Italy Figurative Sculptures

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...

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

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

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

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...

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...

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.

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...

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

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...

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...

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...

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

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...

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 ...

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...

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...

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...

Nauru sculpture The copper details of this sculpture are able to show different colors thanks to the concentric lines present on the surface that expand and contract the space whe...

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. Glass fus...

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...

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.Giannelli - Busto di donna africana in ceramica, firmata A. Giannelli, base in marmo, Perfetto stato.

Set of six water/drink/wine glasses color Millefiori - Murano glass - Made in Italy. These individual Murano glasses are inspired by the classic "Goto" Murano glass. Other colors a...

Stucco sculpture depicting anatomical model of the muscular system, handmade and painted in two-tone tempera in shades of gray. The human figure, placed on a small pedestal, is chara...

Herend Hungarian hand-painted porcelain figure depicting a Venetian mask, decorated with a motif of flowers, birds and butterflies; decor ZO. Exemplary 1...

This is an interesting multiple artwork signed by the author Bruno Chersicla, a well known artist of years 80' in Italy. This is a multiple of a numbered edition of 500 pieces; we c...

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. Glass fusing...

Sculpture of St. Michael the Archangel in gilded bronze, 20th century. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL. Indicat...

The glass clown was designed and manufactured in the Mid-Century Modern era in Murano, Italy. It is in excellent condition with no chips, cracks, or chiggers.

Gufram icons have become smaller and have turned into Guframinis! Designed in a 1:8 scale the new miniatures perfectly reproduce the famous original sculptures. Each "mini" creation ...

Set of six water/drink/wine glasses color Arlecchino - Murano glass - Made in Italy. These individual Murano glasses are inspired by the classic "Goto" Murano glass. Other colors a...

Unusual and early Gucci gun shaped foldable boot jack, Italy 1950s

Set of 2 Capodimonte Principe porcelain "Sleeping children", Made in Italy, 1980s Pair of Capodimonte porcelain figurines from the famous Principe company. They date back to the 80s ...

Finely carved mythological roman subject of Bacchus or Dionysus in limestone. Excellent condition from an estate of Veneto. Measurements: Statue cm 180, base cm 85. Price is not inc...

Set of six shot\café glasses color Multicolor (petrol green, blue, red, ivory, periwinkle, mustard) - Murano glass - Made in Italy. These individual Murano glasses are inspired by t...

The sculpture under consideration, created by Gianni Pisani in 1972, is a work that embodies the essence of contemporary Italian art in the 1970s. This multiple, specimen 44 of 100,...

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...

Splendid porcelain sculpture representing a tramp and a nanny feeding a child far from each other on a bench. Signed on the bottom with its original stamp "De Palmas, Capodimonte". I...

Mussolini Portrait is an artwork realized by Aurelio Mistruzzi in 1930s. The artwork is a bronze plate depicting the portrait of Benito Mussolini.

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. The speci...

Camel with Bedouin is an original decorative object produced in the 1920s by Goldscheider. Original ceramics. Very good conditions. Beautiful sculpture realized by the renow...

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. The spe...

Set of six water/drink/wine glasses Multicolor - Murano glass - Made in Italy. These individual Murano glasses are inspired by the classic "Goto Botte" Murano glass. Other colors a...

Beautiful handmade Murano glass cat with vitreous paste decorations. Manufactured by Carlo Moretti in 1980s. Very good conditions.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Quarter length white glazed moulde...

Part of a limited edition of six numbered pieces signed by Raffaello Romanelli, this stupendous artwork is a bronze sculpture of a young and flawless female bust. Sinuous and dynamic...

Elegant sculpture group in polychrome porcelain, blue and white, with gold finishes, representing a musician and a noblewoman intent on attending the concert. The musician, sitting o...

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...

"Contemporary Ironia Hand-Blown Transparent Black Glass Sculptured Goblet #06" by Simone Crestani Introducing the exquisite Hand-Blown Glass Gob...

1940s. This item is made in bronze and might show slight traces of use since it's vintage, but it can be considered as in excellent original condition and ready to become a piece in ...

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...

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. The speci...

This is a Neoclassical Revival Italian plaster sculpture depicting a realistically rendered hand, signed and dated Rome, 25 Agosto 1857. The piece is a fine example of mid-19th century academic craftsmanship, capturing the elegance and anatomical precision characteristic of the Neoclassical style, which was heavily influenced by ancient Roman and Greek art. The hand is sculpted with incredible attention to detail from the gentle curvature of the fingers to the subtle articulation of the knuckles and fingernails. The plaster surface has a softly textured, matte finish, evoking the look of marble and lending the piece a timeless, classical feel. This sculpture was intended as a study model or academic cast, often used in art schools or ateliers of the time to teach drawing and sculpting from classical forms. The handwritten inscription of the date and location adds a personal and historical touch, anchoring it to a specific moment in 19th-century Rome —a hub of Neoclassical art and study during that period. It’s both a decorative object and a historical artifact, perfect for collectors of classical art, academic studies, or antique plaster casts.

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. Glass fusing...