Hand-Painted Figurative Sculptures

A late 17th-century figure in polychromed chestnut wood with excellent carving and gilding, dressed in a flowing veil and cashew hair down the shoulders. The cheekbones and nose are ...

18th Century Meissen Porcelain, Pair of Turkish figures holding sweetmeat / table salt bowl. These sweetmeat figures were made around 1745, the original models being done by J F Eber...

Sculptural 18th century Italian gilded crucifix with calcite crystals and baroque pearls. The calcite crystals are from Elmwood Mine, Tennessee. It is an example of the world's fin...

18th century Italian tabernacle with baroque pearls from Venice. It is hand-painted and carved with with gilded details and a painted marble effect. There is a gold leaf sunburst on ...

A pair of Meissen bouquetiere figures Circa 1765, both with 'Christie's East' dealer stamps. Modelled by J.J. Kändler holding oval two-handled baskets, the tops pierced for flowers, ...

This is a sublimely made porcelain figure of the female "Ranelagh Dancer", made by Derby between 1759 and 1769, which was the Rococo era. The figure would originally have had a male ...

This Wood Sculpture of an Angel would likely is a masterpiece of religious art, reflecting the exuberance and drama characteristic of the Baroque period. Baroque art often sought to ...

Important pair of 18th century lacquered wood angel heads, from Northern Italy. The angel heads with wings are carved from a single piece of wood and decorated in polychrome with mec...

A Pair of Chinese famille verte laughing twins 'HeHe Erxian' biscuit group, Kangxi (1662-1722), the two boys with jovial expressions and seated upon an openwork rock-base studded wit...

18th century Italian silver and gold leaf crucifix adorned with baroque pearls and mounted on a mica cluster and a calcite crystal. The mica specimen is from the Great Smoky Mountain...

18th Century Meissen Porcelain Figures, Turkish / Persian Lady & Gentleman. circa 1755 Both designed by Johann Joachim Kaendler, Rare and early examples of both models.

18th Century Meissen Porcelain Figure, Piedmontese bagpiper. Modelled by J.J. Kändler after an engraving by Jacques Dumont, wearing a black hat with brown feather, fur-lined white...

18th Century Meissen Porcelain Figurines, Pair of Gardeners. Model 1584. A couple of gardeners, designed by Johann Joachim Kaendler, with flowers and vegetable basket, sitting / s...

18th century Italian brown and gilded cross adorned with smoky quartz crystals and druzy petrified wood. The smoky quartz crystals are from Madagascar and druzy petrified wood from t...

18th century Italian crucifix adorned with tourmaline and mounted on tourmaline in a crystal matrix from Brazil. The piece is put together by Jean O'Reilly Barlow, the artist and c...

18th century Italian crucifix mounted on green malachite, calcite with fluorite, and raspberry garnet. The piece is adorned with Carnelian pebbles and garnet. The minerals are from a...

Sculptural 18th century Italian crucifix with selenite in matrix and adorned with gem beading around the cross. The selenite in matrix creates the sunrays around the crucifix. The pi...

18th century Italian hand carved and painted wood Madonna statue depicts the virgin Mary in contemplative prayer, and poised in triumph over evil. Orig...

Originally from 18th-century Italy, this pair of winged cherubs were hand-carved from wood as reflections of each other, meaning that their bodies are orientated as mirror images. Bo...

Christ enthroned South America, 17th century cm 64x22x18,5 Polychrome wooden sculpture representing Christ, wrapped in a red cloak edged with gold, who, crowned and seated on a th...

Large wooden Madonna and Child, painted and carved in hollow at the back. The theme of the Virgin and Child is the most represented in all Christian art, whereas the infancy of Jesus...

18th century Baroque/Rococo english glazed painted porcelain of a goat-riding tailor by Chelsea Pottery By: Chelsea Pottery, Meissen Porcelain (in the style of) Material: porcelain,...

Sculptural 18th century Italian hand-carved angel wing mounted on white aragonite and adorned with faden crystals, crystal quartz, and baroque pearls. The hand-carved angel wing was ...

Pair of 18th century Italian hand-carved and painted angel wings on titanium plated quartz crystal clusters with natural-forming baroque pearls. The hand-carved multi-colored angel wings are originally from a historical church in Venice, Italy. These are particularly rare and exquisite due to their unique coloring. The ecclesiastical artifacts are mounted onto a base of titanium plated quartz and adorned with coordinating baroque pearls. The minerals display...

Sculptural 18th century Italian hand-carved angel wing mounted on a calcite crystal cluster and adorned with citrine points. The hand-carved angel wing was once part of a heavenly, a...

Sculptural 18th century Italian hand-carved brown and gilt angel wing adorned with citrine and quartz crystals and mounted on a polished hematoid slab. The hand-carved angel wing was...

Sculptural 18th century Italian hand-carved angel wing mounted on aragonite and adorned with tangerine quartz crystals and a baroque pearl. The hand-carved angel wing was once part...

Sculptural 18th century Italian hand-carved angel wing mounted on a chalcopyrite and adorned with kyanite. The hand-carved angel wing was once part of a heavenly, angelic depiction i...

A scarce antique English porcelain figure of a Putto holding a basket of flowers by the renowned Staffordshire factory Bow and dating from aro...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

A 18th Century superb italian sculpture of a draped Madonna with a veil, base with richly carved relief with cherubs and a baby Jesus on her lap in carved polychrome and gilded wood....

Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...

A charming translucent soft-paste german porcelain figurine of a dancing couple of the Volkstedt, Muller & Co, Dresden manufacturing of the late 18th century, mark on the base

18th-century distressed Italian mecca arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic Itali...

18th-century distressed Italian mecca gilt arrow with a baroque pearl on a polished calcite base. The arrow was once part of a decorative motif in an artistic depiction in historic ...

The Infant St John the Baptist, A first half of 17th century Sevillian School Cercle of Juan de Mesa Velasco (Córdoba, 1583 - Séville, 1627) Polychrome and carved wood Height: 65 cm ...

Large painted and carved wooden Virgin and Child in the round, representing the Virgin and Child carrying the globe. The theme of the Virgin and Child is the most represented in all ...

Tang Dynasty painted terracotta fat lady tomb figure China. Tang Dynasty Circa 618-907 Modelled in the form of a classically dressed fat lady, this terraco...

18th century French or Italian Santo Nativity Figure, a hand carved and painted fruitwood figure for a Christmas Crèche or Krippe. Excellent and delicate details to the head and hands. The half figure stands on a dowel set into platform base, dressed in original fine linen robe...

18th Century Meissen Porcelain Figurines, Pair of Lovers. Model 571. Sitting lovers, designed by Johann Joachim Kaendler, above a base covered with plastic flowers and leaves, shep...

Italian 18th century hand-carved Corpus Christi, in original paint, or in some small areas early paint. Note: Original/early finish on antique a...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

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...

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

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

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

Mid 18th Century Meissen Porcelain Figure, Rare blue eyed Mushroom Seller "Pilzverkäufer". Model Number 864, by Johann Joachim Kaendler, circa 1747 Crossed swords mark and model n...

A 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement ...

A Late 15th/Early 16th Century Oak Sculpture depicting ‘The Grief of Mary’, carved almost in the round with Mary wearing a head scarf, neckerchief and...

An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.

This is a very charming pair of porcelain figures of a stag and a doe, probably cast by Derby in about 1760 and decorated by Bloor Derby in 1820. The figures are a simple white porce...

18th century Italian cross adorned with tangerine quartz crystals on a tangerine quartz and crystal cluster base. The crucifix originally came from a church in Tuscany. The crystal quartz points replicate the original sunrays or halo around the cross. The piece is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian cross is originally 18th century. The 18th century Italian cross has been preserved and transformed into a figurative, contemporary work of art. With the combination of the precious minerals, the church artifact...

18th century Italian gold leaf angel head or "putto" adorned with baroque pearls. A putto is a cherub figure frequently appearing in both mythological and religious paintings and scu...

Not sure if paint is original. Finely carved and unusual. From a beautiful home in Santa Barbara.

Pair of 18th century Italian hand-carved gold leaf angels mounted on amethyst and calcite in matrix. The hand-carved angels were once part of a he...

18th century Italian gold leaf angel wing with rutilated quartz crystals on natural-forming aragonite crystal cluster. The hand-carved angel wing was once part of a heavenly, angelic depiction in a historic church in Italy. The aragonite is from Morocco and is known for this particular type of crystalized formations. The mineral emulates a cloud which is compliments the 18th century Italian gilded angel wing. The rutile quartz crystals are adorned on the base and aspects of the wing and the gold of the rutile perfectly matches the original gilded 18th century Italian artifact...