Hand-Painted Decorative Objects

Refined and unique jewelry box made of carved wood, covered with hand-embossed and silver-plated metal veneer. The piece features riveted hinges and a tempera-lacquered interior in s...

Pair of French Baccarat Pink Opaline Ormolu-Mounted Vases Hand Painted with Birds and Flowers, Exposition Universelle 1876 The upper portions of the vases are decorated with polychro...

This exceptional French Art Deco stoneware vase, attributed to Louis Auguste Dage and dating to circa 1920, exemplifies the elegance and modernist design sensibilities of the period....

From Rochard, Limoges Paris, a hand enameled trinket box, a scent chest with a metal caged glass bottle, circa 1970-1980s. The oval metal braced box has a domed lid with a tear-drop...

A pair of spectacularly decorated Japanese ceramic vases from late Meiji period circa 1900s by Kozan, a maker in Kyoto area who specialized in producing fine satsuma ware. Impressive...

Louis XV style inkstand with chinoiserie design, lacquered top. This rare and stylish inkstand is a work of the house Boin-Taburet, goldsmith in Paris. This impressive size inkstand...

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

This charming antique Staffordshire porcelain figurine, dating to around 1860, depicts a puff dog—most likely a poodle—crafted with exceptional attention to detail. The figurine feat...

This is a finely hand painted Chinese porcelain tea bowl from the 18th century, Qing dynasty, Qianlong period, 1736-1795. The bowl is well decorated, continuously around the body ...

A large Imari porcelain display bowl from the early 20th century. The bowl features a gently scalloped rim and is decorated with exquisitely painted enamels in blue, orange, red, and...

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...

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

Mid-century decorative platter (circa 1960s) by Albert Thiry. A large sunflower springs to mind looking at the platter. Both visually stunning and tactile at the same time, the deepl...

This elegant large porcelain vase with its original lid is decorated in a classic blue and white palette inspired by traditional Chinese export porcelain. The piece features a distin...

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 ...

A delightful and stylish Italian mid-century Rimini Blu art pottery sausage dog figure designed by Aldo Londi (Italian, 1911-2003) for Bitossi and dating f...

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

Danish Vintage Artists Paint Box and Pallet, Early 20th Century Well loved Danish artists traveling wooden box with everything needed to paint on location. This charming box, acqui...

A large and rare lidded urn with amazing lustre glaze and hand painted gold details. Scandinavian Grace / Art Deco. Made by Josef Ekberg at Gustavsberg, Sweden, 1930. Great conditio...

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

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...

A 19th century Country French comtoise, or grandfather clock, with polychrome painted pine case and embossed brass pendulum. Seven day Morbier movement, professionally cleaned and in...

This pair of Chinese Export porcelain vases, dating to the early 20th century, is finely hand-decorated in the Famille Rose palette, a celebrated colour tradition within Qing dynasty...

Sculpture leopard sit in hand painted ceramic.

A fantastic rare early footed stoneware Japanese style California studio pottery Chawan tea bowl (circa early 1950s) by Master Greek-American potter/artist Peter Voulkos featuring ha...

A stunning and rare Bay Keramik little vase finished with renowned designer Bodo Mans. BODO MANS was born in 1935. From 1949 to 1951 he apprenticed as a window dresser and a decorati...

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...

Playful stretching Tonala pottery cat figurine is decorated with beautiful hand painted abstract geometric and floral designs in blue, green, and earthy brown palette. Variations in...

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...

This pair of Flight, Barr, Barr Worcester porcelain plates was hand-painted at the Worcester factory, in England, circa 1825. They feature a vibrant apple green complemented by lavis...

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...

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...

Vintage Ceramic Pair Budgerigars by Hertwig Katzhütte Colorful ceramic pair of budgerigars or parakeets, made by german manufacturer Hertwig Katzhüt...

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

Charming Limoges Porcelain Trinket Box painted in pinks, purples and greens. Upon opening the box there is a cute flower design inside as well. The box is marked Peint Main Limoges F...

Vintage porcelain temple jar, handcrafted towards the end of the 20th century, in 1980s China Artistically decorated in a simple yet decorative Ming-era style. Its body features a figural scene perfectly realized in hand-painted cobalt blue enamel. Flying birds and floral motifs are interspersed between bold blue borders and graphic Chinese-style decorations. Coming together and creating a striking contrast against the luminous white underglaze porcelain. The porcelain jar measures 20 cm in height and 15 cm in diameter. It's in good condition for its age and use, bearing only x1 small chip to the lip of the temple jar. And is stamped on its underside with a 'Zhongguo Zhi Zao...

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

This exquisite French Art Nouveau porcelain egg box, dating to around 1900, showcases the opulent elegance of the era. The piece features a delicatel...

More information coming soon… After the original Alfred Jacquemart hunting dogs from the 1800s, this pair of French cast iron sculptures dates to circa 1900. Both dogs are depicted...

Fine metal painted head horse on horseshoe, circa 1890.  

Traditional 19th century hand painted scandinavian box circa 1860. Rustic made piece from sweden that was used to help secure a person’s possessions. Oval shaped with a slight dome...

A large Thai hand-painted blue and white porcelain bowl from the 20th century with floral motifs. Created in Thailand, this porcelain bowl features a circular tapering silhouette wit...

Pair of diminutive red Staffordshire Spaniels, circa 1860, Each one exceptionally painted with expressive faces.

Large Japanese Satsuma vases from the Meiji period (1868–1912) in hand-painted porcelain. Rare pair of Satsuma vases from Japan, 19th century. — Origin: Japan — Period: Meiji (1868–...

Unique stack of leather books design tantalus with hidden 'shot glasses' & decanters. If you are looking for the most interesting and worldly gift for yourself, a friend or a loved ...

Table clock in 925/1000 sterling silver gold-plated with translucent fired enamel on a sunburst guilloché, with various ornaments in Napoleon III Empire style, late 19th century. The...

Philippe Deshoulieres for Sophie d’E Limoges Signed Porcelain Horse Trinket Box – Estate Provenance From the private estate of a prominent American desi...

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...

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...

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

Théodore Deck (1823-1891) Gourd shape vase with a spherical body and straight neck Polychrome glazed earthenware designed on both sides with a bird, butterflies, a bee, and flowers o...

Porcelain sculpture depicting a hare, inspired by the plant motifs of the designer William Morris, one of the all-time masters of the decorative arts. This sculpture, made in matte black porcelain, depicts an exquisitely ornamented hare inspired by the famous patterns with motifs taken from nature that Morris, one of the key figures in the renewal of the decorative arts, applied in all his works. The piece is finished in matte black porcelain and decorated with Morris’s signature plant motifs, finished in green and metallic tones. William Morris was a multifaceted British artist, instrumental in the renewal of design and the decorative arts. The driving force behind the late-nineteenth century Art and...

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...

French Louis XV Style “Tournant” Mantel Clock, Napoleon III Period, Paris, 1855 In gilt bronze (ormolu) and Sèvres enamel. The base is crafted in white Carrara marble, decorated wit...

Antique Wien Keramos Austria Porcelain Poodle 1930's Charming Poodle Figurine This stunning ceramic poodle exudes elegance and nostalgia, making ...

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...

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...

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...

San Domingo (Kewa) Black-on-Cream Pottery Vase by Darrin Aguilar A finely executed contemporary Pueblo pottery Vase by Darrin Aguilar of San Domingo Pueblo (now Kewa Pueblo), New Me...