Wood Sculptures

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...

The "WAVE" sculpture by Patrick Coard Paris is a stunning fusion of modern design and natural elegance, crafted from a rich black oak veneer inlaid on a fiberglass core that exudes a...

“Still Stand” sculptures by Joel Escalona Joel Escalona's wooden standing sculptures are objects of raw beauty and serene grace. Each one is a testament t...

This beautiful hand polished petrified wood slice is sourced from Madagascar and comes with an acrylic display stand. It has an amazing pattern with vibrant hues of brown, yellow, and orange. Fossilized Petrified Wood, which is also known as Agatized Wood...

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...

Striking wall mirror with handcarved geometrical 'flowers' and trefoil symbols. Via one of our foreign contacts we recently purchased this perfectly fine and deeply handcarved, sc...

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...

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 ...

Gorgeous Mid-Century Modern inlaid wood freeform abstract sculpture, circa 1980s. The piece is quite spectacular with inlaid circles on a ribbon shaped ...

Wooden Dachshund Pull Toy on Wheels, Circa 1940 Charming vintage wooden dachshund pull toy on wheels, made circa 1940. This delightful piece captures the spirit of early 20th-centur...

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...

Thick old Keyaki (Japanese Zelkova) hardwood block - Is a unique, wabi sabi art piece itself, also can be used as a display stand for, such as plants (Bonsai succulent), decora...

An early 20th century example. The masks of the Sande society were used exclusively in masquerade performances by the women of the tribe. The Mende tribe is located in Sierra Leone.

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 ...

Made using a manufacturing process utilized for railways, medical devices, and electronics, the Fin Trivets bring an Industrial touch to your tabletop....

Interior Design Art Piece Lull No43 – NONO’s Wooden Sculpture for Modern Spaces ——— Balance and tension are at the core of these sculptures. The interplay between the smooth, round...

Natural specimen of red coral reef. Color is a natural ruby red Flat underside for easy display. This specimen is a great size for displaying in any decor.

A wall-mounted sculpture with the signature of Dedessus les Moustier. It was discovered in France. It has a mysterious charm due to its unique color and motif.

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...

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

Wooden cross Guanajuato, Mexico Wood, paint 22 x 13 inches, (56 cm x 33 cm) 18th century A wonderful old wooden cross with a painted crucified Christ figure, an angel, possibly Mary Magdelene...

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...

Ebony wood hand carved anglo Indian elephant sculpture. Gorgeous vintage black hand carved wood ebony Anglo-Indian elephant. This is a hand ca...

Striking impressive large 19th century Running Horse weathervane made into a freestanding sculpture. The horse has copper body, zinc head and beautifully detailed teeth, ears and ey...

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

18th century Italian fragment with a calcite crystal cluster in matrix mounted on a Italian glass bobeche base. The fragment is from a church in Florence. It was found and saved f...

The Oval Queen by Patrick Coard Paris, shown here in its black oak veneer inlaid on a fiberglass core, exudes an understated elegance that brings a sense of depth and warmth to its m...

The Aperture series was created to provide a beautiful quality of light by combining bounce and ambient glow. The light source is held in a hand-spun perforated brass dome on one sid...

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...

18th Century Carved Giltwood & Gesso Coat of Arms with Eagle – Rare Decorative Crest on Metal Stand A stunning and rare 18th-century carved giltwood and gesso coat of arms, this exce...

MCM minimalist swan carving / sculpture in walnut by Alan Middleton, circa 1960s. A beautifully sculpted example of mid-century minimalism, this 1960s walnut swan by Canadian artist ...

Set of Two Hand Carved Hand Painted Black Forest Bear Mother Baby Figurines. 1800's. Befit With Glass Beaded Eyes Largest bear dimensions Height 16cm I Width: 30cm I De...

This exquisite black sculpture, made from reclaimed charred oak beams, embodies a blend of artistry and sustainability. Its design features a captivating arrangement of rounded forms...

Original chair in golden oak, satin finish. Flared legs, backrest and seat upholstered in a textured cream fabric by Dedar.

A very decorative black vintage sheep, designed by Hanns Peter Krafft and manufactured by Krafftmeier, Germany. Probably made in the 1970s/80s. This handmade sheep was designed in t...

Vintage decoration or a toy. Original condition. With original biox fully functional

Abstract wood sculpture in the Flair of Scandinavian Art, Unseen Force by Joel Escalona. This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towering exam...

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...

A fine example of a hand carved solid wood Oriental Buddha head, in overall good condition, hand painted and the top ornament made of bronze. Mounted on decorative genuine coral...

Made in France with hand-turned, flared oak legs. Upholstered backrest and seat in a textured cream bouclette fabric (LG.FB-89).

Design inspired on an artwork by Salvador Dali´: Interpretation project for a stable-library, 1942 Stuffed lamb, elaborated with a technique by a taxidermist. Drawer and table top i...

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...

A fun solid cedar box by Lane Furniture Company, circa 1990s. The piece is in very good vintage condition and measures 9"W x 5"D x 3.5"H. It comes with a key and has a locking mecha...

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.

A large hand-carved iron wood eagle perched on a tree stump and surveying the surroundings ready to fly. Hand carved wood vintage extremely detailed bald eagle perched upon rockery with glass eyes. Hand carved Ironwood Southwestern seri...

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...

Beautiful natural Liana vine sculpture surrounding Acacia tree. Organic naturally occurring Liana vine growth coiled around an Acacia tree. Naturally we...

A fun solid mixed woods puzzle box with double gravity lock, circa 1999. The piece is in very good vintage condition and measures 6"W x 3.25"D x 2"H. ...

Rare decorative driftwood toteme sculpture in a wabi sabi and brutalist style with a black stained foot. In good condition. Dimensions: H: 140 cm / 55" W: 25 cm / 9.85" D: 20 cm / ...

Hy Farber's sculpture was shown at the Palm Springs Modernism Show in February, 2011. Two of his sculptures were also shown at the Studio 111 Gallery in Palm Springs during that tim...

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...

A hand-crafted sculpture specimen of natural red coral branches mounted on a 18th century giltwood urn fragment base with sea shell trim.

A specimen of naturalia from Wunderkammer. A branch of Japanese red coral (Coralium Japonicum), mounted on a wooden base, holds a palm tree in the shap...

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). ...