Painted Decorative Objects

This French 19th century banjo shaped case clock is an eye catching piece in any space. Topped by an ornately carved cornice above the dial faced door. Supported by an intricate bras...

A fantastic work by famed Los Angeles (Echo Park), California based artist Peter Shire who was a founding member (along with Italian designer Ettore Sottsass and others) of The Memphis Group, an international design movement that came out of Italy during the 1980s (1980-1988), and specialized in postmodern furniture, lighting, fabrics, carpets, ceramics, glass, and metal objects. This work is from 2001 and is dated and signed with Shire's customary "EXP" (Echo Park Pottery...

Early 19th century painted pine blanket box circa 1828. Fine example of the traditional method of storage in Sweden, utilising the plentiful pine and hand decorating. Rectangular b...

Stunning and vibrant, 27 cm high, vase with sgrafitto and hand-painted colored glossy pattern of stylised women. On the base is painted Italy 7862 I have also a smaller and a large o...

A large 19th century antique Sevres Porcelain Urn featuring in white and green ground color, decorated with scenes of courting couples and floral ...

Mario Bellini for Bitossi / Raymor Rimini Blue Floral Jardiniere This beautiful mid-century modern floral jardiniere was designed by Mario Bellini, made in Italy by Bitossi, and imp...

A beautiful and exceptionally 18 inches tall Sosaku Kindai Kokeshi doll from Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good condition with charmin...

18th century Italian fragment with a calcite crystal cluster in matrix mounted on a Italian glass bobeche base. The fragment is from a church in Florence. It was found and saved f...

Very decorative hand painted in the Anglo-Indian style. Painted back and gold with each framed panel filled with female dancers and male flower bearing suiters. A colorful and fun, a...

Large Kabylie Ceramic Dish Kabylie Berber People Algeria Late 19th to early 20th century Hand molded ceramic, painted designs Diameter: 17" and 17.75" Depth: 2 3/4" and...

This exquisite pair of large blue and white Delft jars was hand-painted in the Netherlands during the late 19th century, around 1880. The design features shaped panels, each depicti...

A large and rare lidded urn with amazing lustre glaze and hand painted gold details. Scandinavian Grace / Art Deco. Made by Josef Ekberg at Gustavsberg, Sweden, 1930. Great conditio...

Large Italian Blue and Beige Plate from Baldelli. Dante Baldelli production, 1940s Italy. Hand painted and handcrafted ceramic decorative plate with organic neutral and blue floral d...

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...

Rare large classicist 'Grand Tour' amphora in original untouched condition. Made of terracotta with original polychrome Etruscan paintings on white chalk undercoat. On a square woode...

An absolutely gorgeous Shino ware pottery Chawan tea bowl by Japanese master potter Kitaoji Rosanjin (1883-1959) who was arguably one of if not the gr...

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...

A charming wall-mounted salt box dating from the 1970s, combining a white ceramic container decorated with delicate floral motifs and a lid with a wooden wall bracket. The word "SEL"...

Tamara Karsavina, a Ballets Russes Dancer, impersonating the "Firebird" in the Ballet by Igor Strawinsky. Porcelain Figure by Dimitri Iwanow for Lomonosov, St. Petersburg Manufactory...

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

Large vintage Versailles style Italian vase likely manufactured in the 1940s. Scalloped white shape with large bright cobalt blue flowers among ornate geometric and organic golden de...

Vintage Royal Limoges France 22-Karat Gold Trinket Round Box in Cobalt Blue. Elegant large French vintage round Limoges trinket jewelry porcelain box i...

Modernist terracotta candle holder with sculpted face, hair and body. Hand-applied glaze in matte anthracite black on eyes, hair and clothes. Made to fit a slender candle. By ceramic...

French Mid-Century curved ceramic plate hand-painted with a woman's face with short hair, by Ljuba Naumovitch at Atelier du Grand Chêne, Vallaur...

French Louis XV Style “Tournant” Mantel Clock, Napoleon III Period, Paris, 1855 In gilt bronze (ormolu) and Sèvres enamel. The base is crafted in white Carrara marble, decorated wit...

This vintage Gold Blue Dragon Porcelain Plate is 100 % hand made with Dragon Painting on it. On the back of the plate there are seal/mark on it says "Da Qing Qian Long Nian Zhi" mean...

Circa 1970 vintage figures of cats from the Staffordshire region of England. The cat is decorated in rust and white, and has a gold bow around its neck. This is a nice model, as i...

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...

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...

Fine pair of 19th century rose medallion vases.

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

Fine antique Imperial Russian lacquer Racing Winter Troika jewelry casket by the Lukutin Workshops 19th Century In exceptionally fine condition with original key The Russian lacquerw...

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...

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

Exceptional antique Inkwell with rich bronze ornaments and three porcelain vessels. The ink jars are painted in a beautiful rich green and embellished with gold colour. France, 1839. On the lid is written "ENCRIER BOUQUET" "MEDAILLE D´ARGENT...

More information coming soon… After the original Alfred Jacquemart hunting dogs from the 1800s, this pair of French cast iron sculptures dates to circa 1900. Both dogs are depicted...

A stunning Turn Wein Austrian art nouveau figural vase formed as a lily by renowned ceramicist Ernst Wahliss (Austrian, 1837-1900) dating from around 1900. The tall and elegant porce...

This blue and white Dutch Delft charger was hand-painted in deep cobalt blue in the 18th century, circa 1780. The central scene features a pair of birds in flight above a basket brimming with full blooms and leafy stems. The birds—elegantly rendered with wings extended—add a sense of movement and vitality to the design. The flower basket is painted with expressive brushwork, creating a beautiful and balanced composition. Surrounding the central reserve is a wide border of scrolling foliate motifs and stylized floral panels. This charger exemplifies the refined decorative tradition of 18th-century Delftware. Its tin-glazed surface enhances the depth of the blue pigment, and the expressive brushwork throughout reveals the painter's skill. Dimensions: 14" diameter Condition: Excellent—very minor expected wear consistent with age Decoration: Birds in flight, flower basket, and scrolling floral border Price: $980 Material: Tin-glazed earthenware (Delftware) Style: Dutch Delft, Chinoiserie-inspired decoration Origin: Netherlands Date: 18th century, circa 1780 Key Features   • Hand-painted scene with birds and blooming basket   • Expressive brushwork and deep cobalt blue decoration   • Wide floral border with scrolling foliate motifs   • Tin-glazed surface characteristic of Delftware   • Reverse shows three stilt marks from traditional 18th-century kiln firing   • Fine example of Dutch Delft painting...

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 ...

19th century painted pine tall clock by Mogens Peter Westh. Painted brass face. Clock face contains the designer's name and is dated 1879. Intricate details were created by a true cr...

A signed rare abstract Scandinavian Mid- century modern art ceramic plate made by Inger Persson in the 1960s for Rörstrand, Sweden. This is a studio production and has an unusual pat...

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

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...

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

The designs on this French faience group is typical of pottery made in Rouen. Early 20th century French hand-painted Faience Terrine from Rouen. Marking on the bottom: "Rouen Fait...

Stunning and vibrant, 15 cm high, vase with sgrafitto and hand-painted colored glossy pattern of two different animals. Fratelli Fanciullacci Pottery: during the first half of the 2...

Elegant antique French Sèvres porcelain covered decorative urn, made in France in the late 19th century and finely executed with hand-painted decoration and richly cast bronze mounts...

Dutch Delft blue and white hand-painted Chinoiserie floor vase by Plateelbakkerij RAM, Arnhem — the ribbed body painted with flowering branches,...

Rectangular table box in 925/1000 sterling silver with translucent fired enamels on the guilloche and, on the corners, miniature of floral shoots hand-painted by the painter Romano B...

Large Russian white, blue and gold floral porcelain vase manufactured in the 1950s by the Lomonosov Porcelain Factory which was founded in 1744. Soft shaped organic midcentury modern...

Museum quality Fedoskino soviet era hand painted lacquer box, Golden Autumn, artist signed 20th Century Depicting an idyllic autumn landscape with a romantic bridge over a still stre...

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative sculpture. Big King White Poodle Dog Sculptur...

19th century very tall gilt porcelain decorative vase / piece with exterior floral design details . The vase / piece is in good condition . Minor wear appropriate with age / use . Nu...

19th Century Large Royal Vienna Porcelain Urn. Highly decorated Royal Vienna Gilt Porcelain urn. This circular urn with double-scrolled handles stands as two pieces on its original ...

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 whimsical survivor from the golden age of commercial display, this French advertising statue for Cigarettes Copain dates to the early 1920s and captures the exuberance of ...

An elegant and high quality French 19th century Chinoiserie ormolu, silvered bronze and porcelain clock garniture in the style of Edouard Lievre mounted with Chinese famille verte po...

This impressive lidded vase is crafted in faience, a material prized for its depth of glaze and subtle warmth, offering a distinct alternative to porcelain. Its baluster form, crowne...

Blue and white Chinese vase. Qing era vase modeled in two sections of baluster form in white paste with strong blue figures and accoutrements...

A charming pair, with the usualy disparate glaux handles, one vertical strap and one horizontal. One of the pair is slightly larger than the other, with a seated, draped winged Nike ...