Paint Sculptures

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...

19th century English carved wooden polychrome large ship figurehead of Lord Nelson.

Hull England, late 19th to possibly early 20th century. An antique half hull builder's ship model by W. F. Milne Esquire - Naval Architect, Hull Eng...

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...

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 ...

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...

Sculptural 18th century Italian crucifix with aquamarine and fluorite in matrix. The 18th century Italian crucifix originally came from a church in Italy. It is mounted on the aquam...

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...

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...

Beautiful quality and perfect condition bear desk lamp. If you are a collector of rare, very good quality and highly decorative Black Forest bear sculptures then this fine specimen...

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 ...

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...

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...

Scandinavian 19th Century Hand-Carved Folk Art Duck Decoy. The duck has a charming tilt to it head and charming patina throughout. Wonderful collectable piece to add to a grouping.

More information coming soon… Hand-carved in Italy in the 1700s, this giltwood niche has been mounted to a painted black stand. The small altar piece is quite unique, with the teal...

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 ...

Egyptian carved and painted life size sarcophagus figure (19/20th Cent)

Beautiful art deco porcelain figure titled "The Captured Bird" by Goldscheidersche Porzellan Manufactur handmade in Austria by Josef Lorenzl. Include...

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

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...

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...

Unique and whimsical abstract kinetic table top sculpture circa 1970s Minimalist wire figure with a hand painted hat mounted to a brutalist foot base The movement is reminiscent of...

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.

Elevate your collection with this exquisite Chinese porcelain figurine inspired by the illustrious Qing dynasty. Crafted in a stunning wucai style, the figurine depicts a distinguish...

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...

8-287 papier mâché oversized cockatoo sculpture set on a custom wood perch from the workshop of Mexican artist Sergio Bustamante, circa 1970.

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...

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-...

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

American life size camel figure standing on a platform base with hollow construction (attr: Luke Saunders Carnival Show, Michigan, Circa 1930)

Large nineteenth century large carved and painted wooden figure representing a Scottish Highlander wearing a traditional plumed cap and uniform wit...

Impressive, statuesque driftwood sculpture mounted to a black painted wooden base (ca. 1970s, USA). Select crevices in the wood have been painted gold, adding a luxurious element to ...

Impressive vintage large clam shell that has been powder-coated in bright sunshine yellow. This shell features intricate detailing on the exterior. This piece is very versatile, suit...

This abstract sculpture was made in Los Angeles, California, in the 1980s. It was handcrafted and hand-painted by an artist. The sculpture is made of foam, a metal spoon, a metal fau...

A highly coveted Franz Bergmann Vienna Cold Painted Bronze Figure of an Arab Snake Charmer on an alluring carpet of alluring colors and patt...

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...

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...

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 ...

A small chinoiserie ceramic lion garden statue or plant stand. A wonderful way to add a touch of In South East Asian decor to a space. (Fun Fact: Ele...

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...

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...

The Flood, 2016, is an illuminated update on the traditional Victorian glass-cased diorama depicting a surreal jungle encounter between an upcycled vintage taxidermied tiny egret and...

A large French sculptural figure of an artist or painter from the Louis XV period, mounted to a circular moulded base of faux marble painted wood. One of a pair of bronzed and pat...

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...

A tall paper mache giraffe in black and brown with leather ears and glass eyes. We see this fun piece in a nursery or in a foyer. Measures: 17....

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...

Bust of woman with open hands lifted rendered in lavender and violet painted plaster composite with a silver sparkle glaze on a black mica base, signed Austin Prod, 1981.

A true work of art. Hand drawn detail with built structure consisting of four plateaus and many pyramid structures. This piece shows some wear and has some scratches and dents but is...

Sculptural 18th century Italian crucifix with aquamarine and fluorite in matrix. The 18th century Italian crucifix originally came from a church in Italy. It is mounted on the aquam...

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

Wonderful, unique hand-carved wood and polychrome pair of Indonesian Balinese devotional figures/ statues from the island of Bali. This pair, likely from the early to mid-20th cent...

A pair of tall handmade hand-painted ceramic majolica pelican birds. Each bird is glazed in cream, yellow and black. This pair will be fabulous to display on a bookshelf or foyer tab...

This beautiful English Staffordshire Whippet Greyhound with Rabbit figurine is a wonderful reflection of an era long past. The stately piece was...

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

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...

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...

Incredible stacked cube contemporary geometric sculpture circa 1990s Six individual plywood cubes with each facet painted a unique design and color way Secured with steel pins allow...

Early 20th Century Cast Iron Boston Terrier Doorstop. An iconic example of early 20th-century American cast iron craftsmanship, this Boston Terrier doorstop captures the alert post...

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...

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...

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

Sculpture parrot couple made in solid porcelain, hand-painted finish, on solid bronze and porcelain base.

Italian Neo-Classic style (19/20th Cent) faux painted composition bust of a Roman Emperor wearing a red toga and mounted on a black square base.   

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...

“Scalare,” Freshwater Angelfish was the winner of the Grand Prize Paris exhibition 1937. Could a more perfect pair of Angelfish be found? Quite animated both swimming and feeding and so very delicately constructed with their floating "Barbel", whisker like appendages around the mouth used for finding food and communication. It is a finely detailed Rosenthal figure...

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...

Chinese Pheasant beautifully render with rich oranges, reds, and yellows is a creation of the Hutschenreuther-Selb porcelain manufacturer. The authent...

This remarkable mid-20th century hand-painted porcelain sculpture showcases a striking polar bear, meticulously crafted with exceptional artistry. The figure is adorned in rich cobal...

Fabulous vintage c1950 cast iron frog door stop attributed to Hubley manufacturing. Ooks like the original paint with precision castings. One piece.

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...

A big hand carved painted stag sculpture in wood, early 18th century. Pre-owned by a collector. This sculpture are one of a kind. The stag deer are a symbol of spiritual authority, a deer stag is here depicted in all its magnificent elegance. Wooden sculpture of a life-size deer stag laying upon a rectangular platform base. The symbol of the stag: The deer’s antlers are one of the characteristics that have made it the figure of a spiritual superiority, according to some. Like a crown, the antlers grow beyond its body, bringing it closer to the sky and making it sacred. In many cultures, the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of reGeneration. In the Christian imagination, the deer is a symbol of piety, devotion and of God taking care of his children: men. The legend of Saint Eustace...

Venetian school Painting Biblical scene oil on copper anonymous C 16th century Unsigned Fine old master quality Venetian school painting of a biblical scene painted on copper Oil cop...

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...