Paint Figurative Sculptures

This very rare and desirable antique Hubley 'Charleston Dancers' #270 cast-iron doorstop by Anne Harriet Fish (1890-1964) is a prize catch for collectors or those interested in start...

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...

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

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

This stunning Art Nouveau sculpture is a large-scale painted plaster figure of a partially draped female nude adorned with flowers and flowing drapery. Sculpted with remarkable grace...

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

Jugendstil cold-painted bronze sculpture of a woman holding a palm leaf by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique...

Great grouping of four mid-century polychrome glazed ceramic foo dogs, circa 1960s. Great detail and a beautiful color combination of green, brown, cream and blue The largest measu...

A pair of cast metal Sculptures, male and female. The finish is newly finished in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make...

A 19th century Spanish Colonial santo depicting the Mary, full of presence and quiet devotion. Carved from wood with all original paint, she stands gracefully on her original base an...

1930s Torino glazed porcelain sculpture of seated Venus on shell over dolphins, manufactured by Lenci, Italy By: Lenci Material: ceramic, porcelain, enamel, paint, clay Technique: c...

Carved wooden representing Christ on the cross.

Contemporary abstract wooden "VERVE" wall-mounted sculpture created by circular sawing, sandy-white painted on white-stuff. Signed Christofer Kochs, 2019 Due to the exaggerated leng...

Infuse your space with cultural heritage and artistic elegance with this stunning pair of vintage Asian glazed terracotta Foo Dogs. Beautifully handcrafted and finished in a striking...

Magnificent vintage Sergio Bustamante “Fish Boy” Series Fantasy Figural large-scale hand painted ceramic signed sculpture. Beautiful, repaired c...

American gilt carved wood and poly chromed nautical figurehead of Roman guard in military attire. Late 19th century.

Glorious Late 19th to Early 20th Century Ecclesiastical Religious Art Sacred Heart of Jesus plaster statue sculpture upon a gilded wood base. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, his hands only had the wire structure so new hand-molded & crafted hands were created by our professional craftsmen and the wood on the base was bad so it has been given a new gilded wood base. He has many chips in the plaster that have been repaired and the whole statue has been shellacked. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, Late 19th – Early 20th Century. Heaven knows we could all use a little more Jesus in our lives!! Well, your prayers have just been answered!!! This is an absolutely magnificent Ecclesiastical Religious Art plaster statue of The Sacred Heart of Jesus. He is comprised of hand sculpted and hand painted plaster and he stands about 43 inches tall upon a square flat edge gilded wood base. He has handsome, realistic, intricately hand painted facial features, and his glorious dark brown shoulder length hair drapes gracefully upon his shoulders. He wears a lovely, flowing robe featuring the Sacred Heart symbol upon his chest and his beautiful bare feet are exposed at the base of his robe. His enticing hands are open and reaching out as if to welcome you into his arms. The Most Sacred Heart of Jesus is one of the most widely practiced Catholic Faith devotions wherein the heart of Jesus Christ is viewed as a symbol of “God’s boundless and passionate love for mankind.” The Sacred Heart is depicted as a flaming heart shining from behind with divine light, pierced by the lance with a bleeding wound, and encircled by the crown of thorns. And Christian faith depicts it more as a flaming heart, while the wounds and crown of thorns allude to the manner of Christ’s passion and the flames a furnace of ardent love. You can depict it how you choose! We believe that his original home was most likely a wonderful old church where he was admired for many years. Due to his materials, he should only be exhibited indoors…. Which is exactly where we all need the Lord to be anyway… on the inside!!! He will be absolutely divine in your entry way or heavenly in a sunroom surrounded by indoor foliage or faux plants & trees. He has an all-over “perfectly imperfect” aged patina, a few “character enhancing” chips that you would expect given his vintage age, and an angelic aura...

Italian glazed and hand-painted terracotta figural bust of Diana raised on a two tiered circular faux painted plinth. Goddess of the moon, Mid-19th Century.

Signed cast bronze sculpture by Irma Stoloff and numbered 236/300. Having textured finish figurative abstract sculpture of a upright Jazz bass player resting on painted wood base.

Stucco sculpture depicting anatomical model of the muscular system, handmade and painted in two-tone tempera in shades of gray. The human figure, placed on a small pedestal, is chara...

Elevate your collection with this exquisite Chinese porcelain figurine inspired by the illustrious Qing dynasty. Crafted in a stunning wucai style, the figurine depicts a distinguish...

Two exquisite Japanese musha ningyo dolls, crafted as courtiers, Edo Period, early 19th century, Japan. The older man can be identified as the h...

Late 20th century modernist oil painting of Greco Roman wrestlers done in the classical style. By David Loeb. Oil on handmade paper. Signed on reverse and dated 1989. Loeb was born in 1953 and raised in Chappaqua, New York, David Loeb’s mother and her identical twin were painters, and he has been painting since childhood. He studied with Gillian Pederson-Krag at Cornell University; Reed Kay at Boston University; Louis Finkelstein, Wolf Kahn and Philip Guston at the Yale Summer School of Art and Music; and attended graduate school at Indiana University, Bloomington, where he studied with Robert Barnes...

Mermaid in upright position with the upswept tail. Distressed painted finish. Circa 2010.

18th century French hand carved and painted wood statue still shows vestiges of its original painted finish. Depicting a nun reading a bible, the n...

Group of five mid-century modern wood carved figurines by Dominican artist Frank Coronado. Each figure is hand painted in brilliant white, red, ye...

Mater Dolorosa Sculpture, Our Lady of Sorrows Sculpture, Religious Antique Sculpture, Church Antique Statue, Gothic Antique, Antique Mater Dolorosa, ...

Mid-20th century Torino ceramic semi-nude woman sculpture 'Portatrice Africana' by C.I.A. Manna By: C.I.A. Manna Material: ceramic, paint Technique: gilt, glazed, hand-crafted, molded, painted, pressed, unglazed Dimensions: 6 in x 22 in Date: mid-20th century Style: Mid-Century Modern, Space Age Place of origin: Italy This mid-20th century Italian ceramic sculpture titled 'Portatrice Africana' was handcrafted by C.I.A. Manna in Torino, Italy. Molded from ceramic clay and meticulously hand-painted, it depicts a semi-nude african woman carrying a large clay vessel...

1900s Jugendstil cold-painted bronze sculpture of an oriental woman with a fruit bowl by Franz Bergmann, Austria By: Franz Bergmann Material: bronze, copper, tin, metal, paint Techn...

An intriguing pair of painted plaster gargoyles in wonderfully worn shades of green. The gargoyles used to hang from small hooks to the base of each so ...

Sculptural 18th century Italian figure of Christ and metal sword with large red and white crystal quartz clusters and phantom quartz. The figure of Christ was originally part of a c...

A ceramic figurine of a courting couple. This Victorian piece is created from a crisp white ceramic and features a man and woman perched upon a tree log. They lean into one another a...

Truly stunning pair of hand-carved wood Japanese buddha statues / sculptures that sit serenely atop their lotus petal thrones. The intricately c...

This monumental and arresting abstract tall life-size floor sculpture is a mixed-media of plaster of pairs over molded fiberglass with red rub paint. It rotates and pivots from side ...

Fabulous glass sculpture of Adonis in bust form on a black glass plinth by Dino Rosin. Murano, Venice Italy. Signed in numerous places. In excellent condition.

Late 20th century Post-Modern painted and glazed ceramic penis/phallic sculpture, United Kingdom By: unknown Material: ceramic, paint, enamel, clay ...

Two good Franz Bergmann Austrian cold painted bronze figures now mounted in highly architectural Moroccan Moorish style carved and inlaid wood brackets, early 20th century, Austria a...

A highly coveted Franz Bergmann Vienna Cold Painted Bronze Figure of an Arab Snake Charmer on an alluring carpet of alluring colors and patt...

A large French sculptural figure of an artist or painter from the Louis XV period, mounted to a circular moulded base of faux marble painted wood. One of a pair of bronzed and pat...

A very large and absolutely charming vintage Indian papier mâché portrait bust of a male Maharajah (Raja or Indian noble prince). Born in India...

The iconic ultimate in French symbols. Fabulous blacksmith work, in old rivetted iron from the 1930s. Beautifully carried out and detailed. An expert believes it must have taken 2 months to carry out such work. The tower is assembled in 3 parts so it is easy to move. Perfect for a shopping mall...

Transform your space with this breathtaking Italian figural standing candelabra floor lamp, a masterpiece of early 20th-century European craftsmanship. Exuding elegance and sophistic...

Venetian school Painting Biblical scene oil on copper anonymous C 16th century Unsigned Fine old master quality Venetian school painting of a biblical scene painted on copper Oil cop...

1830 The Mentor hand made Bar Mitzvad sculpture # 99/1000 hand made and painted sculpture of a grandfather with his grandson .

Viennese cold painted bronze orientalist lamp attributed to Bergman of a middle eastern man riding a camel. Signed Austria.

"Chanel Barrel (2019)" by Marc Boffin, numbered 33 of a limited edition of 100, is a striking testament to the fusion of art and fashion. This unique piece...

Oversized vintage cheeseburger pop art in fiberglass. Likely used as a store display. Hand made in fiberglass and hand painted with great detail. ...

Elevate your collection with this exquisite Chinese porcelain figurine inspired by the illustrious Qing dynasty. Crafted in a stunning wucai style, the figurine depicts a distinguish...

Wonderful, unique hand-carved wood and polychrome pair of Indonesian Balinese devotional figures/ statues from the island of Bali. This pair, likely from the early to mid-20th cent...

About A hand painted carved wooden Mexican or Central American Santo (saint) with articulating arms. Creator unknown. Date of manufacture circa 1...

Vintage 1970s Hopi Katsina Figure - Kachina Doll, circa 1970s Measures: 7" wide x 6" deep x 14" high The doll shows a few minor losses and cracks - Please review all images ...

Kay Bojesen´s "Family Trip" is one of his most loved wooden toy designs. This set is original vintage. It consists of wagon and 4 family members: mother, father and two children. ...

A set of Jugendstil cold-painted bronze sculptures of Buddha and a gilt Priestess by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint...

Impressive vintage large clam shell that has been powder-coated in bright sunshine yellow. This shell features intricate detailing on the exterior. This piece is very versatile, suit...

An unusual set of sculptural palm trees with young figural trumpet players on faux rock bases on giltwood plinths .the players in elaborate Turkish orientalist costumes . Both drille...

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

The piece is a unique representation of a woman's head in a modern way. Our designer creates these pieces completely by hand.    

Fabulous handmade & hand painted vintage acrobatic Papier Mache clowns from Mexico attributed to Jeanne Valentine a pair. Beautiful condition, keeping...

About An early 19th century painted terracotta bust with glass eyes on wooden base. Creato Unknown. Date of manufacture circa1...