Continental Europe Figurative Sculptures

Sculpture of Venus in resin and metal base, medium-sized model. Venus is the goddess of love, seduction and beauty in Roman mythology. She is the equivalent of the Greek goddess Aph...

Impressive and rare large vintage Buddha on a square pedestal, made of gilded wood, entirely in Mandalay style, probably from Burma, circa the first half of the 20th century or earli...

Bronze with brown patina of a nude woman, standing, putting up her hair. Wear and tear on the patina. circa 1900 Height 56.5cm. 20 x 15cm.

Armchair designed by Salvador Dali manufactured in Spain by BD. "Invisible Personage" is extracted from the "Singularities" painting, painted by S...

Set of six water\drink\wine glasses color Multicolor (petrol green, blue, red, ivory, periwinkle, mustard) - Murano glass - Made in Italy. These individual Murano glasses are inspir...

Bronze sculpture of a nude woman, signed Cipriani, early 20th century. Sculpture signed Cipriani in patinated bronze in the Art Deco style, marble base, representing a nude woman, 1...

Bronze sculpture by Dutch sculptor Rob Cerneüs (1943-2021) Figurine depicting a woman with flowing garments. Signature on base.

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 ...

Antique Continental Bronze Napoleon Style Toothpick Holder Continental Bronze Late 19th Century Dimensions: H x D: 15 x 7cm Toothpick holders ros...

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...

Refined sculpture depicting a woman flaunting her beauty. Note how the veining of the marble simulates the dress.

Art Deco bronze sculpture of a panther signed Rulas. Bronze gold patina, on a Belgian Black base. Signed and marked Bronze. Ca. 1930

The figurine shows signs of use and has minor scratches and stains (see photo) Signed Hubert Kovařík was an important Czech sculptor, ceramist and painter born in 1888 in Czechoslov...

**Magnificent Late 19th-Century Neo-Renaissance Figural Nef, ca. 1880s-1890s** This exquisitely crafted table vessel embodies the grandeur of Renaissance-inspired artistry, reinte...

Iconic wall sculptures.

Rose blossom sculpted entirely by hand starting from a solid block of rare rose quartz. Dimensions: approximately D 12 x H 12 cm. Available in different...

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

Rare Leather Elephant Sculpture in the style of Dimitri Omersa for Abercombie Fitch, 1940'. It is a gorgeous hand-made stuffed leather figurine of an elephant. Original condit...

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

FREEVOLLE Twist and go! The Freevolle Lady lamp captures a quiet elegance, with its refined curves, delicate and airy silhouette, it moves with grace—strik...

French Art Deco ceramic sculpture by BERLOT-MUSSIER (Vierzon), France, 1920s. Young Lady among flowers in the style of René Buthaud in colored crackle glaze ceramic. Measures: Height...

Sculpture Concorde model in high quality resin, scale 1/25. Vertical base in blackened steel. Exceptional piece. Made in France. Base: L 71 x D 55cm. Model: Wingspan 100cm x heig...

17th-century Virgin and Child in the Dress and Peruvian Lead Figure This important collection of Hispanic sacred imagery consists of a monumental Virgin and Child in the Dress, Span...

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...

French Art Deco Crackle Glaze Ceramic Lady Sculpture, France, 1920s. This exquisite French Art Deco ceramic lady features a beautiful cr...

Baroque Polychrome Wooden Virgin with Period Silver Crown, 18th Century This Spanish Virgin, dating from the late 18th or early 19th century, is carved in polychrome wood (face and...

Original antique large unique sculpture of goblin made by Danish artist Anders Møller. Anders Møller resided on Funen and was born in 1890. He was a member of Danish artist group “Germinalen”, a part of the art and ceramic movement in Denmark at that time. The sculpture is estimated to be from the 1930s. This mythical, grotesque creature has exaggerated features and is possibly influenced by European Gothic or Art Nouveau aesthetics. The expression also has a resemblance to the work of earlier artist such as Niels Hansen Jacobsen...

Black Apollo torso sculpture, small size, in resin and metal base. Apollo is the male emblem of strength and beauty. This small Greek torso is the perfect embodiment of the son of Z...

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...

Impressive and highly stylish early 20th-century carved wooden bear sculpture with brass bowl. This impressive and highly stylish early 20th-century carved wooden bear sculpture is ...

Factice perfume Guerlain Lanvin store display bottles Three vintage store display fragrance bottles / Factice perfume bottles, all in excellent c...

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...

Vintage ceramic sculpture "Artist" by Capodimonte made in Italy in the 1970s. The sculpture has the original manufacturer's label and signature of the master. The vintage sculpture ...

A gorgeous classic decorative Statue or Miniature Sculpture. Some wear with a nice patina, but this is old-age. Made of a kind of metal, we think it's bronze or brass. Very decorativ...

Sculpture representing the bust of a Greek sportsman in the Hellenistic period, 21st century. Sculpture on base of a bust of a Greek sportsman, in patinated plaster and resin, 21st ...

Sculpture representing the bust of a Roman soldier, 21st century. Sculpture on base of a bust of a Roman soldier, Gladiator, in plaster and patinated resin, 21st century, modelled o...

Lisa Larson for Gustavsberg. Stoneware figure from "All the world's children." Height 11 cm. In perfect condition. Marked.

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...

"Ferdinando Vichi", Florence 1875-1945. Romantic figure of sitting woman. Made in marble, sitting on a chair made of bronze, original pedestal of green, Italian marble. Sign. Vichi. Ca. in 1900. (In two pieces) Ferdinando Vichi (1875-1945) was a central figure in the production of Florentine sculpture...

Metal, copper-plated (brass) statue of a falconer, woman on horseback, this sculpture probably represents Jacoba van Beieren, first half of the 20th century. The statue is made of 2...

This elegant pair of Chinese figural statues, crafted by renowned Murano glass artist Pino Signoretto in the 1970s, exemplifies the exquisite art...

SAINT CATHERINE OF ALEXANDRIA ORIGIN : SWABIA, ULM REGION PERIOD : ca. 1510-1520 Height : 118 cm Length : 39 cm Depth : 17 cm Limewood...

French Art Deco ceramic woman sculpture, designed by Charles Lemanceau for the ceramic manufacture Saint-Clément in the 1930's. Perfect condition.

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...

Elegant and finely cast bronze sculpture of Hermes, France circa 1890. Hermes, the messenger of the gods in classical mythology, is a symbol of communication, travel, intelligence, a...

Amazing Spanish Baroque Pietà in Polychrome Wood with Silver Crown, 18th Century Impressive large-format Spanish Pietà, carved in wood and polychromed, datable to the late 18th cent...

Woman Figure Art Deco Italy, 1940 White Pottery Pink and Gold Finishing Perfect Condiction Mark signed under the base

Figure of a crusade in the military form of the seventh made by the recognised Italian master Giuseppe Vasari (1934 - 2005) presumably in the seventies. Marked on the back. Bronze wi...

An extraordinary and museum-worthy 15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and royal...

Love this set of Three Vikings . all original from the sixties . One slightly bigger . All complete with there armory . Very scary . Handmade .

Guido Cacciapuoti Italian Art Deco large ceramic animal figurine Depiction: Two parrots on a tree trunk Hand crafted and hand painted in strong ...

This captivating Art Deco ceramic group, dating from around 1925, features two cabaret dancers captured in mid-performance, mimicking a military march. The figures are beautifully ex...

Sculpture Apple Graffiti A in handcrafted ceramic.

Spanish Virgin of Sorrows in Polychrome Wood with Silver Crown, 19th Century Magnificent dressed Virgin of Sorrows, from the 19th-century Spanish school, carved in polychrome wood (...

Set of six water/drink/wine glasses color Millefiori - Murano glass - Made in Italy. These individual Murano glasses are inspired by the classic "Goto Botte" Murano glass. Other co...

Miguel Ortiz Berrocal A silvered brass puzzle sculpture titled "Portrait de Michele" by Miguel Ortiz Berrocal. Artist's signature and edition number D.6 cm, H. 11,5 cm

Vintage “BACCHANALE” by Janle for Max Le Verrier – A Stunning Art Deco Masterpiece Step into the elegance of the Roaring Twenties with this original Art Deco sculpture, BACCHANALE, ...

The piece is a unique representation created by our designer. The creations are completely made by hand. Ceramic and paint are water resistant.      

Rare orientalist bust in polychrome terracotta of an Arab, bearing the mark R St K, for Riessner, Stellmacher and Kessel, as well as the number 1525 The features are very fine, maki...

Otto Geyer (1843 Berlin - 1914 Berlin) BALANCEAKT (Boy balancing on a turtle) Bronze on marble base Height with base: 18.5 cm