Paint Decorative Objects

Vintage 1980s Fiorucci "New Wave" Italian porcelain heart-shaped trinket dish, ashtray or vide poche. This rare authentic post-modern piece is glazed porcelain with the traditional 1...

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 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...

French hand painted and gold gilt tole box. Late 20th century. Artist signed.

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...

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...

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...

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

A superb mid 18th-century London longcase clock, finished in green japanned lacquer with gilt scenes of figures, pagodas, and landscapes. The clock features a silvered brass dial wit...

Pair of 18th century Italian gold leaf candlestick tops with polished fossil agate coral and a natural forming baroque pearl. The 18th century fragments come from Tuscany and have th...

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...

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...

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...

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...

18th Century Dutch Delft Pottery Blue and White Vase Jar Urn Antiques LA CA. A very fine 18th century Dutch Delft Blue and White pottery vase or jar. Of typical vasiform shape with m...

A Mid Century Modern painted wood figurative sculpture by Fred Berger.Fred Berger (American, 1923-2006) Fred Berger’s work can be found in Private Collections and The Art Institu...

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

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...

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 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...

This magnificent 19th-century Chinese porcelain famille verte floor standing vase is a stunning example of traditional craftsmanship and artistic excellence. The vase, standing at an...

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

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...

–Ceramiques impressionistes & Gres Art Nouveau. Olivier Fanica et Gerard Boue. 2005 Massin Editeur.- Théodore Lefront (1835-1893) was a leading maker of decorative ceramic piece...

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...

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...

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

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 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 ...

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 pair of ceramic famille verte green chinoiserie vases. Glazed in a beautiful deep green, and decorated with a floral motif of pink chrysanthemums,...

A stunning antique Qing Dynasty Chinese export twin canister tea caddy / decorative table box. circa 1860 Hand-crafted in China for the European market when rare and exotic oriental...

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 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...

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...

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...

Vintage Trompe l'oeil faux 'pile of books' chest / decorative box by Andres de Morgades for his and Don Russell's eponymous company, Don Andres (ca. 1970s/80s, USA). Composed of a la...

19th century articulated wooden figure of the Virgin Mary Anonymous Spain; 19th century Polychrome wood, inset glass eyes Approximate size: 37 x 11 x 7 cm An antique ‘Virgin...

A unique tall Swedish Mora case clock from Hälsingland with traditional wood carvings and original red, salmon, cream and blue folk art paint. Dated - 1842. Clock is sold as a decora...

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....

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

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...

A hand painted wooden trinket box. Richly decorated with floral sprays on each surface, with orange flowers and blue buds along green foliage against a bright red background. Edged i...

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...

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

Fabulous cast iron dachshund dog boot scraper in black paint. Two available, this one has a straight tail as opposed to the other with a circle tai...

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

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...

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, ...

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 ...

Fantastic painted and carved gilt gold art frame found in a Paris market. Perfect piece for that special oil painting or watercolor. This frame has fantastic patina. Inside measurem...

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...

Standout set of two pugilistic roosters crafted in metal in action poses and hand painted in dramatic colors. Signed "Made in Italy" on a brass bracelet. Left: H: 6 W: 12 D: 7 Rig...

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...

Elevate your collection with this exquisite Chinese porcelain figurine inspired by the illustrious Qing dynasty. Crafted in a stunning wucai style, the figurine depicts a distinguish...

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...

This exquisite antique vase, crafted in the 19th century by the esteemed Royal Bonn Company in Germany, is a splendid example of fine porcelain artistry. The vase features a captivat...

Exquisite vintage Rosenthal Heron Crane porcelain is painstakingly hand-painted in pink, lavenders, gray and green with a delicate touch. Its pose is one of dignity and authority and...

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 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...