Paint Decorative Objects

Chinese Pheasant beautifully render with rich oranges, reds, and yellows is a creation of the Hutschenreuther-Selb porcelain manufacturer. The authent...

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...

French Sèvres turquoise-ground porcelain two-handled footed covered decorative urn / potpourri , dating to the mid 19th century. Executed in a refined classical form, the piece featu...

Hand carved wooden pig with original paint. the base is made specifically for this carved pig. Signed David Barber. Very well done. 33 W x 19.5 H x D.

Pair of tole floral arrangements in painted metal with shades of blue, green, cream, and soft rose, set in carved alabaster urns filled with pebbled detail. The close-up highlights t...

Small painted plaster bust of Beethoven (as is)

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...

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 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...

This striking vintage decorative turtle shell showcases the refined artistry of Italian scagliola craftsmanship, a technique celebrated for its ability to mimic the depth and movemen...

This elegant cache-pot is crafted in Paris porcelain and dates to the mid–19th century, circa 1850–1870. It features a refined baluster form resting on a subtly stepped base, charact...

Early 19th century Swedish Mora grandfather clock crafted in pine, standing over 7 feet tall. The case features curvaceous lines, including a pronounced belly and a shaped pedestal b...

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

This impressive large Japanese porcelain vase is richly decorated in vibrant polychrome enamels in the traditional Kutani style. The generously proportioned ovoid body is covered wit...

The creator of this piece is Dahl Jensen. The Siamese dancer depicted is no doubt in the Royal Court with her elaborate headdress and elegant robe of indigo blue. The figure has a lo...

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

Stunning geometric metal and red paint sculpture by the well-known American artist Betty Gold. This work is an edition, signed and marked 23/50. Similar work, large size, as shown in...

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...

A wonderful Empire period porcelain lidded apothecary jar, dating from the 19th century. Exuberantly decorated with a vibrantly enamelled design of exotic birds and butterflies on a ...

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 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...

More information coming soon… Originally used to ferment wine at a vineyard in Normandy, France, this brown glass wine bottle has a hand-painted yellow Roman numeral “XIV”. The hand...

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

Very charming gold gilt Florentine frame from Italy. Vibrant reds and blues combined with the gilt makes this a fantastic frame to be used in a grouping or stand alone.

Six amber glass apothecary jars with their original green and gold tin covers from France. Stenciled, painted labels on each jar indicate their would-be contents. Three jars are comp...

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 ...

This stunning and graphic Art Nouveau vase was realized in Austria circa 1910. It features a circular base with a gourd form body that ascends into a slender undulating neck and a sc...

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...

English Georgian chinoiserie red lacquered and figural painted gilt tall case clock, Robert Fleetwood, 18th Century Tall case clock is in working condition.

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...

Giant vintage golfball in cream plaster/plastic. 8.5" diameter. Likely used as a store display. Whimsical desktop object or paperweight. Very heavy a...

This stunning and dynamic white porcelain sculpture was realized by the esteemed artisan Karl Ens in East Germany, circa 1930. It depicts two galloping horses- a stallion and a mare-...

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. ...

19th century Japanese Imari Decorative centerpiece bowl. Measures 10" in diameter and 4.5" tall.

This charming pair of vintage tole planters features a flared silhouette hand-painted with a delicate green ivy motif on a cream background. Planters have a metal liner to accommod...

An impressive and monumental French Sèvres style porcelain covered centerpiece urn, made in France in the 19th century and richly mounted with gilt bronze ormolu. This large decorati...

A monumental and highly decorative antique German Dresden porcelain covered centerpiece urn, made in Germany in the early 20th century and richly mounted with gilt bronze ormolu. Thi...

This exceptional vintage papier mâché sculpture is the work of renowned Mexican artist Sergio Bustamante, internationally celebrated for his imaginative, surrealist vision and master...

An exceptional example of the celebrated Fleurs Des Siècles collection designed by Jane Hutcheson for and produced by Gorham, this sculptural floral arrangement combines finely paint...

A monumental and exceptionally decorative antique French ormolu mounted Sèvres Style porcelain centerpiece covered urn, made in France in the early to mid-19th century. This impressi...

Abstract post modern sculpture by Jay Lefkowitz USA circa 1980s Bent steel composition of two opposing abstract planes with angular cut outs and circular voids Finished in a low sh...

A striking example of early utilitarian craftsmanship, this large hand turned ash bowl dates to the 19th century and retains its beautifully worn original blue paint. Skillfully shap...

Swedish set of 12 traditional hand painted Dala horses from 1900-1989. Here we have a set of 12 dala horses in various sizes, with some from the beginning of the 20th century with t...

For your consisderation is this Mid Century Chinese Large Cinnabar Vase. Measures 7" in width, 7" in depth and 13" in height

Late 18th century George III leather hand painted fire bucket circa 1780. Good quality leather fire bucket.  Armorial decorated, inscribed honi soit-oui mal y pense, which means sha...

A large gypsum sculpture of a tiger cub. Cast in a life-like manner with embossed details on the stripes, the face and paws. Hand painted with fine lines around the eyes, ears, nose and mouth. Marwal...

Presenting an exquisite antique German decorative vase, meticulously hand-painted and adorned with gilt gold accents. This captivating piece features an intricate exterior design, sh...

Max Ingrand Fontana Arte in collaborazione con dubè (Duilio Barnabé) 1955. Centrotavola in cristallo di grandi dimensioni e spessore dipinto a mano nel...

A ceramic figurine of a courting couple. This Victorian piece is created from a crisp white ceramic and features a man and woman perched upon a tree log. They lean into one another a...

Antique Victorian J&S glove, casket, keepsake or jewelry box crafted of wood clad in gold tone enamel finished embossed metal with a fine orange velvet l...

Charming vintage Italian paper holder organizer with a top handle from the 1950's. This Mid-Century piece would be a wonderful addition to any home office, library or kitchen. We al...

Charming and versatile tin metal container featuring a Delft tile scenes with a dog, rabbit and other animals. This piece looks wonderful standing alone or functional holding trinket...

Fabulous creation by Curtis Jere. 19thc bicycle Wall art or use the bracket and it can be set up on a flat surface. In excellent vintage condition wit...

Antique Lusterweibchen of a Patrician Lady, Germany 1900 A finely hand-carved and polychrome painted wooden Lüsterweibchen depicting a seated patrician lady. She wears a green long-...

Vibrant vintage Chinese hand-painted, ovoid form porcelain lidded ginger jar, circa 1960-70s. The jar displays prominent, bright coral phoenix birds against a turquoise background su...

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

This French 19th Century banjo shaped case clock is an eye-catching piece in any space. Topped by a smartly carved cornice above the dial face door. Supported by an intricate brass r...

Whimsical yet undeniably chic, this monumental white wicker swan basket is the kind of statement piece that instantly transforms a room. Handwoven in sculp...

A very nice large hand carved duck sculpture by Miguel Ruelas, circa 1980s. The detail, craftsmanship and painting in this piece is lifelike and truly amaz...

A charming Italian majolica terracotta cat, beautifully hand-painted and glazed, seated regally upon a decorative pillow. Rich color and expressive detailing bring personality and wa...