Painted Sculptures

A Greco Roman style bronze buste depicting a Spartan soldier on black wooden base. This Greco Roman style bronze bust, masterfully depicting a Spartan soldier, is a striking piece th...

This wonderful, whimsical, and naughty bronze by the Bergman Foundry is a real joy. Highly detailed casting and meticulously painted bronze has the added feature of a toy, you can p...

19th century terracotta bear figure from Austria. He is a wonderful mold and is hand painted with such expression! He has lovely detail and is certain to put a smile on your face.

Art Nouveau ceramic figurines Rstk Amphora Austria Turn Teplitz - a pair Attributed to Riessner, Stellmacher and Kessel for Amphora, Turn Teplitz Austria...

Cat and mouse handmade in porcelain, one glazed and the other matte. This beautiful cat, made in glazed porcelain, is accompanied by a very special friend, its toy mouse. The former ...

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...

Luxury at its finest, made by the World renowned French maker of ‘Daum’ of Nancy, France circa 1960-80. This item crystallizes the extraordinary know-how of the Daum craftsmen. Limit...

Caged Santos Spain, 18th Century Life size carved and painted Santos figure with caged frame. 22”w x 14”d x 48.5”h Ref. SAN1302

A very nice hand painted porcelain polar bear sculpture by Bing & Grondahl of Denmark, circa 1970s. The piece is in very good vintage condition with no chips or crcks and measures a ...

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...

Here is a charming terracotta cat figure by Alfaraz Studio / Workshop of Madrid, Spain. From the 1960s, this striking fellow is handprinted in rich, golden yellow with contrasting bl...

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

One of the best known gods from Olympus, made in white matte porcelain with touches of golden luster. Hermes was cunning and clever and had the gift of oratory, which is why the gods...

Vintage pair of porcelain sculptures depicts sitting cats, facing each other in style of Staffordshire figurines with their faces turned towards the viewer. The cats' bodies and head...

Large 1920s Art Deco Porcelain Half Doll, Flapper with Exotic Metallic Bustier This rare and striking early 20th century porcelain half-doll embodies the glamour, boldness, and play...

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...

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...

This work by celebrated artist, Alexander Ney is a masterpiece of fantasy, elaborately decorated with rounds and half-rounds decorated in multiple colors. Each side of the sculpture...

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...

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

Vintage pair of Staffordshire cat sculptures feature the right and the left tabby cats (as they will be displayed), reclining on oval cushions whil...

Beautiful French Painted Carousel Horse..

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...

Sculpture elephants black with all structure in porcelain in black matte and shiny gold finish.

Papier mâché small mushroom by Sermel. Hand painted design with overall areas of wear and minimal paint loss. Signed on the underside.

More information coming soon… After the original Alfred Jacquemart hunting dogs from the 1800s, this pair of French cast iron sculptures dates to circa 1900. Both dogs are depicted...

This charming antique Staffordshire porcelain figurine, dating to around 1860, depicts a puff dog—most likely a poodle—crafted with exceptional attention to detail. The figurine feat...

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 ...

A spectacular matched pair of large and extremely rare Emile Louis Picault cold painted bronze sculptures from the late 19th century. Exquisitely handcrafted in France, circa 189...

Sculpture parrot couple made in solid porcelain, hand-painted finish, on solid bronze and porcelain base.

Sculptural 18th century Italian crucifix mounted on emerald in matrix on a reflective mica base. The crucifix artifact is originally hand carved wood with silver leaf from a church ...

🎁 A thoughtful gift for dog lovers, vintage enthusiasts, or anyone who appreciates timeless decorative art. Pair it with a handwritten note or place it under the tree for a heartwar...

This is a Goebel porcelain figurine of a Pied Wagtail bird. It depicts a very well done hand painted black, brown, gray blue and white, Wagtail bird. It has the Goebel hallmark plus ...

Early 20thc Hubley Boston Terrier dog door stop / bank.The paint is very good and fine condition.

Luxury at its finest, made by the World renowned French maker of ‘Daum’ of Nancy, France circa 1960-80. This item crystallizes the extraordinary know-how of the Daum craftsmen. Daum...

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...

A fine pair of mid nineteenth century pottery sparrow hawk sculptures, with finely painted feathers, the opposing hawks perched on naturalistic bases.

An original Art Deco Sculpture / Girl with flowing dress / hair running with two streamlined greyhounds on portoro Marble Base. Signed to the base by well known French Art Deco artis...

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...

Sculpture Danish retro dog In hand painted ceramic.

A Vibrant Pair of Tang Dynasty Style Hand Painted & Hand Carved Chinese Horses - priced as a pair Decorative wooden horses that would suitably adorn a shelf, a large desk, or p...

A fine antique 19th Century English Staffordshire porcelain fox hunting stirrup cup. Acquired from a collector's estate in England. This charming stirrup cup is in the form of a fox ...

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...

Royal Copenhagen Porcelain Polar Bear Figurine, Model 502. Large roaring polar bear figurine in porcelain designed by Carl Frederik Liisberg for Royal Copenhagen. Originally design...

France / 1920 / Reclame “La Vache Qui Rit” / Novita / plaster / Art Deco A rare and irresistibly charming piece of early 20th‑century French commercial art, this 1920 La Vache Qui R...

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

The piece is a unique representation of a Chimpanzee in a modern way. Our designer creates these pieces completely by hand.   

Wharton Esherick important sofa for Lawrence and Alice Seiver. We are pleased to offer this exceptional item, the epitome of the Americ...

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 ...

This fabulous bronze peacock was made at Franz Bergman's Vienna foundry and bears the name of sculptor Bruno Zach. The highly detailed sculpture is beautifully cast and features cold painted polychrome decoration. The peacock's crested head is turned slightly to the left and its magnificent fanned tail feathers - also known as a train - are realistically rendered and arch forward as they rise. The train has splayed feathers at both ends that rest flat on the display surface, preventing instability. The feathers have been finished with white shafts and greenish-gold vanes while the ornamental black eyespots are accented with metallic rose and copper colored paint. It should be noted that the back of the bird's train is also highly detailed lending visual interest if viewed from the front or the rear. The peacock's head and body are painted in a silvery color while the painted decoration on the head includes large white masks and black eyes that are ringed in orange. The bird's angled beak is finished in yellow and has well defined upper and lower sections. The peacock's wings are positioned parallel to its body and extend back beyond the train. The outside of each wing is accented in mottled copper and black paint while the rear portions bear a series of painted copper and black stripes. The bird's thin legs are finished in gray and have black spurs at the back. Its long toes terminate in sharp black talons. The peacock is in very good condition with no replacements or repairs. As an antique, the piece shows signs of age including minor areas of paint loss that are noted for accuracy. It stands 8" at the tallest point of the train and is 11.5" as measured across the widest points of the train. The piece is 3.25" at its deepest point. The back of the train bears a partially legible Bergman amphora-shaped foundry mark with a B at the center. It is also signed 'Zach' in cast at the underside of one section of tail feathers for sculptor Bruno Zach who had a history of collaborating with Bergman to edit and cast some of his works. The peacock weighs 3lbs 2oz. This lovely antique Vienna Bronze peacock sculpture...

This exceptional matched pair of 19th-century Meissen porcelain elephants vividly capturing the historical moment of Alexander the Great’s conquest of India. Each elephant is beautif...

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

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...

This piece of porcelain is a bold, new version of the main character in The Guest collection, created by the celebrated designer Jaime Hayon. The Guest is a collection designed by Jaime Hayon for Lladró which invites ground-breaking artists from around the world to personalize this particular character. The series includes collaborations from Paul Smith, Devilrobots, Gary Baseman...

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 ...

A pair of cast metal Sculptures, male and female. The finish is newly painted in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make ...

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 ...

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

A pair of American painted concrete deer sculptures from the mid 20th century, with weathered patina. Made in the USA during the midcentury period, this ...

Han Dynasty Rare And Large Court Attendees TL Tested A Rare and Beautiful Pair of Painted Pottery Court Attendants. Holes under arms held wood spears long deteriorated ago. Museum gr...