Painted Decorative Objects

Art Deco WMF Vase "Ikora" Germany around 1930s ( marked ) Brass lacquered.

An elegant Lladró porcelain sculpture depicting a family of elephants in motion, masterfully modeled to convey both strength and tenderness. The composition features a striding adult...

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...

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...

19th century hand carved oak case with carved capitals on full length waist columns and bracket feet, 90 day brass time only movement with deadbeat escapement and maintaining power t...

An elegant French Art Nouveau jewelry box attributed to Legras, crafted from vivid cobalt and sapphire blue art glass and delicately hand-enameled with graceful white blossoms and so...

A gorgeous pair of 19th-Century Japanese Imari porcelain vases. These fine vases have a lovely shape and hand painted floral design in the traditional Imari...

Delicate Goldscheider Art Déco Ceramic Figurine of the late 1930s: Gracefully posing dancer in a dark red costume: dotted bustier and short skirt at the front with long, wide side pa...

This fabulous antique French apothecary jar, with its tightly fitting lid and pedestal base, has been beautifully hand-painted with a rural, ...

This very large hand painted porcelain figurine was made by the renowned Llladro company of Spain in circa 1985. The figurine depicts a young Inuit boy and girl affectionately embrac...

This is a bisque porcelain piano baby girl figurine with a sweet smile. She is seated with her legs and arms extended. She is wearing a delicate sleeveless long white chemise adorned with ruffles, light green ribbon and white enamel tiny buttons. Her hair is curly blonde, her eyes are blue and her cheeks are pink. The back of the chemise has the Made in Germany stamp and the Gebruder Heubach...

Pair 18th Century Hand-Carved Polychromed Wood Angels are amazingly well preserved and perfect for any devotional display. Sculpted from solid blocks of walnut, each features amazin...

A fine antique Dutch Delft faience hand molded flower brick or flower frog vase, circa 1900. This charming footed flower pot has a hand painted flo...

A monumental and highly decorative antique German Dresden porcelain covered centerpiece urn, made in Germany in the early 20th century and richly mounted with gilt bronze ormolu. Thi...

Fine metal painted head horse on horseshoe, circa 1890.  

Large Japanese Satsuma vases from the Meiji period (1868–1912) in hand-painted porcelain. Rare pair of Satsuma vases from Japan, 19th century. — Origin: Japan — Period: Meiji (1868–...

*Please note: this is marked as "Seconds" because of a slight imperfection in the box. There was a crack which occurred in the kiln, and has been repaired with white epoxy. The price...

This stunning Scandinavian Modern bowl, designed, hand-crafted and hand-painted by Otto Mulders (The Netherlands 1927–Norway 1994) at his own studio in ca...

The item in the image is an antique Chinese blue and white porcelain Rouge/trinket box with a fish design. These small boxes a...

Théodore Deck (1823-1891) A 19th French Japonisme Cache-Pot, circa 1875 A Polychrome Enameled Faience Round-Shaped Cachepot and Jardinière Hand-painted design in the Japonisme Aesthe...

Rare Vincent Price relic. This life mask was purchased following the production of Edward Scissor Hands in Los Angeles. It was kept in storage for decades. The owner is now ready to ...

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...

Adorable hand painted ceramic Italian money box from the 1960's A joyful palette of colours brings this piece to life Circa 1960's Signed M33 Italy ...

Iconic Vintage George Nelson / Howard Miller Multi-color Spike / Starburst Electric Wall Clock,, Amazing colors,, wonderful patina,, retains original Howard Miller label,, Tested and...

Lofty 19th century French porcelain centerpiece decorated in blue, white and gold, having an extravagant composition with cherubs and mythological cats joined by a brass chain around...

Pill Box Yellow floral miniature in Art Nouveau style Sterling Silver Salimbeni.Round pillbox in 925/1000 sterling silver gold plated with translucent...

Vintage ceramic or pottery bud vase features minimal traditional weed vase form with rounded body, narrow opening, and flared rim. The vase is decorated with speckled light green gl...

Light up your table with our palm trees candlestick. Size: small 15cm Size: medium 25cm.

This antique late Qing handpainted oval shaped reticulated Chinese export porcelain Famille Rose Medallion bowl with underplate is a stunning piece o...

Mid-20th century glazed ceramic elephant flower plant holder. Handmade of ceramic. Nice addition to your home, inside or Outside. This is in good condition, green color.

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...

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...

The object shown in the image is a stand or column clock. This type of clock is designed to be placed on the floor, serving as a piece of furniture. The model shown has a metal frame...

Magnificent large majolica vase attributed to Jules Vieillard & Cie, Bordeaux, circa 1870. This richly decorated urn is a superb example of French Renaissance Revival majolica, featu...

Meticulously enamelled and gilt satsuma box, Meiji Period (1867-1912). Overall very good antique condition, base that the box sits on is a bit slanted. L...

A stylish Doulton Lambeth Aesthetic Movement art pottery vase decorated with flowering stems by acclaimed and sought after artist Eliza Simmance and dated 1884. The stoneware vase is...

Product Description:  On offer is a unique piece by Lisa Larson showing a small child sitting on a dog. Although the piece is made years after Lisa's most ...

These wonderful American Art Deco "Woodikin" carved and airbrushed mannequins are almost impossible to find and when they do turn up they have usually lost color, paint and arms or a...

This near pair of antique Chinese porcelain ginger jars features an exuberant famille rose palette with auspicious motifs. Each jar is hand-painted with fruiting peach branches, a tr...

Red Hand-Painted Fire Bucket Trash Basket With Handle, American, circa 1960's. These fire buckets are considered a significant part of fire service history, representing an early for...

A gorgeous petite set of three antique Delft transferware garniture vases made between 1900 and 1930, attributed to Mosa in Maastricht, the Netherlands. No maker's mark. This fine ga...

Wonderful vintage ceramic Pop Art Umbrella Holder hand-painted with festively colored umbrellas In wonderful condition. Made in Germany Unsigned 18" H x 8" Diameter Wonderful...

Vintage duck figurine by Elli Malevolti, beautifully crafted in the style of a traditional decoy duck. This charming decorative piece features hand-painted detailing, realistic glass...

On offer is a Chinese-export style, cylindrical flared trumpet vase. While handsomely styled after 18th-century Qing Dynasty period armorial export wares--in this example bearing a E...

1900 Japanese Satsuma porcelain huge vase with Samurai scenes.

Nice stoneware animal figurine of an elephant by Soholm Pottery Denmark. This sculpture was made by Joseph Simon. The name of the factory is stamped on the bottom.

A one-of-a-kind monumental Monumental Flamboyant Bird of Paradise -Knuppelhuhn- big sculpture created, handmade, and hand-painted by master designer Eva Fritz-Lindner (1933-2017) in about 1992. Handcrafted and hand-painted in beautiful colors by this artist. Designer/maker: Eva Fritz-Lindner (1933-2017) Signed with her stamp i3D. Glaze: The matte colors in lavender and pink and creams are still vivid and the hand painting is superb This is the only example we have seen in private hands. Substantial dimensions: 21.25 inches tall and 31.5 inches length Handmade / handarbeit and hand glazed About the artist: The bold Folk Art sculptress and ceramist Eva Fritz-Lindner (1933-2017) studied at the Werkkunstschule Wiesbaden and Darmstadt and was a master student in the sculptor class by Erich Kuhn. From 1955 she worked as a master designer at the Staatliche Majolika-Manufaktur Karlsruhe where she created and designed several hundred highly regarded ceramic folk art animal sculptures...

Vintage studio pottery glazed and decorated bowl - wheel thrown stoneware body - signed with a cipher on the base (unidentified artist/potter) - country of origin unknown - late 20th...

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...

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

An antique Meissen porcelain urn with snake handles amphora, circa early-20th century, Germany. This Meissen urn is hard-paste porcelain, hand painted, fea...

Set of Six Mid Century Italian Porcelain Harlequin Figurines , circa 1960, diamond-patterned costumes in multiple colours (red, blue, yellow, green,...

One popular way of arranging flowers in Japan is the single-flower vase. Far from being luxurious, it is a sense of wabi-sabi. I am moved emotionally by minute changes in nature. It ...

Ancient rare Kashan lustre bowl 12th century Islamic pottery art. This beautifully decorated and well cared for lustre bowl is one of the few examples still in existence. It was made in Kashan in the 12th-early 13th century, Seljuk- Atabeg period. Kashan was an important center for the production of high quality pottery and tiles. Lustre ware was among the most innovative development of Kashan potters, who mixed silver sulfides and copper oxides to create a shiny copper toned metallic sheen on the surface of glazed earthenware bowls, plates and vessels. It was an expensive and unpredictable lustre technique. Kashan lustreware pottery can be found in the collections of the British Museum and the Hermitage Museum. Literature: O. Pancaroglu. Perpetual Glory. Medieval Islamic Ceramics...

Paris Porcelain soldier bowl. Antique Liberty Style painted medallion portrait tea cup/bowl of Roman soldier portrait in puce and blue, against a black ground. France, 1870’s Dime...

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 is the tall, oval German porcelain vase from Rosenthal, designed 1979 by Bjørn Wiinbladh, Denmark for the company’s 100-years anniversary. It comes in the yellow color scale, ha...

Beautiful bronze wild boar figurine as a Pen Wipe, early 20th century – patinated This finely crafted, unpainted Viennese bronze figurine is believed to date from the early 20th cen...

8 " x 6" x 4" 12" x 8" x 4" 14" x 10" x 4" The urban and cosmopolitan Porteño family carries the spirit of the ones born in Buenos Aires city or “Porteño”, as they are commonly know...

This Danish art pottery vase was made by Royal Copenhagen in the period and style of midcentury Modernism. The vase is done with a hand painted cobalt blue decoration over a light, o...