Sculpture is one of the oldest expressions of human artistic activity. Alongside painting, which first appeared in the Paleolithic on the walls of caves, sculpture has accompanied humanity for thousands of years as a way of depicting gods, forces of nature, people, and animals. From the earliest times, humans carved in stone, clay, and bone. Later came bronze, which, though invented relatively late, became firmly established as a canonical sculptural material.
From a collector’s perspective, sculpture offers the same advantages as painting. It is a work of art whose number is limited. It is durable. It is beautiful. It can be functional, symbolic, or purely decorative. And if it bears a great name, or originates from a specific epoch or region, it also acquires strong investment value. The same principle applies here: what is old and of quality can only grow in worth. What exists today from the past is all that will ever exist. The market is shrinking, museums continue to acquire, and private collections increase in value.

Capital with Figural Decoration, Sandstone, France, 12th-14th Century

2700,00 
Cylindrical stone capitol, decorated with carved representations of male faces with mustaches and nude female figures. The top edge decorated with a band of ornaments. The interior is deeply grooved. The surface of the object bears clear traces of use - deposits and wax residues are visible. The style of the sculpture refers to Romanesque or early Gothic architecture.

Christ Salvator Mundi, polychrome wood, Poland, 19th century.

2200,00 
Wooden sculpture depicting Christ as Salvator Mundi (Savior of the World), made in Poland in the 19th century. An example of folk Baroque sculpture, combining a religious theme with a simple, legible form. The full-plastic, frontal figure shows a young Jesus in a gesture of blessing, with a globe in his left hand. The figure is dressed in a white tunic and blue coat with yellow piping. Remnants of the original polychrome and natural traces of use are visible. The simplified modeling, linear folds and expressive face indicate a folk workshop from southern Poland, representing the late Baroque tradition of devotional sculpture.

Gallo-Roman male portrait head, marble, Roman Empire, Province of Gaul (area of modern France), 1st-3rd century after Chr.

2800,00 
A unique example of provincial stone sculpture from the heyday of the Roman Empire. Executed in white marble, the head depicts an individualized male portrait, a textbook example of the fusion of official Roman realism with local Gallic artistic expression. The face is characterized by a crude, geometric synthesis of form. A long, straight nose connects directly to a well-defined, severe eyebrow arch (the so-called Greco-Roman profile), giving the whole a monumental expression. The large, almond-shaped, convex eyes have no cut eyelids or pupils, which firmly places the object in post-Celtic sculptural traditions and the local votive art. The sculpture directly alludes to austere, hieratic representations of deities and heroes from the Celtic tradition. The object is set on a contemporary metal arbor and pedestal of gray veined marble. Dimensions: 15 cm (height) x 6 cm (width) x 8.5 cm (depth); with pedestal: 19 cm (height) x 7 cm (width) x 8.5 cm (depth) Weight: 1357 g

Head of an angel (?), sandstone, France, ca. 1300

3600,00 
The Gothic full-figure sculpture depicting a head, most likely an angel, was created in the circle of Parisian sculpture around 1300. The face with a calm expression and idealized features, surrounded by curls supported by a band, fits the type of depictions characteristic of French sculpture of the time of Philippe the Beautiful (1285-1314). The style, which spread in the 14th century, is sometimes referred to as "court style." Sculpture with traces of polychromy, damage and traces of surface erosion. Made of sandstone, it was originally most likely part of a full-figure representation. It most likely had a sacred function.

Head of an Angel (Putta), gilded linden wood, Poland, 1st half of the 18th century.

1800,00 
Baroque carving depicting the head of a winged angel (putto). The object, dated to the first half of the 18th century, is an excellent example of ancient sacred woodcarving. The styling of the "puckered" face, the deeply carved, almost graphic curls and the way the wings are worked out are very similar to the works of prominent Silesian sculptors, such as Johann Georg Urbansky and the workshop of Matthäus Knote. The sculpture is slightly curved, which means that it was designed to be mounted on a rounded structure, such as an altar column, cornice or the curve of an organ prospectus. The number "6" engraved on the back is a typical mounting mark. This confirms that the angel was part of a large, multi-element work, at which craftsmen numbered the parts to know where to mount them. A sculpture of high workshop qualities, dated 1720-1740, it represents the North Central European Baroque trend, showing features characteristic of the borderlands of Silesia and Malopolska. Preserved in original condition. Visible natural patina of time, losses of wood on the wings and paint layer and gilding, which add to the sculpture's character and confirm its age. The wood is sound, with traces of old woodcarving tools visible.

Hercules, bronze, marble, northern Italy (?), 16th century (?).

2600,00 
The figurine, depicting Hercules, is modeled after ancient Roman sculptures. This statuette was cast in a light brown, slightly golden bronze alloy. As is usual with early castings modeled on ancient bronzes, the surface of the object has not been thoroughly finished (forging, sawing, etc.). The surface of the legs bears traces of fine forging in the form of a beautifully wavy surface. Details such as eyes, pupils, hair, toes and hands are sharply incised in an engagingly expressive manner. Together, these features strongly indicate an early 16th century date, and a likely workshop origin from one of the northern Italian city-states: Padua, Ferrara or the Veneto region. In keeping with the ancient archetype, Hercules is depicted here in heroic nudity and elegantly standing in classical counterpoint, with his head turned slightly to the left. In his left hand he probably holds, preserved fragmentarily, the golden apples of Hesperides, which symbolize his eleventh work. In his right hand he probably held a large mace, which he used repeatedly to defeat enemies during his "Twelve Labors." The figure stands on a small, round bronze base, set on a marble pedestal. Dimensions: 15.5 cm (height) x 5 cm (width) x 3 cm (depth); with pedestal 26 cm (height) x 8 cm (width) x 8 cm (depth)

Madonna and Child, polychrome wood, gilded, Central Europe, 18th/19th century

2750,00 
Polychrome and gilded wooden sculpture depicting the Immaculate Madonna with the Child Jesus. The figure stands on a globe entwined by a serpent – a classic motif symbolizing Mary's victory over sin and evil. The Madonna, in a richly folded cloak covered with gilding, holds the Child on her left side. The sculpture is colorful, full of expression and dynamism.

Samuel Lipszyc (1880 – 1943), Naked ballerina, patinated bronze, ca. 1920

5000,00 
Sculpture by Samuel Lipszyc in the Art Déco style depicting a nude ballerina in a dynamic pose, balancing on one foot. The sculpture is made of green patinated bronze, set on a marble pedestal with decorative contrasting veining. The dancer's dynamic silhouette and streamlined lines are characteristic of the modernist aesthetic of the 1920s. The figure exudes lightness, grace and modern elegance, capturing the spirit of the Art Déco era. The work is signed "Lipchytz" on the left foot.

Skull (Memento Mori), marble, Italy, 18th-19th century

5300,00 

Elegant, decorative skull made of natural gray marble, maintained in a realistic style: the eye sockets, cranial seam lines and zygomatic arches are clearly formed. The faded dentition alludes to the concept of Vanitas.

The characteristic feature of the stone used for the sculpture is irregular veining in shades of beige, cream and gray, which gives it a unique character. The surface is polished, with natural discolorations and small marks due to the properties of the material, which emphasizes the authenticity and nobility of the marble. The skull is provided with a lead pin underneath, set on a minimalist, contemporary base in black, which exposes the sculpture and gives it a museum-like character.

The object is ideal for collectors of curiosities, lovers of the art of Vanitas - Memento Mori, cabinets of curiosities and as an expressive element of interior design in classical, industrial or eclectic style. An object with a strong aesthetic and symbolic expression, which is difficult to pass by indifferently.