Paint Decorative Objects

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...

Antique Japanese Meiji Period Lacquer Gold Maki-e Wood Letter Opener Japan Wood, lacquer, paint c. 1900 Dimensions: Length 28cm Dating to the Meiji period, this superb letter...

A petite porcelain figurine of a bird by Karl Ens. Glazed in pink, blue, brown, and yellow, this small bird sits perched upon a white branch with yellow flowers. Signed at bottom. D...

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...

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...

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

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...

A painted tole monteith with a scalloped rim and applied side handles, the exterior decorated with a hand-painted landscape scene featuring figures, flowers, and foliage. The interio...

Contemporary Large Post Modern Art Sculpture Vase "Dysfunctional" Stacked Dice Vase" Artist Michael Corney / signed Miguel Corney "Michael Corney grew up in the greater Los Angel...

1900 Japanese Satsuma porcelain huge vase with Samurai scenes.

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

For your consideration is a gorgeous table sculpture of two golfers, dated 1987. This Art Deco style decorative sculpture is constructed of plaster and is delightfully heavy. Hand ...

Gothic revival and Brutalist style wrought iron candelabras by Ferro Art, Spain, 1950s. Pair of sculptural candle holders made by hand in wrought iron and using techniques such as ha...

1920s Art Déco French Le Verre Français hand-painted frosted glass vase designed by Charder By: Chander, Le Verre Français, Schneider Material: glass, art glass, paint Technique: ca...

This exceptional French Art Deco stoneware vase, attributed to Louis Auguste Dage and dating to circa 1920, exemplifies the elegance and modernist design sensibilities of the period....

An exceptional and highly expressive Art Deco mantel clock, conceived as a celebration of speed, winter sports, and the modern spirit of the interwar period. Executed in a striking c...

This elegant pair of French faience vases was produced by the renowned Faïencerie de Gien, one of France’s most celebrated ceramic manufacturers, founded in 1821. The marks visible u...

Outstanding 18th century, Italian carved and giltwood altar sticks with circular tops, carved applied putti decoration and scrolled feet. Some paint losses, repairs and varying degre...

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...

Charming Limoges heart trinket box hand-painted. The underside of the box is marked Limoges France. This piece would certainly make a wonderf...

As found in Paris, an impressive Limoges hand painted box. The colors on this box are fantastic, the orange is painted what we would describe as Hermes orange. The gold gilt certainl...

Charming Limoges Porcelain Trinket Box painted in pinks, purples and greens. Upon opening the box there is a cute flower design inside as well. The box is marked Peint Main Limoges F...

A lovely Russian hand painted lacquered small wooden box with a red interior. The box features the frog princess and prince Ivan miniature fairy tale....

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

1960s hand-painted gold and black lacquer owl nesting boxes. Larger box is signed on the underside "handmade in Burma".

Blue pink and green ceramic porcelain Famille rose quatrefoil Chinese vase. The opening is 5" wide and in a quatrefoil shape. The neck is decorated with pink lotus flowers and an eme...

An exquisite 19th century Napoleon III compote, or centrepiece, in delicate Sèvres style porcelain and gilt bronze. Designed to grab all the attention as the decorative focal point o...

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

A gorgeous arrangement of enamel flowers, "Fleurs Des Siecles" By Jane Hutcheson for Gotham Circa 1970s Enamel flowers, in a white porcelain container, with stylized dolphin feet...

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

Transform your space with this breathtaking Italian figural standing candelabra floor lamp, a masterpiece of early 20th-century European craftsmanship. Exuding elegance and sophistic...

This exquisite Limoges porcelain box is a sophisticated creation by Philippe Deshoulieres, designed by Marie-France Lecherbonnier, and richly inspired by La Dame à la Licorne, the mo...

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...

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

Late 20th century modernist oil painting of Greco Roman wrestlers done in the classical style. By David Loeb. Oil on handmade paper. Signed on reverse and dated 1989. Loeb was born in 1953 and raised in Chappaqua, New York, David Loeb’s mother and her identical twin were painters, and he has been painting since childhood. He studied with Gillian Pederson-Krag at Cornell University; Reed Kay at Boston University; Louis Finkelstein, Wolf Kahn and Philip Guston at the Yale Summer School of Art and Music; and attended graduate school at Indiana University, Bloomington, where he studied with Robert Barnes...

Good quality Norwegian horse head ale bowl known as a kasa/kuksa. Dated on the base 1773, with makers marks. Hand carved decoration, with original polychrome paint. Evidence of ol...

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 ...

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...

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 ...

Art Déco belgian glazed pottery/ceramic Charles Catteau-like vase by Boch Freres Keramis By: Boch Freres Keramis, Charles Catteau (in the style of) Material: ceramic, pottery, paint...

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...

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 ...

The piece is a unique representation of a woman's head in a modern way. Our designer creates these pieces completely by hand.   

Very large 19th century ormolu mounted Sevres Style porcelain casket box , made in France and decorated with the characteristic celeste blue ground associated with Sèvres porcelain, ...

A very fun pair of hand carved wooden folk art masks circa 1940s. The set is in very good vintage condition and has a hanger on the reverse side; the larger mask...

Medieval style iron wall torchiere. The perfect romantic touch for your home. Fill with candles above a bath tub or use on a porch or outside barn wall....

Large pair of beautiful 20th Century Italian hand carved lime wood swan planters. With a worn painted gesso finish. Traditionally used for weddings, ...

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...

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 ...

A very rare lime green moriage dragonware plate. Created of porcelain, this piece is created with a raised enamel design of a dragon in pearly white...

Found in Paris, a charming porcelain floral oval trinket box painted in blue and white. This piece would certainly be a fantastic addition to an existing collection of these desirabl...

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...

A beautifully stylized modernist cat doorstop showcasing a stunning original surface with age-acquired patina and delicate craquelure, which not only spe...

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...

This exceptional pair of finely detailed faience vases is a striking example of historicist ceramic design from the late 19th century, likely made in Germany or Austria circa 1880–19...

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...

A Chinese famille rose porcelain jar featuring traditional phoenix and peony decoration with calligraphic script to the reverse. The palette reflects classic Qing dynasty motifs, exe...

Vintage Kholui hand painted papier mâché box with hinged lid - fine quality - featuring a Russian folklore painting of the Snow Maiden to the raised oval section on the top of the re...

Discover the timeless elegance of this antique gilt bronze-mounted urn by renowned French maker Jacob Petit, dating back to the mid-19th century. A masterpiece of craftsmanship and d...