Paint Decorative Objects

A fabulous vintage Maitland Smith Chinese porcelain vase. Very nice quality, exquisitely hand painted polychrome decoration in Asian floral and fa...

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...

This Victorian cast iron revolving arm plant stand is a striking example of antique craftsmanship and enduring design, seamlessly blending functionality with ornate visual appeal. Fe...

Royal Crown Derby bone china plate in purple with colorful peacock at center. This piece was created in the 1950s and features pale purple...

This French cachepot, dating from the early 19th century, is a refined example of the Louis XVI style, characterized by its classical elegance and symmetry. The porcelain piece is ad...

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...

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...

Pair of 19th C. Italian Baroque style candlesticks that feature eleborate scrollwork, floral motifs, and a multi-tiered structure. Each candlestick has a wide, decorative base with ...

Introducing a stunning early 20th-century Bavarian porcelain vase by H & Co. of Selb, Bavaria. This large, double-handled vase boasts exquisit...

During the 17th through 19th centuries, highly skilled artisans in Savona, Italy, produced beautiful tin-glazed earthenware known as maiolica (majolica). These blue and white lidded vases with serpentine handles, from circa 1800, are such an example. Early Savona offerings were painted cobalt blue on a white background, as seen on these vases. Because the scenes depicted on the main bodies are distinct, they are considered a near pair, although their dimensions do not vary. Both illustrations contain country houses surrounded by tall trees and fronted by vegetation emerging from rocky terrain. In each scene, people can be seen in front of the houses, with one having two citizens and the other having four. One of the renderings is bordered by roundels at the top and by a leafy vine at the bottom; the other vase does not have any surrounding motifs. The sides opposite the pastoral images are distinct as well: the one with the borders has curled vines surrounding the Savona Lighthouse (a production mark of studios from this region), while the other vase has the lighthouse above a pair of small foliate margents. Both vases have domed, removable lids with a conical finial emerging from a painted sunburst. Curled leaves have been painted along the circumference above a solid blue ring. The two curvaceous handles are each comprised of a pair of snakes bound with a ribbon. Our blue and white lidded Savona vases...

A very large and absolutely charming vintage Indian papier mâché portrait bust of a male Maharajah (Raja or Indian noble prince). Born in India...

A tall Swedish case clock from Smaland with traditional wood carvings and unique plaster decor. Scraped to original green, gold, salmon and white paint. Clock is sold as a decorative...

A religious pair of monumental wooden sculptures depicting Jesus and Mary from the Berks County Pennsylvania Jesuit Center. This dynamic ha...

Presenting a stunning pair of mid to late 19th century French Limoges Bisque porcelain figurines from circa 1870. One is of a lady in period dress/attire cradling a Dove. All hand-painted and decorated to the finest quality. The base is marked with the makers initials “C.H.”. She is made of fine bisque porcelain in the Old Paris porcelain style. The other is of a gentleman set...

A black lacquered tea caddy. Great decoration and has interior compartment.

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 ...

Pair of Guangxu period, early 20th century (1900-1910), Chinese Porcelain Vases Decorative Object CA LA. Very beautiful and detailed pair of Chinese Porcelain vases circa early 19th ...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

Mid 18th century hand painted traditional Swedish chest/box circa 1750. Stunning traditional Swedish box hand painted in the original paintwork.   Decorated on all sides with swags ...

A truly extraordinary and evocative object: an 18th century hand-carved wooden skull, richly hand-painted and inscribed with the date 1769. This rare Memento Mori was created as a me...

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...

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...

Beautiful polychrome porcelain crucifix from the Meissen factory, one of the oldest and most prestigious European porcelain manufacturers. The brand...

Modern paper mâché hand painted parrot sculpture by Raul Aguavo, perched on a metal swing. The piece is signed on the side and is in great condition...

Small Italian blue painted wood art frame. Very detailed and charming art frame to add to a collection. Marked on the back, Made in Italy.

An abstract kinetic sculpture with balanced parts created by Arthur Bauman. Arthur Bauman originally created this piece in 1977 as a commission for a client's home in Singapore. The...

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...

American cast iron and painted horse head hitching post with a central fluted ringed column resting on a squared base, Mid 19th Century.

PRESENTING A STUNNING Early 19C French Gold Box with Enamel and Miniature Portrait. Box made with brass but has been plated with 18ct Gold with beau...

Asian Chinese hand painted large box decorated with of a small village gathering

American Federal mahogany pillar and scroll mantel clock with a broken arch pediment, three urn wood finials, flanking ringed columns, hinged glass d...

This stunning antique German cast iron Christmas tree stand features a richly detailed design, adorned with angel and cherub motifs. The cylindrical ...

Pair 18th Century Hand-Carved Polychromed Wood Angels are amazingly well preserved and perfect for any devotional display. Sculpted from solid blocks of walnut, each features amazin...

Ancient Greek style "kantharos", a drinking cup with handles. In the Apulian style of southern Italy. Quite elegant with a fine painting of a seated, robed sculptor on the front, and...

Matthew Williamson one of the most well known fashion designer has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as...

Matthew Williamson one of the most well known fashion designer has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as the peacock’s references that are here revealed in several new and original patterns. This listing shows his magnificent multi-color peacock porcelain...

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...

A magnificent 19th-century blue overlay crystal vase, finely hand-cut and richly decorated with enamel and gold. The deep cobalt blue crystal has been expertly overlaid and cut to re...

Italian 18th century hand-carved Corpus Christi, in original paint, or in some small areas early paint. Note: Original/early finish on antique a...

20th century hand carved folk art wooden cat form sculpture or statue. Features a knockdown design with elegant form. Features pointy claws, curled tale an...

Jim Rose, known primarily for his steel furniture, was an avid collector and scoured salvage yards for unique and interesting items. Here, a collection of found steel is reworked, pr...

This elegant pair of pink opaline glass vases is a charming example of late 19th century French decorative art, distinguished by their luminous colour, refined hand-painted details, ...

Elegant 19th-century Paris porcelain urn of impressive presence, finely hand-painted in cobalt blue, burnished gold, and soft sepia tones. This lidded vase displays the refined artis...

A studio-made modernist mobile; mustard yellow, blue, opium red. This innovative art form, rooted in the principles of modernism, emphasizes minimalism, abstraction, and the intrinsi...

Transporting vintage Moroccan ostrich eggs hand decorated with figures, animals and trees executed in classic Moorish style and presented on lucite bases. On stand: H: 7 DM: 5 Off S...

The piece is a unique representation created by our designer. The creations are completely made by hand. Ceramic and paint are water resistant.      

Pair of black tôle candlesticks with gilt decoration, raised on square bases and decorated with chinoiserie-style landscape and foliate motifs. Sold as a pair.

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...

Breathtaking vintage Asian Style Chinoiserie large decorative statues 1 male and 1 female comprised of bright red plastic-coated plaste...

1900 Japanese Satsuma porcelain huge vase with Samurai scenes.

Matthew Williamson one of the most well-known fashion designers has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as the peacock’s references that are here revealed in several new and original patterns. This listing shows his magnificent multi-color peacock porcelain...

Red tole wall clock decorated with gilt chinoiserie motifs, including figures, pagodas, and floral designs. The circular metal case features a brass ring finial and bezel framing a w...

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...

Pair of French porcelain Old Paris figural and foliage scrolled gilt vases, Early 19th Century

A desk clock designed by Cartier. A beautiful and sober desk clock, created in Paris France by the the house of Cartier during the late art deco period, back in the early 1935. This desk clock is very rare and has been designed with geometric art deco patterns and assembled from several polished pieces carved from natural black onyx and reddish translucent agate. All parts mounted in gilded bronze and sterling silver settings of .935/.999. Movement: Swiss mechanical wingding Imhof movement, Caliber 244, Fifteen Jewels, 8 days, Serial 2449074. The dial is octagonal with a unique painted scene depicting an ancient Greek ship...

Vintage Painted and Gilt Florentine Box. The top with a hand painted floral decoration.

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

This French Empire 19th century rectangular porcelain dresser box or jewlery decorative casket has a wonderfully patinated powder blue/cerulean light blue background color and features grotesque masks, architectural vase, fruit, flowers and leafy scrolled design throughout painted as a trompe l’oeil in the round. Ormolu mounts enrich the whole box. The paintings on this casket are striking as is the color palette used, a wonderful mix of light purple, cream, blue and soft brown. The lid is centered by a grotesque mask inspired by antiquity. The front, back and sides are profusely decorated with architectural elements, cartouches and volutes. The design is centered by a vase with a fruit arrangement that appear to be plums. The decoration could refer to the allegory of autumn and the mask painted on the lid could refer to Bacchus. Both the color of the porcelain and the paintings are very unusual and a sign of high quality and uniqueness.The box was most probably given to a high-ranking lady as a gift on the occasion of her marriage, or perhaps after the birth of a child. The lidded box is fitted with ormolu mounts, hinges and clasp. A gilt bronze band finelly chiseled in the form of a rope adorns the upper part. The trinket box rests on four gilt bronze lion paw feet. This striking French porcelain box...

A handmade Vintage wooden Musical jewellery box with a key and lock, with Swiss Musical Movement by Romance with original key and Reuge mechanismt. It is perfectly designed and created in a suitable size for keeping valuables inside. The top of this box has leaf patterns and bronzed motives carved and made by hand. It can also be a decorative object for any bedroom or dressing room in your home decor. Old Decorative Box...

Antique Blue & White Chinese Large Lidded Temple Jar Vase Antiques Los Angeles. Important 1st quarter 19th century Circa 1800-1825 Blue & White Chinoiserie China Lidded Templ...