Hand-Painted Decorative Objects

A stunning and unusual French mid-century turquoise and black lava glazed twin stem vase formed in the style of a jug dating from around 1950/60. The red earthenware vase stands on a...

Sculptural 18th century Italian gilded double-mounted cross on hematite with pyrite inclusions and adorned with pyrite rosettes. A matching smaller cross is mounted onto the bigger cross...

The "GOLDEN RATIO" sculpture by Patrick Coard Paris is a mesmerizing fusion of art and mathematics, masterfully crafted from a rich black oak veneer inlaid on a fiberglass core. Stan...

Finest quality, vintage retired, handmade and hand painted in Germany, Rosenthal porcelain German Shepherd dog figurine by artist Theodor Kar...

This fine original painted cast iron cow figure is in good as found condition.

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...

Large classical Etruscan Style Terracotta Vase. Hand painted.

Sui or Qi Dynasty Painted Pottery Armored Horse and Warrior Sui Dynasty (581-618) Height: 11 Inches x 10.5 Wide x 4.25 Deep Provenance: Weisbrod Chinese Art, Ltd., New York Conditi...

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...

Fabulous and elegant porcelain life size figure of a female whippet. Absolutely so real life like it's amazing! Such a beautiful face you want to hug this dog. 11 x 20 x 24h and weig...

Sculptural 18th century Italian fragment base mounted with agatized coral on a polished agate base. The 18th century hand carved fragment base is originally from Tuscany. The polish...

This pair of exquisite lidded Chinoiserie vases, or ginger jars, features an intricate, hand-painted polychrome decoration of flowers and foo dogs – mythical lion-like creatures that...

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...

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...

Beautiful porcelain peint a la main (hand painted) vintage grand piano trinket box by Limoges, circa 1980s. This unusual piece is in very good vintage ...

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...

Presenting an exquisite Mid 20th Century Limoges porcelain jardiniere and stand set. This two-piece ensemble features a stunning white, pink, and green-toned planter, adorned with lu...

STELIO MOLA - Vintage hand painted majolica figure of a Sardinian gentleman - medium size - featuring elaborate hand crafted and hand painted details throughout - signed on the base ...

This listing features a Limoges style cobalt blue handled centerpiece with gilt bronze and hand painted ornamentation. There are no visible markings to suggest that this is an origin...

6238-7239- Pocket cigarette case with spring button in 925/1000 fire-enamelled sterling silver with beautiful vessel miniature hand-painted by th...

A beautiful and unique dish with lava-like glaze and an amazing hand-painted motiv. Made by Guido Gambone in Florence, Italy, 1950s. Great condition. No chips or cracks. Marked with...

The decoration on this French hard-paste porcelain plate was hand-painted in England circa 1825 by Caroline Leigh, who signed the plate's underside. The neoclassical design centers o...

Rare Art Deco nightstand water carafe and his glass, circa 1930, France. The glass is the cap of the bottle. Black glass and geometrical silver and blue lines decor. Dimensions: 24 c...

18th century Italian fragment with a calcite crystal cluster in matrix mounted on a Italian glass bobeche base. The fragment is from a church in Florence. It was found and saved f...

For your consideration, a Japanese porcelain Satsuma style elephant plant stand or figurine. It features elaborate, colorful decoration with extensive gilt accents. The side panels ...

Two charming 1950s midnight blue porcelain vessels, made by the Italian porcelain studio Fiamma from Sesto Florentino, Italy. Hand painted pattern in gold, green and red. Marked with...

Luxurious Desk Set Ballpoint pen, fountain pen and small pocket magnifying glass in 925/1000 sterling silver with translucent polychrome fire enamels on guilloche in an early 1900s A...

Émile Gallé (1846-1904) Miniature baluster shape vase in opaque pink tinted glass and painted enamel applied in cabochons. Byzantine-inspired design hand-painted in polychrome enamel...

Antique handmade Middle Eastern triangular ceramic tea bottle with hand painted colorful decor and clear glaze. Green and blue colored organic floral de...

Porcelain bronze mounted box, Art Nouveau style Made of hand-painted crackled, glazed high quality bronze mounted porcelain. Signed on the bottom. An all over polychrome floral deco...

A magnificent early ormolu (finely gilded bronze) and Sèvres style porcelain clock by renown maker Achille Brocot. It is mounted with delicately painted Sèvres style porcelain with a...

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

NIPPON - MORIMURA BROTHERS (Manufacturer) - Antique hand painted ceramic center bowl - rare design featuring flowers and arabesque scrolls in the P...

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 exquisite Italian terracotta zebra bell from the 1970s is a rare and collectible treasure. Hand-painted and glazed with remarkable crafts...

Exceptional Japanese contemporary decorative porcelain vase, intricately hand painted on a stunningly shaped porcelain body in blue and red, a stunning piece by highly-acclaimed awar...

Black art nouveau vase by Upsala Ekeby manufactured in the 1940s. Soft shaped ceramic vase with a mother of pearl like black shine, sea foam green flared top edge and small ear-like ...

JARKO ZAVI (Czech-Canadian 1907-1987) - Fine vintage studio pottery ceramic model of a cottontail rabbit on a plinth base - small size - featuring elaborate hand made and hand crafte...

Framed Persian Miniature Painting in Moorish Micro Mosaic Inlaid Marquetry Frame – Indo-Persian Artwork Stunning Middle Eastern Persian miniature painting, exquisitely hand-painted and framed in a vintage Moorish micro mosaic inlaid frame. This collectible piece showcases the refined elegance of Islamic art, merging the rich traditions of Persian miniature painting with the intricate craftsmanship of khatam marquetry. The finely detailed painting depicts a 19th-century royal polo scene, featuring royal princes dressed in traditional Maharaja attire riding horseback in vivid, vibrant color. The square-shaped frame is masterfully handcrafted using the ancient Persian technique of khatamkari, a meticulous form of micro mosaic inlay. This time-honored art form utilizes tiny slivers of wood, bone, and metal to create delicate geometric and floral Moorish designs—reminiscent of works found in the Doris Duke Islamic Art Collection and other notable museum holdings. The micro mosaic inlay, also known as Sadeli work, is a rare and highly sought-after craft, especially when combined with the luminous detail of a Persian miniature. This piece is a true testament to Indo-Persian artistry, offering both visual opulence and historic significance. Features: * Antique handcrafted Moorish frame with geometric Islamic design * Persian miniature painting on shell with royal polo scene * Museum-quality Indo-Persian craftsmanship * Frame dimensions: 13" x 9.25" * Ideal as a collector’s piece, wall décor, or focal point in any sophisticated interior * A rare fusion of Islamic, Persian, and Indian decorative arts circa 1950s. Perfect for collectors of Islamic art, Middle Eastern antiques, or enthusiasts of fine marquetry and micro mosaic inlay, this piece brings historical richness and unparalleled craftsmanship to your space. Keywords: Persian miniature painting, Moorish micro mosaic frame, Islamic art, antique Indo-Persian marquetry, khatam inlay, Sadeli mosaic, Middle Eastern artwork, royal polo scene, Maharaja painting...

Porcelain sculpture of an African rhino with an innovative decoration. This porcelain creation portrays the African rhinoceros, one of the most magnifice...

Vintage and rare - Vintage Rosenthal Wiinblad Sheherazade Concertina Oriental Night Music Arund Vase - Rosenthal Studio Line, small vase or home decor. Designed by Bjorn Wiinlad in G...

Fine metal painted head horse on horseshoe, circa 1890.  

Vintage Baneda line vase features twin loop handles, wide band of decor in the upper part of the vase, and beautiful green glaze with dripping blue glaze accents. This is the model 5...

Depiction of a sitting and attentive dwarf bulldog looking slightly to the side with white and black fur and white collar. Designer: OSKAR ERICH HOESEL (1869 - 1951) was a German sc...

A Chinese vintage porcelain cache-pot planter from the mid 20th century with hand-painted blue and white décor depicting landscapes, architectures and figures in boats patterns. Created in China during the midcentury period, this porcelain cache-pot features a tapering silhouette perfectly accented by a blue and white décor. Showcasing an opening of 10.5 inches diameter, the piece is adorned on its upper lip with geometric motifs inspired by honeycombs, surrounding delicate floral motifs. The round tapering body attracts all of our attention with its delicate hand painted décor presenting traditional architectures such as pagodas set...

The Oval Queen by Patrick Coard Paris, shown here in its black oak veneer inlaid on a fiberglass core, exudes an understated elegance that brings a sense of depth and warmth to its m...

Enhance your leaving space with this early 19th Century Chinese Export Rose Medallion Famille Rose canton porcelain punch bowl with multiple cartooge panels. The exterior of this go...

Rare tall and slender early 20th century cylinder shaped Armenian ceramic vase with floral, organic and graphic decorations handpainted in green, blue, red, gray colors on sand colored pottery base under clear glaze. Manufactured by Armenian pottery...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

An old glazed stoneware pair of Chinese 'egg post' or planters from Southern China. The pots have a traditional continuous coiling dragon wrapped around the body chasing the eternal ...

A hand-painted majolica lidded jar / box or tureen in the shape of a pheasant hen sitting on a basket, made by Sarreguemines around 1900. This beau...

Sculpture gilded peacock handmade in precious porcelain one by one, feather by feather. Each feather is unique. Made with shiny porcelain, hand-painted ...

This is a large and extraordinary lacquered wooden box, with floral decoration and polychrome drawings that represent a man collecting red coral on the beach, on blue background. Made in precious fir wood, Swiss pine, lacquered and engraved. This blue lacquered box...

A Mid Century Chinese Export Rose Medallion Punch Bowl on Wood Stand Great vintage condition. No cracks, chips or repairs. Measures 14.125" in diameter and 8" tall on wood stand. 6.5...

Set of two Bitossi Aldo Londi for Cer Paoli Sahara range ceramic vases. Italy, 1960s. Ceramiche Paoli "Cer Paoli" was created at the end of the Second World ...

Extraordinary Japanese contemporary decorative porcelain vase extremely intricately featuring a traditional Arita "shippo" pattern in deep red, green and blue, a stunning signed mast...

A very fine Aesthetic Movement Royal Worcester twin handled vase hand painted with floral designs dated 1899. The small, elegant porcelain vase stands raised on a square pedestal bas...

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

A Wooden and very beautiful Antique Rice Carrier that it lacquered in red. The piece is a compliment to many settings and spaces. This could be used as...

Tall Italian majolica serpentine handles vase with a mythological scene Depicting The Triumph of Bacchus and Ariadne - Annibale Carracci - 1597...