Paint Sculptures

This lovely pair of horses is a perfect example of classic Swedish craftsmanship. The beautiful Nordic colors will take your breath away, just like the vivid shades you've seen in th...

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 ...

A rare and monumental owl sculpture by Mexican master artist Sergio Bustamante, standing an impressive 31 inches tall. This striking owl beautifully synthesizes everything Bustamante...

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...

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...

Late 19th century Vienna Secession cold-painted bronze small sculpture of two men playing chess by Franz Bergmann/Nam Greb, Austria By: Franz Bergmann, Nam Greb Material: bronze, co...

The piece is a unique representation of a woman's head in a modern way. Our designer creates these pieces completely by hand.   

Cast iron sculpture of a Scottie terrier door stop with original black paint. Fantastic patina on this doorstop with great age and wear. Wonderful addition to an existing collection ...

Whimsical hand painted ceramic lion sculpture in the style of Sergio Bustamante, circa 1980s. The piece is in good vintage condition and measures 4.5"W x 9.75"D x 4.75"H, Very cool ...

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...

One-of-a-Kind Pop Art open Hands Wall mounted Sculpture, Wall Art or Display Bowl. This Hand Sculpture is perfect for keys, wallets, rings and other hand accessories. Easy to mount w...

Early 20th Century Hand-Carved Folk Art Duck Decoy. The duck 's head is movable and the body features wonderful patina throughout including traces of the original paint. Wonderful co...

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 ...

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...

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 ...

A petite porcelain figurine of a bird by Karl Ens. Glazed in pink, blue, brown, and yellow, this small bird sits perched upon a white branch with yellow flowers. Signed at bottom. 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...

Late 19th century Napoléon III gilt bronze sculpture of Putti and champlevé bowl with marble base, France By: unknown Material: bronze, copper, tin, metal, paint, enamel, stone, mar...

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...

This exceptional vintage papier mâché sculpture is the work of renowned Mexican artist Sergio Bustamante, internationally celebrated for his imaginative, surrealist vision and master...

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...

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...

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 ...

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...

Extraordinary tall vintage palm tree sculpture handcrafted in wood carved and paint decorated with leaves, coconuts, trunk, and weighted terra firma base.

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...

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...

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

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

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

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...

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

Vintage or antique cast iron door stop features a cat form with polychrome painted decor. The realistically sculpted cat is depicted sitting with its head turned to a side and its ta...

A gorgeous arrangement of enamel flowers, "Fleurs Des Siecles" By Jane Hutcheson for Gotham Circa 1970s Enamel flowers, in a blue porcelain container, with brass mounts and paw f...

A set of Jugendstil cold-painted bronze sculptures of Buddha and a gilt Priestess by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint...

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...

This exceptional large folk art carousel zebra exudes a nostalgic charm, showcasing masterful craftsmanship. Hand-carved from wood, its detailed stripes are meticulously painted in v...

Sculptural 17th century hand-carved Florence Fragment mounted with a fossil shell with barnacles and adorned with crystals. This fragment is from a church in Florence. It was found ...

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...

For your consideration is a gorgeous table sculpture of two golfers, dated 1987. This Art Deco style decorative sculpture is constructed of plaster and is delightfully heavy. Hand ...

A very nice large hand carved duck sculpture by Miguel Ruelas, circa 1980s. The detail, craftsmanship and painting in this piece is lifelike and truly amaz...

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

Swedish set of 12 traditional hand painted Dala horses from 1900-1989. Here we have a set of 12 dala horses in various sizes, with some from the beginning of the 20th century with t...

The creator of this piece is Dahl Jensen. The Siamese dancer depicted is no doubt in the Royal Court with her elaborate headdress and elegant robe of indigo blue. The figure has a lo...

The piece is a unique representation of a man in a modern way. The man is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mold....

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...

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...

Mid-20th century modern german glazed and painted porcelain frog sitting on a rock by manufacturer Nymphenburg By: Nymphenburg Porcelain Material: porcelain, paint, ceramic Techniqu...

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...

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...

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

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...

Sizable hand carved polychrome Chinese horse sculpture with detailed decoration.

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...

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 completely by hand, without any mo...

Ceramic bust of an African American, strong imagery done in the Modernist ethos of the Abstractionists, WPA artists of the day. The ceramic bust is mounted on a black painted wooden ...

Standout set of two pugilistic roosters crafted in metal in action poses and hand painted in dramatic colors. Signed "Made in Italy" on a brass bracelet. Left: H: 6 W: 12 D: 7 Rig...

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...

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...

19th C. Santos Hand made statue Saint Joseph and child Antiques Los Angeles CA LA . Mid 19th Century Rare Hand made terracotta Clay “ Santos “ saint Joseph with Child baby Jesus . ...