Hand-Painted Decorative Objects

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

Napoleon III Blue Opaline “Egg in Nest” Perfume Casket with Paris Views, Palais Royal, Paris, circa 1860–1880 A superb French Napoleon III blue opaline glass and ormolu-mounted perf...

Signed Kinkozan 金光山 From our Japanese collection, we are delighted to offer this Japanese Satsuma Vase by Kinkozan. The vase is potted in globular form with a tightly pinched neck and rolled top rim beautifully decorated with four highly detailed individual panelled scenes. The first a Geisha baring a gilt basket with her child playing with a fan infant of a gilt fence encompassing blossoming foliage and bamboo plants. The second scene depicts two birds, a Red Headed Japanese Wood Pigeon and a white dove in the foreground with a similar gilt fence with blossoming kiku flowers (chrysanthemums). The third scene is painted as a bustling village community with multiple figures going about their daily jobs, a central Palanquins can be seen with two figures carrying a seating figure. To the background a mountainous river landscape can viewed bordering the top left corner. The final scene appears similar to the opposing one with birds swooping high above a polychrome Japanese...

This tall blue and white Chinese altar vase features a boldly hand-painted double happiness motif, surrounded by floral scrolls and geometric patterning in traditional cobalt glaze. ...

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 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...

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...

This elegant Art Deco ceramic vase was realized by the esteemed atelier of Royal Crown in Czechoslovakia circa 1930. Suggesting a modern interpretation of the classic Greek amphora vase...

Large 19th-Century German Porcelain Pug Dog, Attributed to Dresden Description: A finely modeled and richly expressive 19th-century German porcelain figure of a pug dog, attributed...

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...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

An English Victorian period slit leg Staffordshire dog from the 19th century with textured coat and gilded collar. Created in England during the reign of Queen Victoria, this Staffor...

An exceptional pair of Art Nouveau purple and blue streak glazed art pottery candlesticks dating between 1909 and 1922. The stoneware candlesticks are heavily potted standing on wide rounded bases with tall graduating column stems with bud shaped tops with flat rounded rims. The candlesticks are decorated in streaked blue and purple glazes over a lighter red glazed ground and both have clear glazed foot rims with recessed bases. The candlesticks are both impressed ASHBY GUILD...

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...

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

Fine antique Imperial Russian lacquer Racing Winter Troika jewelry casket by the Lukutin Workshops 19th Century In exceptionally fine condition with original key The Russian lacquerw...

An exceptionally fine quality highly detailed pair of Royal Dux Czech Republic pottery vivid Majolica Parrot Feathered Figures of quite generous size, Mid Twentieth Century Each ...

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...

Mid 19th century Mahogany wood / glass case grande Sonnerie three weight Vienna Regulator clock. The wall clock features a rosewood veneer with ...

Embrace a timeless treasure that echoes grandeur: an exquisite oval-shaped photo frame, sculpted from 925/1000 gold-plated sterling silver. Its translucent enamel adorns a sunburst g...

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...

Rectangular table box with rounded corners in gold-plated 925/1000 sterling silver with very fine hand-engraving, also on the sides, of peacocks with “ramage” similar to tiger tails,...

A Mid-Century Modern Bistossi ceramic bowl with a stylized crossword design of squiggly lines with block squares in red, gray blue and black on a white glazed soft textured backgroun...

Carved wood hand painted donation / offering ALM BOX, Spain, 18th century. Polychromed carved wood church collection offering donation money box as wall decoration. This alms box is made of pine wood painted in terracotta hues. A nun carved ornamentation decorates the top. Wall hanging collection / donation money box. Originally used to collect donations at Christian churches/chapels. Interesting to be used as key box or key cabinet or as wall decoration Rare find. Provenance: Private collection. No key avaliable. Overall Measures: 45 cm H x 26 cm W x 21 cm D Poor box...

Spectacular vase, Vienna Secession by Julius Dressler, made between 1900 and 1905 in Austria. This vase is an outstanding piece of history—made during the exciting era of the Secess...

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...

This whimsical pair of mid-century candlesticks was crafted circa 1950, likely for the Chinese export market, and features vividly painted porcelain parrots perched atop floral-cover...

We are pleased to offer this Antique blue and white Delft charger with a well-painted landscape showing a house and trees. The decoration is crisp. The scene is framed by an attracti...

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 ...

Beautiful color block Scandinavian Mid-Century Modern handmade, hand painted ceramic vases by designer Olle Alberius for Swedish Rörstrand in the 1960s. Bright cobalt blue base with ...

Mid-century pair of Jardiniere planters & matching tall pedestal stands by Capo di Monte Italy. Two ceramic flower pots with two matching tall ped...

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

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This eleg...

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

A rare early 19th century New England wooden chopping bowl in original blue-green paint with beautiful stitched repairs and rich patina. An extraordinary example of early American ut...

Table clock shaped opening square box in 925/1000 sterling silver gold plated with translucent fire enamels on guilloche. Swiss mechanical skeleton movement with 8 days charge with a...

Beautiful porcelain statue of Mary with baby Jesus on her arm. The statue is hand painted in beautiful colors. The statue is marked on the bottom with t...

French Ormolu Cartouche Box with Miniature Portrait of Marie Antoinette, Signed, Paris circa 1900 This exquisite French ormolu cartouche-shaped box dates to the Belle Époque era, ci...

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...

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...

Danish art nouveau white and bright blue crackle glaze porcelain vase with intricate golden, burgundy, black and blue decorative band around the belly. Produced by Dahl Jensen in th...

This vintage miniature wood box has six drawers and lots of character and patina. Some of the drawers are lined in faux marbleized paper. We see this wonderful piece being used to st...

Amazing 10 Sets of Japanese Gilt Rice Lacquer Bowls w/ Covers from the 19 Century. There are a total of 20 pieces with the original lidded wooden box. There are 3 different guilt pa...

A fine antique 18th German porcelain figurine. By the Royal Meissen Porcelain Manufactory. Model Number 12. Depicting a Trumpeter from the 'Gallant Orchestra' series created b...

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...

Elegant Herend Hungary porcelain cachepot, masterfully hand-painted with vibrant floral bouquets on a crisp white ground. The piece features two finely shaped side handles highlighte...

This elegant pair of Dutch Delft vases is from the late 18th century, circa 1780. They are beautifully hand-painted and feature cobalt blue decoration in the mid-18th-century "Thousa...

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...

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...

Beautiful porcelain peint main (hand painted) vintage gift wrapped trinket box with bow by Limoges, circa 1980s. This piece is in very good vintage condition with no chips or cracks ...

Large Russian Nicholas I Period Porcelain Vase Imperial Porcelain Factory Russian, c. 1830 Height 78cm, width 34cm, depth 30cm This outstanding antique vase, created around 1830 by ...

Rectangular table box with concave corners in 925/1000 sterling silver with translucent fired enamel on guilloché, also on the sides and fine hand engravings in baroque style. With l...

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 ...

Here is a wonderful and rare art deco globe vase made by the famed French ceramist Robert Lallemant (1902-1954). This spherical vase represents the globe with depiction of various co...

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...

Large round hand-turned, and hand-painted lidded antique tribal wooden spice box, likely from Pakistan, made around 1900.

Mid-Century Modern Earthenware High Pitcher Signed Agnes Escala 1970 france Beautiful large ceramic pitcher decorated with geometrics decor. The use o...

A striking mid-century ceramic funny fat cat figurine that would add touch of rustic elegance to your collection. This serene feline features: - A seated pose with front paws grounde...

A lovely large pair of antique Neoclassical style French yellow and gold footed jardinieres /cachepots / vases on decorative plinths, circa 1900. These gorgeous planters have fine ha...

Made circa 1785, this plate features a deep cobalt blue border that is beautifully gilded with a dramatic geometric pattern. The burnished gilt is a hallmark of Dagoty porcelains. I...