Hand-Painted Decorative Objects

18th century Italian bronze-gold crucifix with coordinating gold leaf shells and crystal points mounted on a crystal geode. The gold leaf shells adorn the crucifix and the base of th...

English, vintage metal washbasin that would have been used on a vanity or in a kitchen, recently updated with new paint and decoupage of fish illustrations. The interior of the bowl ...

Unique ceramic sculpture by Lisa Larson, created in Gustavsberg, Sweden, in 1998. The sculpture depicts a small child seated on the back of a dog. The con...

🎁 Holiday Tip: This figurine makes a thoughtful and unexpected Christmas gift for dog lovers, vintage enthusiasts, or anyone who appreciates characterful design. Pair it with a floral arrangement or antique book for a poetic seasonal presentation. Dimensions: 12x17x22cm Condition: Excellent vintage condition with minor wear consistent with age. This charming mid-century ceramic basset hound...

A beautiful pair of hand-painted ceramic Asian male figures, Chinoiserie style, circa mid-20th century, British Hong Kong. Hand painted in both rich and bri...

A beautiful and exceptionally 18 inches tall classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the the early 20th century, covered with a ...

This exceptional seven-light candelabrum takes the form of a monumental oak tree and was most likely created within a Northern German artistic or metalworking tradition, possibly by ...

A Large Blenko Handblown Tall Purple Ribbed Glass Vase 1970, Milton, West Virginia, c 1970 Gorgeous tall handblown ribbed vase by Blenko. The ribbed...

Royal Delft Blue Covered Baluster Vase / Urn Hand-Painted Dutch Delftware Add timeless Dutch elegance to your interior with this exquisite Royal Delft covered baluster vase, also known as decorative urns. Expertly hand-crafted and hand-painted in the renowned Delft Blue tradition, these impressive vases feature enchanting Royal blue camaieu floral decorations enhanced by a graceful peacock motif. Raised on distinctive octagonal feet and topped with matching lids, the vases showcase the exceptional artistry and craftsmanship for which Royal Delft is celebrated worldwide. Inspired by Baroque, Chinoiserie, Chinese, Oriental, and Asian decorative styles, they make striking statement pieces for traditional, classic, and eclectic interiors. Produced in Delft, The Netherlands, during the second half of the 20th century, these elegant decorative urn reflect the rich heritage of Dutch Delftware, a ceramic tradition dating back to the early 17th century. Delft Blue pottery became one of Europe's most sought-after luxury exports and remains highly collectible today. A Treasure perfect for display on a mantelpiece, console table, sideboard, or in a curated collection of fine ceramics, these Royal Delft vases combine historical charm with enduring decorative appeal. Features Authentic Royal Delft Manufactory production Hand-crafted and hand-painted Traditional Delft Blue (blue and white) decoration Floral design with peacock bird motif Covered baluster form with matching lids Marked: under the base and in the cover Octagonal foot bases Origin: Delft, The Netherlands Period: Second half of the 20th century Condition: Good Color: Blue and White Styles: Baroque, Chinoiserie, Chinese, Oriental, Asian Dimensions Width: 9.4 in (23.9 cm) Depth: 9.4 in (23.9 cm) Height: 19.5 in (49.5 cm) Royal Delft vase, Delft Blue urn...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Small English chinoiserie plate. William IV chinoiserie plate or vide poche/ saucer with hand painted multicolored court figures and notables with t...

A rare antique French glass paperweight containing a close pack mushroom design by renowned glass makers Baccarat and dating from around 1850. The large and heavily made paperweight ...

Made in the late 18th century, this pair of blue and white Delft jars has an elegant presence. The smooth ovoid bodies rise to a strong, stepped neck and a wide, projecting flange th...

This Arts and Crafts stoneware vase by Charles Brannam was made in Barnstaple, Devon, around 1910. Thrown in stoneware with a terracotta-type body, the vase is finished in a glossy c...

Sculpture leopard sit in hand painted ceramic.

More information coming soon… This painted demi john bottle is quite a find, as the vessel is still nestled in its original wood crate (see detail p...

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...

Sculpture Danish dog In hand painted ceramic.

Elegant, hand painted orange and gilt decoration enhances the classical urn form of this pair. Details include removable lids with foo dog finials. Mottahedeh is the recognized lead...

Sculpture Blue Wading with base structure in solid brass and porcelain and with bird' structure in hand-painted porcelain with brass details.

From our recent Japanese acquisitions A lovely rare surviving example of a Japanese Dragon created in blue and white porcelain with gold gilt highlights Signed on bottom: Gumps S...

A charming porcelain floral oval trinket box painted in blue and white. This piece would certainly be a fantastic addition to an existing collection of these desirable boxes. Marked ...

Rectangular table box with rounded corners in sterling silver 925/1000 gold plated with a beautiful hand-engraved and fire-enamelled frame and in the center a beautiful hand painted miniature by the painter Beatrice Mellana reproducing the painting by Jean Auguste Dominique Ingres "Odalisque with slave". Dimensions cm. 9.5 x 12.3 x 3.3. Weight gr. 671. Designed by Giorgio Salimbeni in 1979 and manufactured in Florence in numerous specimens with various subjects and different colors, in the headquarters of the Salimbeni Company with completely manual execution by artisan artists with thick slab and large reinforcements suitable for withstanding numerous enamelled firings at about 800° C. Miniature is a very ancient technique which consists of painting works in small proportions. It was born for the decoration of the first letter of the paragraph of the books. Over the years, however, this technique is refined and enriched, then moving on to precious personal items. hand painted miniatures can be done with multiple different techniques. The most important that we use on our articles are of three kinds: 1) Fire enamel. 2) Water tempera on an ivory plate. 3) Painted on mother-of-pearl. Fire enameled miniatures: On a first layer of enamel generally white or very clear or even transparent suitably liquefied at a temperature of about 750 ° C, the chosen subject is painted using miniature...

A Swedish dowry box presented to the bride by her parents on the occasion of her marriage, decorated with homemade pigments in traditional folk-art patterns in faded grey blues and s...

Pair of Ceramic Birds Candlesticks - Candle Holders - Japanese Pottery 1970s Charming pair of bird-shaped ceramic candlesticks. Japanese 1970s pottery. Each candlestick is hand-cr...

This stylish dog sculpture dates to the late 1950s-1960s and was fabricated in Italy. The piece is in excellent condition and a real beauty! Available other Art Nouveau, Art deco an...

An incredible Swedish hand-painted chest, having hand-forged iron straps and fittings. Original key included.

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...

A striking tall mid-century earthenware vase or planter in the Yixing-style, characterized by its hand-applied floral decoration and subdued glaze palette of brown and green tones. T...

This is a gorgeous and hard-to-find sculptural porcelain box with a lid. It is shaped like a woman's head with a hat; the top of the hat forms the lid. It is not only a highly decora...

Transform your space with this breathtaking Italian figural standing candelabra floor lamp, a masterpiece of early 20th-century European craftsmanship. Exuding elegance and sophistic...

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 ...

Beautifully gilt and hand painted Royal Crown Derby pair Imari pattern porcelain decorative urns/vases with gilt twin side handles. Each urn features an exterior 22k gold and handpai...

Abercrombie & Fitch Mallard Drake Duck Decoy. Shows some wear from light use.

A large pair of Chinese turquoise glazed porcelain roosters with purple combs, circa 1920.

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...

The Matchbox Series is composed of roughly 4”x 6” boxes that make direct references to iconic NYC institutions. These boxes come with slide out inserts that are filled with oversized...

17th century Italian silver leaf distressed angel wing with coordinating layers of mica layers creating a 3D effect of the angel wing. The wing sits on a smokey quartz crystal with n...

This is a box for the matcha powder using while tea ceremony in Japan. It is called 'Natsume'. It is made with wood. The design is a boat and it is hand painted. The material is with...

Meticulously enamelled and gilt satsuma box, Meiji Period (1867-1912). Overall very good antique condition, wood base is sculpted wood. Very good antique...

Introducing a stunning early 20th-century Bavarian porcelain vase by H & Co. of Selb, Bavaria. This large, double-handled vase boasts exquisit...

Japanese contemporary porcelain decorative porcelain vase, hand painted in red and blue on a beautifully shaped ovoid porcelain body, a signed piece by widely acclaimed Japanese mast...

Colorful French mid-20th Century ceramic vase stamped Saint Clement France. A gorgeous decorative object with a wonderful black background and green over...

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 stoneware art deco vase with beautiful brown glaze. Foot and mouth detailed in gold. Designed by Gunnar Nylund for ALP (Lidköpings Porslinsfabrik), Sweden, 1930s. Excellent condit...

A monumental terra cotta swan from Italy. The piece is a wonderful addition to the garden or lanai. Made of dense material and able to withstand the elements. Works well as a centerpiece as well. The 15"x15"x8deep vessel on top easily holds flower, plants or floating flowers - could also work to hold magazines or craft supplies...

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...

A large and highly decorative French Aesthetic Movement ormolu-mounted barbotine majolica vase, Choisy-le-Roi, circa 1890. The vase is richly ...

An impressive and richly carved giltwood frame executed in the Baroque style, dating from the 17th century. The frame features exuberant scrolling acanthus leaves, volutes, and carto...

From our hand-painted Furniture Collection, we are pleased to introduce you to our Light Taupe Rocchetta Tray with pink Flamingos design. This exquisite Rocchetta tray is a true cel...

Indulge in the splendor of the Meiji period with this remarkable pair of antique porcelain lidded jars, crafted circa 1885. Standing at an impressive 20 inches tall with a diameter o...

This vase is a perfume bottle, that can be used with the cap, as it, or as a vase if we put off the cap. The painting is handmade, it is a gold 24-karat painting. This is a productio...

- Hand built decorative cat sculpture - made of clay collected from the potter's surroundings. - decorative motifs painted with a goat hair brush made b...

Four crystal glass bottles painted from the inside featuring artworks in style of Qi Bai Shi, the renowned early 20th century artist who's known for his black and white Chinese ink p...

Here is a charming terracotta cat figure by Alfaraz Studio / Workshop of Madrid, Spain. From the 1960s, this striking fellow is handprinted in rich, golden yellow with contrasting bl...

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...

This is a pair of Japanese Satsuma Kutani porcelain Foo Dogs. They are hand painted white and adorned with gilt and silver suns, flowers and scrolls. Bo...

Hand-painted Royal Delft candlesticks by De Porceleyne Fles decorated in classic blue and white and offered as a pair with original Delft boxes. This rare and elegant pair of Royal ...

Faience figure "Dachshund", Royal Belvedere, sculptor: Rudolf Chocholka, Austria, Vienna, 1920s - 1930s Additional Information: Materials: faience, underglaze hand painting Vint...

Vintage ceramic or pottery vase features hand-thrown body with distinct, sculptural foot and wide free form flared rim. The vase is decorated with salt glaze with drip glaze accents...