Italy - Sculptures

Goldscheider ceramic figurine depicting a tennis player, made by Stefan Dakon in 1932. Ø cm 9 h cm 27.5 Stefan Dakon (1904-1992) was a talented Austrian sculptor and designer who ...

Coral V3 is a 21st Century Travertino sculpture made by Italian artisans in white cream marble stone and black metal. The piece is manufactured in...

A superb addition to a personal collection or a magnificent gift for a lover of antiquity, this mask reproduces in stunning detail the iconography of the Greek god Apollo...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Nice ...

Murano glass aquarium by Vetreria Cenedese with double marine figures, made in the 1950s Ø cm 17 Ø cm 4 h cm 11 Vetreria Cenedese is a name that resonates in the universe of artist...

Mid-Century 1960s sinuous lion sculpture Complete and in good condition, it depicts a lion ready to attack its prey. Resin. Complete and in good condition. 35 cm wide.

A truly beautiful hand-blown Murano glass transparent bowl blown in an uneven 'wobbly' shape with beautiful folds and curves. This bowl is in good condition.

Masterfully handcrafted in Italy, Kazimir screens are not only a perfect divider for minimalist or classic rooms, but also a symbolic bridge, linking design to art, functionality to decoration. In fact the shapes of this screens, closed in a set, a collection composed by 3 single elements (Type A, Type B and Type C), are freely inspired on the figurative abstract works by the renowned painter Malevich, a pione...

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...

Inspired by the marine world, this light sculpture of the Madrepora Collection features a hand carved and chiseled shape faithfully reproducing the poriform cavities and sinuous ribs of these stony corals (madrepore in Italian). The led illumination placed inside enhances the captivating shape that comes alive in the hands of the artist through the soft, malleable Lecce stone, a type of limestone rich in plant and animal fossils...

The elegant features of the young Antinous, a favorite of beloved Roman emperor Hadrian, are masterfully captured with exceptional richness in this plaster bust of the ancient Greek hero...

This exquisite bust is an exact depiction of the face of the Discobolus, the famous Greek sculpture whose celebrated Roman copies are housed in the Natio...

Authentic horse armour face mask or chanfron, dated circa late 18th-early mid-19th century from Northern Italy in wrought iron. During the late Middle Age...

Vintage Italian smoky Murano glass sculpture depicting a woman with her head in her hands in a keeling position. It is made of solid glass, hand polished by Loredano Rosin / Made in...

The Corinthian helmet was the type of Greek helmet that offered the best protection in battle for the head in ancient Greece. In ancient Rome it was introduced either by the Etruscan...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). A monumental Italian Capodimonte c...

"Contemporary Leggerezza Hand-Blown Glass Sculptural Glasses Set" by Simone Crestani Introducing the exquisite Decorative Leggerezza Glasses, Goblets, Flutes Set. In total there 6 ...

Atelier mannequin graven and carved stone pine wood Italy, late 19th century Measures: H 102 cm x 25 cm x 14 cm H 40.15 in x 9.84 in x 5.51 in Weight: circa kg 4 State of conse...

Sculpture of a very muscular man or athlete calling on other men to observe what he points out, made of antimony metal with a green patina and on a marble base. Sculpture by J de Roncourt...

Coral V2 is a 21st Century Travertino sculpture made by Italian artisans in white cream marble stone and black metal. The piece is manufactured in...

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...

Wunderkammer Memento Mori sculpture, depicting a carved wooden skull. Italy circa 1700.

Bronze sculpture with wooden base, Homage to Marino Marini 1950s/60s

Midcentury amazing sculpture / bookend in travertine marble in the shape of elephant by Fratelli Mannelli. Made in Italy in the 1970s. Perfect desk object or gift idea.

Centerpiece In Porcelain Biscuit from the 20th century, this biscuit porcelain triumph dates from the first half of the 1900s. Biscuit porcelain is a special processing technique th...

Charles Owen Perry was an American sculptor particularly known for his large-scale public sculptures. Perry initially studied architecture at Yale University, graduating in 1958. He...

"Maternity" Angelo Biancini Morelli Ceramics 1930s Ivory Ceramic Figure Rare Sculpture of Angelo Biancini by Morelli Manufacture 1920-1930 "Morelli" Sign under the base

This is a 19th-century alabaster Italian sculpture depicting a foot wearing a classical sandal. During the 19th century, particularly in Europe, there was a strong Neoclassical revi...

Rare set of sculptures composed by a set of the four female figures representing The Arts. Music, Painting , Architecture ,Sculpture. Measures: Height cm 150 Very good original con...

This Italian porcelain sculpture is part of Grand Tour by Vito Nesta. Made in Capodimonte porcelain with a glossy finish and gold detail, this sculpture is an essential oil diffuser...

Vintage palm tree sculpture handcrafted in wood carved with leaves, coconuts and trunk. High decorative object.

Wonderful Italian wooden door from Capri belonging to the 1960s, in a beautiful rustic chic style. The door is a classic rectangular door, but lower than the current norm because houses were smaller before. The door is made of fine wood and very durable, with clear scratches and wear, but this is what gives beauty to the object. The lower part is decorated with two pairs of rectangles, finely carved. The upper part, on the other hand, shows two glass rectangles, with a wooden bar dividing them in the middle. The door has a lock and handle: both are made of brass in patina, attached to the wood with two screws. The door is a wonderful piece of furniture to refer to the vintage and rustic...

Sculpture foot fragment, ceramic foot, bronze foot Bronze patinated light ceramic sculpture light refractory ceramic, bronze patinated. Classic bronze ceramic foot dimensions: 26x11...

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...

Sculpture, Female torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso, Venus torso, Greek art, Roman art Female torso carved on beautiful...

This exquisite sculpture, crafted from precious white Italian marble, captures the head of a young Bacchus, the Roman deity known for his association with wine, grape harvests, and t...

Il Tuffatore is an important hand blown Murano glass sculpture by Loredano Rosin (1936-1992). Il Tuffatore, literally translated as, 'The Diver' is a Murano glass sculpture in deep g...

Scultura, Torso maschile, arte classica, arte greca, Torso, marmo bianco Carrara, scultura classica, torso antico, torso discoforo Torso maschile scolpi...

Horse in black lacquered resin with a sterling silver armor with Russian 14th century knight in sterling silver armor with golden and enameled details.

Two 1960s Modernist Clear and Gold Murano Glass Sculptures of Swans are a delightful representation of the artistry and craftsmanship associated with...

One of a kind Murano crystal multicolored sculpture created in 2017. Carlo Moretti: An artisan factory Strolling afoot through the foundations of Murano, the visitor provi...

This geometric sculpture evoking the elongated shape of a TOTEM, was designed by Karim Rashid in 2006 as part of a limited edition of 199 pieces. Each of the four pieces put vertical...

Midcentury amazing sculpture table lamp in wood and metal attributed to Aldo Tura for Macabo. Made in Italy in the 1950s. It depicts a bearded monk holding a stick (removable) in ...

Finely carved mythological roman subject of Minerva in limestone. Excellent condition from an estate of Veneto. Measurements: Statue cm 180, base cm 80. Minerva (Pallas Athena in Gr...

set of 4 antique carved wooden friezes, partially gilded. Originally they were solid and whole, but I found them like these: already cut in half to be able to use them more comfortab...

This exquisite piece represents the head of a bearded faun, clearly depicted with his goat horns and elongated ears. The faun was the Roman equivalent of the ancient Greek satyr, a m...

The Murano Glass Goto collection brings a piece of authentic Italian art to your dining table. Hand-blown with artistic expertise, these glasses are inspired by the traditional Venet...

A specimen of Naturalia: a pair of Mediterranean red coral branches (Coralium Rubrum), mounted on vase-shaped embossed copper bases. Italy circa 1870.

This work, Sculpture Cleopatra, of art is a tribute to Pablo Picasso, made in Murano glass by the famous master glassmaker Badioli. Single work of rare beauty, full of shades of colo...

The Murano Glass Goto collection brings a piece of authentic Italian art to your dining table. Hand-blown with artistic expertise, these glasses are inspired by the traditional Venet...

Mosche Bianche is glad to add those wonderful fishes to its collection. The fishes are all handmade and bespoke: choose the colors and shape you like! Our artisans can make also cust...

Hand-designed and hand-made Murano glass of great quality and chrome-plated brass frame. In very good condition. This purse-shaped sculpture is an exclusive Murano glass vase made e...

Gianni Pinna 1970 Wood Modern Sculpture Artist Sign engraved Very Good Condiction

A pair of marine fossil “Mothership” spheres, resting on a base, made of brass. Italy circa 1890.

A marine fossil “Mothership” sphere, resting on a base, made of brass. Italy circa 1890.

A pair of marine fossil “Mothership” spheres, resting on a base, made of brass. Italy circa 1890.

A large decorative sandstone plinth or shelf from the 18th century reclaimed from a palazzo in Noto.  It could be used to support a shelf, as the leg ...

The Astimelusa Glass Vase was originally designed by Ettore Sottsass in 1986. The vase is part of the “Vetri Glass” collection, and made out of blown Murano glass. Signed “E.Sottsass...