Hand-Painted Decorative Objects

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 ...

Japanese Porcelain Pair of Floor Vases in Cobalt Blue and Gilt Accents. Everted ruffled rim, enhance with gilt handles. Height 60 cm. Discover the elegance of Japanese craftsmanship ...

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 sizable ceramic and well executed Cheetah sculpture is signed by the maker Ronzan of Italy and dates to approximately 1960 and done in the period Mid-Century Modern style. The s...

This is a Goebel porcelain figurine of a Pied Wagtail bird. It depicts a very well done hand painted black, brown, gray blue and white, Wagtail bird. It has the Goebel hallmark plus ...

This amphora references classical Greek iconography through a dual narrative approach. One side presents Hermes offering the lyre to Apollo, a moment tied to the origin of music and ...

This monumental 1900s Art Nouveau ceramic vase stands as a breathtaking example of early 20th-century Italian decorative art, perfectly embodying the organic, fluid elegance of the S...

Fine pair of 19th century rose medallion vases.

This unique vintage handpainted pottery jug vase showcases a striking Art Deco Bauhaus design with strong Suprematist-inspired motifs. Crafted in Germany around 1920, this modernist ...

Pair of imposing antique Chinese export blue and white porcelain rectangular form urns with covers. Nanking pattern scenes in stunning detail and superb color. These date from the la...

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...

Mid-20th century modern german glazed and painted porcelain frog sitting on a rock by manufacturer Nymphenburg By: Nymphenburg Porcelain Material: porcelain, paint, ceramic Techniqu...

What a wonderfully unusual piece — two naturalistically painted rats on a clean white ground with that silvery metal rim is a striking and decidedly unconventional subject for Royal ...

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. ...

Large colorful vintage Chinese porcelain fishbowl. Features Classic, oriental scenes with Chinese family ,birds flowers and Chinese motifs throughou...

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...

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...

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

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...

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...

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...

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...

For your consideration, an antique metal picture frame featuring a high-relief design of peacocks and floral motifs. This specific style a...

A remarkable pair of two antique European tin-glazed earthenware apothecary jars. circa 1770 Originally used as medicinal pottery jars that held ointments and dry drugs at apothecar...

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, ...

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...

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

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...

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...

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 ...

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...

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 ...

Mid-20th century foldable leather travel alarm clock by swiss Jaeger-LeCoultre for the luxury design house Hermès Paris, France By: Hermès ...

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...

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...

A fine Han dynasty polychrome painted terracotta horse and rider. The warrior is dressed in orange and black on a black horse. Measures: Height 14 inches (35 cm) Width 12.5 inches (32 cm). Condition: Excellent with tastefully undetectable repairs. During the unification of China under the Han dynasty, bands of mounted nomadic warriors from the north threatened the country. In order to thwart their attacks, the Chinese sought to import stronger, faster steeds from Central Asia (as opposed to the Mongol ponies used by the invaders), eventually leading to the creation of the Silk Road. This small sculpture of a mounted soldier reveals the crucial military role of the horse. When compared to the diminutive stature of the rider, the importance of the horse becomes readily apparent. This creature provided security and strength, allowing the empire to secure its borders and expand its influences across Central Asia. The magnificent regalia of the horse, including a brilliantly painted saddle in red and green/gold, reflect the respect this animal received. The warrior as well is gorgeously decorated with a painted red tunic and gray chest...

Vintage ceramic bud vase in shape of ewer was hand made by Ken Edwards in traditions of Tonala pottery. It is decorated with bird and abstrac...

Danish Art Nouveau ceramic vase with rose, burgundy and green asian inspired floral and animal decor on light sage gray marble glazed base. Displaying hand-painted spotted deer among...

This vintage elaborately decorated French porcelain mantle clock dates from the 1850's. The delicate porcelain has hand painted colorful sculpted flowers, gleaming gold gilt scrolls ...

This unique 1960s Painted Ceramic Vase depicts object from a festival, celebration, fête, or even scenes from Mardi Gras/ Fat Tuesday Brown, Gold, Blue, Cream Painted Objects include...

The yellow dragon vase is crafted out of porcelain and finished with a yellow glaze and hand painted Chinese dragon design. The color yellow and pai...

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...

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...

Chinese Famille rose medallion export porcelain jardiniere, 19th century.  

Striking British studio stoneware pottery sculptural vessel by Marylyn Hyde, dating from the late 1970s to early 1980s. This monumental stoneware jardiniere is formed as a fragmented...

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...

An impressive and monumental French Sèvres style porcelain covered centerpiece urn, made in France in the 19th century and richly mounted with gilt bronze ormolu. This large decorati...

Greek Wood Lekythos by Contemporary 20th- Century Greek Ceramist Amphora V. Pertacopoulos. The artist is known for his hand-painted replicas depicting ancient Greek vessels. This was...

Antique 1910 large Limoges France hand painted Vase "Marked", Ric00010 Comprising an ornate Rococo style vase on four gilt scroll feet with molded b...

This exceptional and imposing pair of hand-carved and hand-painted wooden horses embodies the rich artistic heritage of traditional Indian craftsmanship. Standing over 80 cm (31.5 in...

Beautiful antique porcelain hand painted powder box by Limoges, circa 1898. The piece is in very good vintage condition with no chips or cracks...

Set of 8 Italian Hand-Painted Apothecary Jars with Lids, Montelupo, Tuscany A richly decorative set of eight Italian pottery apothecary jars and canisters with lids, hand-painted in...

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...

Octagonal pill box in gold-plated 925/100 sterling silver with translucent enamels fired on guilloché also on all sides and with a line on the lid. English Art Nouveau style, early 1...

Pair of urn shapped terracotta pots or vessels wiht glazed decorations, China, 1930s. Provincial rustic handmade terracotta wine jars or preserving pots. The taller one is covered by...

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 ...

19th century Italian hand-carved gilded angels mounted aragonite.  The hand-carved angels were once part of a heavenly, angelic depiction in a historic church in Tuscany. The aragon...

Large and colorful Famille Verte floor vas on stand with panels of scholars and children in teaching and contemplation. Applied Foo dog handles on neck. Vase height 23.5" Stand heigh...

A finely crafted Russian hand-painted lacquer box, likely depicting a scene from Swan Lake. Rendered in the traditional Palekh style, the composition features graceful dancers, court...

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...