Hand-Painted Decorative Objects

A stunning French Art Deco glazed pottery sculpture of a circus elephant balanced on a ball dating from around 1925. The figure made from a terracotta colored clay portrays an elepha...

This exquisite 18th-century Chinese export porcelain bowl was hand-painted during the Qianlong era, circa 1770, using colored enamels in the Famille Rose palette. Pink peonies in ful...

Turi Gramstad Oliver Lidded Jar for Figgjo Flint, Norway, 1960s. Signed with makers mark to the bottom.

Danish modern 1950s ceramic decorative plate / dish / wall plaque by Knabstrup Keramik. Hand-painted decoration of two people in blue dancing on cream colored base. Great vintage con...

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...

A stunning Moorcroft London Architectural limited edition vase recording Docklands to The City of London from the embankment by Paul Hilditch and conceived in 2011. This large tall bulbous vase is richly glazed with tour-de-force tubelining skills with three scenes framed between tall ornate Victorian gas lights. The scenes run from Docklands with the river Thames in the foreground with the Thames Barrier and with the Dome overshadowed by the tall and iconic architectural buildings which make up the famous Docklands skyline. The second scene shows the large dome of St Pauls Cathedral with an iconic London red double decker bus in the foreground with the third scene showing one of the most iconic buildings of modern London the Gherkin set amidst the tall City of London buildings. All in all a spectacular and exceptional vase not only by its sheer size but the incredible way it has been decorated. It is recorded by Moorcroft as ' Every once in a while, Moorcroft create a vase that is magical. Paul Hilditch’s magnificent London is a celebration of England’s capital, framing the new architecture of the city with wonderful Victorian gas lamps...

Vintage Rajasthani Indian vaulted dowry jewelry box, hand painted with Indian lovers enjoying each other, while beautiful court musicians accompany them ...

A very rare and stunning Arts & Crafts studio pottery vase of twisted floral shape made in London by Horace Elliott (British, 1851-1938) dating from the...

PRESENTING A STUNNING Early 19C French Gold Box with Enamel and Miniature Portrait. Box made with brass but has been plated with 18ct Gold with beau...

Vintage decorative chamotte clay vide-poche dish by Per Linnemann-Schmidt for Palshus Stentøj. Handmade in the 1960s. Dusty olive and clear dark and light blue colored shiny glaze. S...

This is a very rare, highly individual and very decorative, very large Lidded Vase in the Chinoiserie style with applied dragons, made by Mason's Ironst...

This set of six plates, crafted by John Turner around 1795, features the exquisite Imari color palette of iron red, cobalt blue, and radiant gold. The color combination creates a vib...

Nice Delft blue pottery vase, handprinted by Gewina Delft.

Egg on tripod engraved in 925/1000 gilded silver with translucent enamel on fire on guilloché, Russian Empire style inspired by the eggs of Carl Fabergé late 19th century, early 20th...

More information coming soon… Dating to the 1700s, this pair of vibrant albarelli jars have two distinct portraits inset within ovals. The blue ground Italian jars have also been h...

20th century Original painted heavy cast iron door stop full body cow doorstop.This is a three dimensional cow door stop.

A lovely pair of vintage Chinese Kangxi style handmade ceramic lidded ginger jars hand painted in vibrant cobalt blue and white. These fabulous jars are decorated with flower pots in...

A pair of lovely figures of young children with beautiful hand painted facial features. One holds a bell and is leaning on a tree stump base and the other child with floral leaves. S...

Rare Bitossi for Ceramiche Paoli Large Vase – Mid-Century Neolithic-Inspired Design A striking example of Aldo Londi’s masterful work, this large ceramic vase embodies the timeless influence of Neolithic utility pottery, reinterpreted through Bitossi’s signature craftsmanship. Featuring the iconic sgraffito hand decor, inspired by Etruscan ceramics, this piece is part of the Sahara line, distinguished by its earthy, textured aesthetic. Unlike the standard Bitossi Sahara...

A stunning French Art Nouveau pair of large vases with female figures of the era, signed by the Parisian Sculptor F. Citti, Paris 1900-1910. Measures: Height 19 in (48 cm) Width...

Very attractive painting of Maria with the baby Jesus. Painted on metal. France circa 1800-1850 Weathered and small losses.

A beautiful and exceptionally 19 inches tall classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the early 20th century, covered with a layer of wax. Signed by the artist on its underneath. In good condition with charming patina. A classic traditional doll with a simple but lovely design, a decorative piece. In Japan these dolls symbolize love, friendship and believed to be a lucky charm. We offer more large Kokeshi...

Rectangular rounded cigar box with vertical opening in 925/1000 sterling silver gold plated with fine miniature hand-painted in tempera on vegetable iv...

Italian and specifically Florentine vase in White and Blue Ceramic made by the Taccini Family Vinci 1976, as written on the bottom, decorated in the round with a lake landscape, wit...

A beautiful German oval porcelain jewelry box, in the Regency design style, circa mid-20th century, Germany. Boxes' lid features outdoor nature scene with couple in a park sounded by...

Large oval table box with mechanical musical movement by the Swiss company Reuge S.A. in 925/1000 sterling silver gold plated with translucent fired enamels on guilloché and on fine ...

Romantic hand painted Dieppe bovine bone floral snuff box - featuring a colorful display of flowers set against a solid brown background - the sides decorated with garlands and blue ...

This pair of Derby porcelain plates was hand painted, showing beautiful summer flowers in bright polychrome enamels. They were painted by eminent Derby flower painter Leonard Lead ci...

This Beautifully hand painted, antique Prexim Music Box Clock would be a beautiful addition to any home. The 15 Jewel, hand-win Swiss alarm clock does ...

Rare Postmodern vase is decorated with colorful abstract geometric designs; black and white elephant figure is featured prominently on the fr...

An original British School Regency Period watercolor study of a Blackbird’s nest and eggs, mounted in a Georgian Period Maple frame – Dated 1863. These...

Made by Spode in England circa 1830, this oval ironstone bowl is decorated with flowers in a rich Imari palette of cobalt blue and iron red, with accents of green foliage. The floral...

Antique 19th century Royal Vienna Belle époque Porcelain moon flask. This extraordinary Royal Vienna porcelain moon flask is magnificent deco...

A large antique Chinese Qing porcelain jar and cover hand painted with birds amidst flowering shrubs dating from the 19th century. The large rounded bulbous jar stands raised on a ro...

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 giant sized handmade Rimini blue ceramic vase designed by Aldo Londi and manufactured by Bitossi. Italy, 1960s. Blue glazed ceramic with engraved patterns adorning the top of the ...

A set of eight beautiful and colourful stoneware vases with amazing decor. Made by Gunnar Nylund for Rorstrand, Sweden, 1950s. Great condition. Signed with 'GN' and makers mark. ...

This exquisite late Qing Dynasty porcelain vase captures the timeless elegance of traditional Chinese blue-and-white artistry. Adorned with intricate cobalt underglaze patterns, the ...

19th century Swedish mora long case clock, circa 1850. Presented in its original birch finish which has taken on a good patina. Naive hand painted enamel clock face with expected mi...

18th-century Dutch Walnut and Iron Polychrome Domed Table Box  Netherlands, 18th century or older A 18th-century Dutch walnut and iron polychrome domed table box, likely retaining i...

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative sculpture. Small Dogs Sculpture was produced in Italy. Only one item avai...

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 ...

Large square pocket pill box with rounded corners and sides, in 925/1000 sterling silver with very fine hand engraving in baroque style, fire enamell...

This is a beautiful pair of Derby figures called the "Garland Shepherds", made in about 1765. The pair is one of Derby's most famous figure pairs and it bears the catalogue number E2...

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...

This is a 19th-century traditional Chinese blue and white ceramic vase, a fine example of classic Qing Dynasty-style porcelain craftsmanship.Traditional blue cobalt underglaze on a w...

The "Birds Eye" sculptures by Patrick Coard Paris are an embodiment of modern abstract elegance. Expertly crafted from a luxurious black oak veneer inlaid on a fiberglass core, these...

Handbag cigarette case in 925/1000 sterling silver with black fire enamel. Opening with spring button. Size cm. 6.3 x 9.7 x 1.5. Weight gr. 215. Created in Art Deco style for Cartie...

This large pair of French faience lions was hand-painted at the Luneville factory in France circa 1800. They feature bold yellow and black manes, wide...

Luxury at its finest, made by the World renowned French maker of ‘Daum’ of Nancy, France circa 1960-80. The set of crystal masterpieces of exceptional proportions crystallises the Da...

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

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...

Nice handpainted Delft blue pottery vase.

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...

Great grouping of gold gilt mirrors and frames from Italy. Can be used in a grouping as part of a gallery wall or certainly stand alone. Individual measurements: Pair of mirrors ea...

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...

This pair of small Chinese Shar Pei puppies was made in the mid-19th century, circa 1860.                They are charming creatures with adorable faces. Th...

Sphere table cigarette lighter in 925/1000 gold-plated sterling silver and translucent fire enamel on guilloché, in a modern contemporary style. Piezoelectric mechanism. Dimensions d...

A beautiful Sato ginbari cloisonne vase. On the body a tree branch of cherry blossoms in full bloom amid verdant foliage, worked in meticulous detail, set against emerald green backg...

Handmade Mexican Talavera Mave ceramic vase delicately decorated by hand. Floral, organic decor in blue, green and dark yellow on a creamy light yello...