Paint Sculptures

This exceptional 1920s Hubley cast iron doorstop, “Charleston Dancers,” No. 270, was designed by the celebrated British-born artist Anne Harriet Fish (later Anne Sefton) and captures the exuberant, lighthearted spirit of the Roaring Twenties. The sculptural doorstop depicts a dancing couple in close embrace, joyfully moving across the floor as they dance the Charleston late into the night, an iconic image of Jazz Age energy and modernity. Anne Harriet Fish was born in Bristol, England, and trained as a painter working in both oils and watercolors. After relocating to New York City, she became a prominent illustrator for Vanity Fair and Vogue, including the celebrated April 1917 Vanity Fair cover. During World War I, German-made porcelain doll heads became unavailable in the United States, prompting Fulper Pottery of Flemington, New Jersey, originally founded in 1909 as a stoneware pottery, to establish a new line of porcelain doll heads. When the postwar market for these products collapsed, Fulper pivoted to producing ceramic novelties, hiring Anne Fish in the early 1920s to contribute her distinctive, expressive designs. Fish’s success in ceramic design led to her collaboration with Hubley Manufacturing Company, for whom she designed seven iconic cast iron doorstops, now among the most desirable in the field of American folk and decorative arts: No. 269 – The Tiger No. 249 – The Messenger Boy No. 268 – The Parlor Maid No. 250 – Bathing Girls No. 270 – Charleston Dancers No. 222 – Small Footmen No. 248 – Large Footmen Anne Fish’s Hubley doorstops are characteristically numbered on the back and bear a copyright mark, with her name “FISH” painted on the front base, often in black. Likely influenced by her background in ceramics, her designs were finished with a distinctive high-gloss surface, a feature that has worn away on many surviving examples. This example is in beautiful antique condition, having been gently cleaned with minor professional paint restoration. It retains excellent surface presence and sculptural detail, with a richness and charm that exemplify Fish’s playful yet sophisticated approach to design. A highly collectible example of Hubley cast iron, Anne Fish doorstops...

A Spanish colonial South American folk art style painting of the Virgin and child South American Peru or Bolivia school 18th century or earlier Oil on canvas, framed size 40 x ...

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...

Large iconic New York Brooklyn Bridge brutalist wall sculpture, handmade with Brass finish and brown highlights by Curtis Jeré Artisans, circa 1976. Signed in black ink C.Jeré 1976 ...

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 ...

Vintage statue, pop art art object in the style of Déesse and Niki de Saint Phalle, colorful fat lady, made of paper mache and painted by hand, signed M. Lepage, around the end of th...

Wooden cross Guanajuato, Mexico Wood, paint 22 x 13 inches, (56 cm x 33 cm) 18th century A wonderful old wooden cross with a painted crucified Christ figure, an angel, possibly Mary Magdelene...

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 ...

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...

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...

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...

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

This very rare rendition and small edition of the vintage Robert Indiana love paperweight sculpture is rarely seen version in red brushed aluminum. This may have only been a very sma...

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...

Vintage or antique cast iron door stop features a pair of long hairs with polychrome painted decor. The realistically sculpted cats are depicted sitting with their heads slightly li...

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

A very Regal and Majestic Vintage Hand Carved Carousel Lion. All hand crafted and hand painted with great detailing to the wood work and painted saddle ...

Boston terrier iron door stop collection in original paint circa 1930s. Priced individually.

This exceptional and imposing pair of hand-carved and hand-painted wooden horses embodies the rich artistic heritage of traditional Indian craftsmanship. Standing over 80 cm (31.5 in...

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...

1920s Art Déco glazed ceramic sculpture with base 'La Femme voilée de Marrakech' by Céline Lepage, France By: Céline Lepage Material: ceramic, paint, enamel, clay Technique: cast, p...

Dachshund cast metal boot scraper or door stop from the 1950's powder-coated in a fantastic shade of of what we refer to as leafy green. Add a classic British touch with this one-of-...

A religious pair of monumental wooden sculptures depicting Jesus and Mary from the Berks County Pennsylvania Jesuit Center. This dynamic ha...

1920s Art Déco persian warrior cold-painted bronze sculpture by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique: cast, mol...

A very large and absolutely charming vintage Indian papier mâché portrait bust of a male Maharajah (Raja or Indian noble prince). Born in India...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

A truly extraordinary and evocative object: an 18th century hand-carved wooden skull, richly hand-painted and inscribed with the date 1769. This rare Memento Mori was created as a me...

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

Modern paper mâché hand painted parrot sculpture by Raul Aguavo, perched on a metal swing. The piece is signed on the side and is in great condition...

20th century hand carved folk art wooden cat form sculpture or statue. Features a knockdown design with elegant form. Features pointy claws, curled tale an...

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...

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 ...

Breathtaking vintage Asian Style Chinoiserie large decorative statues 1 male and 1 female comprised of bright red plastic-coated plaste...

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...

Pair 18th Century Hand-Carved Polychromed Wood Angels are amazingly well preserved and perfect for any devotional display. Sculpted from solid blocks of walnut, each features amazin...

More information coming soon… After the original Alfred Jacquemart hunting dogs from the 1800s, this pair of French cast iron sculptures dates to circa 1900. Both dogs are depicted...

American cast iron and painted horse head hitching post with a central fluted ringed column resting on a squared base, Mid 19th Century.

An abstract kinetic sculpture with balanced parts created by Arthur Bauman. Arthur Bauman originally created this piece in 1977 as a commission for a client's home in Singapore. The...

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

This hand-sculpted ceramic bust is a striking example of Southwestern studio art, finished in a rich verde blue green glaze with beautiful tonal variations and a subtly mottled surfa...

A modernist 3D figural wall sculpture / art of knights jousting by J. Segura for Segura Studios, circa 1965. Fiberglass construction with richly painted textured surface captures the...

Jim Rose, known primarily for his steel furniture, was an avid collector and scoured salvage yards for unique and interesting items. Here, a collection of found steel is reworked, pr...

A pretty brightly painted ceramic sculpture of a peacock. This piece depicts a bird with bright blue yellow and green features, perched upon a tree stump ...

This four sided every changing graphic optical Op Art lucite vintage cube sculpture by Victor Vasarely is vintage from the 1970s. They were produced in ...

Transporting vintage Moroccan ostrich eggs hand decorated with figures, animals and trees executed in classic Moorish style and presented on lucite bases. On stand: H: 7 DM: 5 Off S...

19th century articulated wooden figure of the Virgin Mary Anonymous Spain; 19th century Polychrome wood, inset glass eyes Approximate size: 37 x 11 x 7 cm An antique ‘Virgin...

Three Ducks is a particular charming moment in time captured by the artist of this sculpture. Three ducks beautifully rendered, somewhat plump, and out for a walk perhaps at the edge...

Essential and elegant chair with a bent plywood shell, and four iconic legs with triangular shape in solid oak, joined by transversal wooden bars. The shel is upholstered in green f...

A Mid Century Modern painted wood figurative sculpture by Fred Berger.Fred Berger (American, 1923-2006) Fred Berger’s work can be found in Private Collections and The Art Institu...

American three masted clipper ship model displayed in a mahogany glass case. She was the fastest ship ever built in 1852. California clipper ship mo...

This expressive carved wooden mask is full of personality and theatrical flair. With its bold eyebrows, curled mustache, and sharply defined jawline, it seems to embody a mischievous...

Viennese cold painted bronze orientalist lamp attributed to Bergman of a middle eastern man riding a camel. Signed Austria.

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...

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...

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.

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...

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

19th Century Antique Anatomical Model, Anatomical Plaster Bust Sculpture - After Jean-Antoine Houdon's L'Écorché. Rare 19th Century life-size anatomical plaster bust after Jean-Anto...

Carved wooden representing Christ on the cross.