Painted Sculptures

Abercrombie & Fitch Mallard Drake Duck Decoy. Shows some wear from light use.

Large Contemporary Carved Stone Family Sculpture on Plinth: Modern Abstract Art This large contemporary carved stone sculpture is a powerful and emotive representation of family, un...

Extra Large hand crafted leather wrapped giraffe sculpture. intricate Hand wrapped leather with hand painted spots & details. Very rare to find one this tall! An extraordinary additi...

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 ...

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...

These stunning angel sculptures are sold as a pair. They were originally placed on an church altar, with one facing left and the other facing right. With their detailed facial features and sweeping wings, they are truly captivating works of art. They were designed by Daprato Statuary Company in the 1910’s. Daprato Statuary Company was founded in 1860 in Chicago by four brothers, who were statue-makers from Barga, Italy. By the 1890’s, the company had grown to be a worldwide ecclesiastical art...

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 ...

Lot of three Vintage signed duck figurine by Malevolti, Italy. Each features a decoy type design with brass accented parts. Each has glass eyes and a hand painted body. A nice additi...

A fine antique German porcelain figurine. By Meissen. In the form of a barefoot young girl in a dirndl dress carrying a wicker basket full of many different flowers. Atop a Rococo-style gilt plinth. Marked to the base with Meissen's blue underglaze crossed swords mark / an impressed 9 / an incised 'No. 5'. Simply a wonderful antique Meissen figurine...

A magnificent and large early Tang dynasty (618-906 AD) model of a prancing or dancing horse, circa 7th century. The majestic animal is caught mid-motion, one leg raised, head grace...

"Madonna and Child" by Otto Maraini for Lenci, Italy 40s. High relief in cast ceramic, glazed in polychrome. Signed lower left, marked "Lenci, Made in Italy" on the back. Wear consis...

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...

Original unique ceramic pitcher vase in the form of a fish by Pablo Picasso "Sujet poisson". Picasso's association with the Madoura Studio was for over 25 years, making it one of the...

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 ...

Rare form original Pablo Picasso Femme sculptural vase or ewer for Madoura Ceramics. Documented model number A.R. 297 hand sculpted and hand painted in the Madoura factory. A timless...

Entitled "Columpio Feliz" which translates to "See-Saw", this lovely porcelain sculpture was a limited edition; hand painted and hand made porcelain issued in 1974 and retired in 199...

A dramatic and highly sculptural porcelain work titled Stormy Seas, model 3554, produced by the renowned Spanish porcelain house Lladró. The composition depicts a determined sailor g...

Blue lady with her handbag- mastertwork from Eva Fritz-Lindner. A serene tall handmade and hand painted sculpture of a lady carrying her handbag named EMA - a friend of the artist- e handcrafted and hand painted in beautiful blue colors. On bottom atelier mark i 3 D and with tree (black brush mark). Ema was the late Eva Fritz-Lindner's (1933-2017) good friend. Designer/maker: Eva Fritz-Lindner with stamp i3D, circa 1960-1970. Glaze: Light and dark blue matte colors are bright and vivid and the hand painting only adds to the charm; light original glaze crazing appropriate for age. Additional comments: Most of her larger sculptures were likely produced in less than 100 copies based upon research and all were hand painted individually by this artist ensuring each work of art was indeed unique. Dimensions: 12.5 inches high. Handmade / handarbeit and hand glazed, few survive. Provenance: Old German collection. 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 and unique wall and garden works of art inspired by nature and possibly the local zoo at Karlsruhe. Owls and family concepts were a particular specialty. During this time she created designs for building and garden ceramics, vessels and small sculptures. Since 1964, the sculptress worked as a freelance artist in her own studio in Karlsruhe-Durlach. The artist designed important works in the field of building ceramics, including wall designs in mosaic, in Mannheim, Karlsruhe, Baden-Baden, Schwäbisch Gmünd and Göppingen. Of particular note, she created enormous scale owl sculptures for the palace gardens in Karlsruhe in 1967 (see photo). In 1962, Eva Fritz-Lindner was awarded the silver medal at the Prague International Ceramic Exhibition. The artists' ceramics are owned and located in the Hetjens-Museum Düsseldorf, in the Museum of Contemporary Ceramic Art...

Striking and full of personality, this mid-century hand-painted ceramic leopard is a powerful decorative statement that captures the glamour and eccentricity of postwar Italian inter...

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

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...

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...

A pair of large Late 20th Century Thai hand carved wooden horse sculptures. Circa 1980s Feature two horses trotting, carved from single piec...

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

Beautiful desk accessory for the fox hunter. Austrian/Vienna cold painted bronze fox hunter on his horse with his three hounds. Onyx base with letter opener or pen well/tray in excel...

This image displays a Huge set of vintage Chinese porcelain statues known as the Sanxing, or the Three Star Gods, representing Fu, Lu, and Shou. These figures are central to Chinese ...

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...

A creation in matte black porcelain inspired by the ancient shōgun of feudal Japan, decorated with gold luster engravings and copper accents that stand out against the dark backgroun...

Charming vintage sculpture of a baby tiger depicts the kitten sitting with its front paws spread wide, head tilted to the side, and large eyes wide open, as if about to jump or start...

This is a manekineko cat object. It is made with porcelain and it was made around 1980s in Showa era. Dimensions. 8 x 8.5 x H13 cm The maneki-neko is a common Japanese figurine ...

Constructivist geometric sculpture by Michigan artist Stephen Veresh "Fanciful Molecules: A Meditation on Symmetry" Circa 1970's An architectural tabletop sculpture composed of step...

1950's kinetic art sculpture, possibly created by Jules Engel of Los Angeles and very reminiscent of artworks by Jean Tinguely. Sculpture measures 35" in height by 21" wide by 15" d...

Exquisite Vintage 1950s Handcrafted Wooden Marionette with Burmese String, Reflecting Asian Opera Artistry. This splendid Burmese-Thai marionette is a testament to masterful hand carving and intricate hand painting. Adorned with ornate fabrics in red and gold colors heavily embellished with beads, sequins, colored glass, embroidery, and gemstones, this marionette is a true work of art. Whether you choose to display it on your wall, use it as a mobile to bring color to a child's room, or incorporate it into your authentic boho and ethnic decor, it will captivate your senses. A fine representation of handcrafted village folk puppets from Asia, this marionette stands out for its unique quality. What sets marionettes apart from regular puppets is their manipulation through strings controlled from above, offering an unparalleled range of movement. Operating these strings demands a high level of skill, making marionettes a cherished form of puppetry. In Asia, marionette troupes were often sponsored and patronized by royalty, and while their performances were undoubtedly captivating and entertaining, they also served a significant cultural role. This marionette is not only a collector's delight but also a stunning piece of art. It portrays Minthar, the prince, in all his vintage glory...

Antique carved Indian ceremonial temple sculpture of a large parade horse from the late 19th or early 20th Century. The wooden body, mane, tail, saddle and reins are carved in high r...

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...

Fabulous cast iron dachshund dog boot scraper in black paint. Two available, this one has a straight tail as opposed to the other with a circle tai...

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

Honor and loyalty are the supreme values of medieval knights, the heroes of a fascinating, romantic era that inspired this spectacular high porcelain limited edition. The ornamental ...

Art Deco Large Signed G Carli with stylized Representation of Hunting Dogs Originel Patina on all Parts The piece is in Fair and original condition and a rea...

Glossy porcelain animal figurine of limited series of purebred Arabian horse with thick fur on a wooden base. Portrait of a purebred grey Ar...

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...

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative sculpture. Horse sculpture was produced in England. Only one item available.

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...

Decorate a garden or a backyard with this large frog. Crafted in southern France and made of terracotta, the reptile sculpture is a captivating example of ceramic artistry, featuring...

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...

Sculpture candleholder zebra all hand painted, in white porcelain with brass details. Candleholder part on the top in solid brass and with hand-painted porcelain.

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....

J.W. Fiske foundry attributed cast iron Whippet dog. Incredible white paint surface with many different layers of white paint.

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 very attractive female bust from the famous Czech terracotta manufactory Bechyne, an original from the Art Nouveau period, around 1900. The bust is of a particularly classic form ...

This is a masterpiece unto itself, a hand carved and hand painted articulating wood toy of Pinocchio, the wooden toy who became a real boy. This treasure of time has been encased in...

This Art Deco figural sculpture depicts an elegant young woman in repose, affectionately petting a Borzoi (Russian Wolfhound). Crafted in France during the 1930s, the piece is made o...

A rare Minton Art Deco porcelain figurine titled Pierette designed by Fred Cooke and dating from around 1930. This delightful standing figurine stands moun...

A rare and important pair of stoneware grotesque amphibious creature andirons by Robert Wallace Martin for Martin Brothers dating from the mid 1870’s. This pair of unrecorded figur...

A rustic vintage wooden horse carving, presented on a flat base and adorned with a carved saddle and harness details. The figure is hand-carved with a stylized, almost folk-art quali...

A pair of beautiful Baroque style polychrome carved wood wall decors depicting deer and ibex figures. Painted in brown, green, red, and golden c...

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces complet...

Three Ducks is a particular charming moment in time captured by the artist of this sculpture. Three ducks beautifully rendered, somewhat plump, and out for a walk perhaps at the edge...

Tang Dynasty Pair of Painted Pottery Lokapalas Tang Dynasty (618-907), Height: 27.25 x 11.5 x 7" each PROVENANCE: Weisbrod Chinese Art, Ltd., New York Condition: Losses and resto...

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