Paint Sculptures

Impressive hand fan with a painted pastoral scene. The scene depicts figures enjoying leisurely activities in a picturesque landscape. The paper appears to be a textured woven silk. ...

This very rare and desirable antique Hubley 'Charleston Dancers' #270 cast-iron doorstop by Anne Harriet Fish (1890-1964) is a prize catch for collectors or those interested in start...

Vintage Egyptian Revival carved wood sculpture depicting a pair of reclining goats / rams facing opposite directions, decorated with intricate necklaces and beards, finished in black...

Stunning religious wall panel in thick relief with strong hook for easy mounting. For the collectors of stunning antique church relics we are also offering this marvelously hand carved pelican sculpture for wall mounting. The character ascribed to the pelican in this context is nearly as fabulous as that of the phœnix. From a clumsy, gluttonous, piscivorous water-bird, it was by the growth of legends transformed into a mystic emblem of Christ, whom Dante terms "Nostro Pelicano". St. Hieronymus gives the story of the pelican restoring its young ones destroyed by serpents as an illustration of the destruction of man by the old Serpent, and his salvation by the blood of Christ. The pelican in Christian art is an emblem of Jesus Christ, by "whose blood we are healed" and it is also a symbol of charity. Many early painters and carvers mistakenly represented it more similar to an eagle (much like in this antique church relic), and not as a natural pelican which is why most people today still are a bit confused at first when this stunning hand carved, symbolic bird is called a pelican. This striking and all hand carved, symbolic panel was originally part of a church or monastery communion rail...

Early 20th century continental decorative carousel horse circa 1900. Unique continental painted merry-go-round horse circa 1900. Excellent opportunity to own this highly decorative ...

Fabulous pair of hard to find old English Setters by Hubley C1930 in excellent antique condition with whats left of the original paint. No breaks or cracks, just alot of wear to the ...

This stunning and dynamic white porcelain sculpture was realized by the esteemed artisan Karl Ens in East Germany, circa 1930. It depicts two galloping horses- a stallion and a mare-...

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 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...

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces complet...

This stunning Art Nouveau sculpture is a large-scale painted plaster figure of a partially draped female nude adorned with flowers and flowing drapery. Sculpted with remarkable grace...

A 20th century American Folk Art hand-carved and painted wood stop sign mounted on a custom steel stand.

The piece is a unique representation created by our designer. The creations are completely made by hand. Ceramic and paint are water resistant.  

Unique and all handcrafted, practical size antique circular chandelier. Some chances you only get once in your life and that is exactly what we thought when we first saw this unique...

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

Set of four selenite logs or ruler selenite with a white fireplace grate. Selenite logs are single, prismatic selenite crystals from Morocco that were formed in extensive beds by th...

Great grouping of four mid-century polychrome glazed ceramic foo dogs, circa 1960s. Great detail and a beautiful color combination of green, brown, cream and blue The largest measu...

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 ...

Sizable hand carved polychrome Chinese horse sculpture with detailed decoration.

Jugendstil cold-painted bronze sculpture of a woman holding a palm leaf by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique...

Pair of 1950s life-size Dalmatian dogs ceramic sculptures from Florence, Italy By: unknown Material: ceramic, enamel, clay, paint Technique: cast, pressed, painted, hand-painted, gl...

Contemporary Large Post Modern Art Sculpture Vase "Dysfunctional" Stacked Dice Vase" Artist Michael Corney / signed Miguel Corney "Michael Corney grew up in the greater Los Angel...

Italian Art Deco black panther sculpture by Salvatore Melani, from 1930's. Hand crafted sculpture of a sneaking panther is created in plaster painted in black on grey color base. Ma...

Carved solid mahogany pair of Koi fish with lightly painted accents Massive fish 5" deep by 24" high by 24" long Little fish is 2.5 deep x 11 wide x 9 high

A pair of cast metal Sculptures, male and female. The finish is newly finished in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make...

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...

Hand-carved in the 1600s, this wooden coat of arms cartouche depicts an ornate crest atop a shaped console with several charges. The cartouche is Dutch, considerably predating the fo...

A 19th century Spanish Colonial santo depicting the Mary, full of presence and quiet devotion. Carved from wood with all original paint, she stands gracefully on her original base an...

Vintage pair of cast iron 'Heron' garden sculptures - suitable for indoor/outdoor use - featuring a great aged patina with remnants of a polychrome painted finish in areas - articula...

Oscar Troneck abstract sculpture, France, c. 1950's, signed: 'Troneck' Wood, Signed twice.

Early 20th century large Chinese cloisonne enamel elephant on stand circa 1900. A real rare decorative piece. Profusely enamelled, modelled carrying a saddle and flaming finial.  I...

Set of 4 Russian (19th Century) monumental bronze Egyptian figures emblematic of the Months on painted bases after those by C. Cameron & M. Alexandrov for the Egyptian Vestibule at P...

Carved wooden representing Christ on the cross.

A Vibrant Pair of Tang Dynasty Style Hand Painted & Hand Carved Chinese Horses - priced as a pair Decorative wooden horses that would suitably adorn a shelf, a large desk, or plint...

A studio-made modernist mobile; mustard yellow, blue, opium red. This innovative art form, rooted in the principles of modernism, emphasizes minimalism, abstraction, and the intrinsi...

German hand carved wood and decorative painted carousel horse with carved flowing mane, carved hairy tail, upholstered muslin saddle seat, flanking original glass eyes, and mounted o...

Great example of a western stagecoach in original paint. Colors are still vibrant. C1930 with precise castings. In excellent vintage condition with minimal wear.

Magnificent vintage Sergio Bustamante “Fish Boy” Series Fantasy Figural large-scale hand painted ceramic signed sculpture. Beautiful, repaired c...

An impressive vintage mid-century large scale black chalkware great dane statue. Ready to stand guard this life size dog sits alert with mouth open and tongue slightly out to one sid...

Contemporary abstract wooden "VERVE" wall-mounted sculpture created by circular sawing, sandy-white painted on white-stuff. Signed Christofer Kochs, 2019 Due to the exaggerated leng...

Incredible 1970 's paintings of Italy under glass. The curves on the surfaces of the paintings give a depth and a magnificent light to the painting. Very original decoration fr...

A tall ceramic dog statue in white with a red and black tassel collar. This handsome Greyhound will be fabulous on a mantle or bookshelf. It is created from ceramic and painted in wh...

Freeform abstract wooden sculpture, hand-carved forms that are connected via dowels and mounted on a black wooden base. Each element of the sculpture relate to one another to create ...

Infuse your space with cultural heritage and artistic elegance with this stunning pair of vintage Asian glazed terracotta Foo Dogs. Beautifully handcrafted and finished in a striking...

Self-taught artist John Seubert, AKA John Dolly, uses objects he uncovers as he rehabs older homes in Chicago. This piece is made from found and salvaged objects, including a child's...

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

Italian glazed and hand-painted terracotta figural bust of Diana raised on a two tiered circular faux painted plinth. Goddess of the moon, Mid-19th Century.

Set of two antique bird sculptures from Germany's Black Forest, ca. early 20th Century. Composed of delicately hand-carved avian forms each hand-painted with attractive colors and un...

Signed cast bronze sculpture by Irma Stoloff and numbered 236/300. Having textured finish figurative abstract sculpture of a upright Jazz bass player resting on painted wood base.

Graceful Mid-Century Modern Handmade Ceramic Horse Head sculpture in white finish. Note the detail like a real life-size Horse. No Markings found.   A-609-335

Late 20th century modernist oil painting of Greco Roman wrestlers done in the classical style. By David Loeb. Oil on handmade paper. Signed on reverse and dated 1989. Loeb was born in 1953 and raised in Chappaqua, New York, David Loeb’s mother and her identical twin were painters, and he has been painting since childhood. He studied with Gillian Pederson-Krag at Cornell University; Reed Kay at Boston University; Louis Finkelstein, Wolf Kahn and Philip Guston at the Yale Summer School of Art and Music; and attended graduate school at Indiana University, Bloomington, where he studied with Robert Barnes...

Two exquisite Japanese musha ningyo dolls, crafted as courtiers, Edo Period, early 19th century, Japan. The older man can be identified as the h...

20th century South Indian carved and painted peacock statue. Hand carved on a plinth base. Features bright colors of yellow, green, red and orange. A la...

A large intricate Brutalist sculpture of a standing owl, attributed to the renowned Mexican artist Sergio Bustamante, circa 1970s. The sculpture exhibits the distinctive style and a...

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...

Stucco sculpture depicting anatomical model of the muscular system, handmade and painted in two-tone tempera in shades of gray. The human figure, placed on a small pedestal, is chara...

Hand carved Wood Model Sailing Ship model Margaret Sculpture Center Piece LA CA . A very large and rare 19th century painted wood model of the sailing ship "Margaret". Votive ship. Height 54" width: 61" and depth: 15". The scale is perfect as it had to be and the quality of work is evident. Further inspection reveals that no detail was too small, as evidenced by the carved small boats, the ropes, poles and fittings. 5 feet long. This stunningly beautiful and intricately carved ship model was created by the sailors when they were at sea for many years at a time and they created this amazing model using handmade tools using scraps of whatever was available for carving and bringing this piece of art to life. A votive ship, sometimes called a church ship, is a ship model displayed...

An iconic chair with a plywood shell, in wood veneered (natural or lacquered). Combined with the black painted metal legs suggests interesting and d...

Mermaid in upright position with the upswept tail. Distressed painted finish. Circa 2010.

Painted French tole mushroom decoration for planters or gardens. Circa 1950s. Probably originally created as a prop for a Parisian department store window or a theater. Twenty-six in...