Painted Decorative Objects

Indulge in the charm of 19th Century French artistry with this exquisite Louis XV Sevres style blue celeste vase, complete with its matching covers. Drawing inspiration from the eleg...

Fantastic, rare, pure Art Nouveau jardiniere, made by the well-known Julius Dressler, according to the mark, before 1910, in Austria/Bohemia. This outstanding planter is handcrafted...

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

925/1000 Sterling silver cigarette case with hand-painted fired enamelled floral miniatures inserted in frames with hand-engraved borders, above and below. Jugendstil. Spring-loaded ...

This stunning Art Nouveau sculpture is a large-scale painted plaster figure of a partially draped female nude adorned with flowers and flowing drapery. Sculpted with remarkable grace...

A rare and very unusual pair Doulton Burslem Coaching art pottery vases dating from around 1909. The earthenware vases are of tall square column form standing raised on a wide square platform base and is decorated with a two coachman figures to the body with banners, one reading The Coachman and the other An Old Jarvey. A further decoration of horse drawn coaches...

A decorative pair of Chinese porcelain ginger jars dating to the mid-20th century, finely executed in the Famille Noire palette—an enamel technique revived in homage to Qing Dynasty ...

19th century Meissen floral painted reticulated oval basket, with gilt rim, pierced surround, hand painted with center rose bouquet, floral sprays, insi...

Enhance your leaving space with this early 19th Century Chinese Export Rose Medallion Famille Rose canton porcelain punch bowl with multiple cartooge panels. The exterior of this go...

AntiqueTibetan chest, beautifully aged painted leather with original iron hardware. Chest has a spacious wooden interior, offering a large amount of storage. Outside features polychrome painted dragons and Asian...

Gio Ponti rare large vase designed in 1929-30. Glazed maiolica. Painted designer's and manufacturer's marks. This exquisite piece showcases the artistry of glazed maiolica, combinin...

Sculptural, large ceramic Neo-Renaissance Rubboli vase is finished in cobalt, red and gold lustre. Hand-painted decor follows the classical shape of the piece, with abstract pattern accentuated the base and the top of the vase, and traditional designs of mythical beasts surrounding central medallion motifs. The vase is a stunning, museum quality example of the revival of the magnificent Italian Renaissance decoration of the 16th century. Late 19th century collecting craze for Renaissance majolica, especially lusterware, prompted the Italian potters to hunt for the secret formulas that were lost four hundred years earlier. Studios owned by such ceramicists as Cantagalli, Molaroni, Rubboli, Santarella, and others attempted to duplicate antique lusterware pieces for the general public. Each studio developed their own closely guarded formulation. In 1870s Paolo Rubboli...

This exquisite antique vase, crafted in the 19th century by the esteemed Royal Bonn Company in Germany, is a splendid example of fine porcelain artistry. The vase features a captivat...

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...

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 ...

This tall antique Late Qing Dynasty, early Republic Chinese vase presents a graceful silhouette, its elongated body rising to a wide flared rim with an impressive eight-inch mouth op...

Wilhelm Kåge for Gustavsberg, "Argenta" ceramic bowl on four feet. Green glaze decorated with a mermaid riding a fish in silver. Art Deco style. Model number A 24. 1940s. In perfect...

Extraordinary Japanese contemporary decorative porcelain vase extremely intricately featuring a traditional Arita "shippo" pattern in deep red, green and blue, a stunning signed mast...

Sculpture Liberty Statue United States flag painted. Sculpture in melting. Unique and Exceptional Piece.

Charles Catteau’s Art Deco style, like the wider French Art Deco style, was heavily influenced by Japanese designs. This vase, produced in 1932, features a graphic and dynamic design...

A beautiful and detailed German porcelain English bulldog sculpture designed by Fritz Diller in 1914, for porcelain Maison, Rosenthal, circa ...

Beautifully gilt and hand painted Royal Crown Derby pair Imari pattern porcelain decorative urns/vases with gilt twin side handles. Each urn features an exterior 22k gold and handpai...

A stunning early 20th century French Belle Époque period Bourdois & Bloch Porcelaine de Paris Meissen style porcelain figure of a parrot. Made in Paris, France, circa 1910, exceptionally executed, exquisitely detailed throughout and displaying brilliant hand painted rich coloring, with a unique pierced beak, realistically modeled with wings slightly open perched atop a naturalistic tree stump base, Signed, underglaze blue crossed arrows mark to lower tree trunk. What truly stands out and is absolutely remarkable is how the maker/artist manged to make this work appear like a completely different sculpture depending on the angle it's viewed from. History: Paris Porcelain (Porcelain de Paris), a term that conjures images of grandeur, elegance, and sophistication; is to France what Dresden Porcelain is to Germany. Porcelain by a variety of makers from a region rather than one maker, it's the collective name given to the various porcelain studios and decorating workshops within and around Paris, France. In this case and many others Porcelain de Paris is also as good if not sometimes better than Dresden, Meissen or Sevres porcelain and is certainly a collectible to look out for. The Bourdoir and Bloch factory was originally founded around 1820 and specialized in producing fine quality porcelain in the style of the famous 18th century factories. This most distinctive figural bird was made by the Paris porcelain factory of Bourdoir and Bloch around 1910. This example bears the August 8, 1887 registered trademark of two blue crossed arrows, used around the time that Eugene Marx Clauss had joined forces with Achille Bloch and Leon Bourdois (who were both collaborators of Samson) and were operating under the name Clauss Co from 1887-1890 in the small factory started by Eugene's grandfather Jean-Marx Clauss in 1788 on rue de la Pierre-Levee in Paris. This Parisian antique porcelain parrot...

A French Sèvres Manufacture porcelain egg from the 19th century, with putto and floral hand painted décor. Born in France during the 19th century, this exquisite decorative egg featu...

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...

These Italian candle sconces from the 1950's are from the once iconic JL Hudson's department store in Detroit. From color palette to design, these hand-paint...

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

Stunning French mid-century ceramic vase by St. Clement. This gorgeous vase is very decorative has a wonderful black background with green overtones. It almost appears to be in motio...

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

Charming vintage Tonala pottery figurine depicts a reclining cat with folded front paws and raised head; the cat is looking forward with wide open, large eyes and a slightly surpris...

Limited edition sculpture of a Spanish horse trotting in position in matte porcelain, embellished with blue and gold lustre on the head, chest, saddle a...

A handmade wooden jewellery box with a lid and lock, it is perfectly designed and created in a suitable size for keeping valuables inside. The top of this box has leaf patterns and l...

Italian midcentury ceramic vase designed by Elio Schiavon with signature under the base, Padova 1950s.

More information coming soon… This wonderful set of 10 French apothecary jars would make wonderful additions to a kitchen, either as decorative objects or as functional spice holder...

This high porcelain creation takes its name and inspiration from Le Marché aux fleurs, a beautiful flower market in Paris by the banks of the Seine, which opened in 1830. Boasting a wealth of sculptural, floral and decorative details, this composition recreates a typical period scene and transports us to the idyllic Romanticism of the 19th century. The rich fabrics, lace and colors of the ladies’ gowns...

Antique Meissen Porcelain Quatrefoil Miniature Dish, Hand-Painted, ca. 1920 An exquisite Meissen porcelain miniature dish, dating to the early 20th century, beautifully hand-painted ...

MID CENTURY CERAMIC VASE Made from glazed earthenware in the form of a stylised female figure with handpainted decoration. By renowned French potter Gustave Reynaud (1915-1972) who...

Discover the enigmatic beauty of mid-century Italian art with this set of four totem sculptures by the elusive artist Aldo Guarnieri, dating back to the 1960s. These rocky totem scul...

This is a very decorative porcelain Large Chinese Export Bottle Vase or jar with a monochrome ox blood red "Sang-de-bouef" glaze, having a very light green glaze at the top rim, whic...

This antique Coalport porcelain dish, made in England circa 1820, features a square form with gently notched corners and beautifully balanced hand-pai...

Decorate a console or mantle with this colorful pair of colorful antique melon jars. Created in China, circa 1880, each enameled vase is decorated with foliate motifs, reserves depicting birds, figural scene, and further embellished with Famille rose medallions he porcelain vases jars...

A gorgeous character ceramic figural gnome statue - attributed to Griebel in Germany, a well known manufacturer of this kind of figures. This character statue has been made in German...

Dimensions - H: 3 1/4 in W: 5 1/4 in D: 5 1/4 in This Antique 19th Century French Louis XVI Style Crystal and Gilt Enameled Jewelry Casket Box is truly remarkable and whispers tale...

A rare small World War I interest art pottery vase or possibly inkwell inscribed ‘JOFFRE FRENCH’ and decorated in red lustre glazes by renowned maker Bernard Moore and dated 1914. Joseph Jacques Cesaire Joffre, was one of France’s most influential leaders, played a significant role in shaping the outcome of World War I. He served as commander-in-chief of the French forces on the Western Front from 1914-16 and became an iconic symbol of French resistance for his defence against the German invasion. The bell-shaped vase stands on a narrow round unglazed foot rim and has a wide skirted body narrowing to a small, short, raised funnel shaped neck. The vase is decorated with a cream glazed band over a red lustre ground with the inscription applied around the body of the vase. The vase has a BM monogram...

Highly detailed vintage figurine of a saddled horse in motion is hand decorated with abstract flower motifs; the decor is done in traditional blue and white palette. The heavy, sub...

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...

Meissen, Germany. Porcelain figurine of a young man in elegant attire. Hand-painted in polychrome colors. 19th century. Marked. In perfect condition. First factory quality. Dimensio...

American farmhouse wastebasket. Original vintage blue green wash painted maple syrup sap bucket/ waste basket / planter with original hardware, perfect for your farmhouse kitchen or ...

'Eye' is not only a refined, luxurious furnishing accessory, but also a hand-carved sculpture, designed to enhance any living area or bedroom with unique beauty and charm. This is ou...

More information coming soon… Dating to the 1700s, this pair of vibrant albarelli jars have two distinct portraits inset within ovals. The blue ground Italian jars have also been h...

This is a Meissen Porcelain Group Sculpture. It depicts the Greek god Zeus seated in a kind of a rectangular rock surrounded by four “ hard workers “ winged cherubs. He is wearing hi...

Charming vintage Tonala pottery bird figurine is decorated with hand-painted decor of white bird in a landscape, framed with abstract bands of deco...

We are pleased to offer this pair of blue and white Dutch Delft dishes with lovely chinoiserie decoration, which features an image of a vase overflowing with flowers. Around the vas...

Tonala Folk Art Pottery Plate Hand Painted Flying Bird, Mexico, circa 1960's. Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz ...

The Collection This collection offers ideas for contemporary décor through sophisticated revelations of art bound to the tradition of ceramics of Caltagirone, objets d’art that co...

Early 20th century Art Déco hand-painted ceramic cosmetic powder bowl of a lady sitting over a cushion by Aladin, France By: Aladin Material: ceramic, enamel, paint Technique: molde...

An exquisite antique French ormolu clock mounted with Sevres style porcelain. Made in finely gilded bronze, sculptured as a large gadrooned and handled urn, draped with acanthus garl...

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...

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...

A Wonderful Franz Bergman Standing Dachshund Vienna Austria Bronze Dog Sculpture With Wonderful Patina This Has Been Cold Painted With A Red Colla...