Paint Sculptures

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 ...

Sculptural 18th century Italian fragment with elestial quartz and mounted on an agate slice. The fragment was originally from a historical Italian church. It is mounted with the ele...

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 ...

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...

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 ...

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...

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...

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...

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

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

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...

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 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...

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

About This is an original rare cast iron elephant bottle opener manufactured by the Hubley Manufacturing Company in Lancaster Pennsylvania USA. The piece has retained its original...

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...

Set of (9) Pressed Italian Botanicals Beautifully Mounted in an Old Antique Window Frame with great old black paint. We were fortunate to be able to purchase a pair of these old win...

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...

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

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...

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...

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 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...

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...

This highly pierced brass decorative element from France was originally the cover of a bassinoire from the 1600s. A bassinoire is a device where hot coals are inserted into a vented ...

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 ...

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-...

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

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...

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

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

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...

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...

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...

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...

Ettore Fico — “Colline”, 1993 Oil on wood, double-sided Dimensions: 40 cm W × 22.5 cm H × 13.5 cm D Signed and dated “Fico 93” lower center Provenance: Artist’s studio, Turin, Italy ...

The Crowned Crane by Hutschenreuther- Selb is a richly rendered glaze painted in blue grays, maroon, pale yellow, brown and delicately rendered green foliage. In incised marks of the...

Counterbalance floor mounted sculpture by Terry Lee Dill US, 2001 Titled "44" Fascinating multi part kinetic assemblage of individually balanced components that rest on precision-p...

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

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

Glorious Late 19th to Early 20th Century Ecclesiastical Religious Art Sacred Heart of Jesus plaster statue sculpture upon a gilded wood base. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, his hands only had the wire structure so new hand-molded & crafted hands were created by our professional craftsmen and the wood on the base was bad so it has been given a new gilded wood base. He has many chips in the plaster that have been repaired and the whole statue has been shellacked. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, Late 19th – Early 20th Century. Heaven knows we could all use a little more Jesus in our lives!! Well, your prayers have just been answered!!! This is an absolutely magnificent Ecclesiastical Religious Art plaster statue of The Sacred Heart of Jesus. He is comprised of hand sculpted and hand painted plaster and he stands about 43 inches tall upon a square flat edge gilded wood base. He has handsome, realistic, intricately hand painted facial features, and his glorious dark brown shoulder length hair drapes gracefully upon his shoulders. He wears a lovely, flowing robe featuring the Sacred Heart symbol upon his chest and his beautiful bare feet are exposed at the base of his robe. His enticing hands are open and reaching out as if to welcome you into his arms. The Most Sacred Heart of Jesus is one of the most widely practiced Catholic Faith devotions wherein the heart of Jesus Christ is viewed as a symbol of “God’s boundless and passionate love for mankind.” The Sacred Heart is depicted as a flaming heart shining from behind with divine light, pierced by the lance with a bleeding wound, and encircled by the crown of thorns. And Christian faith depicts it more as a flaming heart, while the wounds and crown of thorns allude to the manner of Christ’s passion and the flames a furnace of ardent love. You can depict it how you choose! We believe that his original home was most likely a wonderful old church where he was admired for many years. Due to his materials, he should only be exhibited indoors…. Which is exactly where we all need the Lord to be anyway… on the inside!!! He will be absolutely divine in your entry way or heavenly in a sunroom surrounded by indoor foliage or faux plants & trees. He has an all-over “perfectly imperfect” aged patina, a few “character enhancing” chips that you would expect given his vintage age, and an angelic aura...

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 ...

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

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...

Pair of 18th century Italian gold leaf candlestick tops with polished fossil agate coral and a natural forming baroque pearl. The 18th century fragments come from Tuscany and have th...

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...

Sizable hand carved polychrome Chinese horse sculpture with detailed decoration.

A ceramic figurine of a courting couple. This Victorian piece is created from a crisp white ceramic and features a man and woman perched upon a tree log. They lean into one another a...

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...

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 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...

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...

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...

Fabulous cast iron dachshund dog boot scraper in black paint. Two available, this one has a straight tail as opposed to the other with a circle tai...

18th century French hand carved and painted wood statue still shows vestiges of its original painted finish. Depicting a nun reading a bible, the n...

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

Pair of late 19th century Victorian Staffordshire earthenware elephant sculptures/spill vases, England By: Staffordshire Material: pottery, earthenware, ceramic, enamel, clay, paint...

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...