Painted Figurative Sculptures

A charming and uncommon Danish mid-century art pottery eskimo figure made by Hyllested Keramik and dating from around 1960. This highly collectable figure is referenced by some as re...

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...

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

Homenaje a Frida Kahlo Sergio Bustamante Sculpture, Ceramic 15/25 Offered for sale is a Sergio Bustamante ceramic sculpture titled "Homenaje a Frida Kahlo" created in the 1990s, sig...

An attention-grabbing bottle stopper „Eye", model #4538, designed by Carl Aubock II back in the early 1950s. A charming object, handcrafted by Werkstätte Auböck in Vienna / Austria. ...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

Rare late 15th century or early 16th century Gothic Corpus Christi wood sculpture. Probably North German or South Sweden. This large Christ sculpture...

A fine quality therapeutic musical automaton clown toy in wonderful vintage working condition. Features porcelain head, hands and feet. Made in France circa...

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...

Tang Dynasty Full Set Of Painted Pottery Zodiac Figures (TL tested) The Thermoluminescence Report (Item #185404) will accompany this sale. A Rare Set of Chinese Pottery Zodiac Figures from the Tang Dynasty painted with black and orange pigments. The conventional order of the twelve Chinese zodiac...

Set of twenty four hand made and hand painted barbotine majolica ceramic early 1900s so called mourning flowers. In this set you find: Roses, violets,...

This very detailed Vienna bronze was made by the premier foundry of this genre, Franz Bergmann, and does bear his seal on the underside of the rug. The man praying is delicately pai...

Two German antique porcelain figurines. Rococo couple. 19th century. Largest measures: 12 x 7 cm. In very good condition. Woman's ...

These stunning angel sculptures are sold as a pair. They were originally placed on an church altar, with one facing left and the other facing right. With their detailed facial features and sweeping wings, they are truly captivating works of art. They were designed by Daprato Statuary Company in the 1910’s. Daprato Statuary Company was founded in 1860 in Chicago by four brothers, who were statue-makers from Barga, Italy. By the 1890’s, the company had grown to be a worldwide ecclesiastical art...

18th century Italian crucifix with gold-plated kyanite, calcite crystals in matrix, and baroque pearls. The crucifix is originally from a church in Liguria. It is hand-carved and pai...

A fine antique 18th German porcelain figurine. By the Royal Meissen Porcelain Manufactory. Model Number 12. Depicting a Trumpeter from the 'Gallant Orchestra' series created b...

A stunning French Art Nouveau pair of large vases with female figures of the era, signed by the Parisian Sculptor F. Citti, Paris 1900-1910. Measures: Height 19 in (48 cm) Width...

Elegant sculpture group in polychrome porcelain, blue and white, with gold finishes, representing a musician and a noblewoman intent on attending the concert. The musician, sitting o...

Well Made Cold Painted Orientalist Merchant Sculpture, attributed to Hans Xaver Bergman, Vienna, Austria, circa late 19th Century. It is stamped "Austria", see last photo. Excellent ...

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...

Cold painted Austrian bronze sculpture by Franz Bergman depicting a carpet trader. The piece shows great attention to detail and craftsm...

A rare and stunning antique Staffordshire transfer printed pottery model of a cow and milkmaid figure dating from the mid 19th century. The well potted and hand crafted figure 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...

Herend Hungarian hand-painted porcelain figure depicting a Venetian mask, decorated with a motif of flowers, birds and butterflies; decor ZO. Exemplary 1...

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...

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...

Early 20th century Art Déco black wood sculpture of an African warrior with a spear by Karl Hagenauer (Werkstätte Hagenauer Wien), Austria By: Ka...

A stylish mid-century West German figure of a seated African man by Cortendorf. The pottery figure sits on a rounded base with a flat back edge and portrays a seated man resting on h...

This is a masterpiece unto itself, a hand carved and hand painted oversized wood toy of Pinocchio, the wooden toy who became a real boy. This treasure of time has been encased in a c...

German porcelain figurine. Young gardener. 20th century. Measures: 14.6 x 6 cm. In very good condition. Minimal chips on the rake. Stamped.

Antique orientalist bronze with an impressive composition depicting a female warrior with a spear, a parrot on a tree stump, and a monkey with a fruit bowl all with the original cold...

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...

An unusual Japanese carved wood, lacquer, and gilt decorated portrait sculpture of a shogun, Edo Period, early 19th century, Japan. The unidentified shogun (possibly Tokugawa Iey...

A spectacular sculpture made in black porcelain, inspired by the legendary gladiators of the Roman empire. This creation represents with amazing faithfulness and detail the figure...

Seldom seen Paper Mache , polychromed "NaNa" Sculptures by Niki de Saint Phalle,,

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...

Set of 12 Ceramic Chess Pieces, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. A luxurious chess set designed for the mo...

A natural or slightly oversized male mannequin head in painted pottery/plaster. Distinct Art Deco styling with exaggerated features. Made in France...

An impressive, extravagant work of art in ideas, richness of detail and craftsmanship, based on a legend according to which the court tailor longed to be allowed to sit at the table ...

There are few accessories you can place in a room that immediately elevate the level of decor and easily synchronize, yet demand attention and Stand out. This Cartier style Italian h...

A stunning fine quality Napoleon III Second Empire Period (1852-1870) doré bronze (gilt bronze ormolu) shelf clock with signed Japy Freres eight-day time and strike movement. Born in Paris, France in the third quarter of the 19th century, exceptionally executed in luxurious 18th century Louis XV Rocaille taste, the curvacious sculptural case...

An exceptional pair English aesthetic movement porcelain pair of figurines portraying a farmhand and his belle by renowned potter and artist James Hadley (British, 1837-1903) dated 1...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years in Paris. He sculpts porcelain flowers to create poetic floral compositions. His work is directly inspired by the masters and manufacturers of Sevres Porcelain. This Morning Glory is handmade in biscuit porcelain with copper leaves, stems, and trellis, and is placed in a white biscuit porcelain...

Depiction of a seated, laughing female Buddha figure from a series of folk types. Full-figured body with the hair tied back tightly and the robe tightly fitting the body with wide sl...

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

This mid-century era molded fiberglass wall sculpture is unsigned, but presumed to have been made in Canada in approximately 1960 in a Neoclassical Revival style. The relief depicts ...

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...

This is an exquisite, polychrome saint, or santo, possibly depicting the archangel Michael or Raphael, from the 17th or early 18th century. The statue is most likely Spanish, but pos...

A finely carved and detailed seated wood temple shrine Buddha. Likely Northern Thai or lower Burmese. This particular Buddha has a wonder...

Mid-20th century Torino ceramic semi-nude woman sculpture 'Portatrice Africana' by C.I.A. Manna By: C.I.A. Manna Material: ceramic, paint Technique: gilt, glazed, hand-crafted, molded, painted, pressed, unglazed Dimensions: 6 in x 22 in Date: mid-20th century Style: Mid-Century Modern, Space Age Place of origin: Italy This mid-20th century Italian ceramic sculpture titled 'Portatrice Africana' was handcrafted by C.I.A. Manna in Torino, Italy. Molded from ceramic clay and meticulously hand-painted, it depicts a semi-nude african woman carrying a large clay vessel...

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 ...

This antique figurine was made by the renowned Meissen factory of Germany is approximately 1850 in the period Dresden style. The figurine is done in early paste porcelain and depicts a cherub, or Cupid seated on a stump, holding an arrow with an outstretched hand, and cradling a flaming heart...

Beautiful porcelain figurine of a romantic love couple, the lustrous colors of verdant green, pinks and a wide range of patinas accentuating their figures and movement. Height 10.6...

A terrific ceramic wall piece of Bacchus by the Italian ceramic artist H Bertoni. This piece features a roman male figure with an harp resting on a s...

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 c1935, Art Deco period terracotta figural sculpture titled "TORSO" by Waylande Gregory (1905-1971). This hand-sculpted, unique work is cold painted a lovely greige tone with fleshy...

Cold painted orientalist Vienna bronze of a middle eastern man with a women by Franz Bergman. On the back of her robe is the B inside of a ...

Gracefully posing dancer in a predominantly red costume: bustier and floor-length, wide, high-slit skirt with butterfly-wing-like decoration in blue and yellow, holding it up with ou...