Hand-Painted Decorative Objects

1940s Art Déco Torino painted and glazed ceramic figurine 'Ambretta Dancer' by Sandro Vaccetti for the firm Essevi, Italy By: Sandro Vaccetti Material: ceramic, paint, enamel, clay ...

Cast iron sculpture of a Scottie terrier door stop with original black paint. Fantastic patina on this doorstop with great age and wear. Wonderful addition to an existing collection ...

A beautiful mid-century Japanese porcelain vase by L’Amour China, featuring an exquisite sculptural pair of cupped hands adorned with delicate hand-painted pink roses and soft green ...

This rare white porcelain rabbit figurine, with striking red eyes, is a creation of Marcel Édouard Sandoz, designed for the Swiss porcelain manufacturer Langenthal. The figurine is m...

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 ...

Stamped Edition Padilla Picasso Pottery Handled Portrait Vase After Pablo Picasso, signed on the front 'Picasso' in blue script. Stamped on the bottom: 296 1994 Edition 29A /500 Picasso by Padilla Mexico Bears Paper Padilla Label This limited edition Padilla Picasso pottery vase is a stunning tribute to Pablo Picasso’s iconic ceramic designs. Created circa 1994 as part of a limited run of 500 pieces, this handled portrait vase is stamped 296 Edition 29A out of 500 Picasso by Padilla Mexico and bears an original Padilla paper label. The front is signed "Picasso" in blue script, reflecting the artist’s unmistakable style. Standing 12 inches high, 5.5 inches wide (including the handle), and 3.5 inches deep, this piece features a striking hand-painted abstract portrait. The cream/ivory base is accented with dark green outlining the rim, while ochre tones are used for the expressive scraffito hair-like design. The face and decorative swirl patterns are rendered in deep blue, while lavender brushstrokes elegantly swirl around the lower half. The handle is adorned with black and red striped accents, adding to its unique visual appeal. A beautiful collector’s item, this Padilla Edition Picasso vase...

Square photo frame in 9251000 sterling silver gold-plated with translucent fired enamel on guilloché. Modern contemporary style. Cut glass. Blue velvet panel. External dimensions 10...

A stunning Danish mid-century sgraffito art pottery vase by Evan & Johannes Andersen and dating from around 1960. The ceramic vase has a modernist abstract stylized design and is...

Art Deco tall Italian animal Figurine Ceramic Parrot Macaw on a tree trunk Material: porcelain, ceramic, tin glazed Design: Cacciapuoti style...

Donald Duck Cast Iron Stop/Enter Doorstop by Walt Disney Productions, 1971  Signed by Walt Disney Productions, 1971  A rare and authentic 1971 Walt Disney Productions Donald Duck Cast Iron Stop/Enter Doorstop is a collector's gem. Measuring inches high, 5 inches wide, and 3 inches deep, this unique piece features Donald Duck in his classic sailor shirt, cap, and bow tie, holding a movable and removable 2-inch diameter green "Enter" and red "Stop" sign. Due to patent infringements, only a limited number of these doorstops were produced, as Disney had not granted permission for their creation, making original pieces like this highly sought-after. Unlike the numerous "knock-offs" on the market, this doorstop is guaranteed to be original, complete with its authentic sign. It remains in near-mint condition, with the paint still brightly colored, showcasing the high-quality craftsmanship and attention to detail typical of Disney products. This doorstop not only serves a practical function but also stands as a delightful piece of Disney memorabilia...

Unique and amazing 19th century mantel clock garniture. If you are looking for a one of a kind and truly spectacular clock to grace your living space then this work of beauty could ...

Pair of porcelain birds designed by Danish artist Jens Peter Dahl Jensen and made in Copenhagen by Bing & Grøndahl. Model no: 1633 and 1635. Length 12 cm each. These are often r...

A beautiful, hand-painted Chinese famille rose temple jar decorated with foliage design and floral panels, gold lion dog form the knop of the l...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Mid Century Italian bone white glazed ceramic cigarette box with a hand decorated lid featuring a stylized fern.

Discover the enigmatic beauty of mid-century Italian art with this set of four totem sculptures by the elusive artist Aldo Guarnieri, dating back to the 1960s. These rocky totem scul...

Beautiful porcelain peint a la main (hand painted) vintage crossword puzzle trinket box by Limoges, circa 1980s. This unusual piece is in very good vintage condition and measures 3"W...

This exquisite pair of large blue and white Delft jars was hand-painted in the Netherlands during the late 19th century, around 1880. The design features shaped panels, each depicti...

A stylish Dutch hand painted art pottery vase decorated with stylized floral designs by Gouda Schoonhoven and dating from around 1920. The well potted bottled shaped vase is of small...

Egg on engraved tripod with octagonal folding photo holder for 6 photos inside, in 925/1000 sterling silver gold plated, with translucent fired enamels on guilloché and pure gold “pa...

Guido Cacciapuoti Italian Art Deco large ceramic animal figurine Depiction: Two parrots on a tree trunk Hand crafted and hand painted in strong ...

Finest quality, very large, handmade porcelain sculpture figurine of a "Csikós on Horseback" has been created for Herend by the famous sculptor, Bela Markup and expertly hand-painted...

A beautiful handmade Rimini blue glazed ceramic set of three pieces. Designed by Aldo Londi and manufactured by Bitossi, Italy, 1960s. The set is comprised by a round ashtray, a bott...

This pair of Delft blue and white antique lidded jars, marked for The Claw** and dating to circa 1820, is hand-painted in the traditional Delft style. Each jar features a cover toppe...

Here is a pair of hand painted cache pots with fantastic depictions of cherubs cavorting on one side of the pot and an artistic collage of decorative images on the other. The eggshel...

Goebel produced this dramatic porcelain figurine depicting a Cat, circa 1960. The piece is in excellent condition and a real beauty. Measures: height: 10.63 in (27 cm)? diameter...

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...

A Greek Black Figure Style Grand Tour Amphora, 19th Century Provenance: Private Australian Collection. Description: Amphora, specifically, were us...

Table clock in 925/1000 sterling silver gold plated with translucent fire enamel on guilloché and fine hand engravings. The clock has a base of cm. 4 x 10 and is rectangular cm. 8 x...

This captivating Meiji period (1868-1912) porcelain vase features a mesmerizing celadon glaze, with a subtle crackled texture. Exquisite details, meticulously hand-painted in vibrant...

Limited edition High Porcelain sculpture of a dragon, the symbol of power and good fortune in Asian cultures, in a special version to commemorate Lladró’s 70th anniversary. A represe...

This striking covered faience vase is a fine example of Delft pottery, richly decorated in cobalt blue on a white ground. The hand-painted design features elegant birds nestled among...

A very important vintage pair of oriental porcelain vases, each of urn form and decorated with floral and architectural designs in hues of blue on a white ground. The neck with oppo...

Clock Man - Wind-up clock with key - Spelter, hand-painted We prefer to sell our items in 'uncleaned' condition so that the new owner still has the choice to remove the patina (si...

A Mid Century Italian glazed terra cotta cat attributed to Mancioli, likely made in the mid-century (1950s-1960s). The figurine features a playful, sit...

This vessel channels the quiet drama of the Mediterranean world in the 2nd century AD, shaped with a broad, flared mouth that feels both architectural and ceremonial. The form moves ...

Candleholder Blue Birds Set of 2 with hand-painted porcelain, with bronze details, for 2 candles, candles not included.

Antique Hand Painted Bisque Porcelain Mother & Child Figure in the Manner of Meissen c1920 Measures- 17.25"H x 9.25"W x 9.25"D

Large Hand-Painted Art Nouveau Bowl by Regina Gouda, Holland, 1920s Rare and striking hand-painted ceramic bowl from the Regina factory in Gouda, Netherlands, dating to the 1920s. T...

The vintage porcelain or ceramic dove figurines feature finely detailed bodies, artfully hand painted with light green accents on bright white majolica glaze, creating a reserved, natural color palette of white and tone-on-tone green. The birds are realistically sculpted with wide, flowing tails, standing calmly with their heads slightly turned. They are not mirror images of each other; each presents subtle differences in posture, adding visual interest and another layer of complexity to the set. Highly detailed figurines convey a touch of historical elegance and whimsical charm of traditional Italian country style. Each sculpture is marked with ITALY and model numbers on the inner surfaces. While many Italian artists and studios created their version of dove figurine, most of them are stylistically different from this pair; Bitossi and Zaccagnini birds have more streamlined, Modernist silhouettes, and the doves created for Raymor were less detailed and intentionally less realistic, as well as most often marked with distributor name in writing. We're attributing the pair to Mottahedeh, who sourced Italian majolica in similar style; the pieces will be simply marked ITALY and Mottahedeh will add their paper stickers. As the sculptures are quite old, the stickers often get lost or destroyed. The convenient size and small footprint allows the set to be used in a multiple ways, such as dining room centerpiece, console table accent, shelf or fireplace mantel decoration...

This is a remarkable 19th century, Japanese lacquered sewing box with multiple compartments on the interior. The exterior is decorated in elaborate black and gilded motifs including...

A stunning Turn Wein Austrian art nouveau figural vase formed as a lily by renowned ceramicist Ernst Wahliss (Austrian, 1837-1900) dating from around 1900. The tall and elegant porce...

Here is a wonderful, whimsical pair of rooster vases by Carl Walters (1883-1955) for Stonelain Pottery. Stonelain Pottery was started in 1950 by the Associated American Artists. They...

A blue and white ceramic vase hand-crafted and painted in China in the second part of 20th century, it's in original condition with normal signs of age. Blue and white ceramics have ...

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...

Stunning large-scale papier mâché vase of elegant form with beautiful hand painted an lacquered red and black abstract floral decoration. Mid-20t...

Vintage Pheasant Shaped Ceramic Trinket Box Made in Italy for Neiman Marcus, circa 1960s. This charming Pheasant-Shaped Trinket Box is a whimsical and elegant catch-all for your most...

Playing card suit-shaped box “heart” in 925/1000 sterling silver with red fired enamel in Art Deco style, early 1900s. With lost hinge, i.e. semi-invisible. Dimensions cm. 9.5 x 10 x...

A Greek Black Figure Style Grand Tour Amphora, 19th Century Provenance: Private Australian Collection. Description: Amphora, specifically, were us...

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

The Oval Queen by Patrick Coard Paris is the epitome of luxurious artistry, a breathtaking sculpture that commands attention with its regal presence and exquisite craftsmanship. Forg...

An extremely rare and probably unique, dish applied with two open-mouthed quasi-simian creatures arm-wrestling created by Robert Wallace Martin for the Martin Brothers and dated 1884...

A beautiful French enameled glass vase from the Art Nouveau period, circa 1930. Intricately detailed work is by François-Théodore Legras. T...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement her...

17th Century Italian church vase decorated with fossil agate coral, red phantom quartz crystals, and chalcedony rosettes on polished agate base. This fragment is from a church in Florence. It was found and saved from the historic flooding of the Arno River in 1966. Fossil agate coral is mounted on top of the artifact. Fossil agate coral is Florida's state stone and is known for its unique formation that can take place over 20 million years. It's a natural gemstone that is created when prehistoric coral is gradually replaced with agate. It is adorned with coordinating red phantom crystals and chalcedony rosettes that resemble the color and texture of the piece. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian fragment is originally 17th century. The story and history of this piece and Interi's collection of Florence fragments...

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 large French opaline vase, made around 1840, exemplifies the grace and refinement of early 19th-century decorative glass. Hand-blown and beautifully translucent, the vase ...

A stunning Art Deco period faience bowl, made in France by the Emaux de Longwy art pottery workshop and dating circa 1920-30s. This earthenware bowl is hand-decorated with Chinoiseri...

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...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...