Hand-Painted Decorative Objects

Large Moroccan glazed ceramic urn with lid from Fez. Moorish style ceramic handcrafted and hand painted with Arabic calligraphy writing. This kind of Art Writing looks calligraphic...

Vintage Talavera folk art glazed terracotta lidded canister - large size - hand made - featuring hand painted leaves and flowers with cobalt blue borders - signed TMR on the base (un...

A gorgeous gilded antique French Neoclassical style black and gold toleware monteith cachepot. This fine jardiniere has a hand painted landscape scene with Roman architecture on one ...

An exceptional and highly decorative pair of 19th-century Dutch planters, masterfully crafted in hand-carved European oak and adorned with an extraordinary collection of original Del...

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...

This is a very decorative Chinese export, Canton porcelain, rose medallion Vase which we date to the 19th century, Qing dynasty, circa 1840. The vase has a baluster shape with a f...

Rectangular shaped photo frame in gold-plated 925/1000 sterling silver with translucent fired enamel on guilloché with borders in the French Empire Louis XVI style. External dimensio...

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...

This stunning French mantel clock is a superb example of neoclassical design, showcasing the refinement and craftsmanship of the 19th century. Crafted from luxurious white marble, th...

Sculpture white parrot all handcrafted in porcelain. Hand-painted and with details in solid bronze.  

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

An English porcelain Staffordshire dog decorative object sculpture, Victorian design period, circa late-19th century, England. What a chic dog w...

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...

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mo...

Greek Pottery Black Urn Depicting an Assembly of God's. Hand painted, signed by artist. It was brought back from a trip to Greece in the 70's. A gr...

Vintage I Spyropoulos Handmade in Greece black and 24K Gold Finish Porcelain Jar with Lid. Vintage handmade in Greece Black and 24k Gold Trinket Porcelain Dish with Lid. Greek Mythol...

A Chinese porcelain vase decorated in the Japanese Kutani style, richly adorned with butterflies and floral motifs. The tall, slender form rises to a slightly flared rim, its white g...

Santa Claus limited edition porcelain figurine with a sweet little girl in his arms kissing him decorated with red enamels on Santa's costume.

This is a tea bowl for matcha. It was used to use during tea ceremony. This bowl is made with porcelain and it will come with a wooden box. This bowl was made with style Raku (Raku yaki...

A large leaf-shaped scalloped art deco centrepiece by Josef Ekberg for Gustavsberg, Sweden. Amazing sea green lustre glaze with hand decorated gilt embellishment. Made of flintware. ...

A unique Swedish case clock in original blue and salmon color. The year 1837 can faintly be seen above the clock face. Remnants of 18th century color animations are affixed to the in...

An impressive large Chinese Export enameled decorative urn, dating to the late 20th century, distinguished by its substantial scale, richly colored hand-painted decoration, and tradi...

Limited edition dragon sculpture in matte porcelain with gold lustre. A symbol of power and prosperity in Eastern culture, this magical creature, the bearer of good luck, is the protagonist in this spectacular High Porcelain limited edition. The hundreds of scales covering its skin are individually hand painted with gold lustre, an extremely laborious technique requiring the expertise of the finest artists. The luminosity distinguishing its spectacular embellishment is attained by combining gloss and satin finishes, united by an iridescent metallic hue on the chest and a vivid turquoise hue on the crest. The complexity of the dragon´s...

Meiji period large Japanese Imari bowl centerpiece This large, distinctive, octagonal porcelain Imari bowl is painted in rich, inky blue, co...

Elegant vintage round Limoges 22-karat gold trinket jewelry box. French vintage Limoges trinket box in cobalt royal blue with fine gold decor. Marked...

Vintage hand-carved candelabra features sculptural four-arm form in solid wood, equipped with metal candle holder inserts. Detailed arms and base add textural element to otherwise mi...

Royal Copenhagen Blue Fluted Full Lace Three Section Serving Dish No. 1005 An exceptional Royal Copenhagen Blue Fluted Full Lace three section serving dish, model No. 1005. The scul...

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...

The beautiful vintage wooden decorative tray features hand-painted traditional Norwegian Rosemaling Style decor. Rosemaling is a folk-art paint...

Decorate a mantel, console, or bookshelf with this elegant pair of antique Delft vases. Crafted in Holland circa 1920, the tall cylindrical vessels feature a gently flared rim and cl...

The "GOLDEN RATIO" sculpture by Patrick Coard Paris is a couture masterpiece, exquisitely crafted from a bronze patina brass veneer inlaid on a fiberglass core and meticulously hand-...

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 rare and highly decorative pair of late 19th-century Chinese blue and white porcelain jardinières, or small fish bowls, dating to circa 1880. Hand painted in rich cobalt blue on a...

The Netherlands Gouda Workshop of W. J. Oliviers Verswaen (De Swaen) Circa 1625 - 1650 A polychrome Dutch Delft tile with the decoration of a starling identifiable by its spotted bo...

Limoges Marihuana porcelain gold rim apothecary jar. Signed on the underside.

Beautiful hand painted Limoges porcelain candy dish, trinket, or jewelry box. This gorgeous French jewelry box is adorned with traditional decor...

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

Majolica amphora made and painted by hand, following the original Renaissance painting technique. This sumptuous vase is characterized by the elegant presence of naturalistic ornamen...

A beautiful vintage Bing & Gröndahl “Seagull” (Mågestellet) porcelain vase, Denmark, decorated with the iconic seagull motif originally designed by Fanny Garde in 1895. The vase fea...

Vintage Japanese tray or plate with beautiful hand-painted landscape scenery, cascading wisteria, vibrant peonies, and peacocks, a symbol of beauty and longevity in Japanese culture....

This is a Rare Bareuther Bavaria Porcelain Urn, a distinguished piece crafted in Germany between 1937 and 1945. Authenticated by the stamped “Bareuther Bavaria” mark on the base, thi...

A stunning footed Art Deco vase with hand-painted gold foot. Made by Rosenthal, Germany in 1930s. Stamped with makers mark. Great condition.

Oval evening bag in 925/1000 sterling silver with fire enamelled stripes in Art Deco style. Measurement cm. 5.5 x 10 x 14.8, interior with ground mirror. Weight gr. 748. Created in 1...

A delightful and scarce Russian mid-century hand-painted ceramic figure of a young, seated dog made by the Konakovo Faience Factory between 1952 and 1959. The factory was located cl...

This is a set of five exceptional plates made by Flight Barr and Barr Worcester in England circa 1820. Each plate features a delicate hand-painted shell in a roundel at the center. T...

Large French stoneware vase created at the renowned Poterie de Ciboure in the French Basque Country during the 1950s. Entirely hand-painted and signed by Carmen Fischer, this impress...

A magnificent 19th-century blue overlay crystal vase, finely hand-cut and richly decorated with enamel and gold. The deep cobalt blue crystal has been expertly overlaid and cut to re...

A stunning and rare Italian miniature lustre vase decorated with scarab beetles designed by renowned ceramic artist Galileo Chini (Italian, 1873-1956) and made by L’Arte della Cerami...

This Wilhelm Kåge Argenta ceramic bowl for Gustavsberg, produced in Sweden around the 1950s, is a distinctive Mid-Century decorative bowl from the...

Decorative Italian ceramic bowl by Guido Gambone (circa 1950s). Decorated on the inside with stylised wild bore at the centre base with shiny enamel yellowish surround which has the ...

Antique Southeast Asian Polychrome Wooden Oversized Temple Horse from India. Large Antique Southeast Asian Carved Polychrome Wood Horses. Antique Southeast Asian carved wood model of a parade horse. the body with allover polychrome, saddle and reins carved in high relief, the tail lacquered. 19th century hand carved oversized wooden Indian temple horse...

Charming 19th Century Painted Oak Country House Box or Chest A delightful piece of English folk art, this 19th-century country oak chest is beautifully hand painted as a Georgian ...

Charming antique Italian ceramic trinket dish dating from the 19th century. This handcrafted piece features a hand-painted decoration in shades of blue on a light background, with st...

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

A naturalistic shaped and fine detailed elephant figurine from the Art Nouve era dating to around 1910. The elephant is marked with a green unidetified manufacturer's mark.

PRESENTING A GORGEOUS 19C Gustav Becker Vienna Wall Clock. Made by the famous clockmaker, Gustav Becker circa 1880 in Germany. Th...

A rare antique French provincial Henriot Quimper faience tulip vase or tulipiere, circa 1890. Maker's mark on reverse. Hand painted with a traditional Breton man on one side and flor...

Vintage Kholui hand painted papier mâché box with hinged lid - fine quality - featuring a Russian folklore painting of the Snow Maiden to the raised oval section on the top of the re...

Antique Art Deco ceramic vase with vertical hand-carved straight and organically swirling lines with hand-painted bright blue floral decor on cream colored base. Artist's signature ...

This is a flower vase which was made in Japan around 2000s. It is with porcelain and hand painted. The design is with Japanese apricot UME.