Figurative Sculptures

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

A Beautiful Cast Bronze Cupid Bird Bath in the Manner of Franz Von Stuck The Cupid Holding the Decorated Shell shaped bowl Ideal for outdoors or in

This very rare rendition and unique small edition of the vintage Robert Indiana love paperweight sculpture is captivating. This rarely seen version i...

This set of four Qin Shi Huang Mausoleum-style terracotta warrior sculptures is a captivating homage to one of China's most famous archaeological discoveries. Crafted in the 20th cen...

A charming vintage mannequin from the 1950s, beautifully crafted figure is a perfect blend of functionality and folk art, making it a unique and striking decorative piece. The manneq...

A stunning antique continental, probably French, glazed art pottery bust of a child in the manner of renowned French sculptor Jean Marie Camus (1877-1...

Bronze Sculpture Arch Angel Michael's Battle with the Devil,  Signed A. Saulon, Europe, Mid-20th Century A powerful mid-20th century bronze sculpture depicting the Archangel Michael...

Refined Italian biscuit porcelain sculpture inspired by Canova’s “Psyche Revived by Cupid’s Kiss.” Finely modeled with detachable wings a...

Carl Auböck Model #5275 'Zumbusch Hand' Brass Sculpture Designed in the 1950s, as an homage to German sculptor Kaspar von Zumbusch, this incredibly refined and sculptural bejeweled ...

Very large powerful Dan Guere or We mask from the Ivory Coast Africa ex Fearing collection. Strong mask with projecting tubular eyes, projecting carved wood tusks over forehead, lar...

Falconer on horseback after the original model by the French master, Pierre Jules Mene (1810-1879), measuring 28 in tall, 29 inches wide and 9 in deep.

Beautiful hand carved bust head African sculpture circa 1950's, nice clean condition.

The Sorriso del Mare light sculpture features a unique organic form characterized by flowing curves and voids that create dynamic light and shadow effects. Crafted from a rare marine...

A truly wonderful and boldly designed Japanese bronze sculpture of a fierce samurai warrior perhaps in a moment of silent reflection. This piece has a great feel and heft. The fine...

Large French Neoclassical Style Plaster Hand Sculpture. Unusually large and well detailed Neoclassical Roman plaster hand sculpture. This vintage French academic plaster hand sculpt...

A Monumental and Truly Exceptional French Patinated Bronze Bust of Jesus Christ, Circa 1858, Signed J. Clesinger, Rome 1858 F. Barbedienne Fondeur This monumental and extraord...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Superior quality large scale Italian Grand Tour bronze of the god Silenus after the Roman original excavated at Pompeii in 1864. This very fine cast shows the god holding aloft a coi...

Abstract sculpture in decorated porcelain stoneware Guglielmo Gusella, 1980s.

Pair of Art Deco Style Santa Claus Sculptures. Perfect for displaying some candy canes, votive candles or shot glasses at the holidays. Maybe even business cards if you own a shop. ...

Very large fierce Dan Guere or We mask from the Ivory Coast Africa ex Fearing collection. Strong mask with recessed slit eyes, projecting carved wood tusks which frame face, large w...

A very good antique French bronze & marble Grand Tour model of the Column de Vendome, Paris, circa 1860. A fine cast bronze model of the fa...

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...

Serene Buddha Statue carved from solid Teak wood. A Thai Buddha Statue intricately hand carved showing the "Contemplation Buddha" in Thailand known a...

This exquisite brass snail sculpture captures the beauty of nature with remarkable craftsmanship and elegant form. The spiraled shell is adorned with delicate, swirling etchings that...

A fine antique German Jugendstil porcelain figurine. Designed by Albert Caasmann for Rosenthal in 1916. In the form of a Pierrot clown playing an acc...

Unique piece sign by the artist. The sculpture was commissioned for the first time by a customer in Sicily, who had a specific request, namely a tree with purple, turquoise and silv...

1930s French Art Deco bronze figural sculpture on a black marble base, signed by Alexandre Ouline.

This is a mid century vintage cast iron sculpture of a mythical horse with wings and a figure. The sculpture has a dark bronze patina finish to the surface. The stylized horse has wi...

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

A beautiful large Japanese Meiji Period patinated bronze study of an elephant with tigers, signed on the belly, Meiji period, 1868-1912, and late...

This pair of 18th Century French carved wooden angels embodies the charm and poetry of ecclesiastical art from the period. Each figure is depicted as a winged seraph, with expressive...

19th Century French Ormolu & Patinated Bronze Sculpture of a Seated Satyr France, Circa 1875 A good quality 19th Century French Ormolu & Patinated Bronze Sculpture of a Seated Saty...

Large, exceptional quality bronze sculpture depicting The Education of Achilles by the Centaur Chiron, after the model by Francois Rude. Ear...

This extraordinary borosilicate glass sculpture by Italian artist Simone Crestani captures the elegance and mystery of the octopus in exquisite detail. Hand-blown with masterful prec...

Late 19th Century alabaster sculpture Psyche Revived by Cupid's Kiss. The sculpture depicts the mythological scene of Cupid (Psyche Revived by Cupid's Kiss), a famous subject in Neoc...

Pair of Art Deco figural table lamps of a standing nude holding a glass ball, Lumina. H. 65 cm or 25.6 inch tall. Designed by Max Le Verrier in France, 1928. Original posthumous cont...

Miguel Berrocal La Mini Zoraida puzzle sculpture that is nickel plated and brass. The puzzle is made up of 25 elements. It comes with the book. The measurements without the base is...

After Jules Graux-Marly (French, XIX) "The Mandolin Player", Patinated Bronze Sculpture, early 20th century, the standing figure in Renaissance costume, playing his instrument. 17" H...

Beautiful, large vintage Murano hand blown Sommerso glowing Uranium green apple with gray bird Italian art glass sculpture. Documented to designer Livio Seguso, with original label s...

A wonderful, bronze bust/head sculpture of the Benin warrior Oba King, the first ruling King Father of the 16th century Kingdom of Benin (in present-day Nigeria) which was one of Afr...

Large fierce Dan Guere or We mask from the Ivory Coast Africa ex Fearing collection. Strong mask with open tubular eyes, projecting carved wood tusks, open mouth with teeth, and att...

An exceptionally fine quality highly detailed pair of Royal Dux Czech Republic pottery vivid Majolica Parrot Feathered Figures of quite generous size, Mid Twentieth Century Each ...

This lying deer sculpture is made of brass with shamanic inlays. This is a French work, circa 1970.

Tamara Karsavina, a Ballets Russes Dancer, impersonating the "Firebird" in the Ballet by Igor Strawinsky. Porcelain Figure by Dimitri Iwanow for Lomonosov, St. Petersburg Manufactory...

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

A magnificent and iconic piece that merges art and design, this gypsum sculpture will make a refined statement when showcased in any traditional or mo...

Rosario Russell Fiore (American, 1908-1994) Art Deco figural nude bronze, 1930s 5 inches wide by 3 ½ inches deep by 10 ½ inches tall Rosario R. Fiore was a prominent American scul...

Large bronze sculpture with a brown patina, representing a naked woman, sitting in an armchair, a pencil in one hand, a vase in the other, surrounded by antiques. Signature of the...

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...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Chinese Scrib, but handcrafted in Thailand. Sixteen feet long. Rosewood base. The sculptors of this enormous boat made of jade. You will admire the details of this vessel. The dragon is the ultimate symbol of auspiciousness. It is the most important symbol in both Feng Shui and in Chinese folklore. It's most powerful when displayed in the east sector of your home, office or location of the piece. This dragon jade boat...

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...

A wonderful example of a hollow-cast bronze crocodile skull. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to invoke conversation. ...

Large 1930's nut and bolt on a brass plinth. Forged of iron, not cast. Bolt is 13-1/2" long and weighs 20+ lbs. An amazing piece of industrial art, not signed.

A scarce vintage ceramic art sculpture by legendary 20th century Mexican artist Sergio Bustamante (b.1949). Fantastical surrealist style hand pa...

This is a large French bronze sculpture of Vercingetorix with his son by Emile Laporte (1858 - 1901), circa 1890 in date. The standing figure of Vercingetorix wearing a winged hel...

Whimsical abstract steel trivet by New York artist Albert Leon Wilson 1977 Nude figure cut from steel and titled "Weight Lifter" Designed for use as a trivet with a stand alone scul...

Ceramic sculpture female figure at the Favaro and Cecchetto bath, Italy, 1937 This refined ceramic sculpture, created by Favaro and Cecchetto in the 1930s, represents a female figure...

Small modernist crystal obelisk / paperweight, circa 1980s. The piece is in very good vintage condition with no chips or cracks and measures 1.675"W x 1.675"D x 9.75"H. #4423