Painted Figurative Sculptures

- THE SKULL - GHOST OF VENICE _______________________________________________ Hand-crafted from bi-component resin - Hand-airbrushed by italian craftsman. Dimensions: 9x14x10 (w,d,h)...

THE SKULL "SILVER LINING" - Hand-crafted resin and silver leaf made by italian craftsmen. Dimensions: 9x14x10 (w,d,h) __________________________________________________ In the ether...

THE SKULL "MY ESSENCE" - GRAPHIC COLLECTION _______________________________________________ Hand-crafted from bi-component resin Dimensions: 9x14x10 (w,d,h) The negation of matter e...

- THE SKULL - GOLDEN LINING In the realm of enchantment, gold dances with darkness. _______________________________________________ Hand-crafted from bi-component resin by italian cr...

- THE SKULL - REBEL WITHOUT A REASON _______________________________________________ Hand-crafted from bi-component resin by italian craftsmen. Dimensions: 9x14x10 (w,d,h) The decor...

Admirable Art Nouveau Figure Group by Rosenthal. Naked faun-like boy sitting on the back of an ibex, straining his upper body backwards and supporting himself with both arms on the h...

Art Nouveau glazed italian Torino-like porcelain figurine of a boy and his dog By: unknown Material: ceramic, porcelain, paint, enamel Technique: glazed, pressed, molded, painted, h...

Handmade architectural birdhouse by Jason Sargenti, hand-signed dated, USA 2020. "Inspired by Philip Johnson's AT&T building in NYC." J Sargenti Made w...

Excellent Meissen porcelain group of the 19th century: Depiction of the merely cloth-covered, bearded and crowned god Hephaestus (Roman: Vulcanus) seated centrally on a rock, holding a long-handled hammer beside him and looking off to the side, surrounded by winged putti representing activities from his trade: Patronizing the entire artistic spectrum of metalworking, including the production of jewelry, weapons, sacred-ritual and profane utilitarian objects, the one helping putto to his right is busy firing a cannon made of metal, to his left another putto is forging on an anvil with the help of a hammer and tongs, in front of him, at his feet are presented ornately crafted war ornaments such as a helmet and shield, at the back a putto holds small torches in both hands. The group is based on irregular rock base with gold rim. Designer: MICHAEL VICTOR ACIER (1736 Versailles - 1799 Dresden) Trained as a sculptor in Paris, he received a call to the porcelain factory in Meissen in 1762: he created a large number of groups in the Watteau style...

A pair of authentic signed Japanese Kokeshi wood dolls, circa mid-20th century, Japan. Dolls shapes and patterns are particular to a certain area and are classified under eleven type...

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...

Very rare Meissen Art Nouveau porcelain figurines: Two children with colorful hoops: Standing boy in sailor dress, holding the hoop with both hands behind him standing on the ground,...

Excellent Goldscheider Figure Group of the 1930s: Young lady in rosé pantsuit with brunette short haircut sitting on a large stool with low back support, embracing with both hands tw...

Gorgeous pair of porcelain hand-painted birds standing on a branch Made by Jeanne Reed’s for the Historic Charleston Foundation This pair would look stunning on a fireplace mantle ...

Very rare and excellent porcelain sculpture: Kändler created this group in 1772, right at the beginning of the work on the large order, as a personification of one of the two great main rivers of the vast Russian Empire, the natural waterways Volga and Dnieper, important for economy and traffic, which promised prosperity and wealth to the Empire: The Volga in the form of a river god, seated sideways on heavily relieved fully sculptured rock covered with shells and coins as well as fern and reed plants, fully bearded and crowned with laurel, wrapped in floral patterned purple loincloth. He looks pensively to the side and rests his right arm on an overturned baluster vase, from which water flows together with shells and fish, on the wall of the vase the crowned, rocaille-framed Polish-Lithuanian royal coat of arms with the coat of arms of the Electorate of Saxony. At the same time he touches with his hand an oar with gold ornamentation and crossed red swords, in his left he holds a cornucopia with plastic flowers, ears of grain and coins, symbols of fertility and wealth. The group is based on the front curved plinth with relief gold heightened meander and ribbon border. The design of this group belongs to the models of the 'Great Russian Order...

This very colorful and exotic bronze is typical of the work of Franz Bergmann. While it does not bear his foundry mark, it has all the ear marks of his work. The subject, the qualit...

Vintage Murray "Fire Chief" Flat Front Original Steel Pedal Car Circa: 1950 Dimensions: H: 17.5” W: 16” D: 32.5”

A beautiful pair of hand-painted ceramic Asian male figures, Chinoiserie style, circa mid-20th century, British Hong Kong. Hand painted in both rich and bri...

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money”. With each minute of production time costing €2, the design’s final price directly reflects the time it took to make it, bridging the gap between the designer and viewer. Renowned for his use of vivid colour palettes, intricate patterns and innovative use of Diego Dough...

Porcelain sculpture depicting Lord Krishna, one of the most venerated gods in Hinduism, and his beloved Radha in one of the swings from the traditional Jhulan Yatra festival. The lov...

A fabulous limited edition Art Deco bronze of a beautiful young woman in elegant dress with vivid enamel colour highlighted with gilt bronze plaited headband and belt. The figure rai...

Very rare and extremely decorative full-sculptural depiction of a young dancer in oriental-looking costume, bare-breasted, with long, softly falling skirt slit high at the front and ...

Magnificent crucifix in painted wood, mounted on line crosses, 19th century, Trentino. Dimensions: 171.50x112cm

An amusingly erotic early 20th Century Austrian bronze figure of a young beauty in a seaside hut peeking out between the curtains. The mechanism pushes down to turn the front curtain around revealing 'what the butler saw...

Set of two French terra cotta bas relief, 1950. You can hung on the wall. Sculptures from Italy , Green and blue colors.

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money”. With each minute of production time costing €2, the design’s final price directly reflects the time it took to make it, bridging the gap between the designer and viewer. Renowned for his use of vivid colour palettes, intricate patterns and innovative use of Diego Dough...

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight int...

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money”. With each minute of production time costing €2, the design’s final price directly reflects the time it took to make it, bridging the gap between the designer and viewer. Renowned for his use of vivid colour palettes, intricate patterns and innovative use of Diego Dough...

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money”. With each minute of production time costing €2, the design’s final price directly reflects the time it took to make it, bridging the gap between the designer and viewer. Renowned for his use of vivid colour palettes, intricate patterns and innovative use of Diego Dough...

EVERYDAY FUNCTIONAL ART HAND-MADE, CUSTOMISED DESIGN Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money”. With each minute of production time costing €2, the design’s final price directly reflects the time it took to make it, bridging the gap between the designer and viewer. Renowned for his use of vivid colour palettes, intricate patterns and innovative use of Diego Dough...

Pair of large statues carved in the round, probably representing cerulean angels (although there is no evidence of wings on the back), or allegories of fortune (in which case we can ...

Cold-painted bronze bird sculpture signed Geschützt. Austria, early 20th century.

Franz Bergmann Austrian, (1861-1936) The Music Lesson Austrian cold-painted bronze figure of a boy learning to play the Mandolin. Measure: 15 inches high.

Fascinating late 19th century Chinese near life sized carved sculptural figure of a male demonstrating and labeling acupuncture points. Crafted from ...

Excellent Rococo love group in splendid clothes in front of ornate column monument: the gallant sitting on the pedestal of the pedestal at the feet of his beloved, on his lap a basket full of flowers and a flower garland, a sign of his exuberant love, handing the beloved a bouquet of flowers, the latter plucking off the petals of a flower one after the other to find out whether he really loves her or not - a time-honored game of lovers. The group is characterized by particularly elaborate, detailed and loving design and staffage and is based on oval meadow base with gold heightened lateral frieze decoration and gold borders. A successful representation of one of the bourgeois themes that had become popular in the course of the 18th century, for example, through the paintings of Jean-Baptiste Greuze (1725 - 1805). Designed by MICHAEL VICTOR ACIER (1736 - 1799) Skilled as a sculptor in Paris, he received a call to the porcelain manufactory in Meissen in 1764, and was there, after Kaendler's death in 1775, solely responsible for the artistic interests of the manufactory. He created a large number of groups in the Watteau style...

18th century Italian "Young John the Baptist" painting framed with purple and yellow fluorite. The painting original came from Tuscany and depicts him as a young man with a lamb. Thi...

Dating from the 1870s, this decorative antique corbel figure was once used to embellish a ceiling, perhaps of a prestigious Victorian banqueting hall. Due to its age, it is today mor...

This large sculpture was made by the well known Marchio Di Frabbrica Depositato factory of Italy in approximately 1960 in the period Mid-Century Modern style. The sculpture is compos...

Cold-painted bronze sculpture by Franz Bergmann. Austria, early 20th century.

Pair of 18th century Italian hand-carved gold leaf angels with golden quartz crystals. The sculptural pair have the original metal wall hangers to be hung on the wall. The hand-carve...

Dating from the 1870s, these decorative antique corbel figures were once used to embellish a ceiling, perhaps of a prestigious Victorian banqueting hall. Due to their age, they are t...

Cold-painted bronze sculpture by Franz Bergmann. Austria, early 20th century.

A gorgeous character ceramic figural gnome statue. This character statue has been made in Germany, in the 1910s or older. Absolutely gorgeous item with lo...

Amazing Old Paris porcelain box with figural parian sculpture group on the top. The box features a mix of hand painted and transferred gold detaili...

Wonderful pair of Derby Porcelain "Mansion House" dwarfs. Both figures are modeled wearing large hat advertisements, most likely as they stood outside Mansion House in London. Both f...

Bing & Grondahl. Porcelain figure of Harlequin. Designed by Ebbe Sadolin. Model: 2354. First factory quality. Perfect condition. Marked. Dimensions: H 29.0 cm.

Porcelain sculpture "Vanity" signed Fraureuth Kunstabteilung. Germany, circa 1930.

Set of four beautiful and highly decorative hand-carved painted wooden putti / cherubs. Two of them are with label. L. Röger, Augsburg and Karl Storr, München. Made probably in 1960s...

Amazingly romantic pair of incredibly detailed, handmade, hand painted nineteenth century Old Paris Parian bisque and porcelain matched mantel vases feat...

a finely carved wooden monkey butler / servant / footman figure on stand, glass eyes, open mouth with teeth, once held a tray in its outstretched ...

A beautiful and rare enamel sculpture / painting. Made by Stig Lindberg in Gustavsberg Studio, Sweden, 1950s. Excellent condition. In 1949, Stig painted his first enamel painting o...

Beautiful depiction of a milk maiden at work chatting with the cat. Notice the great effort put into the expression of the maiden and cow and how it brings the whole figurine to life. An excellent example of painter Axel Locher's craftsmanship and skills. This figurine is commonly known as "Milk Maiden with Cat" and is numbered 2017F. It's a rare exhibition model that originally was made only for being exhibited. Bing & Grøndahl is one of the most famous and sought after Danish figurine...

Rare Goldscheider Ceramic Figurine of the 1940s: Standing young pretty lady with dark hair tied at the nape of her neck and ear jewelry in the style of a Spanish woman, presenting a ...

Pair Italian Chinoiseries Porcelain Nodding Head Figures, Mottahedeh, Italy. A pair of Chinese export style nodding head figures of Mandarins from the co...

Eclectic hand painted metal see saw or teeter totter sculpture by listed Mexican artist Manuel Felguerez, circa 1970s The sculpture has a small handle and spring mechanism that allo...

Graceful sculpture of a dancer with disk in green finish standing on black marble by Alexandre-Joseph Derenne for Max Le Verrier.

A scarce Baroque Period European antique hand carved and painted wood santo altar figure, 17th/18th century, the religious folk art sculpture depicting Ma...

Gracefully posing dancer with head tilted to the right, tight-fitting top with bustier and floor-length, wide, front-slit, beige skirt with poppy decoration, holding it up with the a...