18th Century and Earlier Animal Sculptures

Decorative 18th century wooden Phoenix bird with polychrome lacquer. From Henan Province, China. Untouched original condition. Measures: Height bird 21...

Unusual 18th century fish sculpture made of antique giltwood fragments. A very interesting and unique piece of art!

A sculpture of 2 Minogame turtles with their distinctive fan-like tails. The smaller turtle is standing in the she’ll of the larger one. This is an excellent Japanese hardwood carvin...

Pair of rare 18th century temple elephants carved in sandstone with chalk and leftovers of gold leaf. Chalking is used as a surface to bind gold leaf. Originally fully covered with g...

Hard porcelain bear modeled and painted in gray-brown and black Manufacture of Meissen, by Johann Gottlieb Kirchner and Johan Joachim Kaendler, 1735 It...

Magnificent hand carved Carrara marble sculpture of a lioness head from Rome. Mounted on a metal base. Base 13.75"W x 12.25"D.

Pair of silvered brass Anglo Indian guarding lion sculptures or bookends.  

IMPERIAL EAGLE Italian, 17th Century sculpture in carved and gilded wood, based on a base decorated with plant motifs and masks with two claw and ball-...

Cavalier King Charles spaniel gilt porcelain dog. Antique gilt porcelain dog sculpture on conforming white oblong octagonal gilt banded ...

Italian Romanesque 12th century marble recumbent lion 12th century Italian roman marble lion  with a stylized mane and tail wrapped around its body a...

A pair of Shunzhi or Kangxi Blanc de Chine Porcelain figures on horses. Blanc de Chine Statues like these were made in the kilns of Dehua in Fujian province. These are rare exampl...

A rare pair of 18th Century Dutch Delft cows, blue and white, made in the De Twee Scheepjes (The Two Little Ships) factory, circa 1780. 24 cm (9 inches) lo...

Rare and unusual hexagonal Buddhist base for a statue with a recumbent shi-shi (guardian lion dog), gilded and carved with inset glass eyes and painted with mineral pigments. Most likely the base to a sculpture of Monju Bosatsu...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Nicoya Ceremonial Basalt Stone Seat in Shape of a Jaguar. Published in the Arizona Museum. This large and finely carved example of Costa Rican skill and craftsmanship is in the form of a jaguar which may have been a lineage or clan symbol - as also was the crocodile - according to 16th-century Spanish conquistadors. There are so many features that make this masterpiece so unique. The most realistic depiction is the face with its head captured in a pose that is threatening and fierce. Sculptors in ancient Central America developed elaborate metate forms that were associated with high status and wealth. They were commonly placed within graves of prominent individuals. Certain ancient rituals must have incorporated this activity and required special metates to be created for this purpose. It may have also served as a throne for the ruler, for whom the assurance of the fertility of his land and people would have been paramount. Even today, stone metates...

Roman Lion's Protome Sandstone Gallo-Roman, 2nd century AD - 3rd century Provenance : Private Collection Prof. Giesen (Konstanz on Bodensee), pré 1945 Most likely from the Chateau a...

Han Dynasty life size Terracotta sculpture of a dog. TL Tested Buried in a tomb for thousands of years; this mingqi companion has decided to come back and accompany the living. I’m actually taking a liking to this pup; most probably a fierce pit bull...

Pair of early giltwood book stands carved as doves mounted upon orbs, from the late 17th or early 18th century. Nice large scale. Books are laid open across the backs of the doves' w...

Lion of Forge, Spain, 16th century In forging, measurements: 10 x 17 x 5 cm Good condition Spanish private collection.

Bronze salamander Italy, 17th century Patinated bronze 4 x 17 x 10 cm This finely cast bronze salamander exemplifies the 17th-century fascination with naturalistic forms and animal ...

A European carved stone lion garden statue from the 18th century. This antique sculpture from Europe has been hand-carved in the image of a m...

An extremely rare Chinese painted pottery model of an armored horse, Six Dynasties period (220-581 AD), TL tested by Oxford Authentication. The stocky ...

This hand carved Chinese wooden horse is a type of centuries-old burial figurine known as míngqì. Depicting the pleasures of daily life, míngqì f...

A superb terracotta lion, French 18th century Height: 70 cm Width: 38 cm Depth: 82 cm. Provenance: Private Australian Collection acquired in 1990s.

Dating to the 1600s, this wooden maritime carving from Amsterdam features a pair of asymmetrical dolphins with foliate tails. Interestingly, both dolphins have been carved in the vei...

One of the only known sculptures rendered in Blue John to exist in the world, this extraordinary George III panther exemplifies Georgian sophistication. Georgian — and later Regency — aesthetics revived classical themes of the ancient Mediterranean and Near East. With a proud stance, gaping jaw and unyielding gaze, the stately panther closely resembles the grand ancient Roman panthers often carved from marble as trapezophoros table supports. The regal cat rests atop a plinth, also made of Blue John, with Siena and Ashford marble detailing. The intrinsic and richly hued mineral inclusions of the Blue John replicate the textures and colors of the animal’s fur. The rare stone is a variety of natural calcium fluorite found exclusively in Derbyshire, England. It was first discovered in the early 18th century, but its mining did not being until circa 1760. Blue John was a wildly popular material in the decorative arts during the Georgian and Regency...

A magnificent pair of 18th century French Hand Carved Limestone Lions. The base measurement is 11.5 inches.

Japanese Bronze standing duck. Standing neck raised and mouth open with detailed feathers. 14.5 high.

A late 18th-early 19th century full size wooden sculpture of a horse, with tail made from horse hair, resting on a rectangular wooden base mounted on four castors.

very big and massive bronze door knocker, German or maybe Italian in origin, 16-17th century, amazing green original patina to the face, some scares and dings to the face which gives...

Faience, painted blue. With spiny back and seated on a cross-hatched rectangular plinth base.

Each with cute expressions seated on a plinth base. Provenance, Manheim Antiques. Drue Heinz.

Small reclining lion in finely chased bronze Italy, 15th century Traces of gilding H 4,8 x L 6 x P 2 cm Delicately worked bronze depicting a lion in repose, characteristic of early ...

Italian School, 18th century Pacing Horse Bronze with brown patina, on a rectangular marble base H 8 x L 8,5 x P 3 cm H totale 11 cm

Pair of Louis XVI swan-shaped carvings in carved and gilded mecha wood. Italia, seconda metà del XVIII secolo. Buono stato di conservazione, doratura originale, piccole mancanze e ve...

A striking Italian 18th century giltwood and polychrome statue of two eagles. The statue is raised by a most decorative polychrome ground and branch like designed base. Above are two...

This Ancient Cypriot Ceramic Sculpture of a Horse on Wood Plinth Base originates from Cyprus during the 4th Century BCE. The sculpture has an alluring dynamic and many details remai...

A pair of mounted porcelain Karp shaped vases. Gilt - Bronze Mounted Blue Enameled Stoneware, Chinese 18th Century, the Mounts are Louis XV, Circa 1750...

Date / Origin: Staffordshire, England, circa 1745 – 1760 A seated cat with upright ears and grounded paws, holding a small brown mouse in its mouth. The figure is formed from two pre...

Bronze crabe Padua, 18th century bronze 2 x 10 x 7 cm (One of the crab’s legs is missing its end) This finely cast bronze sculpture of a crab reflects the enduring interest in natur...

Modelled as a yellow bird, green deer, and yellow monkey grouped together on a brown-glazed stand. These brush rest with a bird, a monkey and a deer probably refers to the rebus 'may you receive high rank and emolument' or 'general long life, happiness and wealth' Period : Qing Dynasty, Yongzheng Period Production Date : C 1725 Made in : Jingdezhen Destination : Netherland Found/Acquired : Southeast Asia , South China Sea, Ca Mau...

Fine porcelain figure of seated hounds. The mouth of the dog is open; the ears are flipped back; and there is a chain around the neck. The dog's bones are well depicted. Period : Qi...

AFTER A MODEL BY GIAMBOLOGNA (1529–1608)
 Pacing Bull
17th century
 Bronze, on an ebonised wood base H totale 15 x L 11,5 x P 8,2 cm Since antiquity, the bull has been venerated as ...

An antique carved sandstone head of a bear, mounted to a custom steel display stand. This sculpture is thought to have been part of a corbel in a grand ...

More information coming soon… An imposing terracotta statue of a lion, dating to the 1700s. The English lion is bearing a shield, also emblazoned with multiple lions, including two...

A sensational pair of Lion Sculptures from the Avignon area of France. Wonderfully carved from a hard calcareous stone. Fabulous patina. Perfect accent pieces for any traditional or ...

Very rare, carved Limewood Mythological Reclining Lions, probably Italian. Mounted on base.

Ammonite Fossil on Stand Gigantic Ammonite fossil on custom black stand. Approximately 150-200 million years old. An ammonite is an extinct marine animal belonging to the class of...

Patinated bronze stags standing over rocky outcrop, signed after Jules Moigniez with marble base.

A pair of Empire gilt and patinated bronze chenets, French, 18th century each with a winged sphinx raised on a rectangular base with curved ends on acorn feet. Measures: Height 10.25 in. (26.03 cm.), width 11.5 in. (29.21 cm.), depth 3.5 in. (8.89 cm.) Provenance: Arthur James Galleries.

Gothic Lion XIV century in stone. 16th Century stone carved lion. He has a lot of wear from time but looks better in person than on the photos. Measures: ...

According to Japanese folklore the fox, or kitsune, can assume human form to protect and trick humble country folk. Dating to the 18th century, this fox protects its own pup. Carved ...

Subtle and wonderfully painted fur expressive faces.

Rare wall sculpture in polychrome enameled ceramic representing four horses signed " SAN POLO VENEZIA "

Dutch Delft PolychromeModel of a Cow Being Milked, De Twee Scheepjes Pottery (The Two Little Ships), Circa 1765 The Dutch Delft cow figure, from the De Twee Scheepjes Pottery (The T...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

This important George III tazza is attributed to famed Scottish-Swedish architect Sir William Chambers. The magnificent piece features a base carved from statuary marble in the shape of a stylized dolphin, which relates to Chambers' extraordinary 18th-century architectural designs. A marvel of beauty and craftsmanship, the tazza is also inset with specimens of Derbyshire Blue John in both the plinth and bowl. Blue John is one of the most in-demand decorative stones in the world, and its inclusion in this piece elevates the tazza to a true Georgian masterpiece. Due to its popularity, the largest veins of Blue John had disappeared by the early 19th century, and only a small amount of the stone remains today. Because of its scarcity, most examples of Blue John furniture feature only small inset veneers. By contrast, this rare tazza features not one, but two substantial specimens of the stone. It represents some of the last ornamental wares created of such grand size and proportion, though other smaller examples still grace the stately British estates of Chatsworth, Hardwick, Kedleston and Haddon, among others. Not only does this tazza boast a highly rare material, but it was also designed by one of the most important architects and designers of the Georgian era. Sir William Chambers was a Scottish-Swedish architect based in London who was active during the reigns of Kings George II and George III. Celebrated for his combination of English Palladianism...

Cerberus Black painted stone Italy, 17th century Measures: 80 x 69 x 36cm (one head missing) Cerberus, cruel monster, fierce and strange, Through his wide threefold throat barks as a dog Over the multitude immers'd beneath. His eyes glare crimson, black his unctuous beard, His belly large, and claw'd the hands, with which He tears the spirits, flays them, and their limbs Piecemeal disparts (Dante, Inferno, Canto VI). Cerberus figure seated, in his role of ferocious guardian of the underworld; he shows a nervous musculature, an adherent skin which reveals the ribs, long and robust limbs; his heads are broad and the eyes set well apart. Painted in black to amplify his menacing look, the infernal guardian is depicted with his famous attributes, writhing his heads, growling and barking furiously. Cerberus, in Greek mythology, was the monstrous watchdog of the underworld – also known as the “hound of Hades” – preventing the dead from leaving, and making sure that those who entered never left. A child of Typhon and Echidna, he was part of a monstrous family, which included Orthus, the Lernaean Hydra, and the Chimaera as well. Only on three occasions Cerberus was tricked by visitors of Hades: Heracles did it with his strength, Orpheus with his music. In "The Inferno", Dante places Cerberus as the guardian of the third circle of Hell. With his three mouths, Dante saw Cerberus as a beast that was synonymous with the sin of Gluttony. Virgil gets past the monster by throwing mud in his three mouths, temporarily choking him. Very rare are the representations of Cerberus in ancient statuary...

Beautiful garden terracotta sculpture of a seated lion, a ball between its claws. 18th-century terracotta, some losses (eyes, tail, etc.), wear, chips, and cracks. Height 68 ...

Pair of rare Chinese carved wood foo dogs.