Paint Figurative Sculptures

A Spanish colonial South American folk art style painting of the Virgin and child South American Peru or Bolivia school 18th century or earlier Oil on canvas, framed size 40 x ...

This exceptional 1920s Hubley cast iron doorstop, “Charleston Dancers,” No. 270, was designed by the celebrated British-born artist Anne Harriet Fish (later Anne Sefton) and captures the exuberant, lighthearted spirit of the Roaring Twenties. The sculptural doorstop depicts a dancing couple in close embrace, joyfully moving across the floor as they dance the Charleston late into the night, an iconic image of Jazz Age energy and modernity. Anne Harriet Fish was born in Bristol, England, and trained as a painter working in both oils and watercolors. After relocating to New York City, she became a prominent illustrator for Vanity Fair and Vogue, including the celebrated April 1917 Vanity Fair cover. During World War I, German-made porcelain doll heads became unavailable in the United States, prompting Fulper Pottery of Flemington, New Jersey, originally founded in 1909 as a stoneware pottery, to establish a new line of porcelain doll heads. When the postwar market for these products collapsed, Fulper pivoted to producing ceramic novelties, hiring Anne Fish in the early 1920s to contribute her distinctive, expressive designs. Fish’s success in ceramic design led to her collaboration with Hubley Manufacturing Company, for whom she designed seven iconic cast iron doorstops, now among the most desirable in the field of American folk and decorative arts: No. 269 – The Tiger No. 249 – The Messenger Boy No. 268 – The Parlor Maid No. 250 – Bathing Girls No. 270 – Charleston Dancers No. 222 – Small Footmen No. 248 – Large Footmen Anne Fish’s Hubley doorstops are characteristically numbered on the back and bear a copyright mark, with her name “FISH” painted on the front base, often in black. Likely influenced by her background in ceramics, her designs were finished with a distinctive high-gloss surface, a feature that has worn away on many surviving examples. This example is in beautiful antique condition, having been gently cleaned with minor professional paint restoration. It retains excellent surface presence and sculptural detail, with a richness and charm that exemplify Fish’s playful yet sophisticated approach to design. A highly collectible example of Hubley cast iron, Anne Fish doorstops...

Vintage statue, pop art art object in the style of Déesse and Niki de Saint Phalle, colorful fat lady, made of paper mache and painted by hand, signed M. Lepage, around the end of th...

A gorgeous arrangement of enamel flowers, "Fleurs Des Siecles" By Jane Hutcheson for Gotham Circa 1970s Enamel flowers, in a blue porcelain container, with brass mounts and paw f...

1940s Art Déco Torino painted and glazed ceramic figurine 'Ambretta Dancer' by Sandro Vaccetti for the firm Essevi, Italy By: Sandro Vaccetti Material: ceramic, paint, enamel, clay ...

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...

Late 19th century Vienna Secession cold-painted bronze small sculpture of two men playing chess by Franz Bergmann/Nam Greb, Austria By: Franz Bergmann, Nam Greb Material: bronze, co...

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 of a woman's head in a modern way. Our designer creates these pieces completely by hand.   

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

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

Antique Hand Painted Bisque Porcelain Mother & Child Figure in the Manner of Meissen c1920 Measures- 17.25"H x 9.25"W x 9.25"D

A gorgeous arrangement of enamel flowers, "Fleurs Des Siecles" By Jane Hutcheson for Gotham Circa 1970s Enamel flowers, in a white porcelain container, with stylized dolphin feet...

One-of-a-Kind Pop Art open Hands Wall mounted Sculpture, Wall Art or Display Bowl. This Hand Sculpture is perfect for keys, wallets, rings and other hand accessories. Easy to mount w...

1920s Art Déco glazed ceramic sculpture with base 'La Femme voilée de Marrakech' by Céline Lepage, France By: Céline Lepage Material: ceramic, paint, enamel, clay Technique: cast, p...

Late 19th century Napoléon III gilt bronze sculpture of Putti and champlevé bowl with marble base, France By: unknown Material: bronze, copper, tin, metal, paint, enamel, stone, mar...

The creator of this piece is Dahl Jensen. The Siamese dancer depicted is no doubt in the Royal Court with her elaborate headdress and elegant robe of indigo blue. The figure has a lo...

Extraordinary tall vintage palm tree sculpture handcrafted in wood carved and paint decorated with leaves, coconuts, trunk, and weighted terra firma base.

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

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

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...

Breathtaking vintage Asian Style Chinoiserie large decorative statues 1 male and 1 female comprised of bright red plastic-coated plaste...

19th C. Santos Hand made statue Saint Joseph and child Antiques Los Angeles CA LA . Mid 19th Century Rare Hand made terracotta Clay “ Santos “ saint Joseph with Child baby Jesus . ...

For your consideration is a gorgeous table sculpture of two golfers, dated 1987. This Art Deco style decorative sculpture is constructed of plaster and is delightfully heavy. Hand ...

Pair 18th Century Hand-Carved Polychromed Wood Angels are amazingly well preserved and perfect for any devotional display. Sculpted from solid blocks of walnut, each features amazin...

Command attention in any room with this striking vintage boho monumental abstract figurative sculpture of a woman. Gracefully elongated and poised, the torso’s sensuous curves and te...

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...

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

A very fun pair of hand carved wooden folk art masks circa 1940s. The set is in very good vintage condition and has a hanger on the reverse side; the larger mask...

1950s italian Torino hand-painted glazed ceramic sculpture of a girl with dress and dog signed by C. Mollica By: C. Mollica Material: ceramic, paint Technique: molded, pressed, pain...

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...

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...

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

French Victorian style painted mannequin figure with legs and owl design (20th Cent)

Artist Ross Rider "Larger than Life" Paint Brush Sculpture Offered for sale is a sculpture created by wood craftsman Ross Rider for his Larger ...

American Country style painted large female Native American figure with headdress holding cigars (1st half 20th Cent) (possibly Boston Carving Co)

Late 19th Century Dunmore Pottery Victorian Green Glazed Ceramic Wall Plaque. This plaque was produced by Dunmore Pottery located on the estate of the Earl of Dunmore in Stilingshire, Scotland and depicts woman and cherub...

"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...

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.

Carved wooden representing Christ on the cross.

This brutalist Mid-Century Modern sculpture in the style of the Cubist sculptor Jacques Lipchitz stands at 19.5" tall. The solid sculpture is made of gypsum with a painted copper ext...

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...

Pair of 20th century decorative biscuit porcelain sculptures with jewelry boxes By: unknown Material: porcelain, paint Technique: hand-pa...

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

Goldscheider-like Art Déco dancing lady unglazed porcelain figurine from United Kingdom By: Goldscheider (in the style of) Material: ceramic, porcelain, paint Technique: unglazed, m...

Rare Art Deco hand-carved wooden candlestick sculpture, in the style of Dagobert Peche / Wiener Werkstätte, Vienna, 1920s A striking and rare Art Deco sculptural candlestick, hand-c...

Likely Chinese, late 19th to early 20th century. This carved buddha figure traditional features including elongated ears, draped robes, a lotus blossom support and raised hands. The...

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

"Porsche Barrel (2019)" by Marc Boffin, bearing the distinction of being the 33rd within a limited edition of 100, stands as a captivating testament to the...

Impressive large clam shell with incredible patina. This shell features intricate detailing on the exterior. This piece is very versatile, suitable for any classic, coastal or contem...

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

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

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...

Antique carved Indian ceremonial temple sculpture of a large parade horse from the late 19th or early 20th Century. The wooden body, mane, tail, saddle and reins are carved in high r...

This oversized wire Eiffel Tower makes an impressive statement wherever displayed. This eye-catching fragment, hand-painted in creamy white, certainly would be a wow factor in a home...

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

"Bugatti Barrel (2019)" by Marc Boffin, marking its place as the 33rd piece within a limited edition of 100, represents a captivating synthesis of automoti...

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...

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

French painted mannequin figure with green kingfishers on front and heron on back. (20th Cent)