Paint Sculptures

Hand carved wooden pig with original paint. the base is made specifically for this carved pig. Signed David Barber. Very well done. 33 W x 19.5 H x D.

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 ...

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...

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 horse head hitching post from the latter part of the 19th century. Beautiful craftsmanship and detail in the casting. Horse Head sits on a fluted round column with a new ste...

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...

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 ...

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 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...

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...

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 ...

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...

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 ...

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...

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 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 ...

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 ...

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...

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...

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

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 ...

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 ...

ABOUT An antique wooden jointed pull toy wiener dog. Painted eyes and collar. Shown with life size hand model for scale. CREATOR Unknown. DATE OF MANUFACTURE c1940-195...

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

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...

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...

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 p...

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

As found in France, this oversized wire Eiffel Tower makes an impressive statement wherever displayed. This eye-catching fragment, painted orange, certainly would be a wow factor in ...

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

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...

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...

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...

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...

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 ...

A large gypsum sculpture of a tiger cub. Cast in a life-like manner with embossed details on the stripes, the face and paws. Hand painted with fine lines around the eyes, ears, nose and mouth. Marwal...

The piece is a unique representation of a Chimpanzee in a modern way. Our designer creates these pieces completely by hand.   

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...

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...

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....

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

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...

Plaster Bust of Woman Signed A Palumbo 1932. Elegant and romantic bust of a woman . Perfect table top or mantel piece.

From the estate of Bill Blass via Sotheby’s auction , retaining the labels . Probably architectural fragments or remnants later mounted on faux malachite bases . Strikingly in the de...

Rare form original Pablo Picasso Femme sculptural vase or ewer for Madoura Ceramics. Documented model number A.R. 297 hand sculpted and hand painted in the Madoura factory. A timless...

Constructivist geometric sculpture by Michigan artist Stephen Veresh "Fanciful Molecules: A Meditation on Symmetry" Circa 1970's An architectural tabletop sculpture composed of step...

Set of two similar Black Forest carved and hand-painted 'stag' sculptures with real antlers mounted to decorative 'wreath' plaques for wall hanging (ca. 1930s/40s, Germany). One deer...

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...

A pair of beautiful Baroque style polychrome carved wood wall decors depicting deer and ibex figures. Painted in brown, green, red, and golden c...

Antique carved Indian ceremonial temple sculpture of a large parade horse from the late 19th or early 20th Century. The wooden body, mane, tail, saddle and reins are carved in high r...

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...

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...

Large, seated life size Italian ceramic greyhound sculpture mounted on a white marble base, signed on bottom, made in Italy, circa 1960s. This ceramic sculpture is hand painted with ...

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

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...

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...

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...

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...

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

Late 19th-century French cast cement recumbent pastoral animal with a beautifully weathered surface and remnants of historic white and gray paint. Time and elements have softened the...