Hechizoo Sculptures

Supreme hand painted Monumental Porcelain Jaguar Sculpture, Spring Summer 2023. 34" ceramic hand painted jaguar with logo on side. Made in Italy exc...

The ancient city of Ephesus, which dates back to 6000 BC, has been a coastal city belonging to the Romans, Greeks and Turks at different times. The city is known as the place where C...

Midcentury collection of animals rendered in carved travertine designed by Flli Mannelli for Raymor, Italy, 1960s,

South Arabian Alabaster Inscription Calcite Alabaster circa 1st century A.D. ‘’Consequently, neither white marble of Paros nor any other stone which men admire can be compared with the precious stones of Arabia, since their whiteness is most brilliant, their weight the heaviest, and their smoothness leaves no room for other stones to surpass them.’’ - Diodorus Siculus, Library of History, Book II, 52.9 This inscription, finely worked on an alabaster tablet, is a remarkably well preserved example of Ancient South Arabian script, with its distinct bold, angular forms, written in the Qatabanic dialect - that is, the dialect spoken by the people of the kingdom of Qataban, which ruled much of modern day Yemen from the 7th Century B.C. to the 2nd Century A.D. The text, which reads: ‘[... ...]sa?d and Ma?add?i- / (of the lineage) of Hawfa- / She entrusted Anb- / against any malfeasance (which would remove it) from its place’ - indicates that it likely served to commemorate a temple offering. The quality of the script, incised so neatly into the surface of the alabaster, tells us that this piece was commissioned by somebody of considerable wealth and prestige, employing a scribe of equally considerable expertise. South Arabia was known throughout the ancient world for its incredible wealth - so much so that the Romans termed the region ‘Arabia Felix’ - literally, ‘Happy, or Fortunate, Arabia.’ That wealth was built largely on the trade of spices and incense, in which the Kingdom of Qataban played a major part. According to Pliny the Elder, this was the sole country through which frankincense could be exported, first being collected in the city of Shabwa, on the South Arabian coast, and from there travelling by camel up to Gaza, to be shipped all across the Mediterranean - not only that, but all growers of myrrh across Arabia were required to give a quarter of their yield to the king of the Qatabanians. As such, the kingdom became exceedingly rich and powerful, and Pliny goes on to tell us that ‘The nations of the Larendani and the Catabani, and the Gebanitæ [...] occupy a great number of towns, the largest of which are Nagia, and Thomna (the capital of Qataban) with sixty-five temples, a number which fully bespeaks its size.’ Because of the nature of its exports, frankincense in particular - the ‘sweat of of the gods’ according to the Egyptian Book of the Dead, and perhaps most famous as one of the three gifts brought to the newborn Christ - being closely associated with the divine, South Arabia’s reputation in antiquity was as a mysterious, almost sacred, and - crucially - extraordinarily wealthy region, at the very edge of the known world; in the words of Herodotus: ‘’Enough of marvels, and yet the land of Arabia gives off a scent as sweet as if divine.’’ This inscription invokes the protection of god Anbay, the judge-oracle of the chief god ‘Amm, who he served as an attendant. Much of what we know of the religious life of the ancient South Arabians comes to us from early Islamic texts, describing what is known in Islamic scholarship as ‘Jahiliyyah’ - the age before the advent of Islam in Arabia. What comes across in much of these texts is that these religious practices placed a great deal of emphasis on sacred stones, perhaps linked to the brilliance of the alabaster which is local to the region, and which a great many of the cult-objects produced in this time are made from. Hisham ibn-Al-Kalbi’s Book of Idols records: ‘’The Arabs were passionately fond of worshipping idols [...] Whenever a traveller stopped at a place or station in order to rest or spend the night, he would select for himself four stones, pick out the finest among them and adopt it as his god, and use the remaining three as supports for his cooking-pot.’’ This inscription was once in the collection of the intrepid British-Australian travel...

A large and exceptional Lalique art glass figure of a Jaguar cat in clear and frosted glass dating from 1999. The prowling Jaguar has moulded markings to its body with a etched signa...

Can you imagine these firebucks in your fireplace with the flames burning on all sides? These beautifully and all handcrafted wrought iron, andirons were made to stand in your firep...

Playful true-to-life silver armadillo that serves as a lighter other than being a decorative artwork in its own right. Expertly made by the Florentine...

Ronzan “stile” Jaguar ceramic, 1950, Italy.

Beautiful large Brutalist sculpture by John De La Rosa.

Elephant pitcher - elephant jug. A beautiful vintage pitcher in the shape of an elephant. It's a seated elephant sculpture with his feet in front and his trunk over his head. At the back you find the handle so you can pour the tea, water, soda ... Color is grayish blue with brown spots and large white with black eyes. Numbered 916. This vintage elephant carafe dates from the 1950s. Beautiful condition with some time related craquelé. When you take of his head you see there is a chip at the neck of the stopper - that is inside so you do not see it when placed on top. Vintage pitchers - vintage figural pitchers - vintage figural jugs - elephant pitchers - elephant sculptures - elephant collectables...

Beautiful statue of a sitting jaguar made of ceramic that is most probably cast and hand painted. Attributed to Ronzan, the Italian specialist in this field.    

To confront her childhood fear of reptiles, Surving sculpted an iguana, which proved to be an epiphany that would lead her to a life of sculpting hyper-realistic reptiles. From minia...