Paint Decorative Objects

A tall and decorative pair of Kashmiri papier-mâché candlesticks, each rising 16 inches on a dished circular foot and swelling baluster, the stems boldly carved and laminated in the ...

An exceptional whimsical pair of dancing monkeys… Sold by Scully and Scully… This pair is of the period with no restorations. This fun couple of cast-iron and paint are dancing happi...

Likely Chinese, late 19th to early 20th century. This carved buddha figure traditional features including elongated ears, draped robes, a lotus blossom support and raised hands. The...

This elegant and generously proportioned Delft blue covered vase is a striking example of Dutch decorative faience, beautifully executed in a rich palette of cobalt, sapphire, and de...

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...

A pair of cast metal Sculptures, male and female. The finish is newly painted in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make ...

This remarkable handcrafted helicopter sculpture is a striking example of mid-20th-century folk art, dating from circa 1960 and inspired by the pioneering light helicopters that capt...

Very charming Italian Florentine Box. This 1960's box has been painted in pink with gold gilt featuring floral details. This box could be used for storage or jewelry and would certai...

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...

Public interest in Egyptian décor surged twice in the 20th century—after Tutankhamun’s tomb was discovered in 1922 and during worldwide "Egyptomania" amid the international tours of ...

Unique hand carved Elephant sculpture by Dr. Livingstone Collection. It is in great condition and includes the tag of the collection name. This perfect to add to your home library...

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...

This exceptional Victorian cast iron revolving arm plant stand is a masterful blend of ornate 19th-century design and practical versatility, offering both sculptural beauty and funct...

Fine French School devotional painting depicting the seated Virgin and Child with the infant Saint John the Baptist, executed in gouache and tempera on parchment, dated 1811 verso. T...

An extraordinary and monumental 19th century French Sèvres Style porcelain centerpiece covered urn or vase, crafted in France during the early to mid-19th century. This impressive de...

Striking original Rosenthal porcelain hand painted flower vase Series LIGURIA designed by Gilbert Portanier and made in Germany for Studio-Linie. The vase features multi-color abstra...

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

American Federal mahogany one day tall case clock with the original brass ball finials resting on three carved upper capitals, decorative intertwined fret work, arched hood with bras...

c. 1940s/1950s; Minnesota Power & Light Co. - Duluth, MN Hand-painted metal promotional storage chest produced for Minnesota Power & Light Co., featuring bold commercial lettering a...

Top quality, hand carved nutwood eagle clock with Lenzkirch movement. An exceptional and rare late 19th century Black Forest wall clock of monumental size, featuring a superbly hand...

1970s Hand-Painted Native American Vase decorated with intricate geometric designs and natural pigment paints of black, brown, blue and grey on white clay. It is handmade from native...

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 ...

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...

Donkey 1970s after Manuel Felguerez Modernist Handmade brown Donkey Valet Mexico Metal painted adorable donkey valet with two rings for napkins or salt & pepper shakers! Ideal napkin holder kitchen...

A beautifully crafted mid-20th-century Chinese porcelain vase, finely decorated in underglaze cobalt blue with elegant phoenix birds, scrolling foliage, and blossoming flowers. The v...

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...

Exceptional matching pair of large blue and white lidded faience vases by Tichelaar Makkum, Friesland, Netherlands, dating to circa 1930. Standing approximately 40 cm high with a di...

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...

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...

19th Century gilt bronze mounted Sevres porcelain enameled decorative centerpiece. The piece is in great condition. Minor wear appropriate with a...

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

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...

Cast iron sculpture of a flower bouquet basket with original paint in reds, blues and yellow paint. Fantastic patina with great age and wear on this charming doorstop. Wonderful addi...

Mid-19th century french glazed porcelain apothecary/pharmaceutical jar with lid - 'EXT: QUINA R:' By: Langlois (in the style of) Material: ceramic, porcelain, paint, enamel Techniqu...

A wonderful, beautifully designed and crafted, quite riveting double sided face sculpture vase/vessel by renowned American master ceramicist/artist Woodrow Nash (B. 1948). Nash is k...

Pair of vintage Neoclassical inspired gold wall candle sconces circa Late 20th century. These sconces each hold three candles. The six new metallic gold wax candles are included in t...

A fine and high quality pair of French 19th century 1st Empire Period patinated Bronze and Ormolu urns, circa 1805. This wonderful pair are raised on square Ormolu plinths with top R...

The Small Breakout Vase by Brent Warr is a sculptural statement piece that embraces organic form and material experimentation. Hand-shaped from a proprietary blend of gypsum, pulp, a...

This hand-carved wooden figure represents the Virgin Mary as a child, known as Niña María, a revered devotional subject in Spanish Colonial art. Crafted in 19th-century Guatemala, th...

This exceptional and imposing pair of hand-carved and hand-painted wooden horses embodies the rich artistic heritage of traditional Indian craftsmanship. Standing over 80 cm (31.5 in...

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 special chess set in solid, hand-patinated brass and walnut. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can truly be customized an...

Pair of original white painted furkins in good condition.Small & large furkins from a private collection.They are most unusual to find stacked. Measurements are as follows - Smaller...

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...

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

English, vintage metal washbasin that would have been used on a vanity or in a kitchen, recently updated with new paint and decoupage of fish illustrations. The interior of the bowl ...

Standout pair of vintage Chinese horses crafted in brass in classic form and hand decorated in a cloisonne enamel technique with colorful floral and symbolic designs on an alluring b...

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...

An Austrian Terracotta Cat Circa 1900 Painted and decorated 22cm by 36cm by 20cm

c. 1900s-1910s; The Ansonia Clock Co. - New York This ornate Art Nouveau mantel clock is rendered in cast metal with flowing, whiplash curves and a sculpted maiden in low relief-an ...

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...

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...

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

Lewis Foreman Day, for Howell, James and Sons. An Aesthetic Movement ebonized and polychrome painted mantle clock with a carved floret to the centre of the arched and turned gallery flanked by turned finials, with a dentil moulding below, and criss cross lattice work to the upper sides, the lower sides with hand painted Aesthetic flowers in planters...

Pair of mid 20th century Swedish pine ammo boxes circa 1950. Great talking point and solution to storage problems. Useful for storage. Partially fitted with pine partitions which w...

A captivating pair of signed Monaco majolica double candlesticks, exquisitely hand-crafted and hand-painted, celebrating the luminous beauty of the Mediterranean. The sculptural desi...

This charming pair of tin-glazed faience urns is most likely of French origin, dating from the 19th century, and inspired by earlier 18th century decorative traditions. The pieces ar...

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.

As found in a market in Europe, this fantastic wooden frame is suitable for most style artwork including prints, watercolors as well as oil on board paintings. We just love the look ...

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