Wood Figurative Sculptures

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...

19th Century Hand-Carved “Clock of the Universe” – Château de Vitrey-sur-Mance, France Price: £18,000 Dimensions: H 54” x W 38” x D 11” Weight: 80 KG Date: Circa 1860–1870 Origin: Fr...

Truly a majestic Benin Oba. Beautifully and finely hand carved in Ebony hardwood from the 1930's A piece of this quality and stature holds enormous presence...

Italian articulated hand painted wood Pinocchio .

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

Sculptural 18th century Italian figure of Christ and metal sword with large red and white crystal quartz clusters and phantom quartz. The figure of Christ was originally part of a c...

Mary Magdalene in Polychromed Carved Walnut 16th Century Devotional figure in carved wood, depicting Mary Magdalene. Walnut, most probably Flemish and from the 16th century. It de...

Baroque Virgin and Child in Polychrome Wood with Silver Crown, Spain, 17th Century An important Spanish Baroque sculpture of the Virgin and Child, datable to the 17th century, made ...

Beautiful 20th century oval Chinese cork diorama. Finely carved decoration in a glass case and black lacquered base. Chinese landscape view, a pagoda in a traditional garden featur...

Sculptural 18th century Italian gilded double-mounted cross on hematite with pyrite inclusions and adorned with pyrite rosettes. A matching smaller cross is mounted onto the bigger cross...

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...

19th Century French Bronze Woman sitting with her lyre instrument by her side. She is in a sitting position with one hand under her chin as if musing over something. She is elegantly...

Cascavel snake is part of Bichos do Brasil collection that is decorative and collectible objects of wooden figures that represent animals of the Brazilian Fauna. The design of the co...

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 ...

Large minimalist solid walnut cross, circa 1984 signed & dated .

A large early 1900s wooden Mogul standing figure with extended arm, from India. This wooden Mogul figure, originating from early 20th-century India, is a remarkable piece of artistry...

Life-Size Artist Mannequin Italy circa 1870, 19th century articulated lay figure, a carved beech life-size female figure of almost 66 inches, da...

1970s Carved Horn Sailing Ship on Horn Base String and metal rods. - cork for tops Colors: Brown, White, Cream Sailing ship Nautical Handmade with real Horn bone, it has great detail...

1960s Large Hand-Carved Wood Sculpture of Man Praying / Weeping Buddha Abstract Yoga Wrestler There is a story about two warriors associated w...

A wonderful hand carved head of Hardwood. A stunning sculpted and carved piece. A stand alone decorative piece or can be used as a large book end. Trul...

Our Lady of Sorrows, attributed to Salzillo, polychrome wood with 18th-century silver crown and display case An extraordinary sculpture of Our Lady of Sorrows, attributed to Francis...

Carved wood large female Songye Kifwebe mask with classic white lines, blackened ridge down crest of forehead, nose and mouth. Worn holes around back edge of mask from attachment of...

This bronze standing Buddha mounted on a turned wood base has his right palm held outward in the abhaya mudra position, a gesture of fearlessness and reassurance.

Joseph A. Burlini (American, b.1937) winged female bronze on wood base Incised signature and date to base ‘J.A. Burlini 79’. 2 ½ inches wide by 1 ¼ inches deep by 3 ¾ inches t...

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 gorgeous character ceramic figural gnome statue - attributed to Griebel in Germany, a well known manufacturer of this kind of figures. This character statue has been made in German...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

French terracotta sculpture of a classical male. This stunning French terra cotta sculpture of a classical Roman male is expertly executed ...

Sculpture Stormtrooper Blue Helmet Butterflies with original blue Stormtrooper helmet in matte blue resin ornamented with Morphos butterflies (no cites required for this butterfly). ...

Early 20th Century bronze male nude sculpture on wood pedestal base.

Whimsical carved figure of skin diver , spear fisherman . Decked in wet suit with spear gun and fresh catch . Hand carved in Italy late 1960s into the ...

This striking bronze represents a four-armed warrior in the style of Sardinian Bronze Age figures, known as "bronzetti." Crafted in the 1960s in Italy, the figure exudes a unique pa...

An early polychrome religious santos carving, circa 1800s. The piece is hand carved in a soft wood with original paint and polychrome finish on a wood...

Detailed Caricature wood carving of a doctor and patient, signed Emil Janel. Emil Janel was a Swedish-born, American artist. A still life painter, he is mainly known for his caricat...

Quite a stunning pair of Italian standing cherub or Angel carvings from the 18th century. Standing at almost 4 feet tall, the pair are quite large and realistic. Very impressive. Wit...

Antique Polychromed Carved Wood Religious Spanish Priest 18" Sculpture Figure. Circa Late 19th Century. Measurements: 17.5" H x 9" W x 5" D.

19th century French marbleized painted crucifix with green mica. The crucifix originally came from a collector in France. The crucifix is painted ...

Whimsical Carving of a Dwarf with Snuffbox, 19th Century A 19th century funny carved and painted dwarf with snuffbox. Unrestored original condition, old wormholes, partly paintloss ...

Owaldo Guayasamin bronze sculpture Bronze sculpture of a woman's head The sculpture is in excellent condition, as seen in the photo. A single piece of bronze brass work It has its or...

Beautiful polychrome porcelain crucifix from the Meissen factory, one of the oldest and most prestigious European porcelain manufacturers. The brand...

18th century Italian cross mounted on a polished pink hematite quartz heart and adorned with aurora (sunset) quartz and a natural-forming cross shaped baroque pearl. The 18th centu...

Torch-cut brass sculpture of lillies, mounted on a burlwood base, by Gerd Scharrelmann. This elegant sculpture has a delightful kinetic effect. The flowers and stems shiver, producin...

A set of vessels made in barro negro bruñido (burnished Black clay) from Oaxaca, with legs carved in rose wood from a master carpenter in Tlaquepaque, J...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

19th C Spanish Colonial Wood Santo / Saint / Angel sold as found in vintage condition showing normal signs of wear and tear. Wonderful worn origi...

Massive vintage display pencil. Made of one solid piece of wood and a machine engraved metal ring wrapped around the end by the eraser. Size: 60" long. Marked ARTIST GRADE - GRAPHITE...

Sculpture Samuraï Puppet Musha Nyngyo A Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-em...

Traditional sculpture originating from the Democratic Republic of Congo Tribal Art - Congo - African Measures : 16x17cm H:82cm Traditional sculpture from the Democratic Republic of ...

Decorative ebony well hand-carved African statue of a young women. Handmade in Kenya, Africa.

A truly extraordinary and evocative object: an 18th century hand-carved wooden skull, richly hand-painted and inscribed with the date 1769. This rare Memento Mori was created as a me...

Hand-carved in Italy, circa 1800, this pair of giltwood angels is depicted in a double genuflection, or kneeling, stance. Both angels are completely gil...

Chinoiserie pagoda. Very decorative Italian painted plaster and wood three-tiered pagoda alla Mongiardino emanating from marine inspired grotto base with four masks issuing water in...

Vintage Italian Carved Wood Male Torso Sculpture On Acrylic Base. This handsome Italian Greco Roman style carved wood painted male torso is beauti...

Surrealist sculpture by Mexican artist Pedro Friedeberg. This piece was created in 1978 featuring carved and gold leaf hands, carved walnut birds, carved wood hands, and brass elements attached to the lacquered wood truck...

"The Nativity" Italian sculpture signed by G. Armani The piece is mounted on a wood base with a brass plate "G. Armani" The back is marked 1983 Florence and also an "N" with a crown ...

A beautiful, substantial statue of Lapis Lazuli, hand carved by a master artisan on both sides. The sculpture depicts a dragon flying in the clouds above mountains while spraying wat...

The Prickly Copper Bonsai is inspired by trees moved by a strong wind. The materials are wood and metals, representing both the strength of life and the roots of Mother Nature. Scu...

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...

Meticulously carved and gilded architectural model of a Chinese temple makes a fascinating work of art.

Pair 18th Century Hand-Carved Polychromed Wood Angels are amazingly well preserved and perfect for any devotional display. Sculpted from solid blocks of walnut, each features amazin...