Hand-Painted Decorative Objects

1930s Torino glazed porcelain sculpture of seated Venus on shell over dolphins, manufactured by Lenci, Italy By: Lenci Material: ceramic, porcelain, enamel, paint, clay Technique: c...

An amazing Royal Copenhagen porcelain basket bowl, dish or ashtray with a highly decorative lobster figurine. This piece is in excellent condition and it is stamped with the manufact...

A large and amazing Art Nouveau / Jugend (in the Secession style) ivory-colored stoneware vase. Made by Mettlach, Villeroy & Boch, Germany in 1904. Excellent original condition. No...

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...

Swedish antique mora clock dating from early/mid-1800s featuring green paint with gold detail painted on the body and it has a clean face. It is structurally sound and will be check...

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...

Spanish Rococo Giltwood Frames with Flowers Paintings Giltwood Double Oval Hanging Frame with Pink Flowers Painting and Bow Ribbon Details. Spain, 1940s. These stunning oil on canva...

Mid Century wheel thrown studio pottery stoneware bud vase with flattened sides - over-all camel colored glaze with hand painted vertical stripes of rust/brown and green on each flat...

Refined centerpiece in porcelain stoneware, decorated in dark green and brown tones. Under the base, the manufacturer's trademark and paper label. "Arcore Ceramica" that was founded ...

Stunning Large 19th Century Rose Medallion Rimmed Bowl/Basin China, Circa 1860s This stunning, large, 19th-century Rose Medallion rimmed bowl/basin, made in China circa the 1860s, ...

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

The "Cries of London" series, including this "Sweet Orange" plate, originated from a series of oil paintings by Francis Wheatley exhibited at the Royal Academy between 1792 and 1795. These paintings were subsequently engraved and sold as prints. Reproductions of these popular prints, like the plate that we have listed here were produced over a long period, even into the 20th century. It is noted that Adams China, of Tunstall, England produced these Cries of England plates...

Large 19th-Century Staffordshire Pottery Spaniels, 14.75" High, Exceptional Scale & Expression A striking and unusually large pair of Victorian Staffordshire pottery spaniels, d...

Renowned British designer Matthew Williamson, known for his bold use of colour and nature-inspired motifs, has created a tabletop and textile collection with Les Ottomans. This colla...

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

An original Italian reverse‑painted églomisé glass picture frame in a tortoiseshell‑style design, Grand Tour Era / Victorian period (Italian), with its original Fratelli Sorgato fema...

Sculpture white parrot on ring in hand painted white porcelain with brass details.

Exquisite Japanese contemporary decorative porcelain vase, dramatically hand painted in platinum, set against a stunningly shaped porcelain body in black, a signed masterpiece from t...

Large Cantonese baluster vase. Features decorated hand-painted polychrome Family Rose palette with cartouche panels of figures in a hunting scene motif with exotic animals. Made in C...

Antique Wien vase in hand-painted porcelain. Classic motifs and gold decoration on a dark blue background. Late 19th century. Measures: 21 x 10 cm. In e...

This impressive large Chinese porcelain vase is richly decorated in the traditional Famille Rose style, featuring vibrant polychrome enamels set against an intricately patterned pink...

This late 19th century German porcelain reticulated centerpiece bowl is a remarkable example of European decorative artistry, combining delicate craftsmanship with vibrant, lifelike ...

Ca. late 19th c. or later. With classic Aesthetic Movement motifs in different fragmented patterns in colors with gilt details, decorating the neck, shoulder, and base. With two figu...

An extraordinary and monumental 19th century French Sèvres Style porcelain centerpiece covered urn or vase, crafted in France during the early to mid-19th century. This impressive de...

Gardener couple consisting of two large single figures. The female gardener wears rural rococo clothing: a dress with elaborate decorations and pinned-up apron, corset and borders, a...

An exceptional antique horse head sculpture, masterfully crafted in iron, capturing the raw power, elegance, and emotional depth of one of nature’s...

HECTOR GUIMARD, RARE LARGE CERAMIC, DE BRUYN ED., CIRCA 1900 In the 18th century, Jean Bernard De Bruyn already ran a pottery in Louvain, Belgium. After his death in 1805, his son M...

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...

Mid 20th Century Turkish Kütahya Pottery Hand Painted Wall Hanging Plate with Iznik Patterns. Large hand-made decorative ceramic wall art platter hand painted in polychrome Izink pat...

French old Paris porcelain vases with bisuit porcelain figurines. The vases flaired to the top and stand on an oval base. The vases are made of glazed porcelain and handpainted with ...

This extraordinary Pangolin Sculpture is a rare, one-of-a-kind ceramic piece, masterfully sculpted by Motsaman and intricately hand-painted by Jabu Nene of Love Art Ceramics in South...

This is a Walt Disney, Minnie Mouse Cookie Jar. It depicts a hand painted glazed ceramic cookie jar shaped as a flirty seated Minnie Mouse. Bel...

American mahogany and églomisé banjo clock with original signed and numeral paper dial under glass, decorative painted and gilt throat panel, with a hinged painted and gilt door concealing the brass pendulum. Clock is in working condition with no issues. Signed by E. Howard and Co...

Fine Russian lacquer Palekh hand painted box by Zolotorev depicting the Holy Trinity 20th Century Meticulously hand painted, the three angels seated at a table under the Oak of Mamre...

Vintage pair of Italian grape vine wall sconces hand painted, silvered and white washed, with dual arms for tapered wax candles. If requested we can m...

Large Giulia Mangani porcelain parrot on a goldtone steel stand and black plinth.The parrot hand painted in vivid colors and embellished with 24K gold details. Marked as shown. Dime...

This elegant pair of Japanese Imari porcelain vases, dating from the late 19th century during the Meiji period, circa 1880–1900), beautifully illustrates the refined artistry and dec...

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...

Italian ceramic, perfect condition, produced in 1960s. We have also another big cats for sale, check our products. Only one unique piece available.

A lovely petite pair of antique French majolica barbotine floral cachepots or jardinieres, circa 1880. Decorated with pink flowers in high relief surrounded by foliage on a dark gree...

A fine pair of Louis XVI style chinoiserie gilt-bronze mounted Chinese export famille rose porcelain vases. The ovoid hand painted porcelain body with dual scenes of a sword presenta...

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...

This is a Walt Disney, Mickey Mouse Cookie Jar. It depicts a hand painted glazed ceramic cookie jar shaped as a seated smiling Mickey Mouse. Below the...

A decorative French porcelain box, dating from the 1970s, depicting a stylized Pierrot, an iconic figure in the world of theater and poetry. The lid is surmounted by a delicately scu...

Slender, organically shaped ceramic vase hand-painted with floral decor in bright blue, green and brown colored glaze with small handle on one side. Produced by ceramic artist Aksel ...

Vintage King of Spades Porcelain Coaster Dish 1960s by Gloria Bavaria Germany. This porcelain plate coaster is perfect for any collector or love...

Round snuff box in 925/1000 sterling silver gold plated with fired enamel on the enameled edge with vertical stripes and fine monochrome miniature hand painted by the painter Renato Dainelli. Diameter cm. 6.2 cm high. 3.4. Weight gr. 222. Designed by Franco Salimbeni in 1967 and produced in Florence in the Salimbeni company headquarters with manual workmanship by skilled artisan artists with thick slab and large reinforcements suitable for withstanding numerous high-fire enamelled firings at approximately 750 < 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 colors which are as many colored crystals, ground and reduced to a very fine, almost impalpable powder washed and purified in distilled water with the addition of small quantities of deoxidizing acids which, diluted with essential oils (usually essential oil of solder), can be mixed to form a palette of colors. With very fine sable hair brushes you draw the subject starting from the perimeter and then gradually adding various layers of color. It is necessary to carry out various firings very often so that the colors harden and are not absorbed by the underlying glaze as, during the subsequent firings at 750 ° C, during liquefaction, it would spread irremediably. Hence the need to form the painting a little at a time, cooking it numerous times. Therefore it is necessary to proceed with numerous retouching, often overlapping different colors that only the painter's experience knows. A beautiful miniature needs from 20 to over 50 firings and is finished when the painter deems he does not have to further intervene. Some colors must have darker tones than others because then, by superimposing the transparent enamel placed at the end of the miniature, they fade. This transparent layer, called “fondant” in jargon, must be smoothed and polished like all other translucent enamel colors. The miniatures with water tempera colors are painted on real ivory...

Charming American Toleware Tin Box. Box is hand-painted in vivid folk art floral motifs of red, gold, and green against a deep black background. The domed lid features an oval black tin handle, and the front of lid retains the front portion of its original latch. This example displays the warmth and character typical of the 19th century decorative tinware, where utilitarian household objects were elevated through hand-painted embellishment. The floral and foliate designs were often inspired by Pennsylvania German or New England folk art traditions. Artisans and tin peddlers offered these brightly adorned boxes, trays, etc to rural families. Each was uniquely decorated, often by women, to reflect floral motifs in domestic interiors of the Federal and Victorian periods. In today's interiors, this toleware box...

Pair of Fitz and Floyd Whippet dog figurines beautifully crafted in ceramic with a crackled glaze finish. The figurines depict two whippets sitting regally on green, grassy bases with black and gold trim, Each dog is hand painted in warm brown and cream tones with gold accents on the collars. They sit on a green, textured grassy platform with black and gold trim, This is a hard to find colorway in terms of the dogs, the base and the level of hand painted detail. These whippet figurines...

Hollywood Regency tole candle sconce - featuring bunches of red and green grapes - hand made from sheet iron and rods with hand painted realistic co...

Grande Asino in Ceramica con Gerle Porta Uova Perugia 1950 utilizzato dall’industria dolciaria per le confezioni di lusso delle uova di Pasqua. Il ciuco è in perfetto stato a prescin...

Versace Collection 'Floralia Gold' Wall Porcelain Plate by Rosenthal 7 inches. The Versace Collection decorative wall plate is a work of art and the best expression of both, the eleg...

This 1930s Art Deco ceramic vase by Deruta is a masterful representation of the Italian Futurist movement, characterized by its dynamic forms and experimental decorative techniques. ...

This is a good early hand painted ironstone (stone china) saucer dish or plate, made by William Davenport and Co., Longport, Staffordshire Potteries, England, George 111rd period, ci...

Unique panel depicting a saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

A set of two beautiful porcelain crown window bowls with a hand-painted gold band on the foot. Designed by Gunnar Nylund for Rorstrand, Sweden, 1933. Excellent condition. First so...

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

Set of two colorful bohemian 1970s porcelain vases decorated by hand in bright colors. Stylized floral folk art decorations in green, red, yellow and blue colors on white background ...

Decorative Antique Asian round wood box container with lid and brass pull. Vintage collectible Asian wooden tobacco or opium round container. Round shaped lidded opium container...

A striking postmodern centerpiece in the spirit of Ettore Sottsass and the Memphis movement, where geometry, color, and balance converge into a bold sculptural statement. The compos...