Paint Figurative Sculptures

A whimsical hand-painted resin sculpture by celebrated Mexican artist Sergio Bustamante (1934–2014), depicting his signature fantastical hybrid figure: a chartreuse-and-emerald fish-...

Sergio Bustamante Monumental Carved Sun Sculpture, Mexico, Circa 1980s A large and compelling hand-carved and hand-painted sculptural sun figure attributed to the celebrated Mexican...

French Folk Art Virgin and Child Oil on Leather Mounted on Wood Panel, 17th Century Charming early French devotional painting depicting the Virgin and Child in a tender domestic com...

18th Century Spanish Colonial Oil Painting on Board A characterful Spanish Colonial devotional painting, oil on board, dating to the 18th century. The work depicts the Virgin of Mer...

1930s Art Déco cold-painted chryselephantine bronze and ox bone woman sculpture by Roland Paris, France By: Roland Paris Material: bronze, copper, metal, bone, paint Technique: cast...

This vintage dress/suit form is perfect for displaying dressed up or simply as a fun vintage accent. An additional feature of the mannequin is the black painted wood tripod base wit...

A modernist 3D figural wall sculpture / art of knights jousting by J. Segura for Segura Studios, circa 1965. Fiberglass construction with richly painted textured surface captures the...

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 ...

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

An exceptional example of the celebrated Fleurs Des Siècles collection designed by Jane Hutcheson for Mottahedeh and produced by Vista Alegre, this sculptural floral arrangement comb...

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...

An exceptional example of the celebrated Fleurs Des Siècles collection designed by Jane Hutcheson for and produced by Gorham, this sculptural floral arrangement combines finely paint...

Presenting a stunning pair of mid to late 19th century French Limoges Bisque porcelain figurines from circa 1870. One is of a lady in period dress/attire cradling a Dove. All hand-painted and decorated to the finest quality. The base is marked with the makers initials “C.H.”. She is made of fine bisque porcelain in the Old Paris porcelain style. The other is of a gentleman set...

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...

A scale model ship of a USS Constitution. This is a very nice scale model of the historical American warship USS Constitution created around the 1960 and 1970. Made with beautiful craftmanship, with very nice details and have an outstanding eye appeal. The ship has been crafted with parts made-up in carved wood, linen, cords and is presented and mounted in a display base carved in wood. This will be a great conversation piece and will display wonderful in your home or office. Recently we acquired a collection of this kind of model ships and signal cannons. Please take a look in our other listings and feel free to made us any question and ask for any extra pictures if you need. The ship is fully assembled and ready for display (not a kit) and has been inspected and carefully cleaned with no dust. The USS Constitution Was originally launched in 1797. The USS Constitution ("Old Ironsides") is the world's oldest commissioned warship still afloat, renowned for her undefeated record in the War of 1812. Built in Boston as one of the U.S. Navy’s original six frigates, she defended American commerce, served as a diplomatic vessel, and remains an active, historic ship of state. Country: Continental, Europe or United States. Period: Mid-century, modernist, 1960-1970. Model: USS Constitution. Materials: Wood, bronze, brass, linen and cords. Weight: About 16 pounds, (7.26 Kg.). Measurements: H. 673 mm by L. 953 mm by D. 236 mm, (26.5 x 37.5 x 9.3 Inches). Condition: The overall condition of this USS Constitution model...

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 ...

This hand-carved wooden figure represents the Virgin Mary as a child, known as Niña María, a revered devotional subject in Spanish Colonial art. Crafted in 19th-century Guatemala, th...

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

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...

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

A monumental, very tall, quite engaging African Bansonyi serpent snake sculpture/ headdress/ mask by the Baga people who reside along the coast of Guinea Bissau. The Baga snake...

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...

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...

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...

Vintage Murray "Fire Chief" Flat Front Original Steel Pedal Car

1920s Art Déco persian warrior cold-painted bronze sculpture by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique: cast, mol...

Gerda Gerdago's 'Cosmic Dance': Art Déco austrian patinated bronze chryselephantine (ox bone and gold) sculpture manufactured by Arthur Rubinstein By: Gerda Gerdago, Arthur Rubinste...

Important and refined oval polychrome stucco depicting the Madonna and Child. The mother and child are held in a tender embrace, and in addition to the Madonna's typical robes, two h...

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

Tall hand carved Buddha from the late 19thC or early 20thC. Buddha holding a ball calmly in his left hand. Ball representing peace and prosperity and dispersement of wealth. Fair co...

This early 18th-century carved giltwood double cherub wall appliqué is a substantial and highly sculptural fragment, European in origin. Formed as two closely arranged cherub heads f...

The intricate retablos of Chicago-based artist Patrick Fitzgerald are his means of paying homage to those who have inspired him throughout his life. Derived from Mexican votive paint...

19th century life-size corpus Christi figure leg We are proud to offer a very unusual religious artifact, dating from early to mid-19th century and either Spanish or Italian in orig...

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

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 ...

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...

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.    

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...

This is a beautiful example of a Spanish Colonial Nino/ Christ Child/Jesus. It has beautiful, life like brown glass eyes, which were a later Spanish Colonial feature (earlier figure...

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...

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.

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...

Mid 17th century Northern European carved figure of a saint. This striking statue depicts a saint who is dressed in robes, whilst holding his hand over his heart. This figure is freestanding and is stood within a leaning position which makes him stand out. It has been beautifully carved from oak and has remnants of its original paintwork. Likely to have stood within a church for many years and would have been removed due to renovation reasons. This historical figure...

Public interest in Egyptian décor surged twice in the 20th century—after Tutankhamun’s tomb was discovered in 1922 and during worldwide "Egyptomania" amid the international tours of ...

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

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

As found in France, this oversized wire Eiffel Tower makes an impressive statement wherever displayed. This eye-catching fragment, painted orange, certainly would be a wow factor in ...

Impressive large clam shell on a lucite stand. This shell features intricate detailing on the exterior. This sculpture is very versatile, suitable for any classic, coastal or contemp...

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...

Vintage pair of tassel bookends which have been painted in a distressed neutral grey paint. Sturdy and sculptural, these are ideal in a formal or informal setting on a bookshelf or s...

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

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...

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...

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...

Beautiful art deco porcelain figure titled "The Captured Bird" by Goldscheidersche Porzellan Manufactur handmade in Austria by Josef Lorenzl. Include...

Painted on papier-mâché. Fifty original versions. Edited by Galería Val i 30 Valencia. Signed: “Equipo Crónica 68”.

Ceramic Italian glazed leopard in yellow with black spots. Hand-painted and in excellent condition. One available. Measurements are: 2" deep 7" wide 3...