Italy Figurative Sculptures

This limited edition figurine captures the form of a hen using a red clay mold, finished with a third-fire silver glaze that creates a reflective, textured surface. Part of a histori...

Capodimonte porcelain figurine depicting a peasant, made by Giuseppe Cappelli in 1958 Ø cm 18 Ø cm 14 h cm 22 Giuseppe Cappè (1921-2008) was a renowned Italian artist, widely recog...

Statuette depicting the Love Putto in Meissen porcelain, made in 1800. The figurine may have undergone restoration. Ø cm 10 Ø cm 6 h cm 13 Meissen porcelain is considered one of th...

Elegant glazed ceramic sculpture depicting a nude young woman seated on an elongated base. Her composed posture, soft contours, and streamlined modeling clearly reflect the Art Deco ...

Large mid-century bronze sculpture "Neptune," 1950s Marble base. Replica of the central statue of the Fountain of Neptune (God of the Sea) in Bologna. This fountain was created betwe...

Contemporary Paolo Giordano Hermes abstract sculpture concrete cement cast grey Hermes is concrete sculpture. It's part of a large work that is also photographic: 'Digital Journey i...

Gufram icons have become smaller and have turned into Guframinis! Designed in a 1:8 scale the new miniatures perfectly reproduce the famous original sculptures. Each "mini" creation ...

EUGENE MARIOTON (1857-1933),"La Reconoissance",statue in spelter,France,1930. It is in excellent condition considering its age and is 56 cm high. Signed by the artist, it is on a ma...

Deftly handmade of gypsum rendered with the marbling technique, which dates back to Ancient Roman times especially typical of the Pompeian paintings,...

This is a finely carved antique Japanese Netsuke, depicting a young boy in a patterned kimono with a large toad perched on his shoulder. The figure is delicately engraved and stained...

This exquisite piece represents the head of a bearded faun, clearly depicted with his goat horns and elongated ears. The faun was the Roman equivalent of the ancient Greek satyr, a m...

A stately addition to any baroque-style decor, this fish tank is rich and bold in every detail. Equipped with an illumination system for the six glass panels composing the base in sa...

This extraordinary borosilicate glass sculpture by Italian artist Simone Crestani captures the elegance and mystery of the octopus in exquisite detail. Hand-blown with masterful prec...

A charming vintage mannequin from the 1950s, beautifully crafted figure is a perfect blend of functionality and folk art, making it a unique and striking decorative piece. The manneq...

Terracotta figurine, hand painted, Italy, 1975, It has always belonged to my family. Purchased in Caltagirone, a Sicilian town known for the production of terracotta and ceramics. ...

Majestic Nativity "Principe", Capodimonte Porcelain, piece numbered 383 of 500, 1990s A stunning Made in Italy creation. Good condition, with minor signs of wear. Fast and insured sh...

Figurative sculpture in aged metal of a Roman warrior Gladiator 1950

Lacquered Head In Sculpted Wood Early 1900s mounted on a plexiglass base 3 cm. high with the neck truncated for attachment to the body by means of a pin. Despite having widespread co...

This entirely made-by-hand sculpture presents a mixture of plaster and cement mortars. It can be hung to the wall through a special recess at the back, which allows the sculpture to ...

Salvino Marsura Italian Midcentury Brutalist Coffee Table, 1970s Coffee table handcrafted by Italian Artist and Sculptor Salvino Marsura. (1938-2020) The coffee table shows an amazi...

Abstract sculpture in decorated porcelain stoneware Guglielmo Gusella, 1980s.

Unique piece sign by the artist. The sculpture was commissioned for the first time by a customer in Sicily, who had a specific request, namely a tree with purple, turquoise and silv...

An academic cast. Above the plaster base, by means of a wooden support, the cast of the head of a Roman woman is set. Cast for the teaching drawing in the academy. Italy circa 1890.

This artwork was created by the Italian artist Ottorino Tonelli. Title "Adamo" translated "Adam" Ottorino Tonelli was born in 1948 in Carrara, where h...

A refined sculpture, entirely handcrafted from a single block of fine Statuario marble. Each piece begins with the careful selection of the marble, chosen for the purity of its tones...

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...

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

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...

Bronze Statue of Cleopatra Reclining on Red Marble Base - Classical Sculpture of Great Charm This elegant bronze statue depicting Cleopatra in a reclining position is an extraordinar...

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

Mid-Century Murano glass sculpture 1960s Complete and in excellent condition.

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

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...

The Partenope lamp is an iconic work by Neapolitan designer and architect Riccardo Dalisi. This wall lamp stands out for its sculptural design and handcrafted approach. Its shape ev...

French bronze dancers sculpture from the 1930s

The glass clown was designed and manufactured in the Mid-Century Modern era in Murano, Italy. It is in excellent condition with no chips, cracks, or chiggers.

Belonging to the period 1603-1867, most likely between the end of 17th and the beginning of 18th Century, this beautiful armour is a 32-plate suji kabuto made of brown-lacquered iron...

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...

Elegant Art Deco sculpture depicting Diana the Huntress with a bow, created in the 1930s by Italian sculptor Salvatore Melani. The figure is crafted from plaster and finished with si...

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...

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

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...

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

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...

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

This is a plaster bust reproducing the Torso Gaddi, the famous fragmentary sculpture displayed in the Uffizi Museums in Florence, which inspired many great artists of the Renaissance, including Michelangelo. The piece, handcrafted by the skilled artists of Galleria Romanelli...

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...

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...

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

A tobacco tasting pipe, made of genuine carved meerschaum, with a genuine amber mouthpiece. It depicts a hunter with a rifle, sitting with his dog. Original wooden case, covered in l...

The Sorriso del Mare light sculpture features a unique organic form characterized by flowing curves and voids that create dynamic light and shadow effects. Crafted from a rare marine...

The category Antique Alabaster Sculptures, features a refined Female Sculpture, a Young Woman leaning against a classical column and peering expectantly, the work created is made of alabaster, a lustrous and elegant material used by the artists to sculpt their works of art. The age of the ancient sculpture is from the late 1800s, 19th century. The ancient female Statue in alabaster, bears a signature G. Gambogi, Italian sculptor. Giuseppe Gambogi (1862-1938), was born in Pisa but worked in Florence where he had his studio-atelier together with his children. He uses various materials in marble, alabaster and bronze for his works. Sculptor with Romantic and Orientalist taste. Many works created by the sculptor were made for the foreign market and some of them are preserved in the Dantesco Museum in Ravenna. The sculpture is in excellent condition although it has undergone minor restoration. Sculture...

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...

The Ananke Glass Vase was originally designed by Ettore Sottsass in 1986. The vase is glass blown, and signed on the base, for further information please see authenticity info below....

The jellyfish is the main element of the Mosche Bianche's "Medusa" Collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. The speci...

Fantastic reproduction of the famous saltcellar of Benvenuto Cellini, symbol of the world goldsmith's art. The master goldsmith made only very few copies of this wonderful object that makes it a unique piece in the world. 6.641 grams of solid silver. Some information on the original piece by Benvenuto Cellini: The Cellini Salt...

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...

A pair of late 18th century Naples, real Fabbrica Ferdinandea, white porcelain figures of a lady and a man are hand modeled in the round. This lovely couple of statuettes in the white feature a fruit vendor and a peasant. The man, modelled in a theatrical pose against a tree stump, wears a hat and a scarf. His right hand in his breeches pocket, he is leaning on the tree with his left hand. The woman wears a skirt and a low necked jacket and holds a basket of fruit in her arms, the hair gathered with a bow on her head. This two little statues...

In Greek mythology, Medusa, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Medusa was beheaded by the Greek hero...