Paint Decorative Objects

Charming Limoges Porcelain Trinket Box in the shape of long red chile pepper. The interior of the box is marked Peint Main Limoges France 015/750 This rare piece would certainly be a...

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...

A Spanish colonial South American folk art style painting of the Virgin and child South American Peru or Bolivia school 18th century or earlier Oil on canvas, framed size 40 x ...

A rare and monumental owl sculpture by Mexican master artist Sergio Bustamante, standing an impressive 31 inches tall. This striking owl beautifully synthesizes everything Bustamante...

Impressive hand-painted Folk Art box from the Late 19th Century. The box has been hand-painted in black, red, blues and green. There appears to be either twos horses or maybe unicorn...

A lovely pair of vintage Italian tole two-arm candle sconces with hand painted pastel wildflowers, scrolling green leaves, and gilt accents, circa 1950. They retain their original su...

A refined Late 19th century German decorative porcelain urn by Höchst Porcelain, produced in Germany during the mid to late 19th century. This elegant tableware-form urn features an ...

An elegant mid-19th century Chinese porcelain ginger jar, finely painted in cobalt blue under a soft celadon glaze. This piece, dating from the Qing dynasty, features a fitted lid wi...

Vintage Egyptian Revival carved wood sculpture depicting a pair of reclining goats / rams facing opposite directions, decorated with intricate necklaces and beards, finished in black...

Striking pair of 19th century Old Paris Porcelain dresser/vanity toiletry bottles with stoppered tops, France, circa 1840. These bottles were opulent vessels used to store perfumed ...

This charming pair of blue and white lidded vases offers a beautifully decorative interpretation of traditional Delft pottery, distinguished by their octagonal silhouettes and richly...

Swedish 19th Century painted long case clock or Grandfather clock. This Scandinavian folk art clock is from the region of Småland, where the village of Lönshult is (see the name of t...

A wonderful, original Mid-Century Modern Madoura pottery pitcher/vase by renowned Spanish artist Pablo Picasso titled "Têtes (Heads)". The piece features two hand painted images of ...

This large antique Chinese Famille Rose vase is a spectacular example of hand-painted Qing-style porcelain, richly decorated with vibrant enamels, gilt accents, and exceptional multi...

Top quality, hand carved and truly impressive antique clock with 8 music melodies. Over the years we have had the pleasure of owning and selling a number of beautiful Black Forest antiques, but never did we come accross a 19th century Black Forest clock with musical box of this size and with such amazing natural details and patina AND with the original clock and music box inside. And if that was not enough, this finest of Black Forest clocks is top quality carved from top to bottom in the form of a detailed Swiss chalet. Mind you, this very rare antique clock is entirely hand carved out of nutwood only, which is another sign of the quality of the workmanship and the richness of materials. We have added a large variety of photos so that you can see the many incredibly detailed parts of this Swiss chalet, such as the roof and chimney, the many doors, the stacked lumber outside, the doghouse, the outhouse on the side, the striking balconies, the goose sticking its head out through the balcony, the picked fence, the ladder going up to the barn loft, the clock inside the facade of the house, the music box cilinder in the base etc etc. This antique clock from the 1800s really comes with the most realistically carved chalet house you will ever see. To us, that too is a sign that this Black Forest music box...

Original 1960s ceramic pot by renowned female artist Amy Donaldson. This piece embodies nature and the craft movement. It has a substantial size at 12" wide x 8" tall. No damage, and...

A superbly hand-painted Mughal miniature lacquer box, created in the refined Indo-Persian artistic tradition and signed “Nangua”. This exquisite octagonal decorative box features a f...

This exquisite French porcelain vase is crafted by the renowned Bernardaud manufacture in Limoges, and bears the refined “Artois bleu” pattern—an elegant design inspired by the Comte...

Charming Porcelain Trinket Box painted in purples, gold, green and royal blue. Upon opening the box there is a cute flower design inside the lid. This piece would certainly be a fant...

A charming wooden frame that is suitable for most style artwork including prints, watercolors as well as oil on board paintings. This frame certainly captures that vintage European v...

Charming trinket, pill or small jewelry box in the shape of a heart. Text reads I Love You, surrounded by flowers. This piece would certainly be a fantastic addition to an existing c...

This French 19th century banjo shaped case clock is an eye catching piece in any space. Topped by an ornately carved cornice above the dial faced door. Supported by an intricate bras...

A Swedish original green painted and carved bentwood box from the Gustavian Folk Art period. These small 19th Century Scandinavian collectibles were usually hand crafted and sometime...

Stunning religious wall panel in thick relief with strong hook for easy mounting. For the collectors of stunning antique church relics we are also offering this marvelously hand carved pelican sculpture for wall mounting. The character ascribed to the pelican in this context is nearly as fabulous as that of the phœnix. From a clumsy, gluttonous, piscivorous water-bird, it was by the growth of legends transformed into a mystic emblem of Christ, whom Dante terms "Nostro Pelicano". St. Hieronymus gives the story of the pelican restoring its young ones destroyed by serpents as an illustration of the destruction of man by the old Serpent, and his salvation by the blood of Christ. The pelican in Christian art is an emblem of Jesus Christ, by "whose blood we are healed" and it is also a symbol of charity. Many early painters and carvers mistakenly represented it more similar to an eagle (much like in this antique church relic), and not as a natural pelican which is why most people today still are a bit confused at first when this stunning hand carved, symbolic bird is called a pelican. This striking and all hand carved, symbolic panel was originally part of a church or monastery communion rail...

Early 20th Century Hand-Carved Folk Art Duck Decoy. The duck 's head is movable and the body features wonderful patina throughout including traces of the original paint. Wonderful co...

This vintage miniature wood box has six drawers and lots of character and patina. Some of the drawers are lined in faux marbleized paper. We see this wonderful piece being used to st...

Mid-Century Modern Period Florentine Gold Gilt and Black Painted Pedestals, circa 1950-60's Italy. Classic and versatile Florentine Mid-Century stands. These can be stand-alone state...

Japanned steel clock face with English roses in the spandrels and center with an Arabic numeral dial. The clock face retains its original steel ha...

A rare and remarkable pair of antique French opaline glass vases, dating from the early to mid-19th century, showcasing the height of French decorative arts and craftsmanship. These ...

This antique English tole bucket has been recently updated with new paint and decoupage of parakeets and other avian friends. The substantial size of the bin provides a wonderful can...

Exquisite French wood box featuring the ever classic fleur-de-lis surrounding the exterior. This 1960's box could be used for storage or jewelry and would certainly make a statement ...

Vintage statue, pop art art object in the style of Déesse and Niki de Saint Phalle, colorful fat lady, made of paper mache and painted by hand, signed M. Lepage, around the end of th...

A tall and elegant pair of Kashmiri wooden candlesticks, rising in attenuated columnar form to flared candle nozzles, each richly lacquered and hand-decorated throughout in polychrom...

Cast iron sculpture of a Scottie terrier door stop with original black paint. Fantastic patina on this doorstop with great age and wear. Wonderful addition to an existing collection ...

As found in the Provence region this wooden rectangular frame has fantastic gilt and patina. Add some vintage charm to your favorite water color, print or oil painting with this attr...

1940s Art Déco Torino painted and glazed ceramic figurine 'Ambretta Dancer' by Sandro Vaccetti for the firm Essevi, Italy By: Sandro Vaccetti Material: ceramic, paint, enamel, clay ...

Unique and all handcrafted, practical size antique circular chandelier. Some chances you only get once in your life and that is exactly what we thought when we first saw this unique...

Sculptural 17th century hand-carved Florence Fragment mounted with a fossil shell with barnacles and adorned with crystals. This fragment is from a church in Florence. It was found ...

This exquisite French Art Nouveau majolica jardiniere and pedestal, crafted by Jean Massier Cie. of Vallauris around 1900, exemplifies the flowing lines and naturalistic motifs chara...

Found in Paris, a charming Limoges porcelain trinket box painted soothing colors featuring a landscape scene featuring a castle, tree and a sailboat in the center. This piece would c...

Mid 19th century Swedish pine long case mora clock circa 1850. Large Swedish long case mora clock, presented in scraped back paint. Scraped back down to reveal a partial colour of ...

Antique Hand Painted Bisque Porcelain Mother & Child Figure in the Manner of Meissen c1920 Measures- 17.25"H x 9.25"W x 9.25"D

Large iconic New York Brooklyn Bridge brutalist wall sculpture, handmade with Brass finish and brown highlights by Curtis Jeré Artisans, circa 1976. Signed in black ink C.Jeré 1976 ...

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 fine last quarter 19th century Samson porcelain vase of covered baluster form painted in Japanese Edo Imari style, the original lid with foo dog finial and...

This pair of exquisite lidded Chinoiserie vases, or ginger jars, features an intricate, hand-painted polychrome decoration of flowers and foo dogs – mythical lion-like creatures that...

A charming and exquisitely crafted late-19th century porcelain mantel clock by the Ansonia Clock Company, titled “La Nord” and produced in collaboration with the prestigious Royal Bo...

Impressive oil on canvas painting of Kalmar Castle in Sweden. The history of the legendary castle stretches back 800 years. For a long time, it was one of Sweden’s most important for...

Presenting an exquisite Mid 20th Century Limoges porcelain jardiniere and stand set. This two-piece ensemble features a stunning white, pink, and green-toned planter, adorned with lu...

Commissioned by a special client as the perfect stage for their chess battles, this table is a showcase of NOVOCASTRIAN’s creative ability, of almost 10 years of experimentation, ref...

Wooden cross Guanajuato, Mexico Wood, paint 22 x 13 inches, (56 cm x 33 cm) 18th century A wonderful old wooden cross with a painted crucified Christ figure, an angel, possibly Mary Magdelene...

Antique Chinese Lacquered Flip-Up Travel Shaving Jewelry Box Vanity Mirror Vintage Wooden Jewellery Box & Mirror Decorative Box & Lid Hand P...

19th-century Swedish Mora grandfather clock crafted in pine with an original painted finish. The surface is heavily distressed, revealing natural wood beneath; the overall effect rea...

A beautiful pair of French ceramic bowls. Each bowl is marked with "Made in France" in black on the bottom. The crisp white blanc de chine is decorated with maroon, black, and gold G...

Antique Swedish Mora Grandfather clock with original blue painted finish. The monogram indicates this clock was likely a wedding or dowry present. Pine longcase with original folk a...

Charming ceramic trinket, pill or small jewelry box with an adorable rabbit on the front, surrounded by lush greenery. This piece would certainly be a fantastic addition to an existi...

More information coming soon… A stunning pair of French gros-relief barbotine vases from circa 1880, with gilt bronze handles and mounting. The vases have a variegated ground, rang...

A vintage CinZano vermouth ashtray or catchall. This dish is triangular in shape and created from crisp white ceramic. There are three sides, and each side is labeled with CinZano Ve...

Sculptural 18th century Italian figure of Christ and metal sword with large red and white crystal quartz clusters and phantom quartz. The figure of Christ was originally part of a c...

A vintage nautical theme jewelry or trinket box. This small rectangular brown box will be a great accent on a coffee table, dressing table, or on a bookshelf. It is created from wood...