Painted Sculptures

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

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 Saint John the Evangelist figure created in the workshop of Franz Matthias Hiernle in Mainz, Germany. The superbly carved and highly decorated slender figure, in an elegant and...

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 - ...

An exceptionally fine quality highly detailed pair of German Sitzendorf pottery porcelain Parrots Feathered Figures of quite generous size, together with another single example, late...

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...

A lovely large 20" Mid-Century Italian majolica basket of lemons topiary centerpiece. No maker's mark. Freshen up your kitchen or breakfast room with this charming hand painted arran...

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...

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 ...

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...

Unique panel depicting a Saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

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...

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...

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...

A c1935, Art Deco period terracotta figural sculpture titled "TORSO" by Waylande Gregory (1905-1971). This hand-sculpted, unique work is cold painted a lovely greige tone with fleshy...

A beautiful and exceptionally 18 inches tall Classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good conditi...

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 wooden sculpture of two stylised black and white casqued Hornbill, likely originating from the Senufo people of the Ivory coast, Mali, and Burkina Faso. The circular base suggest...

Beautifully handmade estate porcelain Herend Queen Victoria Butterfly on Flower has been expertly hand-painted by the legendary Hungarian master artisans of Herend. Special rust fish...

18th century Italian "Florence Fragment" vase with a rare application of coordinating stalagmite on a polished petrified wood base. It originally was found a saved from the Florence ...

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

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...

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

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...

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...

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...

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...

Stunning and unique pair of matching horse sculptures. With a combined experience of almost 30 years in the antiques trade, we were thrilled to once again find beautifully hand-crafted and decorative antiques that we had never seen before. From the density and the weight we can see and feel that these highly decorative horse sculptures are made of a tropical hardwood. Like, for example, with antique mirror frames or church sculptures these horses too were first covered with a mixture of chalk and glue so that the paint would hold longer. And, as so often is the case with antiques, the colors that were used for painting these horses are so much more beautiful than anything you find in this day and age that they truly are an absolute joy to look at. From the colors, the wear, the materials and the techniques that were used to create these horses we can see that these are 19th century antiques. However and unfortunately we lack the knowledge to be able to tell you from which country these highly decorative and sizeable works of art originate. We just can't find matching style horse sculptures anywhere on the worldwide web. They could be Chinese or Nepalese, but they could also be Persian or Arabian. We just have not been able to find out. What we do know is that they are definitely antique, they are in beautiful condition (with some wear, consistent with their age), they are highly decorative, probably unique and they have a look and feel that will instantly change the atmosphere of the room they are in. Mind you, our sharp price for this wonderful pair of horse sculptures...

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...

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...

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

Antique Japanese Porcelain sleeping cat, Japan, Kutani, Meiji period. This Kutani porcelain cat, dating from the Meiji era, is an exqui...

Sculpture leopard sit in hand painted ceramic.

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 ...

A pair of Tibetan praying monks, carved from wood and painted in polychrome. Height: 24 cm. China, Qing Dynasty, circa 1900. Price is for the pair

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...

Tutsi ceremonial dance shield. Rwanda-Burundi Second quarter, 20th century. Wood, natural pigment Provenance: Colonial period collection, Belgium...

3-645 Eye catching hand painted yellow and black Majolica ceramic Cheetah jug/pitcher A cool accent to any kitchen or to be use as a serving pitcher. Lovely as part of a ceramic co...

19th Century Staffordshire Unique Black & White Spaniel with Separated Foot England, Circa 1860s This distinctive 19th-century Staffordshire black-and-white spaniel figure, made in...

A fine antique 18th German porcelain figurine. By the Royal Meissen Porcelain Manufactory. Model Number 12. Depicting a Trumpeter from the 'Gallant Orchestra' series created b...

- Hand built decorative cat sculpture - made of clay collected from the potter's surroundings. - decorative motifs painted with a goat hair brush made b...

A pair of resting bronze lions on shaped walnut painted plinths modeled on the original marble sculpture by Antonio Canova. Reduction from the originals created by Antonio C...

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...

Designed by Studio Chora, 2024. Biomorphic: ‘bios' meaning life and 'morphe' meaning form. Sold as a pair. The Biomorphic series of organic light sculptures are one-of-a-kind a...

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 ...

Stunning and rare Lladro retired serious clown with guitar by Salvador Furio. This is titled "Serious Clown with Guitar' and was sculpted by Salvador F...

This is a stunning example of the highest level of basket weaving. The crane was created by the Shanghai Handicrafts Co. in the mid-20th century, c. 1960-1970. The Crane is in excellent condition with just a touch of natural patina. The weaving is tight, exhibiting no faults. The woven crane rests on a woven plinth with one leg resting on a carved wood support. The wings of the crane are removable, revealing a yellow lacquered box...

The piece is a unique representation of an Horse in a modern way. The animal is gently handcrafted starting from clay and all hand worked. All the pieces from Mosche Bianche are uniq...

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...

Wonderful and very detailed handcarved neoclassical angel standing on clouds, Italy, circa 1780-1820. Weathered, small losses and old repairs. Measurements include the wooden base. H...

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

A fine and stunning pair of Sevres porcelain figures, mid 19th century, of a female fruit picker and a male grape harvester, the bottoms with underglaze Sevres marks. Sevres porcelain at its best in this magnificent pair. A fine example from a New Orleans home in the lower garden district...

This abstract sculpture was made in Los Angeles, California, in the 1980s. It was handcrafted and hand-painted by an artist. The sculpture is made of foam, a metal spoon, a metal fau...

Bust of Napoleon Bonaparte by Sitzendorf, in porcelain, hand-painted. Detailed example of the Emperor, dressed with bicorn hat, green uniform with medals, draped with a coat. On the...

Porcelain creation depicting a bee, part of the Awesome Insects collection. A surprising decorative design. The pollinizing species par excellence, t...

Homenaje a Frida Kahlo Sergio Bustamante Sculpture, Ceramic 15/25 Offered for sale is a Sergio Bustamante ceramic sculpture titled "Homenaje a Frida Kahlo" created in the 1990s, sig...

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 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...