Europe Figurative Sculptures

An impressive early 20th Century Austrian bronze study of a standing turkey with very fine naturalistic cold painted colours and excellent hand finished surface detail. Signed with t...

Wonderful Hand carved winged angel. Italy, circa 1750-1800 Weathered small losses and old repairs. Measurement here below inclusive the wooden base.

Original antique large unique sculpture of goblin made by Danish artist Anders Møller. Anders Møller resided on Funen and was born in 1890. He was a member of Danish artist group “Germinalen”, a part of the art and ceramic movement in Denmark at that time. The sculpture is estimated to be from the 1930s. This mythical, grotesque creature has exaggerated features and is possibly influenced by European Gothic or Art Nouveau aesthetics. The expression also has a resemblance to the work of earlier artist such as Niels Hansen Jacobsen...

Unique table crucifix and a wonderful work of religious art. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from th...

Beautiful weathered marble baroque angel. Italy 17/18th century. Weathered, losses and old repairs. More pictures are available on request.

Wonderful set of 6 handmade teapots, carefully realized by an italian artist with love and passion. Unique and exclusive pieces. The set includes only teapots. Cups and plates a...

Enchanting antique sculpture of a girl on the stairs holding a light, by Umberto Stiaccini, Florence circa 1910. This beautiful and truly elegant, sculptural table or desk lamp is...

Rudolf Marcuse - The Swordsman Germany (Berlin) bronze, marble circa 1910 Dimensions: H x W x D: 24 x 19 x 6 cm Description: Bronze figure standing on a two-tiered base made of bl...

Entirely handmade sculpture with a mixture of cements and volcanic sands from Etna and rose quartz. The deliberately-made porous texture and uneven colour is the result of a pigmenta...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Bjørn Wiinblad (1918-2006). “Autumn” from the s...

A beautiful and exceptionally 19 inches tall classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the early 20th century, covered with a layer of wax. Signed by the artist on its underneath. In good condition with charming patina. A classic traditional doll with a simple but lovely design, a decorative piece. In Japan these dolls symbolize love, friendship and believed to be a lucky charm. We offer more large Kokeshi...

Beautiful hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. small losses. Measurement here below includes the wood...

An attractive early 20th Century Art Deco cold painted bronze figure of a young energetic beauty in a dancing pose, exhibiting excellent colour and very fine hand chased surface deta...

A charming antique Viennese bronze sculpture of a young Dutch boy pulling in a fishing net by Peter Tereszczuk dating from circa 1910. The f...

Large Terracotta Garden Gnome with Flower Pot, Germany ca. 1920s A large garden gnome from Germany, ca. 1920s. The gnome holds a flower pot. Good used antique condition with signs o...

This is a vintage decorative figure of Moses. An English, bronze and marble statue after Michelangelo, dating to the mid 20th century, circa 1960. Striking rendition of a historic...

The Archer - Antique bronze sculpture by Julius Paul Schmidt-Felling Dimensions: H x W x D: 32 x 10 x 12 cm Description: Bronze figure mounted on a cuboid base made of serpentine s...

This striking bronze sculpture, attributed to the legendary American artist Frederic Remington, captures the essence of the rugged frontier spirit with breathtaking motion and anatom...

This captivating Art Deco ceramic group, dating from around 1925, features two cabaret dancers captured in mid-performance, mimicking a military march. The figures are beautifully ex...

Mushroom hand-carved by Robert Haussmann for the interior design of a boutique in Zurich, circa 1970. A key figure of postwar European design, Swiss architect and designer Robert Ha...

This is a beautiful pair of Derby figures called the "Garland Shepherds", made in about 1765. The pair is one of Derby's most famous figure pairs and it bears the catalogue number E2...

A Rome 1960s Souvenir sculpture. Some wear with a nice patina, but this is old-age. Made of metal on a marble base. This was bought as a souvenir in Italy. A beautiful nice desktop item or just a display item...

A stunning French Art Nouveau pair of large vases with female figures of the era, signed by the Parisian Sculptor F. Citti, Paris 1900-1910. Measures: Height 19 in (48 cm) Width...

Sculpture of Venus in resin and metal base, medium-sized model. Venus is the goddess of love, seduction and beauty in Roman mythology. She is the equivalent of the Greek goddess Aph...

A stupendous representation of Ares, half-brother of Athens, son of Zeus and Hera, and the God of War, this sculpture will make a unique and sophisticated addition to a personal coll...

A bronze statue of a ballerina A beautiful abstract statue of a ballerina made in bronze on a rectangular base. The bronze ballerina in a beautiful pose of a dancing jump, mounted...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

A gorgeous character ceramic figural horse statue - Bitossi Aldo Londi. This character statue has been made in the 1960s. Absolutely gorgeous item with mark on the body and still in ...

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...

This is a cold painted bronze figurine of a Turkish dancer with a Parrot, by or after Paul Philippe, made in France in the Art Deco period, circa 1920 ....

Rare Terracotta Stork for Garden Decoration, Germany ca. 1950s Item e7304 A large stork sculpture made of terracotta, produced as a garden decoration by Heissner, Germany, ca. 1950s....

Lladro Gres Eskimo Boy and Girl, Spain, 1970s. Lladro gres ''Eskimo Boy'' and ''Eskimo Girl'' figurines. Design by Juan Herta, issued in 1970, retired in 1...

Rare Terracotta Garden Gnome with Pig, Germany ca. 1920s A large garden gnome manufactured by Heissner, Germany, ca. 1920s. The dwarf has grabbed a pig by the hind legs and is holdi...

A superb example of a 1960s oval sommerso (submerged glass) blue and yellow Murano glass bowl by the Venetian furnace Cenedese. In good condition with the original stickers intact.

A lovely green bronze sculpture in shape of a jumping frog. The frog is 26 cm (10.4") tall and in excellent condition. Marked A.P.G below.

Early 20th century hand carved pine architectural model A well modelled early 20th century hand carved pine architectural model of a rooftop corner. Showing natural age and minor lo...

Rosenthal, Germany. Octagonal porcelain bowl with iridescent, glossy glaze. Hand-painted with fruits and butterflies. 1930s/40s. Marked. In perfect condition. Dimensions: D 16.5 cm ...

Sculpture, Female torso, classical art, Greek art, Roman art, Torso, white Carrara marble, classical sculpture, ancient torso, Greek torso, Venus torso Sculpted female torso on whit...

Ceramic Indian motif white elephant by Bruno Gambone (circa 1970s). This is an absolutely charming ceramic white elephant with an Indian-style blanket and headdress, large whimsical ...

Beautiful quality, turn of the century craftsmanship pendant light. This stunning bronze chandelier of practical size is in excellent condition. The top quality workmanship is unlik...

Unique piece sign by the artist. The seasonal flowering of the wisteria, its scent, the pergolas to which it acts as a roof, gave the artist the inspiration for the creation of this...

Porcelain of Capodimonte 1970s years Donna Vamp , totally handcrafted by skilled and skilled hands that have now disappeared, also painted by hand, with 24-karat pure gold dress, sig...

Stoneware Clay, Unglazed Ceramic Ethereal Sculpture by Aleksandra Krasnopolska Dimensions: W 25.5 x D 19 x H 35 cm Materials: Stoneware clay. Unglazed ceramic sulface. Weight: 5,6 k...

Bambin Gesù in Terracotta della fine del 1700 raffigurato in piedi, privo di vesti, sopra una bella base dorata in oro fino. Italia centro-meridionale, risale alla fine del 1700. Il ...

Love this set of Three Vikings . all original from the sixties . One slightly bigger . All complete with there armory . Very scary . Handmade .

PLAY BALL Unique and poetic work. Bird and Humans sculpture ceramic. Made by a French sculptor, painter and ceramist, Pierre KOPPE. Greige and cobalt blue color. Signed on the back...

An extraordinary and museum-worthy 15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and royal...

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

Art Deco Rare Porcelain Figurine, Flower frog by the Porzellanfabrik Günthersfeld AG, Gehren, Germany 1930s. Rare find, this piece was made of porcelain trimmed in gold, it is in gre...

Art Deco tall Italian animal Figurine Ceramic Parrot Macaw on a tree trunk Material: porcelain, ceramic, tin glazed Design: Cacciapuoti style...

Lovely Chinese Shiwan Figure. Dating to the 1980’s or 90’s. Additional information: Material: Porcelain & Pottery Decoration Type / Colour: Polychrome Region of Origin: China Period...

Rene Lalique clear and frosted glass 'Chrysis' car mascot (radiator cap). Features a naked female figure, kneeling, with her head thrown back. In ancient Greece, Chrysis was the prie...

Bronze sculpture "Flying Mercury", after Giambologna, mounted as a lamp, on a green marble column base decorated with a bronze frieze, with allegories of the Arts. Wear and tear ...

Stone sculpture of a four-eyed idol. A superb reproduction of a four-eyed idol in sandstone, the original of which dates back to 4000 BC. These idols were frequently used as votive ...

This is an eye-catching Vintage Art Deco Revival bronze dancing girl dating from the mid 20th century. This beautiful piece is a 20th Century recast of a sculpture created by the famous Romanian sculptor Demetre Chiparus. Made by the classical lost wax, or 'cire perdue', method, the stautue stands on a black marble base. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 50 x Width 22 x Depth 16 & Weight 6 kg Dimensions in inches: Height 1 foot, 8 inches x Width 9 inches x Depth 6 inches & Weight 13.2 lbs Lost Wax Method sometimes called by the French name of cire perdue or the Latin, cera perduta is the process by which a bronze or brass is cast from an artists sculpture. In industrial uses, the modern process is called investment casting. An ancient practice, the process today varies from foundry to foundry, but the steps which are usually used in casting small bronze sculptures in a modern bronze foundry are generally quite standardised. Demetre H. Chiparus was born in Romania in 1886, attended school in Italy, then, shortly before World War I moved to Paris. He attended school at the Ecole des Beaux Arts under two talented sculptors Anonin Mercier and Jean Boucher, who provided him the opportunity to learn the trade. He later began to experiment with small bronze sculptures and produce small bronze works, exhibiting his small sculptures and, in 1914, was awarded an honorable mention at the Salon of the Societe des Artistes Francais. Many of Paris’ most affluent began to take notice of his work after World War One and the demand for his sculptures quickly increased. Chiparus was captivated by dancers, in particular influenced by Diaghiley’s Ballets Russes and Leon Bakst’s stage designs. A few of his famous sculptures were Starfish Dancer...

This is a porcelain figurine by Royal Dux, depicting two dancing women, often referred to as "Dancing Sisters" or "Dancing Ladies". This figural group was created by Elly Strobach K...

Art Deco bronze sculpture circa 1930. A bronze girl with a double patina on a cream-colored marble base. Note some wear on the patina. Total height: 23 cm Base width: 8 cm Base dept...

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 detail...

This fine antique bronze study is by the highly acclaimed sculptor and artist Eugène Barillot (1841–1900). It depicts an ancient Greek archer testing his bow. The bearded man is nak...

Superb Lalique Virgin and Child sculpture on a black lacquered wooden base, France 1970s. Beautiful crystal form which captures the subject's devotion a...