Italian Sculptures

17th century Italian fragment with a chalcedony rosette. It has antique hand-written Italian inscriptions on the base. The chalcedony mineral mimics the color and texture of the distressed wood fragment. This fragment is from a church in Florence. It was found and saved from the historic Florence Flood of 1966. This was one of the worst floods recorded since the Renaissance and drew thousands of volunteers from all over the world to help save the city known for its precious history, artwork, artifacts, and rare books. The volunteers were called "the mud angels" because of the mud and silt left everything from the damage of the flood. There is still the original paint and silt left on the piece to uphold the integrity, craftmanship, and history of sculptural fragment. The story and history of this piece and Interi's collection of Florence fragments...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

A stunning architectural element of a 17th century Putto - Angel from the Veneto region of, Italy. Beautifully carved from wood with an outstanding polychromed finish.

A large classically inspired glass sculpture of a male holding up a swan. Of clear iridized glass. Unsigned.

Fountain: Marble Roso Verona Rosso Francia marble, also known as Rouge incarnat or Languedoc, is a historical French marble used since the 19th century for churches and noble palace...

A pair of exercise dumbbells, handcrafted in smooth, polished black marble. Small white inclusions throughout the stone. At approximately 5 lbs. each, they can actually be used for exercising, in a very elegant way to workout. They also make excellent decor items...

This 19th century big scale Italian animalier sculpure features a lion striding forward on a root-wood base, snarling with open mouth and expressive eyes enlivening its rippling mane with an extremely realistic sense of motion. The wooden statue, wonderful as a table top, is entirely hand carved in the round in a single block of solid olive wood, sign of high quality and sculptural artisanal mastery. An original whimsical and impressive centerpiece clearly sculpted by a true artist who carved the block of wood creating this figure of the proudest feline boasting a detailed study of the lion's anatomy.The features on the face, mane, muscles, tail and the paws are still distinctive and full of character as well as the beautifully carved stand. This sculpture boasts smooth surface and a warm patina developed over centuries and exudes wonderful quality and timelessness of the ancient world. The rich original patina brings further intrigue to its intricately carved details. This hand carved wooden lion statue is a great looking antique centrepiece...

A flower shoots outward from a tapered stem, one generous curl of iron forms an imitation of a leaf. With the Fior di Loto, Salvino Marsura reduces plant form to its purest geometry....

Beautiful pair of metal footed dish grotto style with men riding giant fish figurines. This pair includes a glass insert. Great carving details.

This incredible abstract sculpture was created by the internationally well known designer André Fu, founder of the André Fu Studio, based in Hong Kong. Title "Eternal flame". This intense scultpture can be filled of water in the base and the little brass bowl can be put on, floating. A lit candle completes the scene. This is a one-of-the kind piece, hand made by the Italian factory specilized in brass work who collaborated with the designer to realised it. Wallpaper magazine assigned the Award to this iconic brass sculpture and it was an event focus during the Salone del Mobile in Milan. About Studio Fu: With an extensive portfolio of projects throughout Asia and Europe, Fu has revolutionized the concept of modern luxury with a series of projects that reflect Fu's signature artistic perspective and timeless sensibility. This artwork is the sum of his philosophy. In 2016 was named designer of the year for M&O Asia...

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...

Handmade Murano glass blown Plate with real 24kt gold leaf and multicolored dragonflies attached with magnet. The Plate contains 8 dragonflies. Modern plate...

Murano spun glass fawn. Magnificent Murano glass fawn, hand-blown with pliers. Beautifully crafted, fine and delicate, the glass is beautifully colored. A beautiful display piece. T...

Gorgeous art glass Chinese figurine in green swirl, black and clear Murano glass, circa 1970s. The pieces is signed "Rosin Murano" and has incredibly vibrant color and great texture!...

Large Carrara white marble bust sculpture of a distinguished woman, 26 1/2 inches tall, by the American-born master, Thomas Ridgeway Gould (1818-1881), sculpted in Florence in 1870. ...

Huge and Heavy Classic Riven Travertine Centerpiece or Objects of Art attributed to Fratelli Manelli for Raymor are a versatile element with particular design, different from any oth...

1980's brass marble ring holder or sculpture by Vogue Bijoux. The simplicity of this design says it all, moreover the love birds serve as more than just ring...

Papier-mâché horse covered in leather with metal elements.

Marcello Fantoni for Raymor ceramic shelf hanging person. Glazed Ceramic. Cat pictured sold separately.

Beautiful and rare hand blown Murano elephant sculpture in black and white with spots. Documented to designer Archimede Seguso, from the "Bianco Nero"...

Grand Tour Carved Marble Statue of the Empress Livia Drusilla After the Antique. A true depiction of the Classical Statue of Rome's First Empress. Livia Drusilla (30 January 59 BC – 28 September AD 29) was Roman empress...

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...

Royal House Antiques Royal House Antiques is delighted to offer for sale this extremely collectable pair of original Antique Circa 1880 Italian Grand Tour Alabaster Recumbent Lions ...

Adolfo Laurenti (Monte Porzio Catone, April 23, 1858 - Rome, 1944) Bust of togatus Terracotta, 21 x 18 x 12 cm Adolfo Laurenti was born on April 23, 1858, in Monte Porzio (since 1...

Ermanno Nason & Alfredo Barbini for Cenedese; Murano, Italy

Italian midcentury modern design glazed ceramic sculpture depicting the Deposition of Christ, 1950s, attributed to the artist Tonino Grassi of Reggio Emilia, Italy 1950s Please note...

"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 bronze statue of a young boy standing and holding a tethered rooster with wildly flapping wings in his arms. The boy is presumably in a farmers' market and his expression shows him screaming at the top of his lungs trying to sell the rooster. The boy is leaning against a standing wooden wheelbarrow...

Head of woman man realized in polychrome ceramic with glass eyes. Neaples, 18th Century. Very good condition.

A Monumental Italian 19th Century Marble Sculpture of "Flora's Embrace", By Professore F. Galli. Flora's Embrace, an exquisite marble sculpture by the esteemed Professore Fortunato G...

Pair of Carved Wood Putti on Carved Base from the 1700s are two naked cherubs covered only by their golden loincloths; apparently two heralding angels without wings, they stand on ti...

Bust of goddes "Diana". The bust is made of plaster, with a weathered and slightly worn surface. The woman is portrayed with a serene and contemplative expression, her eyes gently do...

A Mid Century Italian glazed terra cotta cat attributed to Mancioli, likely made in the mid-century (1950s-1960s). The figurine features a playful, sit...

Sculpture Biloba Medium with metal structure in gold finish and with grey marble base.

Busts of Romeo and Juliet made of embossed and gilded copper. Romeo is depicted in the form of a bearded man with curly hair and Juliet with blown-back hair and a serious look. The m...

Pair of early 20th century Italian faience lions with armorial shields. Hand-painted yellow and brown lions, blue, red, and white shields and green base.

Wonderful vintage glazed pottery frog on lily pad, made in Italy.

This is a very nice set of eight animal sculptures designed by Fratelli Mannelli in Italy in the early 1970s. Each animal sculpture is handmade by sculpting travertine blocks. The se...

This set of Mid-century handcrafted alabaster grape clusters with wood stems transports one to the vineyards of Italy. Consisting of two large ...

La figura di un cavaliere britannico in veste militare ,realizzata dal riconosciuto maestro italiano Giuseppe Vasari (1934 - 2005) presumibilmente negli anni Settanta. Marcato sul re...

Anthropomorphic figurine from the Riedizioni archivio storico collection, featuring subtle incision details beneath bluette and violet glaze accents. This limited edition piece, reis...

We give you the outside to bring into your interiors! The brass leaves of different sizes on these Art Deco Design sculpture wall lights introduce nature, an exclusive design by Cosulich Interiors & Antiques, they are uniquely engraved and a laser-cut Work of Art. Concealing pierced concave discs hide a brass cone-shaped bulb holder, on a hand-made rectangular backplate...

An incredible sculpture by an Italian artist from the 1970s-80s, signed with the enigmatic name COMPIANI, is a true wonder of contemporary art. Although not much is known about the a...

A unique piece sculpted of Iridized blue glass (measurements are of the head itself) sits on a clear 3 1/8" cube base. Unsigned.

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

Hand-modeled sculpture composed of two elements in white clay. The still-fresh surface is incised and scratched. Transparent glaze over brown engobe. Presented in 2022, the collecti...

Murano Bullicante Aventurine Murano glass pear sculpture by Alfredo Barbini. Each fruit-shaped sculpture features transparent and red glass, with the signature Bullicante technique c...

A specimen of Naturalia an ostrich egg (Struthio camelus) mounted on an ebonized wooden base. The upper part, mounted on the summit, in the shape of a pinnacle, always of the same w...

Scultura, Torso maschile, arte classica, arte greca, Torso, marmo bianco Carrara, scultura classica. Torso maschile scolpito su bellissimo marmo bianco ...

Italian sculpture "Venus Gabi". Headless Torso. Early 20th century. Carrara marble. Measures: H 74cm. Perfect Condition.

18th-century Italian mecca arrow with a baroque pearl on a polished calcite base. The arrow was once used as part of a decorative motif in artistic depictions (most likely of Saint ...

An Art Nouveau seal made of carved Boxwood, depicting a veiled woman's face, wrapped in intertwined racemes. Oval-shaped bronze matrix with engraved noble coat of arms, a nine-pointe...

Four ceramic sculpture of the 12 Colonne collection designed by Alessandro Mendini and produced by Superego Editions. Small model. Limited edition of 50 pieces. Signed and numbered. ...

Sculpture Cat Shadow B all in steel in black finish. Flat decoration piece. On steel round base: 16cm diameter. Available with other cat shadows.

This is an interesting multiple artwork signed by the author Annie Lambert, a talented young artist of years 80' in Italy. This is a multiple of a numbe...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Pair of Guanyin sculptures in Dehua porcelain "blanc de chine". The two mirror figures of the goddess of compassion resting on bases of flowers and l...

Ferrari F40 in crystal by Arnolfo di Cambio Italy design in years '80. the work is in transparent and satinated crystal, stainless steel rear spoiler removable in dark gray color, and the F40 is signed on the lower back Arnolfo di Cambio. very rare and international iconic object...

Black ceramic sculpture "woman" mid-20th century.

A sensational and most impressive true pair of Italian 19th century Tuscan st. Terra Cotta eagles. Each wonderfully sculpted statue of an eagle from Tuscany is raised by a circular b...