Painted Figurative Sculptures

Beautiful hand carved Baroque angel. Unique period piece with traces of its old paint . Spain, circa 1750 Weathered. Several small losses and old repair. Measurement here below in...

Beautiful hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. small losses. Measurement here below includes the wood...

Amazing baroque panel depicting a crowned reliquary . Beautiful weathered with traces of its original silver, gilding and colour. Italy circa 1750 Weathered, small losses . Measureme...

An exceptionally fine quality highly detailed pair of German Karl Ens pottery porcelain Parrots Feathered Figures of quite generous size, late Nineteenth, early Twentieth Century. ...

An exceptionally fine quality highly detailed pair of Royal Dux Czech Republic pottery vivid Majolica Parrot Feathered Figures of quite generous size, Mid Twentieth Century Each ...

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...

Pair of squirrel bookends, in green metal (spelter) on a marble base. Both are signed Max le Verrier. Good overall condition - very minor chips to the marble. Height 15 ...

A gorgeous character ceramic figural gnome statue. This character statue has been made by a unknown Company in Germany, in the 1910s or older. Absolutely gorgeous item with lots of c...

A fine antique German porcelain figurine. By Meissen. In the form of a barefoot young girl in a dirndl dress carrying a wicker basket full of many different flowers. Atop a Rococo-style gilt plinth. Marked to the base with Meissen's blue underglaze crossed swords mark / an impressed 9 / an incised 'No. 5'. Simply a wonderful antique Meissen figurine...

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 ...

Tom of Finland. Bookend ‘Pekka’ Bookend, painted cast resin, height 12.8 in., base 6 x 6 x 0.8 in. Always Ready to Handle the Heaviest Load - Get Your Books Sandwiched and Add Some ...

These are a pair of Derby Porcelain "Mansion House" Dwarfs or "Grotesque Punches" both with incised model numbers and dating to the 19th century. Both figures, male and female are m...

Pair of 18th century Italian dancing angels with coordinating baroque pearls on aragonite crystal clusters. The dancing angels are hand-carved wood, polychromed and gilded, original...

Tamara Karsavina, a Ballets Russes Dancer, impersonating the "Firebird" in the Ballet by Igor Strawinsky. Porcelain Figure by Dimitri Iwanow for Lomonosov, St. Petersburg Manufactory...

LLADRO - Vintage matte finish ceramic figure - bending girl dressed in her nightgown - retired - factory stamp to the base - Spain - mid 20th century. Excellent vintage condition - ...

These are a beautiful set of NINE porcelain Monkey Figures or Figurines all playing in a Band made by Sitzendorf, Germany, circa 1910. What makes these figures special is the excell...

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

This amazing German chandelier features a delicate hand-carved and polychrome hand-painted mythical lady or mermaid with a scaly fishtail. The adorable and handsome lady is holding a cartouche-shaped shield. The light fixture is hung on a chain suspension, mounted on real antlers, and decorated with red and yellow wrought iron...

Tom of Finland. Bookend ‘Durk’ Bookend, painted cast resin, height 12.8 in., base 6 x 6 x 0.8 in. Always Ready to Handle the Heaviest Load- Get Your Books Sandwiched and Add Some Pl...

Rare Vintage Monumental Porcelain Horse Drawn Victorian Carriage centerpiece group Capodimonte Porcelain, after a model by Giorgio Galletti Naples, Italy; second half of the 20th century Porcelain Approximate size: 37 (w) x 15 (h) x 10 (d) in. This beautiful and elaborately detailed porcelain group features an ornately modeled carriage drawn by four horses. The coach features a driver seated on his perch wearing a tricorn hat and a lovely lady is seated in the coach box wearing a light blue dress with intricate gesticulating openwork porcelain lace...

Post Modern Display Mannequin from a Japanese store formerly located on Madison Ave, NY. Articulated fiberglass mannequin body has screws at join...

French Tole-Painted Floral Dummy Board – Basket of Tulips & Hydrangeas, 20th Century A charming French tole-painted floral dummy board, 20th century, crafted in the form of an abu...

Finest quality, very large, handmade porcelain sculpture figurine of a "Csikós on Horseback" has been created for Herend by the famous sculptor, Bela Markup and expertly hand-painted...

Tang Dynasty Pair of Painted Pottery Lokapalas Tang Dynasty (618-907), Height: 27.25 x 11.5 x 7" each PROVENANCE: Weisbrod Chinese Art, Ltd., New York Condition: Losses and resto...

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...

Wonderful angel figure Italy, circa 1750. Weathered , losses Measurement includes the wooden base. Treated against woodworm. H:36cm W:19cm D:19cm

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...

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

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

A scarce vintage ceramic art sculpture by legendary 20th century Mexican artist Sergio Bustamante (b.1949). Fantastical surrealist style hand pa...

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...

Italian ceramic terracotta sculpture Depicting Madonna , Virgin & Child religiousstatue Material: Earthenware terracotta, tin glaze and partially gilded Modeled and painted by h...

An attractive early 20th Century Art Deco cold painted silver bronze figure of a young energetic beauty in a stretched pose, raised on a decorative black and green onyx base and sign...

Sculptural 18th century Italian gilded double-mounted cross on hematite with pyrite inclusions and adorned with pyrite rosettes. A matching smaller cross is mounted onto the bigger cross...

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...

A pair of lovely figures of young children with beautiful hand painted facial features. One holds a bell and is leaning on a tree stump base and the other child with floral leaves. S...

STELIO MOLA - Vintage hand painted majolica figure of a Sardinian gentleman - medium size - featuring elaborate hand crafted and hand painted details throughout - signed on the base ...

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 ...

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 ...

A truly wonderful example of the work of Johann Maresch. Signed "JM" on the underside. Maresch was born in 1821, and so his works were done mainly in the 19th century. He worked in...

A fine antique German porcelain figure of a boy with a dog by world renowned makers Meissen and dating from the 19th century. The figure of a young boy in typical period dress stands...

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

“Ritorno dai campi" is a museum quality, limited edition, handmade and hand painted, collectible Capodimonte Italian porcelain by Italian artist, S. Agostino. It is a finely detailed, very large porcelain sculpture depicting a boy riding in a hay filled, horse drawn wagon. The horse has leather reins and is lead by a man with a dog. The man is on foot and holding a hat, and is followed by a barefoot woman with a basket and a rake. The scene is decorated with flowers, a tree and a stump. Porcelain scene sits on a wooden base with a brass plaque reading "Ritorno Dai Campi Collezione Porcellane S. Agostino" Signed on the back, “Capodimonte Limited Edition no. 1/100 Made in Italy" with the artist's signature and a blue and white Capodimonte...

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 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...

Art Nouveau ceramic figurines Rstk Amphora Austria Turn Teplitz - a pair Attributed to Riessner, Stellmacher and Kessel for Amphora, Turn Teplitz Austria...

The antique Buddha head is an icon of confidence, awareness, knowledge, compassion and concentrated meditative practices. Every faculty of the Budd...

A rare and refined piece that channels the elegance of early 20th-century ballet and fashion. In the style of Demétre Chiparus or Josef Lorenzl, this sculpture captures the elegance ...

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...

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

Whimsical carved figure of skin diver , spear fisherman . Decked in wet suit with spear gun and fresh catch . Hand carved in Italy late 1960s into the ...

Sculpture Liberty Statue United States flag painted. Sculpture in melting. Unique and Exceptional Piece.

Believed to be one of the most powerful goddesses and one of the most venerated by Hindus, Goddess Durga now arrives from the Lladró workshops for the first time in a majestic limite...

A spectacular matched pair of large and extremely rare Emile Louis Picault cold painted bronze sculptures from the late 19th century. Exquisitely handcrafted in France, circa 189...

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

A striking pair of vintage Art Deco ceramic bookends depicting elegant female divers, each poised in a dynamic stance. These sculptural bookends feature women in red bathing suits an...

This sculpture is a wig holder, made in the 1970s in France. It is a Female Head, in a brown color.

An original Art Deco Sculpture / Girl with flowing dress / hair running with two streamlined greyhounds on portoro Marble Base. Signed to the base by well known French Art Deco artis...

This piece of porcelain is a bold, new version of the main character in The Guest collection, created by the celebrated designer Jaime Hayon. The Guest is a collection designed by Jaime Hayon for Lladró which invites ground-breaking artists from around the world to personalize this particular character. The series includes collaborations from Paul Smith, Devilrobots, Gary Baseman...

Sculpture Samuraï Puppet Musha Nyngyo A Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-em...