Hand-Painted Figurative Sculptures

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...

An exceptional and highly decorative large-scale wall relief depicting a mythological mermaid, executed in the 1940s to 1950s with remarkable artistic presence and craftsmanship. Thi...

An impressive and large glazed ceramic sculpture titled “Havtyren” (Sea Bull) by Jean René Gauguin, created at Bing & Grøndahl, Denmark, in the 1930s. This iconic work is executed in...

This elegant Ronzan porcelain figure represents the peak of mid-century Italian ceramic artistry, characterized by its refined "Orientalist" aesthetic and masterful hand-painted exec...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Wonderful hand carved winged angel head with its original color and gilding. France, circa 1750 Weathered and small losses and old repair. Treated against woodworm. Measurement here...

A gorgeous character ceramic figural gnome statue - attributed to Griebel in Germany, a well known manufacturer of this kind of figures. This character statue has been made in German...

Statue of Liberty — Limited Edition 250 Luxury Porcelain Sculpture, 250th Anniversary of American Independence Few symbols in human history carry the universal weight of Lady Libert...

Classic late 1890s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture sho...

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved and painted. Several old layers of paint visible Italy, circa 1700-1750 Weathered. Small losses Measureme...

C-3PO, the legendary Star Wars protocol droid, handcrafted in porcelain. C-3PO first appeared in 1977 with the release of Star Wars: A New Hope, becoming one of the saga’s most reco...

An incredible mid-century modern sculpture by listed Mexican artist Manuel Felguérez depicting two children on a seesaw. The sculpture, depicting a boy and girl on a seesaw, or teete...

Whimsical mid century Italian lemon tree handcrafted in metal with hand decorated leaves and fruit in a wall mount tole planter.

Pair of 20th-Century Atlas Globe Bookends Bronze & Wood Sculpture Set A striking and sculptural pair of 20th-century Atlas bookends, masterfully crafted in a rich bronze-tone fi...

A rare and highly evocative European memento mori terracotta sculpture depicting a human skull resting upon a rocky outcrop, entwined with serpents and surmounted by a distinctive lock of hair. Dating from the late 17th to early 18th century, the piece is likely of German origin. Beautifully modelled and painted in naturalistic tones, the skull is rendered in warm earthy hues, contrasting with the dark green serpents that coil through and around the cranium. The rocky base is finished in rich brown tones, enhancing the sculpture's dramatic presence and symbolic depth. Memento mori, Latin for “remember that you must die,” was a powerful artistic and philosophical motif throughout Europe, serving as a reminder of the transience of earthly life and the certainty of mortality. Here, the skull embodies death, decay, and the fleeting nature of human existence, while the entwined serpents symbolise transformation, renewal, healing, and the eternal cycle of life. Together they create a compelling allegory of mortality and rebirth, where death itself becomes a gateway to regeneration. A striking and unusual example of early European memento mori art...

Monumental wall-mounted sculpture executed in painted papier-mâché by Mexican artist Sergio Bustamante (b. 1949). Titled "Sol Eclipse" (Solar Eclipse), this large-scale composition f...

Antique A wonderful late 19th century Staffordshire porcelain and gilt mantel figure depicting Scottish highland hunter dressed in kilts and traditional hunting dress with a deer dra...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Entitled "Columpio Feliz" which translates to "See-Saw", this lovely porcelain sculpture was a limited edition; hand painted and hand made porcelain issued in 1974 and retired in 199...

A lovely large 20" Mid-Century Italian majolica basket of lemons topiary centerpiece. No maker's mark. Freshen up your kitchen or breakfast room with this charming hand painted arran...

19th century Buddhist carving of Guanyin, shown standing with flowing robes on a rocky outcrop, mounted on a lobed wooden base. She holds a bottle in one hand and a basket of fruit i...

Art Deco Figurine of 'Mata Hari' by Capodimonte / Naples Porcelain Company Italy, circa 1925 An exceptional work, displaying grace and movement, subtly hand- painted. The seductive turban and gold earring wearing dancer draped in a White and Iron-Red Moon and Star motif garment, on a tasseled pillow. Hence our Mata Hari, attribution/suggestion. The name Mata Hari, is a Malay expression for the sun. Literally meaning “eye of the day"/ dawn of the day' This exquisite figure, depicts the The dancer (Mata Hari ?) as the sun-wearing the moon and stars. Marked with the variation Blue underglaze Crown & N. In remarkable well cared for condition, some minor wear to the gilt. The figurine stands...

19th Century Meissen Birdcage Grouping Germany Circa 1880 This enchanting 19th-century Meissen birdcage grouping, made in Germany circa 1880, is a re...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Art Deco tall Italian animal Figurine Ceramic Parrot Macaw on a tree trunk Material: porcelain, ceramic, tin glazed Design: Cacciapuoti style...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Pleasant Company- A pair of Folk Art Friends A serene tall antique handmade and hand painted pair (2) of hand bag carrying women named EMA - a fri...

Hand carved, 18th century, Italian gilded angel wing mounted on an aragonite mineral emulating a cloud. The wing is adorned with natural forming baroque pearls that coordinate with t...

Art Deco mid Century Italian porcelain 2 roosters on a tree trunk Material: Porcelain, Ceramic, Tin glazed Design: In the manner of Cacciapuoti Origin: Italy, first half 20th century...

Sculptural 18th century Italian figure of Christ in fossil agate coral adorned with natural-forming copper. The figure of Christ was originally part of a crucifix from a church in Tu...

This image displays a Huge set of vintage Chinese porcelain statues known as the Sanxing, or the Three Star Gods, representing Fu, Lu, and Shou. These figures are central to Chinese ...

Guido Cacciapuoti Italian Art Deco large ceramic animal figurine Depiction: Two parrots on a tree trunk Hand crafted and hand painted in strong ...

Porcelain sculpture inspired by Athena, the Greek goddess of wisdom, tactics, and good counsel. The daughter of Zeus and Metis, Athena was the Greek goddess of wisdom, tactics and go...

One of the best known gods from Olympus, made in white matte porcelain with touches of golden luster. Hermes was cunning and clever and had the gift of oratory, which is why the gods...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

Santa Claus limited edition porcelain figurine with a sweet little girl in his arms kissing him decorated with red enamels on Santa's costume.

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

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...

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 stunning polychrome figure of a Saint from the late 18th century or early 19th century, from France. This is one of the most beautifully carved Saints we have ever featured, with t...

Sculpture Blue Wading with base structure in solid brass and porcelain and with bird' structure in hand-painted porcelain with brass details.

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...

Striking British studio stoneware pottery sculptural vessel by Marylyn Hyde, dating from the late 1970s to early 1980s. This monumental stoneware jardiniere is formed as a fragmented...

This is a Goebel porcelain figurine of a Pied Wagtail bird. It depicts a very well done hand painted black, brown, gray blue and white, Wagtail bird. It has the Goebel hallmark plus ...

Hand painted porcelain collectible Fitz and Floyd resting Nubian camel figurine. Beautifully detailed Arabian camel, the camel is kneeling in rest and ...

Chinoiserie pagoda. Very decorative Italian painted plaster and wood three-tiered pagoda alla Mongiardino emanating from marine inspired grotto base with four masks issuing water in...

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...

American Country style painted iron eagle figure with spread wings perched on gray painted wood base (with date 1912)

Product Description:  On offer is a unique piece by Lisa Larson showing a small child sitting on a dog. Although the piece is made years after Lisa's most ...

Gardener couple consisting of two large single figures. The female gardener wears rural rococo clothing: a dress with elaborate decorations and pinned-up apron, corset and borders, a...

Unique panel depicting a saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

In Greek mythology, Medusa, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Medusa was beheaded by the Greek hero...

A deeply evocative Spanish Baroque carving of the Virgin Immaculate, dating from the 17th century. Executed in carved and polychromed wood, the figure is shown in prayer with hands j...

Luxury at its finest, made by the World renowned French maker of ‘Daum’ of Nancy, France circa 1960-80. This item crystallizes the extraordinary know-how of the Daum craftsmen. Daum...

A fine Han dynasty polychrome painted terracotta horse and rider. The warrior is dressed in orange and black on a black horse. Measures: Height 14 inches (35 cm) Width 12.5 inches (32 cm). Condition: Excellent with tastefully undetectable repairs. During the unification of China under the Han dynasty, bands of mounted nomadic warriors from the north threatened the country. In order to thwart their attacks, the Chinese sought to import stronger, faster steeds from Central Asia (as opposed to the Mongol ponies used by the invaders), eventually leading to the creation of the Silk Road. This small sculpture of a mounted soldier reveals the crucial military role of the horse. When compared to the diminutive stature of the rider, the importance of the horse becomes readily apparent. This creature provided security and strength, allowing the empire to secure its borders and expand its influences across Central Asia. The magnificent regalia of the horse, including a brilliantly painted saddle in red and green/gold, reflect the respect this animal received. The warrior as well is gorgeously decorated with a painted red tunic and gray chest...

17th century Italian silver leaf distressed angel wing with coordinating layers of mica layers creating a 3D effect of the angel wing. The wing sits on a smokey quartz crystal with n...

A gorgeous character ceramic figural gnome statue. This character statue has been made by unknown Company in Germany, in the 1930s or earlier. Absolutely gorgeous item with lots of ...

Fabulous and large Maria H. Rahmer (1911-1998) figural sculpture of a boy holding fruit circa 1930s from Hungary. Great ceramic condition with signature H. Rahmer on the side of the ...

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...

Set of Six Mid Century Italian Porcelain Harlequin Figurines , circa 1960, diamond-patterned costumes in multiple colours (red, blue, yellow, green,...