Painted Sculptures

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...

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...

Mid 2oth century hand carved wood sea shell painted in white with an ocher wash. This impressive piece will make a unique decoration for the Hampton's, Palm Beach, Malibu home or bea...

A striking pair of vintage Art Deco ceramic bookends depicting elegant female divers, each poised in a dynamic stance. These sculptural bookends feature women in red bathing suits an...

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

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...

20th century Full Body Cow Door Stop in original hand painted. Wonderful look. Very heavy.

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...

This sculpture is a wig holder, made in the 1970s in France. It is a Female Head, in a brown color.

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...

Charming vintage Tonala pottery owl bird figurine is decorated with hand-painted decor of brown bird sitting on a colorful flowering branch and framed with abstract bands of mocha br...

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...

A scarce vintage ceramic art sculpture by legendary 20th century Mexican artist Sergio Bustamante (b.1949). Fantastical surrealist style hand pa...

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

Finest quality, vintage retired, handmade and hand painted in Germany, Rosenthal porcelain German Shepherd dog figurine by artist Theodor Kar...

“Ritorno dai campi" is a museum quality, limited edition, handmade and hand painted, collectible Capodimonte Italian porcelain by Italian artist, S. Agostino. It is a finely detailed, very large porcelain sculpture depicting a boy riding in a hay filled, horse drawn wagon. The horse has leather reins and is lead by a man with a dog. The man is on foot and holding a hat, and is followed by a barefoot woman with a basket and a rake. The scene is decorated with flowers, a tree and a stump. Porcelain scene sits on a wooden base with a brass plaque reading "Ritorno Dai Campi Collezione Porcellane S. Agostino" Signed on the back, “Capodimonte Limited Edition no. 1/100 Made in Italy" with the artist's signature and a blue and white Capodimonte...

Exquisite rare contemporary large three-piece porcelain Japanese lantern, intricately hand-painted in cobalt blue underglaze on an elegantly shaped body, a signed masterpiece by high...

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...

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 rare and exceptional German Rosenthal handmade porcelain figure of a Dachshund modelled by Professor Theodor Karner (German, 1884-1966) and dating from around 1937. The dachshund f...

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...

Sculpture leopard sit in hand painted ceramic.

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...

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

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

The Oval Queen by Patrick Coard Paris is the epitome of luxurious artistry, a breathtaking sculpture that commands attention with its regal presence and exquisite craftsmanship. Forg...

A delightful mid-century Russian porcelain figure of a lying hound with hand-painted detail by Lomonosov and dating from the 1950/1960’s. The well modelled figure of a large hound ha...

This vintage poodle figurine captures all the charm and elegance of the breed with remarkable detail. Standing tall with a proud expression, the figure is richly textured to emphasiz...

Vintage Ceramic Pair Budgerigars by Hertwig Katzhütte Colorful ceramic pair of budgerigars or parakeets, made by german manufacturer Hertwig Katzhüt...

Sculpture Danish dog In hand painted ceramic.

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...

Tamara Karsavina, a Ballets Russes Dancer, impersonating the "Firebird" in the Ballet by Igor Strawinsky. Porcelain Figure by Dimitri Iwanow for Lomonosov, St. Petersburg Manufactory...

A fine pair of antique 19th-Century English Staffordshire white spaniel dog figurines. These charming dogs are a nice large size, hand painted with lovely details and sweet faces. Th...

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...

This late 17th-century Portuguese Baroque figure in polychromed wood depicts the Madonna holding the Christ Child, carved with exquisite detail and spiritual grace. The Virgin is p...

This exceptionally large and detailed bronze of a Bison is the work of one of the best artists of his time Carl Kauba (1865-1922). While unsigned it bears the mark "Gesch" which is the first half of the word "Geschuztzt", basically means patented in German. Note the eyes and face of this fabulous animal. We are always on the hunt for antique bison...

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...

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 ...

Rare Art Deco Seated Cat Bookends This rare pair of highly sculptural Art Deco cat bookends captures the elegance and stylized beauty of feline for...

Whimsical carved figure of skin diver , spear fisherman . Decked in wet suit with spear gun and fresh catch . Hand carved in Italy late 1960s into the ...

Italian ceramic terracotta sculpture Depicting Madonna , Virgin & Child religiousstatue Material: Earthenware terracotta, tin glaze and partially gilded Modeled and painted by h...

A one-of-a-kind monumental Monumental Flamboyant Bird of Paradise -Knuppelhuhn- big sculpture created, handmade, and hand-painted by master designer Eva Fritz-Lindner (1933-2017) in about 1992. Handcrafted and hand-painted in beautiful colors by this artist. Designer/maker: Eva Fritz-Lindner (1933-2017) Signed with her stamp i3D. Glaze: The matte colors in lavender and pink and creams are still vivid and the hand painting is superb This is the only example we have seen in private hands. Substantial dimensions: 21.25 inches tall and 31.5 inches length Handmade / handarbeit and hand glazed About the artist: The bold Folk Art sculptress and ceramist Eva Fritz-Lindner (1933-2017) studied at the Werkkunstschule Wiesbaden and Darmstadt and was a master student in the sculptor class by Erich Kuhn. From 1955 she worked as a master designer at the Staatliche Majolika-Manufaktur Karlsruhe where she created and designed several hundred highly regarded ceramic folk art animal sculptures...

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

From the early 20th century, and before, the imagery of the humble banana has always captured our interest and attention. From Claes Oldenburg to Any Warhol and more recently, Mauriz...

Sculptural 18th century Italian gilded double-mounted cross on hematite with pyrite inclusions and adorned with pyrite rosettes. A matching smaller cross is mounted onto the bigger cross...

An interesting and whimsical Art Deco period hand carved and painted dumb waiter, this listing is for the butler statue only (the maid has already sold)....

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative sculpture. Big King White Poodle Dog Sculptur...

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

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...

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...

Sculpture Liberty Statue United States flag painted. Sculpture in melting. Unique and Exceptional Piece.

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

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...

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

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...

Charming vintage Tonala pottery figurine depicts a reclining cat with folded front paws and raised head; the cat is looking forward with wide open, large eyes and a slightly surpris...

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 ...

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...

Discover the enigmatic beauty of mid-century Italian art with this set of four totem sculptures by the elusive artist Aldo Guarnieri, dating back to the 1960s. These rocky totem scul...

Highly detailed vintage figurine of a saddled horse in motion is hand decorated with abstract flower motifs; the decor is done in traditional blue and white palette. The heavy, sub...