Painted Sculptures

This a Royal Crown Derby porcelain Imari style owl figurine paperweight. It is hand painted in vivid colors of red, different shades of blues and white feathers highlighted by gold. ...

Hand carved & hand painted rooster sculpture. Very folky rooster.

The Oval Queen by Patrick Coard Paris, shown here in its black oak veneer inlaid on a fiberglass core, exudes an understated elegance that brings a sense of depth and warmth to its m...

A superb pair of large scale Austrian bronze budgerigars. This impressive sculpture is almost life sized and depicts two budgerigars, one green and the other blue perched upon a leaf...

Japanese Meiji Period Glazed Katan Ware Peacock, ca. 1890 DIMENSIONS: Height: 5.5 inches Depth: 9 inches Width: 3.5 inches ABOUT This finely craft...

A scarce and delightful antique English majolica pottery man carrying a sack spill holder by Royal Worcester and dating from around 1865. The well potted figure stands raised on a wi...

Playful stretching Tonala pottery cat figurine is decorated with beautiful hand painted abstract geometric and floral designs in blue, green, and earthy brown palette. Variations in...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

A large and stunning Italian hand painted abstract figurative sculptural 'Guerriero' (warrior or fighter) ceramic vase by Elio Schiavon (1925-2004) dating from around 1960. This very stylized hand crafted vase portrays a figure holding a shield and is hand painted in textured colored enamels on a contrasting light grey ground. The figure has a painted face with locks of hair and what may be a beard and supports a rounded shield on their right shoulder. The vase is signed SCHIAVON ERHART to the base. Elio Schiavon studied at the Scuola d'Arte Ceramica...

Very large (31 1/2 inch tall) bust of the Greek god, Apollo, cast in fiberglass with ancient marble patina. Unsigned.

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. The heart collection is inspired by the ...

Tall antique Swedish horse in carved wood with original patinated paint in off-white color with blue dots. Made circa end of the 19th century. Th...

Large 19th-Century German Porcelain Pug Dog, Attributed to Dresden Description: A finely modeled and richly expressive 19th-century German porcelain figure of a pug dog, attributed...

This is an adorable pair of vintage mid-century modern Lomonosov Soviet Imperial Russia hand-painted fine porcelain sitting white poodle dog figurines, dating back to the 1960s. Crafted from white soft-paste porcelain, these figurines feature exquisite hand-painted details, showcasing the iconic sitting posture of poodle dogs. Each figurine is delicately painted to capture the charm and elegance of the breed. The figurines made by the Imperial Lomonosov Porcelain Factory...

Art Nouveau ceramic centerpiece, twelve geese designed in a circle to form a bowl. White earthenware painted in color and glazed. Designed by Michael MÖRTL (1878 - 1939) around 190...

Sculpture Danish dog In hand painted ceramic.

Bring bold, tropical vibes indoors or onto a covered lanai or inside with this large-scale vintage canvas palm tree. This sculptural piece features a wrapped canvas trunk, seven over...

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

This is a fabulous pair of figures of Liberty and Matrimony made by the Bow Porcelain factory between 1760 and 1764. These figures were a popular pair portraying marriage. The bow...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Sculpture Leopard Dark Brown Sit all in ceramic, hand-painted piece.

The antique Buddha head is an icon of confidence, awareness, knowledge, compassion and concentrated meditative practices. Every faculty of the Budd...

Extraordinary pair of fine glazed porcelain Foo dogs came to us out of an estate here in Savannah, Georgia, belonging to an old general that long ago brought them from Thailand. Used...

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...

A beautiful vintage golden bee ornament for your room. An impressive size, this golden bee is a gorgeous statement piece for a shelf or sideboard! 29 x 15 x 13cm As you see in a pic...

Hand-carved in the 1600s, this wooden coat of arms cartouche depicts an ornate crest atop a shaped console with several charges. The cartouche is Dutch, considerably predating the fo...

Ceramic nude women sculpture vienna around 1970s Original condition Good condition

Wonderful hand carved standing Baroque angel figure. Unique period piece with its original paint . Spain, circa 1650-1750 Weathered. small losses . Measurement here below includes ...

A stunning French Art Nouveau pair of large vases with female figures of the era, signed by the Parisian Sculptor F. Citti, Paris 1900-1910. Measures: Height 19 in (48 cm) Width...

Limited edition Disney princess sculpture of Cinderella and her carriage, decorated with handmade gloss finish porcelain flowers. Designed and handmade in Spain. Unique pieces by the...

Large scale late 20th century decorative asian carved wood sculptures of good luck children sleeping on melons. Feature hand painted girl and a boy figures...

An English Victorian period slit leg Staffordshire dog from the 19th century with textured coat and gilded collar. Created in England during the reign of Queen Victoria, this Staffor...

Sculpture leopard sit in hand painted ceramic.

A 19th century French velocipede of a white pony, the horse of polychromed wood with horsehair mane and set upon an iron tricycle. Deaccessioned from the MacLean Collection of Asian...

Pair of life-size ceramic whippet or greyhound dog sculptures of the ribbed dogs in alert sitting positions. The dogs are hand-painted and made in Italy. The dogs nicely detailed wit...

A fine quality therapeutic musical automaton clown toy in wonderful vintage condition. Features porcelain head, hands and feet. Made in France during the ...

A Wonderful Franz Bergman Standing Dachshund Vienna Austria Bronze Dog Sculpture With Wonderful Patina This Has Been Cold Painted With A Red Colla...

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...

This is a rare fireplace bellows in carved and lacquered wood with polychrome decorations of flowers on a light green background. It has original leather details and the bronze spout...

Very attractive painting of Maria with the baby Jesus. Painted on metal. France circa 1800-1850 Weathered and small losses.

Meissen great dane white porcelain dog. Antique white porcelain dog sculpture of a great dane beautifully modeled with original custom conforming red velvet covered base, with markin...

20th century Original painted heavy cast iron door stop full body cow doorstop.This is a three dimensional cow door stop.

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...

An early example of Pedro Friedeberg's Magic-Surrealist Oeuvre. An Image of the sculpture has been submitted to, and accepted by Mr. Friedeberg for their upcoming Catalog of Works.

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

18th century Italian silver and gold leaf crucifix adorned with baroque pearls and mounted on a mica cluster and a calcite crystal. The mica specimen is from the Great Smoky Mountain...

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...

Ulysse Dabouze (Haitian, 19th C.) hand-carved bust of Henri Christophe. inscribed H. Christope This hand-carved wooden bust of Henri Christophe, attributed to Ulysse Dabouze (Haiti...

The Flood, 2016, is an illuminated update on the traditional Victorian glass-cased diorama depicting a surreal jungle encounter between an upcycled vintage taxidermied tiny egret and...

A charming early 20th Century Art Deco cold painted bronze figure of a young girl in period attire standing holding a hoop behind her back , raised on a shaped marble plinth and sign...

Multi-dimensional Industrial style welded and painted steel sculpture, "Mother and Child", by Philadelphia based artist David Tothero. This colorful piece has strong graphic and tex...

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 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...

Painted ceramic, good original vintage condition. Damaged leg - was repaired - shown on pictures. Beautiful and unique decorative sculpture. White Poodle Dog Sculpture was produce...

This charming antique French painted concrete rooster statue is a striking piece of vintage farmhouse décor. Crafted from solid cast concrete, it showcases intricate feather detailing and a weathered patina that adds to its rustic appeal. The statue is hand-painted in white with red, yellow, and green accents, giving it an authentic aged look. Perfect for indoor or outdoor use, this robust sculpture makes a wonderful decorative piece for gardens, patios, or farmhouse-style interiors. Whether used as a statement ornament, a focal point in a garden setting, or a collectible item, this vintage rooster...

A beautiful and detailed German porcelain English bulldog sculpture designed by Fritz Diller in 1914, for porcelain Maison, Rosenthal, circa ...

Japanese Showa Period Porcelain Standing Old Man Holding Staff & Scroll, Ca. 1960 MARKINGS Signed on bottom. DIMENSIONS: Height: 19 inches Width: 7.5 inches Depth: 7 inches

Monumental! Brutalist Hand-Gilded Direct Metal Horse Sculpture 33" Wide 17" Tall Perfect for a centerpiece or on a credenza! This magnificent horse sculpture captures a horse ...

Large 1970's Italian Ceramic Leopard Sculpture. Made in Italy . She has babies to match. More photos to come. Very collectible and decorative.

19th century Austrian cold painted bronze hound fashioned as a paper clip, mounted on a walnut base. These were whimsical pieces that were made int the late Victorian era and early ...