Benelux - Sculptures

Vintage Child Mannequins, Fiberglass Display Figures, 1950s. Beautifully detailed vintage child mannequins made from high-quality fiberglass. These unique display pieces have no arms anymore. But this doesn’t make them less attractive;). They have beautiful facial details. Each mannequin stands...

Rare pair of monks from the 18th century-Ayutthaya-Thailand Superb pair of large lacquered and gilt bronze monks very beautiful face and expression ...

Charles Lemanceau was born in 1905 in Paris. In 1923, he worked for Primavera. In 1925, he exhibited in the Salon d'Automne with his fellows Eugene Printz, Louis Sognot, Van Dongen,...

A hand-carved funerary mask meant to attach to a larger mummy bundle. The plank-form mask is painted with a broad red face accented with white, diamond-shaped eyes, a rectangular mou...

Art Deco figural table lamp of a standing nude holding a glass ball. This is the iconic model called Clarté, This version is called LUMINA and measures H. 65 cm or 25.6 inch. Desi...

Museum quality sculpture of a serene possibly Saint Catherine of Siena. This exquisite Italian alabaster bust, carved circa 1890 and set upon a dark, polished marble base, emanates ...

Rare silverplated dog figurine designed by Mauro Manetti. Manetti studied Architecture at the Florence University.

This vessel vividly illustrates anthropomorphic design through its bold depiction of a human-like figure. The spout is sculpted as an open-mouthed face, complete with stylized eyes a...

Dark Wooden Abstract Sculpture by Dutch Artist Jef Depassé Mid-Century Modern 1970 Hand Carved wood and different and impressive from every angle. Wood that shines due to various lig...

Busts of women/men bronze sculptures Wear consistent with age and use. Art - Sculpture - Decoration Measures : Men H: 14cm Women H:13cm

Bamileke Kuosi Elephant masks comprise cloth panels and hoods woven from plantain fiber over raffia. On this background glass beads are stitched in geometric patterns. The basic form depicts salient features of the elephant—a long trunk and large ears. The hood fits tightly over the masker's head, and two hanging panels, one behind and one in front, partially conceal the body. The front panel is the elephant trunk, and the two large, stiff circles hinged to either side of the head are its ears, which flap as the masker dances. While the mask symbolizes an elephant, the face is human. Eyeholes provide visibility, and a nose and mouth with teeth are normally present. The glass beads used on these earlier masks were nineteenth-century trade beads of Venetian or Czechoslovakian manufacture, used as well in exchange for slaves. Elephant mask costumes...

Terracotta pot of roughly crescent shape featuring a pair of naively modelled human figures seated on the concave edge, each with arms folded to the abdomen and feet pointing downwar...

Saint John the Evangelist and the Virgin from a Crucifixion Group, Spain, circa 1500, in walnut. Superb pair of gilded and polychrome wood sculptures from the late 15th century, circ...

The Royal Fly Whisks (ethnic names: see leng koko or beuka) used in dances are made of carved wood to which horse tails are attached. These tails are veritable war trophies cut from ...

Abstract Carrara marble sculpture by André Eijberg (1929 -2012), Belgium 1970s. Refined sculpture carved out of a beautiful heavy piece of white Carrara marble with a very nice smoot...

Highly rare and decorative elegant scene in wood of a man making respectfully advances to a lady, with female servants bringing food. Made in Congo in the 20th century, and offered b...

Vintage shrimp or scampi figurine made of yellow copper, or brass, circa 1960s, unmarked. Very decorative figurine with beautiful details. This figurin...

Bringing worlds together. Soft, matte and formable with hard, shiny and fragile. A dreamscape object made in collaboration. With hints of blossoms and corals. Intuition and life. Sho...

Large ceramic sculpture of a figure in expressionist / brutalist style, This sculpture with its black glazing and rough textures emphasizes the strong abstract shapes of a human figu...

Japanese porcelain sculpture of a Geisha, signed Lavorazione. Width:34 cm. Height:30 cm. Depth:28 cm.

Intriguing woman’s bust sculpture made of wax, with glass eyes and prosthesis teeth. Very nice and very decorative item! A wunderkammer piece.     

This brass grasshopper was created by the Belgian artist Daniel Dhaeseleer.It can be dated in the 1970s. It is a beautiful brutalist item. Wear consistent with age and use. Brutalist...

Acrobatic Man Bronze Sculpture By Pieter Florizoon (1937-2015) Sculpture - Decoration - Vintage Measures : 36cmx24cm H:42cm Wear consistent with age and use.

Stunning life-size bust of a gentleman with an Order of Knighthood from Belgium. Beautiful weathered patin, if you want the colors more deep you can wax the bronze. Marie Pierre ...

Early 20th Century West African Tribal Figurine in Cast Brass. Very distinct early to mid 20th century tribal figurine in cast brass from the west of Africa. Great and very typical ...

Luxury at its finest,  A collector’s item made by Baccarat in France. The Baccarat Nativité is a radiant crystal sculpture of the Virgin Mary, holding her baby Jesus. Crafted with p...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

Two carved of oak columns or pedestals, each of a muscular male figure, representing Atlas or Hercules, the head inclined forward and supporting as well with the shoulders a square p...

Rust-effect patinated metal cactus sculpture H:172cm Decoration - Indoor - Wabi Sabi Measures : 50x50cm H:172cm Material : Metal

Exceptional allegory of death in carved bone. Depiction of a leper wrapped in a stole. Southern Germany, Tyrol, 18th-19th century. Superb quality of carving, showing no signs of mech...

Large horse head made by Abraham Palatnik. The Brazilian artist Palatnik (1928) was the founder of the technological movement in Brazilian art and...

Dimensions: 31cm H Condition: Mint Material: Glass, wood

Ivan et Chantal Wolkoff. sculpture in lucite brass, metal and gemstone, quartz and pyrite. signed by the artist on the lucite and the metal.

Art Deco bronze sculpture of a bird on a wheat stalk signed by the French artist Chatill. France 1930. Marked bronze. The sculpture has a green patina an...

'Life Future' is the œuvre of the South Korea sculptor In-Chul Hwang. As shown in the documents added, this unique piece has been made for a belgian couple in the 2000. Very good ...

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...

This ceramic decorative abstract crocodile sculpture, crafted by the renowned Italian artist Bruno Gambone in 1975, is a striking representation from his highly collected animal seri...

Beautiful crystal figurine or paperweight of a quail bird, made of frosted crystal. Marked on the bottom 'Lalique'. This figurine was issued in 1968. Nicely detailed design. The figu...

Rare bronze sculpture of a joyous boy from the early 1900s. The sculptor of this Fine work of art has managed to capture the pure innocence and joy of a young child. Kunsthistorisches Museum Vienna on Laughing Boy — The representation of children belongs among the most charming motifs revived by Renaissance art under the influence of Hellenism. Like a number of similar statuettes of equally unaffected charm, this one is probably the portrait of a child conceived as the infant Jesus. Such statuettes were commissioned to be set up in private chapels. The Laughing Boy is considered to be the last work of Desiderio da Settignano...

Bamileke Old Anthropomorphic Trophy Head embroidered with European Glass Beads, Grasslands People, and Cameroon. Private collection Brussels Worn by chiefs and other notables on cer...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

A pair of late 19th century Grand Tour Obelisks. The mouldings in Carara, the plint in Sienna, the plaque in Lapis Lazuli and the obelisks themselves in onyx.

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...

Bamileke Decorative Dance Crest, embroidered with European Glass Beads, Grasslands People, Cameroon. Private collection Brussels The raffia splint is covered with cloth and c...

Pair of ostriches designed and made by Abraham Palatnik. Nice condition but one of them has some scratches when looked upon closely. The Brazilian artist Abraham Palatnik (1928) w...

Although the 18th century, the period of the Enlightenment in France, spawned thinkers who criticised the privileges of the clergy and the truthfulness of certain dogmas, the Roman Catholic faith was very much present in everyday life. Since king Louis XIV had issued the Edict of Fontainebleau in 1685, Protestantism was banned. This Madonna with child illustrates the daily practice of faith. Like many 18th-century Madonna statues...

Large size, great condition and beautifully hand-crafted Italian white alabaster owl with lifelike glass eyes and beautifully black veined alabaster stone detail. This early 20th-ce...

Sailboat by Dino Rosin Dino Rosin (°Italy °1948) is a Murano based artist. Big glass sculpture in calcedonia technique. Handcrafted and mouthblown. This unique item was created in...

A dynamic Brass bird in flight designed by "Curtis Jeré" is the shared pseudonym of two American artists and designers, Curtis Freiler and Jerry Fels. They are best known for their d...

19th Century French bronze sculpture of children playing music 19th Century French bronze statue of a girl and a boy playing th...

Vintage pair of pheasant figurines, sculptures of a hen and a rooster with fine detailing, made of a zinc alloy that has been copper-plated, originating from France in the second hal...

Antique French wooden steer's head,used as the exterior sign of a butcher’s shop (in French they would call it a boucherie). The sign must be over a hundred years old,still has his o...

Depictions of young angelic boys are also known as putti, or putto for a single one. Since the 17th century on they remained popular and are found in various forms. Perhaps the most known version is Cupid. Looking at their attributes time periods can be narrowed down. In this example we see a rose Guirlande and a medaillon which are typical for the late 18th- early 19th century. The Rosso Verona Marble...

Beautiful large ashtray in the shape of a sunflower, made of silvered bronze, signed S. Agudo, Spain, circa mid-20th century. A rare and original object. The petals can be removed a...

An Natural Amethyst Geode Cluster from Brazil, beautiful deep color, correct shine and patina, mounted on an iron base

Study of a Satyr Bronze, cast using the lost-wax (cire perdue) method Italy, early 19th century 14 x 7 x 10 cm This evocative bronze sculpture represents a satyr, the half-human, h...

Rare Bronzes Depicting two Figures in Turkish Attire Possibly Suleiman the Magnificent at two different ages bronzes, alabaster bases Venice, early 17th century 19,5 x 6 x 5 cm These two rare bronze statuettes represent two figures dressed in elaborate "Turkish" attire. They are mounted on alabaster bases with bronze reliefs—one featuring the winged lion of Venice, and the other possibly symbolizing Turkey with a wolf depiction. One figure wears a grand külah, a spherical turban with a cone top, signifying royal authority, while the other has a wrapped turban, denoting rank and religious identity. Their garments are richly detailed with intricate engravings, suggesting luxurious fabrics of the Ottoman court. The statuettes may represent Suleiman the Magnificent at two different stages of life, as both young and old. The sultan depicted alongside the winged lion corresponds to a description from a Venetian delegate in 1534, when Suleiman was 43. At that time, he had conquered Iraq from the Safavids and achieved a decisive victory over the Papal fleet at the Battle of Preveza. He was described as having large eyes, an aquiline nose, and long red mustaches—traits visible in Cristofano dell'Altissimo’s portrait of Suleiman in the Uffizi Gallery in Florence. Unlike Mehmed II, who commissioned portraits by European artists for diplomatic purposes, Suleiman did not directly order such representations. Instead, his likeness spread through works by artists like Albrecht Dürer, based on sketches made by diplomats. Following his capture of Belgrade in 1521, his victory over Hungary in 1526, and his siege of Vienna...

Vintage white-painted Italian terracotta sculpture of a Borzoi Hound, 1970s. This life-size terracotta sculpture of a stunning white Borzoi hound was crafted in Italy during the 1970...

Late 19th to early 20th century New Guinea, Trobriand Islands, Milne Bay, Massim People carved wooden pigs with incised decoration and flat paddle-style tai...

Neapolitan nativity scenes are very different from those seen in churches due to the importance of secular settings. They are not limited to staging the child Jesus surrounded by the holy family. Still, they managed to reproduce the daily life of the Neapolitans of the seventeenth and eighteenth centuries. The elegance of the figuration and the fineness of the execution of these santons also reveals the quality of the know-how of the Neapolitan artisans. The markets, hotels, dances, itinerant vendors, beggars, taverns, various trades, guarding herds, the royal procession and all that was within reach of everyday life or fantasy had their place in the Neapolitan crèches...