Brussels - Sculptures

Very beautiful sculpture representing Saint Anne and the Virgin Mary in polychrome wood - France from the 18th century in oak Very beautiful sculpture representing Saint Anne on a c...

Mid-Century Ceramic Whippet Dog Sculpture, Italy, 1960s

Attributed to Antonio Rossellino (settignano, 1427 - Firenze, 1479) Bust of a young boy 1470-1475 Polychrome stucco 35 x 31 x 15,5 cm - Published on the exhibition catalogue : A. D...

Renaissance Marble Relief Emilia Romagna, Faenza ? 1470-80 H 30,2 x L 33 x P 3,5 cm The carved marble relief depicts the Virgin accompanied by a winged cherub standing behind her. ...

Large carved stone rosette France, 18th century Diameter: 29.5 cm This carved rosette likely adorned a ceiling. This rounded vault key exhibits a delicately crafted decor, with deep...

Mid-Century Helio Rodrigues Sculpture, Brazil

Cav. F. Palla, Marble Sculpture "Vénus Accroupie", Italy, 19th

A Captive Soldier Gilt Bronze, Lost Wax Italie (Rome), 17th century H 17 x Dia 10 cm H 6 2/3 x Dia 4 inch The 17th century witnessed a flourishing of artistic expression across Eur...

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Plateau with two breasts, attribute of Saint Agatha Southern Italy, 17th century Polychrome and gilded wood 20 x 14,5 x 15 cm Born into a noble lineage, Agatha came into the world ...

Monumental sculpture representing the Venus Pudica (Medici-type) 18th Century Italian (Rome) White marble Based on a model from Antiquity, the Medici Venus, currently in the Uffizi ...

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

Mid-Century Modern Bronze Sculpture

Ado Chale’s Bronze Sphere This captivating bronze sphere, a testament to the artistic genius of Ado Chale, exudes timeless elegance. Crafted with meticulous attention to detail, it ...

Mid-Century Modern Ceramic by Alessio Tasca, Italy, 1970s

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Great Alessandro Pianon for Vistosi Murano art glass bird. Iconic design. Fine and good condition, free of any chips, cracks, or repairs "Pulcini" Bird (c.1963)

Decorative sculpture of two panters in movements, mounted on a rectangular base. The scultpure is in solid brass, and has a very balanced look.

Iron Sculpture By Robert Michiels, Belgium, 1960s

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

Sculpture of a human in an acrobatic position on a pole. Textured bronze

Mid-Century Modern Horse Ceramic Sculpture by Aldo Londi, Italy, 1960

Mid-Century Modern Ceramic Sculpture by Alessio Tasca, Italy, 1970s

Engaged Romanesque capital representing Daniel in the Lion’s den France, 12th century Limestone 38 x 29 x 18 cm Provenance : Private coll...

Brutalist figurative sculpture made out of rusted metal, reminds us of a tree moved by the wind. Perfect decoration for the garden.

Miguel Berrocal ( 1933-2006) " Richelieu" , Signed and Numbered

Venini Egg by Ludovico Diaz De Santillana, Italy, 1960s

Rare playmobile large sculpture of knight on a dragon with a 220cm wingspan! A precious and colourful collectible object for playmobile specialists.

Fully functional propeller mounted on display.

Pair of Bronze elephants on porcelain decorative columns with bronze borders designed by Wong Lee.

Kinectic sculpture in metal attributed to Allan Llewellyn. The motor to lift the balls upwards is missing.

Engraved Nautilus shell Netherlands, 18th century 13 x 10 x 7 cm Although fragmentary this beautiful nautilus preserves almost intact a beautiful hunting scene. The 18th century ...

Penguin Travertine Sculpture by Fratelli Mannelli, Italy, 1970s

French antique model in gilded bronze Grand Tour de la Vendôme column, dating from around 1880. This splendid bronze thermometer (Celsius and Fahren...

Rare romanesque capital with sirens France, XIII century Limestone 25 x 28 x 22 cm This finely carved Romanesque capital, executed in high relief from limestone, features four hyb...

Louis Thomas Jérôme Auzoux (1797-1880) Skinned Human anatomical Model Paris, around 1850 135 cm In the 1820s Louis Auzoux, a French medical graduate ...

Torso of a nude women in white painted clay. It's a brutal textured with pattern and traces when it was made. White painted on top of the clay. The pedestal is also available on another advertisement. _______________________________________________________ L'étude et la représentation artistique du corps humain a été constante dans toute l'histoire de l'art, depuis la préhistoire (le Vénus de Willendorf) jusqu'à nos jours. Une des cultures où la représentation artistique du nu a le plus proliféré a été dans la Grèce Antique...

niche in gilded wood from the 17th century from Italy Lovely niche with a carved wood in its center from the Italian Renaissance Beautiful original gild wood Dimensions excluding ba...

Mid-Century Bronze Modernist Sculpture, 1950s

André Delessert (1923-2010), a distinguished Swiss sculptor and mathematician of the 20th century, crafted this abstract bronze sculpture to bear witness to his profound affiliation ...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

Mid-Century Modern Ceramic Sculpture (Caricature of Leopold ll) by Arthur Craco, Belgium, 1970s

Unusual piece of art showing a puzzle head Hand made carved wood Circa 1970's

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

Callipygian Venus 19th Century Italian (Naples or Rome) White marble After the Antique: Naples Archaeological Museum (IT) Roman version of a Hellenistic 3rd Century B.C. model Height: 62 cm Width: 22 cm H 24 1/2 x W 8 2/3 inch The Callipygian Venus, also known as the Aphrodite Kallipygos or the Callipygian Venus, all literally meaning “Venus of the beautiful buttocks”, is an Ancient Roman marble statue...

Art Deco Ball Dancer Signed Denis, Pseudonym Of Marcel Bouraine. Metal With Green Patina, Onyx Balls - Produced By The Max Le Verrier Workshops.

Brutalist Sculpture, Wood and Metal

Mid-Century Modern Sculpture by José Vermeersch (1922-1997), Terra Cotta, Belgium - Signed and Numbered

Mid-Century Modern Sculpture by José Vermeersch (1922-1997), Terra Cotta, Belgium - Signed and Numbered

Rhinoceros Sculpture by Antonio Amorgasti, Bronze Signed and Dated, 1928

Contemporary White Marble Sculpture by Piet Van Loocke, Belgium

French Stone Horse Head Monogrammed SW

Marble Roman relief representing a Christogram Roman relief - 4th century 25 x 22 x 8 cm Provenance : Collection of the Château de B. À Nevers by Georges C.S., scholar born in 1833 and deceased in 1909 The entire castle and its collections were acquired in 1938 by the current owners of the estate A christogram is a monogram or combination of letters that forms an abreviation for the name of Jesus Christ. This rare fragment combines chi (X) and rho (P), the first two letters of Christ's name in Greek and it is one of the oldest and most popular early christian symbol. The monogram of Christ, or chrismon, is also a powerful symbol of imperial victory: it appeared to Emperor Constantine the Great before his battle against Maxentius in ad 312, promising victory in the name of Christ. In Plato's Timaeus, it is explained that the two bands which form the "world soul" (anima mundi...

A pair of Italian 18th Century Candle-holding Archangels, sculpted wood with its original wings.

A polychrome sculpture depicting the Virgin and the Child Mosan region, second half of 13th century Polychrome wood 73 x 29 X 12 cm Provenance : Former Belgian private collection from the beginning of the 20th century This remarkable early artwork portrays the Enthroned Virgin and Child, also known as Sedes Sapientiae, which translates to the 'Seat of Wisdom...