Paint Decorative Objects

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

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...

Studio Pottery Decorative Botanical Painted Lilly Bowl, Signed Offered for sale is a wonderful decorative studio pottery bowl that hand-painted with an antique look botanical floral...

A mid Century Chinese Export Porcelain Two Handled and painted Foot Basin on Wood Stand in great vintage c9 edition. No cracks, repair, whatsoever. Measures 18" in width, 10" in dept...

A pretty brightly painted ceramic sculpture of a peacock. This piece depicts a bird with bright blue yellow and green features, perched upon a tree stump ...

Painted wooden faces over a stand. Rare sculpture of the people talking. Nice colors. Signed C. G. 28. . It was bought to a french family, everything in the house was french made. ...

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

Beautifully gilt and hand painted Royal Crown Derby pair Imari pattern porcelain decorative urns/vases with gilt twin side handles. Each urn features an exterior 22k gold and handpai...

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...

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

Vintage set of three French toleware planters. Mid 20th century.

Sizable hand carved polychrome Chinese horse sculpture with detailed decoration.

Fabulous wooden rectangular frame with fantastic gilt. This wood frame will accommodate artwork 12x14 . Add some vintage charm to your favorite water color, print of oil painting wit...

A special chess set in solid hand-patinated brass. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can tru...

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...

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...

A unique Swedish Mora case clock in original light green color. Base is later made. Clock is sold as a decorative piece, no mechanical guarantee. Weights, pendulum and key included.

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...

Paint on “The Excedrin Tablet” paperweight box by New York City picking and art legend, Robert Loughlin. “RL ‘Head Ach’” painted the on back. Featured in Patrick Parrish Gallery's “R...

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...

Royal Doulton Bone China Side Plate – Blue Rim with Gilt Trim, England c.1954 Add a touch of timeless English elegance to your collection wit...

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 ...

A modernist 3D figural wall sculpture / art of knights jousting by J. Segura for Segura Studios, circa 1965. Fiberglass construction with richly painted textured surface captures the...

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...

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....

Indulge in the charm of 19th Century French artistry with this exquisite Louis XV Sevres style blue celeste vase, complete with its matching covers. Drawing inspiration from the eleg...

A gorgeous English papier mâché gilt and polychrome tray with hand-painted floral motifs, circa 1850. Neoclassical scrolled motifs accentuate the serpe...

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

Hand carved Wood Model Sailing Ship model Margaret Sculpture Center Piece LA CA . A very large and rare 19th century painted wood model of the sailing ship "Margaret". Votive ship. Height 54" width: 61" and depth: 15". The scale is perfect as it had to be and the quality of work is evident. Further inspection reveals that no detail was too small, as evidenced by the carved small boats, the ropes, poles and fittings. 5 feet long. This stunningly beautiful and intricately carved ship model was created by the sailors when they were at sea for many years at a time and they created this amazing model using handmade tools using scraps of whatever was available for carving and bringing this piece of art to life. A votive ship, sometimes called a church ship, is a ship model displayed...

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

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, ...

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 ...

This hand-sculpted ceramic bust is a striking example of Southwestern studio art, finished in a rich verde blue green glaze with beautiful tonal variations and a subtly mottled surfa...

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...

This stunning Art Nouveau cachepot exemplifies the elegance and creativity of early 20th-century decorative arts. Its vibrant green glaze is adorned with a delicate hand-painted vine...

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...

Antique wooden retailers cigar box. This unique piece likely dates back to the late Victorian period. It features all-mahogany construction and four interior storage compartments. A...

This four sided every changing graphic optical Op Art lucite vintage cube sculpture by Victor Vasarely is vintage from the 1970s. They were produced in ...

This expressive carved wooden mask is full of personality and theatrical flair. With its bold eyebrows, curled mustache, and sharply defined jawline, it seems to embody a mischievous...

Essential and elegant chair with a bent plywood shell, and four iconic legs with triangular shape in solid oak, joined by transversal wooden bars. The shel is upholstered in green f...

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...

Three Ducks is a particular charming moment in time captured by the artist of this sculpture. Three ducks beautifully rendered, somewhat plump, and out for a walk perhaps at the edge...

Glorious Late 19th to Early 20th Century Ecclesiastical Religious Art Sacred Heart of Jesus plaster statue sculpture upon a gilded wood base. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, his hands only had the wire structure so new hand-molded & crafted hands were created by our professional craftsmen and the wood on the base was bad so it has been given a new gilded wood base. He has many chips in the plaster that have been repaired and the whole statue has been shellacked. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, Late 19th – Early 20th Century. Heaven knows we could all use a little more Jesus in our lives!! Well, your prayers have just been answered!!! This is an absolutely magnificent Ecclesiastical Religious Art plaster statue of The Sacred Heart of Jesus. He is comprised of hand sculpted and hand painted plaster and he stands about 43 inches tall upon a square flat edge gilded wood base. He has handsome, realistic, intricately hand painted facial features, and his glorious dark brown shoulder length hair drapes gracefully upon his shoulders. He wears a lovely, flowing robe featuring the Sacred Heart symbol upon his chest and his beautiful bare feet are exposed at the base of his robe. His enticing hands are open and reaching out as if to welcome you into his arms. The Most Sacred Heart of Jesus is one of the most widely practiced Catholic Faith devotions wherein the heart of Jesus Christ is viewed as a symbol of “God’s boundless and passionate love for mankind.” The Sacred Heart is depicted as a flaming heart shining from behind with divine light, pierced by the lance with a bleeding wound, and encircled by the crown of thorns. And Christian faith depicts it more as a flaming heart, while the wounds and crown of thorns allude to the manner of Christ’s passion and the flames a furnace of ardent love. You can depict it how you choose! We believe that his original home was most likely a wonderful old church where he was admired for many years. Due to his materials, he should only be exhibited indoors…. Which is exactly where we all need the Lord to be anyway… on the inside!!! He will be absolutely divine in your entry way or heavenly in a sunroom surrounded by indoor foliage or faux plants & trees. He has an all-over “perfectly imperfect” aged patina, a few “character enhancing” chips that you would expect given his vintage age, and an angelic aura...

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...

Charming small Italian Mid-Century Florentine hand crafted box. This gilt-wood box can be used to store your favorite pieces of jewelry as well a stand alone piece on a coffee table ...

Pair of late 19th century French brass flower candelabra. Made of deeply patinated brass with intricately cast flower and leaf motifs. These a...

Vintage Royal Satsuma Japanese Hand-Painted Urn Style Vase, a Pair This exquisite pair of vintage Royal Satsuma vases showcases the timeless arti...

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

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...

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...

Late 20th century Post-Modern painted and glazed ceramic penis/phallic sculpture, United Kingdom By: unknown Material: ceramic, paint, enamel, clay ...

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

A petite porcelain trinket dish or catchall by Louis Lourioux. Crafted from fine porcelain, this small dish is created in the shape of a clamshe...

Structure No. 248 occupies an important place within Jim Rose’s legacy as a distilled, architectural meditation born directly from the material logic of his studio practice. Construc...

Small 19th century original painted sarcophagus box circa 1870. Beautiful decorative box with original paint.   Sarcophagus shaped lidded box in original paint with traces of origin...

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...

20th c., USA, a paint decorated Grandmother's/Pencil clock with the dial marked "Colonial", circa 1940, Colonial Manufacturing Co., Zeeland, Michigan. Hand painted in Adams style with floral designs and a Colonial scene on the central cartouche. The front door opens to reveal a storage space for umbrellas, walking sticks and the like. This is a whimsical, fun and useful decorative piece. Colonial Manufacturing Company...

Satinwood vintage decorative art and craft style plates, Oriental flowers and chicken hand-painting wall decorations are gorgeous decorative objects for your home decor. Impressive multicolour painting on the black background and outstanding quality, workmanship, and compact Size. Circa 1970. Fabulously hand-painted and varnished with a large central circular medallion on top of a hand-crafted round ceramic plate. which can be used as a table decorative object or wall decoration for your home decor. Condition: Excellent condition with nice patination and no losses. It is nicely done. Location: United Kingdom. The seller offers...

Italian glazed and hand-painted terracotta figural bust of Diana raised on a two tiered circular faux painted plinth. Goddess of the moon, Mid-19th Century.

A remarkable blend of history, design, and luxury, this Tiffany & Co. Congressional Eagle Plate celebrates the 118th Congress of the United States. Designed in the USA and crafted in England, this porcelain plate commemorates one of the nation's most esteemed governmental bodies. Featuring a gilded American eagle, the symbol of national strength and liberty, this piece captures the essence of patriotism with its red and gold detailing. The gilded border and intricate filigree pattern evoke the timeless craftsmanship for which Tiffany & Co. is renowned. The Congressional seal and finely detailed eagle emblem make it an exquisite symbol of American pride. The design is inspired by the art and architecture of the Capitol, adding a layer of historical depth and significance to this collectible. Made in 2023, this plate stands as a tribute to the heritage of both the United States and the Capitol building. It is a coveted piece for collectors of American presidential memorabilia...