Hand-Painted Sculptures

Beautiful weathered wooden panel with an wonderful primitive angel figure and garlands. Original paint and gilding. Spain, circa 1550-1650, weathered, small losses and old repairs M...

These are an excellent matching pair of large antique Chinese Foo or lion dog sculptures, sometimes called temple lions or Shishi, made of bronze with fine detail, originally hand enameled and gilded dating to the 19th century, Qing period or earlier. These are a very beautiful matching pair of large Bronze Chinese...

Monumental wall-mounted sculpture executed in painted papier-mâché by Mexican artist Sergio Bustamante (b. 1949). Titled "Sol Eclipse" (Solar Eclipse), this large-scale composition f...

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...

Beautiful hand carved Baroque angel. Unique period piece with traces of its old paint . Spain, circa 1750 Weathered. Several small losses and old repair. Measurement here below in...

Spectacular and very decorative piece. Large carved wooden reliquary bust of a Madonna. Beautiful traces of color. Small losses and without the relics. Silver/silvered central piece ...

A gorgeous character ceramic figural gnome statue - attributed to Griebel in Germany, a well known manufacturer of this kind of figures. This character statue has been made in German...

A pair of pink hand-painted metal flamingo sculptures, mid 20th century. A Palm Springs fever dream come to life, this pair will add flair to any indoor or outdoor setting. The bodic...

Large 19th-Century Staffordshire Pottery Spaniels, 14.75" High, Exceptional Scale & Expression A striking and unusually large pair of Victorian Staffordshire pottery spaniels, d...

A delightful set of three midcentury ceramic dog figurines, each hand-painted in warm brown and ivory tones with lifelike expressions and poses. This sculptural trio includes: - A r...

Wonderful hand carved winged angel head with its original color and gilding. France, circa 1750 Weathered and small losses and old repair. Treated against woodworm. Measurement here...

A large pair of English split-leg Staffordshire poodles from the late 19th century, with sand textured coats to imply their thick hair. Staffordshire Dogs are named so for the area i...

Amazing baroque panel depicting a crowned reliquary . Beautiful weathered with traces of its original silver, gilding and colour. Italy circa 1750 Weathered, small losses . Measureme...

Wonderful angel figure Italy, circa 1750. Weathered , losses Measurement includes the wooden base. Treated against woodworm. H:36cm W:19cm D:19cm

Art Deco mid Century Italian porcelain 2 roosters on a tree trunk Material: Porcelain, Ceramic, Tin glazed Design: In the manner of Cacciapuoti Origin: Italy, first half 20th century...

This is a manekineko cat object. It is made with porcelain and it was made around 1980s in Showa era. Dimensions. 8 x 8.5 x H13 cm The maneki-neko is a common Japanese figurine ...

'Pichet Espagnol' ceramic piece from the Madoura Pottery (A.R. 245) by Pablo Picasso (1954). A fired, unglazed ceramic pitcher in the form of a stylise...

Beautiful Cheetah - Italian ceramic, perfect condition, produced in 1960s. We have also another big cats for sale, check our products. Only one unique piece available. Signed "made i...

Charming vintage Tonala pottery bird figurine is decorated with hand-painted decor of white bird in a landscape, framed with abstract bands of deco...

An extraordinary marble sculpture by Italian artist Pietro Cenedella, an abstract head-like form balancing between figuration and pure gesture. The piece is entirely carved from Carr...

Hand-painted and hand-carved wooden sculpture of the Holy Mother Mary, presented on a small gilt Rococo-style wall bracket. This Mother Mary and Child sculpture is gorgeous for its ...

Early 1900s Vienna Bronze French Bulldog – Unpainted, Patinated Finish A finely crafted unpainted Vienna bronze figurine, likely dating from the early 20th century. Discovered at an ...

Large handmade Caderesque Stabile - Mobile kinetic sculpture with primary colors of reds, blues and yellows on black base, in the style of Verneuil Creations France. This is larger v...

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved and painted. Several old layers of paint visible Italy, circa 1700-1750 Weathered. Small losses Measureme...

A charming trio of hand-painted ceramic figures, each representing an animal from the Chinese zodiac: the Serpent, Rooster, and Goat. Rendered in expressive blue-and-white glaze, the...

A stunning early 20th century French Belle Époque period Bourdois & Bloch Porcelaine de Paris Meissen style porcelain figure of a parrot. Made in Paris, France, circa 1910, exceptionally executed, exquisitely detailed throughout and displaying brilliant hand painted rich coloring, with a unique pierced beak, realistically modeled with wings slightly open perched atop a naturalistic tree stump base, Signed, underglaze blue crossed arrows mark to lower tree trunk. What truly stands out and is absolutely remarkable is how the maker/artist manged to make this work appear like a completely different sculpture depending on the angle it's viewed from. History: Paris Porcelain (Porcelain de Paris), a term that conjures images of grandeur, elegance, and sophistication; is to France what Dresden Porcelain is to Germany. Porcelain by a variety of makers from a region rather than one maker, it's the collective name given to the various porcelain studios and decorating workshops within and around Paris, France. In this case and many others Porcelain de Paris is also as good if not sometimes better than Dresden, Meissen or Sevres porcelain and is certainly a collectible to look out for. The Bourdoir and Bloch factory was originally founded around 1820 and specialized in producing fine quality porcelain in the style of the famous 18th century factories. This most distinctive figural bird was made by the Paris porcelain factory of Bourdoir and Bloch around 1910. This example bears the August 8, 1887 registered trademark of two blue crossed arrows, used around the time that Eugene Marx Clauss had joined forces with Achille Bloch and Leon Bourdois (who were both collaborators of Samson) and were operating under the name Clauss Co from 1887-1890 in the small factory started by Eugene's grandfather Jean-Marx Clauss in 1788 on rue de la Pierre-Levee in Paris. This Parisian antique porcelain parrot...

A stunning and quality pair German Rosenthal mid-century large porcelain doves designed by renowned sculptor Fritz Heidenreich (German, 1895-1966). The ...

Italian ceramic, perfect condition, produced in 1960s. We have also another big cats for sale, check our products. Only one unique piece available.

This exquisite Italian terracotta zebra bell from the 1970s is a rare and collectible treasure. Hand-painted and glazed with remarkable crafts...

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

20th Century Carved & Polychromed Carousel Lion, Style of Dentzel This striking monumental carousel lion is a finely carved and polychromed sculptural work executed in the mid-20th ...

Pair of 18th century Italian dancing angels with coordinating baroque pearls on aragonite crystal clusters. The dancing angels are hand-carved wood, polychromed and gilded, original...

"Madonna and Child" by Otto Maraini for Lenci, Italy 40s. High relief in cast ceramic, glazed in polychrome. Signed lower left, marked "Lenci, Made in Italy" on the back. Wear consis...

Very nice saint figure. Hand carved wood with glass eyes Italy, circa 1800-1850. Weathered, small losses.

A 19th Century Sitzendorf Meissen-Style Seated Chinoiserie Nodder—Hand-Painted Porcelain—Articulated Head & Hands This exquisite 19th-century Sitzendorf Meissen-style Chinoiserie no...

Four vintage Danish porcelain birds and squirrel figure made by Royal Copenhagen and dating from the 1960's. The figures are well modeled and ...

Charming vintage sculpture of a sleeping grey and white tabby cat was designed by Erik Nielsen for Royal Copenhagen. Highly detailed porcelain figurine was hand-decorated with extra ...

LLADRO - Vintage matte finish ceramic figure - bending girl dressed in her nightgown - retired - factory stamp to the base - Spain - mid 20th century. Excellent vintage condition - ...

Fine metal painted head horse on horseshoe, circa 1890.  

Extremely decorative, fully sculptural representation of an Art Nouveau beauty in a softly falling robe, tilted forward to throw a golden ball, with the left forearm holding the back...

Rare Vintage Monumental Porcelain Horse Drawn Victorian Carriage centerpiece group Capodimonte Porcelain, after a model by Giorgio Galletti Naples, Italy; second half of the 20th century Porcelain Approximate size: 37 (w) x 15 (h) x 10 (d) in. This beautiful and elaborately detailed porcelain group features an ornately modeled carriage drawn by four horses. The coach features a driver seated on his perch wearing a tricorn hat and a lovely lady is seated in the coach box wearing a light blue dress with intricate gesticulating openwork porcelain lace...

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 ...

Pair of diminutive red Staffordshire Spaniels, circa 1860, Each one exceptionally painted with expressive faces.

This amazing original painted double rooster doorstop is in fine as found condition.Minor paint loss consistent with age and use.

A Mid Century Italian glazed terra cotta cat attributed to Mancioli, likely made in the mid-century (1950s-1960s). The figurine features a playful, sit...

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 ...

Donald Duck Cast Iron Stop/Enter Doorstop by Walt Disney Productions, 1971  Signed by Walt Disney Productions, 1971  A rare and authentic 1971 Walt Disney Productions Donald Duck Cast Iron Stop/Enter Doorstop is a collector's gem. Measuring inches high, 5 inches wide, and 3 inches deep, this unique piece features Donald Duck in his classic sailor shirt, cap, and bow tie, holding a movable and removable 2-inch diameter green "Enter" and red "Stop" sign. Due to patent infringements, only a limited number of these doorstops were produced, as Disney had not granted permission for their creation, making original pieces like this highly sought-after. Unlike the numerous "knock-offs" on the market, this doorstop is guaranteed to be original, complete with its authentic sign. It remains in near-mint condition, with the paint still brightly colored, showcasing the high-quality craftsmanship and attention to detail typical of Disney products. This doorstop not only serves a practical function but also stands as a delightful piece of Disney memorabilia...

Unique and amazing 19th century mantel clock garniture. If you are looking for a one of a kind and truly spectacular clock to grace your living space then this work of beauty could ...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement her...

Art Deco tall Italian animal Figurine Ceramic Parrot Macaw on a tree trunk Material: porcelain, ceramic, tin glazed Design: Cacciapuoti style...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Finest quality, very large, handmade porcelain sculpture figurine of a "Csikós on Horseback" has been created for Herend by the famous sculptor, Bela Markup and expertly hand-painted...

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...

The vintage porcelain or ceramic dove figurines feature finely detailed bodies, artfully hand painted with light green accents on bright white majolica glaze, creating a reserved, natural color palette of white and tone-on-tone green. The birds are realistically sculpted with wide, flowing tails, standing calmly with their heads slightly turned. They are not mirror images of each other; each presents subtle differences in posture, adding visual interest and another layer of complexity to the set. Highly detailed figurines convey a touch of historical elegance and whimsical charm of traditional Italian country style. Each sculpture is marked with ITALY and model numbers on the inner surfaces. While many Italian artists and studios created their version of dove figurine, most of them are stylistically different from this pair; Bitossi and Zaccagnini birds have more streamlined, Modernist silhouettes, and the doves created for Raymor were less detailed and intentionally less realistic, as well as most often marked with distributor name in writing. We're attributing the pair to Mottahedeh, who sourced Italian majolica in similar style; the pieces will be simply marked ITALY and Mottahedeh will add their paper stickers. As the sculptures are quite old, the stickers often get lost or destroyed. The convenient size and small footprint allows the set to be used in a multiple ways, such as dining room centerpiece, console table accent, shelf or fireplace mantel decoration...

Guido Cacciapuoti Italian Art Deco large ceramic animal figurine Depiction: Two parrots on a tree trunk Hand crafted and hand painted in strong ...

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 ...

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...

Limited edition High Porcelain sculpture of a dragon, the symbol of power and good fortune in Asian cultures, in a special version to commemorate Lladró’s 70th anniversary. A represe...

Clock Man - Wind-up clock with key - Spelter, hand-painted We prefer to sell our items in 'uncleaned' condition so that the new owner still has the choice to remove the patina (si...

Goebel produced this dramatic porcelain figurine depicting a Cat, circa 1960. The piece is in excellent condition and a real beauty. Measures: height: 10.63 in (27 cm)? diameter...