temple corbels from the 19th century, mounted on black bases. Created in China during the Qing Dynasty...

American gilt carved wood and poly chromed nautical figurehead of Roman guard in military attire. Late 19th century.

A small and very fine Chinese carved sandalwood figure of a bodhisattva, possibly Avalokiteshvara (Guan Yin), Song Dynasty (960 to 1276), circa 13th ...

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 ...

This mid century wood sculpture by Italian artist Flaviano Laghi dates from approximately 1980 is mounted on a dark wood base and features a...

Arne Basse Teak Puffer Fish Toothpick Holder, Denmark, 1960's. Signed Denmark to the bottom.

A Memento Mori in wood with Chrismon, monogram of Christ. Valuable sculpture in fruit wood in almost true-to-life measurements, sculpted with art and finished with a wealth of details. The wood was covered with a thin layer of pellet and finished in color. Immediately above the forehead, in correspondence with the anterior neonatal fontanel, the CHRISMON is painted in purple red. The monogram of Christ or Chi Rho (or CHRISMON) is a combination of letters from the Greek alphabet, which form an abbreviation of the name of Christ. Solar in nature, often inscribed in a circle with multiple rays reminiscent of the cosmic wheel deriving from the ancient solar emblems of Egypt. The symbol consists of two large overlapping letters, the 'X' and the 'P'. They correspond, respectively, to the Greek letter '?' ('chi', which reads kh, aspirated) and '?' ('rho', which reads r). These two letters are the initials of the word '???st??' (Khristòs ), the name of Jesus, which in Greek means "anointed" and translates the Hebrew "messiah". On the sides of these two letters, there are very often two others: one 'a' and one '?', alpha and omega...

An iconic rare wood elongated bowl in African Teak (Bubinga) by Mid-Century master Emil Milan.

A wonderful Punu wooden door panel (one of the original pair) with the iconic carved female figure circa mid-20th century. These door panels were used for granary in Gabon. The door ...

A wonderfully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood and lucite stand. The Buddha's eyes are closed in serene medi...

This listing is for 3 Fin Trivets from Souda. Each one is packaged individually. Made using a manufacturing process utilized for railways, medical devices, and electronics, the Fin ...

Large ebony wood African sculpture.

Mid-Century Modern metal tree sculpture by Curtis Jere. This tall dimensional botanic floor tree features torched gold brass metal leaves on natural wood st...

Very rare large version (full grown) Polar Bear Sculpture by Arne Tjomsland, who was a Norwegian sculptor in the Scandinavian modern golden age, or Mid-Century Modern Era. This was p...

This is an antique wooden netsuke made in Japan around Showa period 1980s. The signature is written on the back side 'Ishikawa'. Netsuke is a miniature sculpture, originating in 17t...

Beautiful hand carved wooden ornament depicting two angel holding a laurel wreath. Unique period piece . Spain, circa 1700-1750 Weathered. Small losses and old repairs. Measurement ...