Hand-Painted Sculptures

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...

A Cubist ceramic cat sculpture by the Galician artist Alfonso Otero Regal, hand-painted and sgraffito-decorated in brown and navy on a cream stoneware body, in a Picasso-esque manner...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

American Country style painted iron eagle figure with spread wings perched on gray painted wood base (with date 1912)

Hand painted porcelain collectible Fitz and Floyd resting Nubian camel figurine. Beautifully detailed Arabian camel, the camel is kneeling in rest and ...

17th century Italian 'Florence Fragment' mounted with fossil agate coral and adorned with red phantom quartz crystals, and chalcedony rosettes on polished agate base. This fragment is originally from a historical church in Florence. It was found and saved from the historic Florence Flood of 1966. It is part of a very important and rare collection called The Florence Fragment Collection which previously exhibited with Museo de’ Medici in Florence, Italy. This is a collection of historical fragment artifacts found and saved from the infamous Florence flooding of the Arno River in 1966 which was the worst flood the city had faced since the Renaissance. Fossil agate coral is mounted on top of the artifact. Fossil agate coral is Florida's state stone and is known for its unique formation that can take place over 20 million years. It's a natural gemstone that is created when prehistoric coral is gradually replaced with agate. It is adorned with coordinating red phantom crystals and chalcedony rosettes that resemble the color and texture of the piece. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian fragment is originally 17th century. The story and history of this piece and Interi's collection of Florence fragments...

Grande Asino in Ceramica con Gerle Porta Uova Perugia 1950 utilizzato dall’industria dolciaria per le confezioni di lusso delle uova di Pasqua. Il ciuco è in perfetto stato a prescin...

This charming Royal Copenhagen porcelain figure depicts a guinea pig and was modelled by Jeanne Grut during the late 1940s. Produced as model number 4652, it retains the incised JG i...

Large vintage Talavera hand painted studio ceramic Rooster - featuring a typical brightly colored multi pattern design - unsigned - Mexico - circa 1980's. Excellent/mint vintage con...

Porcelain sculpture depicting a hare, inspired by the plant motifs of the designer William Morris, one of the all-time masters of the decorative arts. This sculpture, made in matte black porcelain, depicts an exquisitely ornamented hare inspired by the famous patterns with motifs taken from nature that Morris, one of the key figures in the renewal of the decorative arts, applied in all his works. The piece is finished in matte black porcelain and decorated with Morris’s signature plant motifs, finished in green and metallic tones. William Morris was a multifaceted British artist, instrumental in the renewal of design and the decorative arts. The driving force behind the late-nineteenth century Art and...

Large Giulia Mangani porcelain parrot on a goldtone steel stand and black plinth.The parrot hand painted in vivid colors and embellished with 24K gold details. Marked as shown. Dime...

Sculpture white parrot all handcrafted in porcelain. Hand-painted and with details in solid bronze.  

Fine metal painted head horse on horseshoe, circa 1890.  

1930s Torino glazed porcelain sculpture of seated Venus on shell over dolphins, manufactured by Lenci, Italy By: Lenci Material: ceramic, porcelain, enamel, paint, clay Technique: c...

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

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...

Sculpture white parrot on ring in hand painted white porcelain with brass details.

Limited edition sculpture of a Spanish horse trotting in position in matte porcelain, embellished with blue and gold lustre on the head, chest, saddle a...

Vintage or antique cast iron door stop features a bouquet of blue, white, and pink flowers. Carefully painted, highly detailed flowers are juxtaposed by the monochromatic light blue ...

A gorgeous character ceramic figural gnome statue. This character statue has been made by unknown Company in Germany, in the 1930s or earlier. Absolutely gorgeous item with lots of ...

A charming set of two handcrafted ceramic quail by renowned Mexican ceramicist Jorge Wilmot, celebrated for his innovative fusion of traditional Mexican folk pottery and refined high...

Gardener couple consisting of two large single figures. The female gardener wears rural rococo clothing: a dress with elaborate decorations and pinned-up apron, corset and borders, a...

In Greek mythology, Medusa, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Medusa was beheaded by the Greek hero...

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. ...

This sizable ceramic and well executed Cheetah sculpture is signed by the maker Ronzan of Italy and dates to approximately 1960 and done in the period Mid-Century Modern style. The s...

Pair of blue peacocks sculptures, by Waylande Gregory USA, Circa 1950s This rare pair of blue peacock sculptures by Waylande Gregory, created in the USA circa 1950s, showcases the ar...

Versace Collection 'Floralia Gold' Wall Porcelain Plate by Rosenthal 7 inches. The Versace Collection decorative wall plate is a work of art and the best expression of both, the eleg...

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

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

This is a pair of Japanese Satsuma Kutani porcelain Foo Dogs. They are hand painted white and adorned with gilt and silver suns, flowers and scrolls. Bo...

This high porcelain creation takes its name and inspiration from Le Marché aux fleurs, a beautiful flower market in Paris by the banks of the Seine, which opened in 1830. Boasting a wealth of sculptural, floral and decorative details, this composition recreates a typical period scene and transports us to the idyllic Romanticism of the 19th century. The rich fabrics, lace and colors of the ladies’ gowns...

An attention-grabbing bottle stopper „Eye", model #4538, designed by Carl Aubock II back in the early 1950s. A charming object, handcrafted by Werkstätte Auböck in Vienna / Austria. ...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

This extraordinary Pangolin Sculpture is a rare, one-of-a-kind ceramic piece, masterfully sculpted by Motsaman and intricately hand-painted by Jabu Nene of Love Art Ceramics in South...

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...

Vintage duck figurine by Elli Malevolti, beautifully crafted in the style of a traditional decoy duck. This charming decorative piece features hand-painted detailing, realistic glass...

Pair of Fitz and Floyd Whippet dog figurines beautifully crafted in ceramic with a crackled glaze finish. The figurines depict two whippets sitting regally on green, grassy bases with black and gold trim, Each dog is hand painted in warm brown and cream tones with gold accents on the collars. They sit on a green, textured grassy platform with black and gold trim, This is a hard to find colorway in terms of the dogs, the base and the level of hand painted detail. These whippet figurines...

A folk art sculpture of a horse from the 19th Century. This wooden horse has been scraped to original its color. This animal sculpture can nicely stand on a writing desk, a cupboard ...

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...

This is a Rosenthal porcelain figurine of a dog. It depicts a hand painted full of details tall poodle standing up with a green belt in his neck. The Rosenthal hallmark is below the ...

Amusing true pair of 19th century English Staffordshire porcelain poodle figures hand decorated and featuring a confetti coat.

Beautiful tile hand painted and glazed with exceptional wondering colorful school of fish on a yellow color background. The tile can hang on the wall. Exceptional object of art for w...

Extremely decorative, fully sculpted representation of a naked young beauty with her hair tied back, covering her nakedness after her bath with a softly draped cloth, which she holds...

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...

19th century Buddhist carving of Guanyin, shown standing with flowing robes on a rocky outcrop, mounted on a lobed wooden base. She holds a bottle in one hand and a basket of fruit i...

Fabulous and large Maria H. Rahmer (1911-1998) figural sculpture of a boy holding fruit circa 1930s from Hungary. Great ceramic condition with signature H. Rahmer on the side of the ...

A fine Han dynasty polychrome painted terracotta horse and rider. The warrior is dressed in orange and black on a black horse. Measures: Height 14 inches (35 cm) Width 12.5 inches (32 cm). Condition: Excellent with tastefully undetectable repairs. During the unification of China under the Han dynasty, bands of mounted nomadic warriors from the north threatened the country. In order to thwart their attacks, the Chinese sought to import stronger, faster steeds from Central Asia (as opposed to the Mongol ponies used by the invaders), eventually leading to the creation of the Silk Road. This small sculpture of a mounted soldier reveals the crucial military role of the horse. When compared to the diminutive stature of the rider, the importance of the horse becomes readily apparent. This creature provided security and strength, allowing the empire to secure its borders and expand its influences across Central Asia. The magnificent regalia of the horse, including a brilliantly painted saddle in red and green/gold, reflect the respect this animal received. The warrior as well is gorgeously decorated with a painted red tunic and gray chest...

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...

Make a bold statement with this large 19th-century French sculpture signed by Pierre-Jules Mêne (1810–1879), one of the most celebrated animalier sculptors of his era. Cast in spelte...

Set of Six Mid Century Italian Porcelain Harlequin Figurines , circa 1960, diamond-patterned costumes in multiple colours (red, blue, yellow, green,...

Rosenthal- Gustav Oppel (1891-1978) - 'Salambo' - Model Number 956/2 - Fine Art Deco 'snake charmer' porcelain figurine - hand painted - featuring gold gi...

Western African, Guinea or Senegal Baga serpent sculptures on Custom Iron Stands Offered for sale is a pair of outstanding Western African (Guinea) Baga society carved and painted wood serpent...

Striking mid-century porcelain cardinal figurine by Hutschenreuther Kunstabteilung, produced in West Germany circa 1960s–1970s. Featuring a vivid crimson red glaze with black facial ...

Tonala Folk Art Pottery Plate Hand Painted Flying Bird, Mexico, circa 1960's. Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz ...

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

Gerda Gerdago's 'Cosmic Dance': Art Déco austrian patinated bronze chryselephantine (ivory and gold) sculpture manufactured by Arthur Rubinstein By: Gerda Gerdago Material: bronze, ...

Sculpture gilded peacock handmade in precious porcelain one by one, feather by feather. Each feather is unique. Made with shiny porcelain, hand-painted ...