Painted Sculptures

A large pair of Chinese turquoise glazed porcelain roosters with purple combs, circa 1920.

ABOUT An antique wooden jointed pull toy wiener dog. Painted eyes and collar. Shown with life size hand model for scale. CREATOR Unknown. DATE OF MANUFACTURE c1940-195...

A set of Italian hand‑painted porcelain figures by Porcelain d’Arte, circa mid-20th century, Bassano, Italy. Set are hand‑painted porcelain figures by Porcelain d’Arte, the Bassano...

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

Fabulous and large Maria H. Rahmer (1911-1998) figural sculpture of a boy holding fruit circa 1930s from Hungary. Great ceramic condition with signature H. Rahmer on the side of the ...

A 19th Century French Desvres faience whimsical salamander figurine by Fourmaintraux Freres. Hand-painted in typical colors of Desvres pottery in shades of blue, yellow, and red on w...

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

Post Modern Display Mannequin from a Japanese store formerly located on Madison Ave, NY. Articulated fiberglass mannequin body has screws at join...

18th century Italian gilded altar candlestick with a Chesapecten fossil shell formation and natural forming baroque pearls. The 18th century Italian gilded fragment was originally a...

Charming folk art carved articulated snake sculpture crafted to mimic realistic snake motion (ca. 1980s, likely South American). Hand-painted body and facial details present. Unusual...

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

Vintage ceramic sculpture features hand-sculpted totem pole style form, done in two separate segments that can be either combined and displayed at full height for a striking, monume...

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...

Tony Rosenthal Maquette for Large T-Square Sculpture, 1978 Welded Steel painted. Last Photograph Tony Rosenthal ’’T-Square’’ (1978) at Grove Isle, Miami, Florida © Estate of Tony Ros...

An early to mid 19th century American cast iron retriever, a rare dog sculpture.  Probably by Robert Wood and Perot. Wonderful detail and condition.  A rare find.  32″H x 52″L x 8″W

Tom of Finland. Bookend ‘Pekka’ Bookend, painted cast resin, height 12.8 in., base 6 x 6 x 0.8 in. Always Ready to Handle the Heaviest Load - Get Your Books Sandwiched and Add Some ...

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

An exceptionally fine quality highly detailed and glazed quite rare Pair of standing English Porcelain Staffordshire Poodle Dogs modelled as Pen or Quill Holders, third quarter of th...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

1920s Art Déco persian warrior cold-painted bronze sculpture by Franz Bergmann, Austria By: Franz Bergmann, Nam Greb Material: bronze, copper, tin, metal, paint Technique: cast, mol...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

This elegant Ronzan porcelain figure represents the peak of mid-century Italian ceramic artistry, characterized by its refined "Orientalist" aesthetic and masterful hand-painted exec...

For your consideration, a Japanese porcelain Satsuma style elephant plant stand or figurine. It features elaborate, colorful decoration with extensive gilt accents. The side panels ...

Vintage Cast Plaster Loaf of Bread Bookends, Circa 1970s. Very sturdy cast plaster sculptural loaf of bread, split down the middle to function as bookends. Underside of each is lined...

Tonala Folk Art Pottery Plate Hand Painted Flying Bird, Mexico, circa 1960's. Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz ...

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...

Vintage duck figurine by Elli Malevolti, beautifully crafted in the style of a traditional decoy duck. This charming decorative piece features hand-painted detailing, realistic glass...

A porcelain figurine inspired by La Catrina, the famous Mexican image of death, this time represented in the guise of a cat. Catrina, the popular icon with ...

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...

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...

An English porcelain Staffordshire dog decorative object sculpture, Victorian design period, circa late-19th century, England. What a chic dog w...

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

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...

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...

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...

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...

A gorgeous character ceramic figural gnome statue - made by Hertwig & Endert in Germany, a well known manufacturer of this kind of figures. This character statue has been made in Germany, in the 1930s probably to 1940s. Absolutely gorgeous item with lots of character and still in great condition. Made of hand colored glazed earthenware. A nice addition to any Lawn, Yard, Garden or Patio, but can also be a nice addition to a room. A German garden gnome...

The "GOLDEN RATIO" sculpture by Patrick Coard Paris is a couture masterpiece, exquisitely crafted from a bronze patina brass veneer inlaid on a fiberglass core and meticulously hand-...

Rare and very difficult to find MCM kinetic painted steel mobile by C. Jere for Artisian House, circa 1987. The piece is in good vintage condition and can fluctuate in size based on...

Western African, Guinea or Senegal Baga serpent sculptures on Custom Iron Stands Offered for sale is a pair of outstanding Western African (Guinea) Baga society carved and painted wood serpent...

Gerda Gerdago's 'Cosmic Dance': Art Déco austrian patinated bronze chryselephantine (ivory and gold) sculpture manufactured by Arthur Rubinstein By: Gerda Gerdago Material: bronze, ...

1920s Art Déco glazed ceramic sculpture with base 'La Femme voilée de Marrakech' by Céline Lepage, France By: Céline Lepage Material: ceramic, paint, enamel, clay Technique: cast, p...

Vintage ceramic cat figurine features hand-painted pink sponge ware decor with black accents on face and paws. The cat depicted sitting with tail curled around the hind legs, slightl...

A noble baroque style porcelain figurine lady designed by Alpinien Margaine (French, active after 1854) by the foundry Gibus et Cie (1853–1972) in Limoges, France in a baby blue moti...

A gorgeous character ceramic figural gnome statue. This character statue has been made by unknown Company in Germany, in the 1930s or earlier. Absolutely gorgeous item with lots of ...

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...

Classic early 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture sh...

Classic early 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture sh...

Vintage or antique cast iron door stop features a pair of long hairs with polychrome painted decor. The realistically sculpted cats are depicted sitting with their heads slightly li...

19th century Italian hand-carved gilded angels mounted aragonite.  The hand-carved angels were once part of a heavenly, angelic depiction in a historic church in Tuscany. The aragon...

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...

A large pair of French polychrome and gilt painted biscuit figurines of a mandolin player and a singer. The woman is wearing a green sack-back gown with white flowery etched inner dr...