Painted Decorative Objects

Faience figure "Dachshund", Royal Belvedere, sculptor: Rudolf Chocholka, Austria, Vienna, 1920s - 1930s Additional Information: Materials: faience, underglaze hand painting Vint...

Emile Gallé (1846-1904), French glass artist and designer, Nancy, France. Large pierced faience bowl. Hand-decorated with bird motifs. Approximately 1880. Marked. In perfect conditio...

Exquisite contemporary Japanese decorative porcelain vase, intricately hand painted in various shades of blue on an elegantly shaped body, a signed piece by master porcelain artist f...

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...

A celadon colored porcelain floral motif vase, by H. Bequet Quaregnon, Belgium, c. 1940. This decorative vase would look great displayed in an array of interior styes. The celadon and gold trimmed...

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 charming porcelain floral oval trinket box painted in blue and white. This piece would certainly be a fantastic addition to an existing collection of these desirable boxes. Marked ...

Sculpture white parrot all handcrafted in porcelain. Hand-painted and with details in solid bronze.  

Limited edition dragon sculpture in matte porcelain with gold lustre. A symbol of power and prosperity in Eastern culture, this magical creature, the bearer of good luck, is the protagonist in this spectacular High Porcelain limited edition. The hundreds of scales covering its skin are individually hand painted with gold lustre, an extremely laborious technique requiring the expertise of the finest artists. The luminosity distinguishing its spectacular embellishment is attained by combining gloss and satin finishes, united by an iridescent metallic hue on the chest and a vivid turquoise hue on the crest. The complexity of the dragon´s...

Decorate a mantel, console, or bookshelf with this elegant pair of antique Delft vases. Crafted in Holland circa 1920, the tall cylindrical vessels feature a gently flared rim and cl...

A large pair of Chinese turquoise glazed porcelain roosters with purple combs, circa 1920.

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mo...

Royal Delft Blue Covered Baluster Vase / Urn Hand-Painted Dutch Delftware Add timeless Dutch elegance to your interior with this exquisite Royal Delft covered baluster vase, also known as decorative urns. Expertly hand-crafted and hand-painted in the renowned Delft Blue tradition, these impressive vases feature enchanting Royal blue camaieu floral decorations enhanced by a graceful peacock motif. Raised on distinctive octagonal feet and topped with matching lids, the vases showcase the exceptional artistry and craftsmanship for which Royal Delft is celebrated worldwide. Inspired by Baroque, Chinoiserie, Chinese, Oriental, and Asian decorative styles, they make striking statement pieces for traditional, classic, and eclectic interiors. Produced in Delft, The Netherlands, during the second half of the 20th century, these elegant decorative urn reflect the rich heritage of Dutch Delftware, a ceramic tradition dating back to the early 17th century. Delft Blue pottery became one of Europe's most sought-after luxury exports and remains highly collectible today. A Treasure perfect for display on a mantelpiece, console table, sideboard, or in a curated collection of fine ceramics, these Royal Delft vases combine historical charm with enduring decorative appeal. Features Authentic Royal Delft Manufactory production Hand-crafted and hand-painted Traditional Delft Blue (blue and white) decoration Floral design with peacock bird motif Covered baluster form with matching lids Marked: under the base and in the cover Octagonal foot bases Origin: Delft, The Netherlands Period: Second half of the 20th century Condition: Good Color: Blue and White Styles: Baroque, Chinoiserie, Chinese, Oriental, Asian Dimensions Width: 9.4 in (23.9 cm) Depth: 9.4 in (23.9 cm) Height: 19.5 in (49.5 cm) Royal Delft vase, Delft Blue urn...

Elegant vintage round Limoges 22-karat gold trinket jewelry box. French vintage Limoges trinket box in cobalt royal blue with fine gold decor. Marked...

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...

A naturalistic shaped and fine detailed elephant figurine from the Art Nouve era dating to around 1910. The elephant is marked with a green unidetified manufacturer's mark.

Abercrombie & Fitch Mallard Drake Duck Decoy. Shows some wear from light use.

Limited edition High Porcelain sculpture of a dragon, the symbol of power and good fortune in Asian cultures, in a special version to commemorate Lladró’s 70th anniversary. A represe...

Unique and all handcrafted, practical size antique circular chandelier. Some chances you only get once in your life and that is exactly what we thought when we first saw this unique...

Very attractive painting of Maria with the baby Jesus. Painted on metal. France circa 1800-1850 Weathered and small losses.

Here is a wonderful and rare art deco globe vase made by the famed French ceramist Robert Lallemant (1902-1954). This spherical vase represents the globe with depiction of various co...

Vintage I Spyropoulos Handmade in Greece black and 24K Gold Finish Porcelain Jar with Lid. Vintage handmade in Greece Black and 24k Gold Trinket Porcelain Dish with Lid. Greek Mythol...

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 unique Swedish case clock in original blue and salmon color. The year 1837 can faintly be seen above the clock face. Remnants of 18th century color animations are affixed to the in...

A charming early 20th-century German Christmas figurine Candlestick depicting a cheerful Santa gnome or elf riding atop a delightful pink pig. Beautifully crafted in bisque porcelain...

Santa Claus limited edition porcelain figurine with a sweet little girl in his arms kissing him decorated with red enamels on Santa's costume.

For your consideration is this very stylish original Art Deco free standing picture frame. The geometric patterning on the glass is reverse painted in black and silver. Very iconic ...

An elegant mid-19th century Chinese porcelain ginger jar, finely painted in cobalt blue under a soft celadon glaze. This piece, dating from the Qing dynasty, features a fitted lid wi...

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...

Finest quality, vintage retired, handmade and hand painted in Germany, Rosenthal porcelain German Shepherd dog figurine by artist Theodor Kar...

The piece is a unique representation of a Chimpanzee in a modern way. Our designer creates these pieces completely by hand.   

Presenting a set high-end and important Japanese dolls of Musha Ningyo Samurai Dolls containing Takenouchi No Sukune,Grandson,Bannerman on two wooden stands from the Edo period, a traditional Japanese warrior doll...

A Vibrant Pair of Tang Dynasty Style Hand Painted & Hand Carved Chinese Horses - priced as a pair Decorative wooden horses that would suitably adorn a shelf, a large desk, or p...

Vintage Large Folk Art Tonala Sandstone Pottery Vase, 1960s. Vintage Large Folk Art Tonala sandstone pottery vase with bird and flowers signed. Vintage large sandstone vase textured and hand-painted with an abstract bird and floral raised glazed decoration. Beautiful Vintage Mexican Ceramic Vase in the style of Ken Edwards. Hand-crafted vintage Tonala...

Vintage ceramic or pottery vase features traditional rounded body with elongated bulbous neck with flared rim; the shoulder is accented with textured band of abstract graphic element...

A magnificent museum-quality exhibition piece, extremely intricately hand-painted in vivid blue, orange, and green on a stunning octagonal body, by Yoshiaki Yamada. His work displaye...

Post Modern Display Mannequin from a Japanese store formerly located on Madison Ave, NY. Articulated fiberglass mannequin body has screws at join...

A rare Ando Jubei ginbari cloisonne vase. On the body two branches of white and pink cherry blossoms in full bloom and bud form with verdant foliage, worked in meticulous detail, set...

A rare antique French provincial Henriot Quimper faience tulip vase or tulipiere, circa 1890. Maker's mark on reverse. Hand painted with a traditional Breton man on one side and flor...

Immerse your space in opulence with this captivating pair of Louis XVI style bronze-mounted porcelain urns. Each urn is a masterpiece, adorned with a meticulously crafted bronze-moun...

This elegant pair of pink opaline glass vases is a charming example of late 19th century French decorative art, distinguished by their luminous colour, refined hand-painted details, ...

Elegant vintage round Limoges 22-karat gold trinket jewelry box and e small plates French vintage Limoges porcelain in cobalt royal blue with fine gold decor. Marked on base as “Limoges France" Porcelain Limoges Castel...

The "GOLDEN RATIO" sculpture by Patrick Coard Paris is a couture masterpiece, exquisitely crafted from a bronze patina brass veneer inlaid on a fiberglass core and meticulously hand-...

Four crystal glass bottles painted from the inside featuring artworks in style of Qi Bai Shi, the renowned early 20th century artist who's known for his black and white Chinese ink p...

Wharton Esherick important sofa for Lawrence and Alice Seiver. We are pleased to offer this exceptional item, the epitome of the Americ...

A large and highly decorative French Aesthetic Movement ormolu-mounted barbotine majolica vase, Choisy-le-Roi, circa 1890. The vase is richly ...

Charming folk art 19th-century country English pine blanket chest or box featuring a Georgian manor house facade on the outside. The storage box has a hinged top and handles on each ...

Indulge in the splendor of the Meiji period with this remarkable pair of antique porcelain lidded jars, crafted circa 1885. Standing at an impressive 20 inches tall with a diameter o...

A stunning French Art Deco mantel clock , circa 1920s featuring the iconic theatrical lovers Pierrot and Pierrette in a sculptural group atop a beautifully patterned marble base, att...

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...

A fine and very rare antique Austrian Art Nouveau cold-painted bronze sculpture of a zebra or more likely a Quagga by Franz Bergman, Vienna, circa 1900. The bronze depicts a remark...

Classic 1910s Vienna bronze figurine, expertly crafted and beautifully detailed in the tradition of Austrian cold-painted bronzes. This charming polychromed bronze sculpture showcase...

Extraordinary pair of fine glazed porcelain Foo dogs came to us out of an estate here in Savannah, Georgia, belonging to an old general that long ago brought them from Thailand. Used...

Charming 19th Century Painted Oak Country House Box or Chest A delightful piece of English folk art, this 19th-century country oak chest is beautifully hand painted as a Georgian ...

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...

A Swedish original green painted and carved bentwood box from the Gustavian Folk Art period. These small 19th Century Scandinavian collectibles were usually hand crafted and sometime...

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

Clarice Cliff "Bizarre" collection for Wedgwood 1931 "SummerHouse" 120 shape vase hand-painted England with artist initials on bottom. This vase is based off the original and under l...

This is a large ironstone pottery Footed Punch Bowl in the rare Mogul chinoiserie people pattern produced by the Mason's factory at Lane Delph, Staffordshire, England, during the lat...

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