Painted Decorative Objects

Octagonal table cigarette case in 925/1000 sterling silver gold plated with external edges and fired enamels inserted in fine designs in the Baroq...

In a perfect condition this stunning vase, very Space Age.

Bust of Napoleon Bonaparte by Sitzendorf, in porcelain, hand-painted. Detailed example of the Emperor, dressed with bicorn hat, green uniform with medals, draped with a coat. On the...

This remarkable and highly decorative Japanese export large writing box is a rare high quality example with a complicated and intricate interior. The box is in very good condition c...

French mirror made circa 1930. This frame mirror has been painted circa 1960. The mirror has be changed later. Good antique condition. Shipping: 5 / 68 / 98 cm 13 kg

Porcelain creation depicting a bee, part of the Awesome Insects collection. A surprising decorative design. The pollinizing species par excellence, t...

French Art Deco clock, ca 1920. The construction of the clock is in white and grey marble. The ornaments, flowers and fairies are made of zamac. They are signed France Pierre Sega. ...

This exquisite 19th-century Moroccan ceramic bowl from Fez showcases traditional craftsmanship with its vibrant polychrome decoration. The bowl features an intricate geometric and floral design rendered in shades of deep blue, green, and yellow, characteristic of Fez pottery...

Homenaje a Frida Kahlo Sergio Bustamante Sculpture, Ceramic 15/25 Offered for sale is a Sergio Bustamante ceramic sculpture titled "Homenaje a Frida Kahlo" created in the 1990s, sig...

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

A very beautiful folk Art box from Burträsk ,Västerbotten Northern Sweden. A very decorative original painting that is typical of that region. Nice salmon pink original painting ins...

An antique 19th-century Moroccan ceramic bowl originates from Fez, a historic center of pottery craftsmanship. Handcrafted from terracotta and adorned with a striking cobalt blue and cream glaze, this footed bowl features an intricate radial geometric design, reminiscent of traditional Moorish and Islamic artistry. The deep blue hand-painted motifs contrast beautifully against the warm-toned background, highlighting its artisanal charm. The slightly raised footed base and small perforations suggest it may have been used for serving or display purposes. With its rich cultural heritage, this antique Fez pottery...

Pair Of 19th Century Sevres Porcelain Hand Painted Cobalt And Gilt Decorated Two-Handle Urns in good condition. Hand-painted different scenes on each side. No cracks or repairs. Just...

A beautiful and relatively large rare French tole flower or plant cachepot basket with lion paw feet, in the Rocco style, circa early-20th century, France. This metal tole cachepot i...

Rare small lidded trinket box with church-shaped handle on the lid is hand painted in two tone blue on white porcelain background. Floral decor on the body of the box and on the lid,...

This is a 1960s Mid-Century Modern ceramic single flower vase, designed in the manner of Gio Ponti. The vase features an elongated, curvaceous silhouette with a narrow neck and a sub...

Antique Gustavian wall clock This Swedish rococo wall clock is from 1900 and has its original mechanism. Hand Carved, Hand Crafted, Gilded Wall Clock It has been hand-carved with flo...

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...

During the 17th through 19th centuries, highly skilled artisans in Savona, Italy, produced beautiful tin-glazed earthenware known as maiolica (majolica). These blue and white lidded vases with serpentine handles, from circa 1800, are such an example. Early Savona offerings were painted cobalt blue on a white background, as seen on these vases. Because the scenes depicted on the main bodies are distinct, they are considered a near pair, although their dimensions do not vary. Both illustrations contain country houses surrounded by tall trees and fronted by vegetation emerging from rocky terrain. In each scene, people can be seen in front of the houses, with one having two citizens and the other having four. One of the renderings is bordered by roundels at the top and by a leafy vine at the bottom; the other vase does not have any surrounding motifs. The sides opposite the pastoral images are distinct as well: the one with the borders has curled vines surrounding the Savona Lighthouse (a production mark of studios from this region), while the other vase has the lighthouse above a pair of small foliate margents. Both vases have domed, removable lids with a conical finial emerging from a painted sunburst. Curled leaves have been painted along the circumference above a solid blue ring. The two curvaceous handles are each comprised of a pair of snakes bound with a ribbon. Our blue and white lidded Savona vases...

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...

Rectangular table photo frame in 925/1000 sterling Silver gold plated with translucent two-tone striped enamels fired on guilloche and hand-engraved ornaments. Late Empire Napoleon ...

A charming early 20th Century Art Deco cold painted bronze figure of a young girl in period attire standing holding a hoop behind her back , raised on a shaped marble plinth and sign...

An exceptional Pair of Limoges Castel 22K Gold Decorated Blue Cobalt Porcelain Two Handled Vases in good antique condition. Measures 8" in width and stand 10' tall.

Nevers Faience 'Pot a Oranger' adorned with painted farmhouse scenes and scrolled decoration in shades of blue (camaieu bleu). This circa 1780-1800 tin-g...

Carved figural figures in elaborate and colorful orientalist garb , typical Turkish representation ( Turkey the beginning of the orient ) ,possibly of Venetian origin. Popularized...

Playful stretching Tonala pottery cat figurine is decorated with beautiful hand painted abstract geometric and floral designs in blue, green, and earthy brown palette. Variations in...

Vintage porcelain temple jar, handcrafted towards the end of the 20th century, in 1980s China Artistically decorated in a simple yet decorative Ming-era style. Its body features a figural scene perfectly realized in hand-painted cobalt blue enamel. Flying birds and floral motifs are interspersed between bold blue borders and graphic Chinese-style decorations. Coming together and creating a striking contrast against the luminous white underglaze porcelain. The porcelain jar measures 20 cm in height and 15 cm in diameter. It's in good condition for its age and use, bearing only x1 small chip to the lip of the temple jar. And is stamped on its underside with a 'Zhongguo Zhi Zao...

Accademia Lagostina Quadrotto Tray (1980) - Memphis Design by Ettore Sottsass This rare "Quadrotto" tray is an iconic expression of 1980s postmodern design, conceived by visionary E...

Lovely pair of amphora vases in Paris porcelain, with polychrome rotating decoration of lilacs, roses, clematis, fuchsias and other natural flowers, on a white background. The foot a...

Grand pair of early 20th century English Campana form garden urns or planters raised on pedestal stands. The pair feature cast iron construction with ne...

Rectangular table cigarette case with rounded upper long sides, in 925/100 sterling silver and two-tone fire-enamelled stripes in a modern contemp...

Beautifully painted in varying shades and tones of underglaze blue and white showing figures in an imperial courtyard scene and a famous poem from the Tang Dynasty from Circa 690.  

This antique miniature vase from Meissen is a remarkable example of fine porcelain craftsmanship. Crafted from pristine white porcelain, it f...

A highly coveted Franz Bergmann Vienna Cold Painted Bronze Figure of an Arab Snake Charmer on an alluring carpet of alluring colors and patt...

Steel painted with glass cover front made in Germany in the 1960s. Now fitted with a 220Volts movement but on request can be also rebuild to a battery movement.

Rectangular with rounded corners table box for cigarettes in 925/1000 sterling silver gold plated with translucent enamels on a radial guilloché an...

Dimensions: 7.5 x 12 x 18.5 cm Material: Pottery Name: Kitanoumi Period: Showa (1980s) Kitanoumi Toshimitsu (May 16, 1953 to November 20, 2015), born Toshimitsu Obata (Obata Toshi...

Vintage Limoges France Jewelry Box with Hot Air Balloon Type Trinket Box Brand Limoges Material Porcelain Subject Air Balloon Finish Painted Shape Round Diameter 8,5 cm / 3,34 inche...

Set of two Bitossi Aldo Londi for Cer Paoli Sahara range ceramic vases. Italy, 1960s. Ceramiche Paoli "Cer Paoli" was created at the end of the Second World ...

Pair of Antique Hand-Carved and time-worn European Church Candlesticks Anonymous Probably France; 18th century Giltwood, silvered, iron Approximate size: 21.5 (h) x 5.5 (w) x 5.5 (...

Fabulous bass Cello storage cabinet. Has 4 shelves that are 5 x 5 x 10.5. Door opens and closes with ease. Well made, high quality. In excellent vintage con...

A glazed and hand painted porcelain box and cover with figural serpent finial. Model no. 5709, 'The passions of man'. Designed by Gio Ponti for Richard Ginori, Milan, Italy, circa 1...

A vintage ceramic candelabra by the renowned French pottery makers Vallauris. Handcrafted in the 1960s, this rare and distinctive piece reinterprets the traditional French candelabr...

Set of 2 vintage large bird sculptures features striking Modernist shape and elaborate, highly detailed hand-painted decor. Traditional Tonala abstract flowers and leaves motifs in ...

An impressive 20th Century Art Deco Style Clarte Lumina Standing Nude Sculpture and Table Lamp. Measures 20" in width, 12" in depth and stands 31.5 " in tall. Marble base is 12" in...

A delicate and intricately worked antique Dresden Porcelain Fruit Basket and Underplate. The form is rare and a technical tour de force. Few of ...

Meissen Porcelain deep cabinet plate with handles. This piece is hand painted in cobalt blue with floral motive in the center and richly decorated gold ...

Exquisite Vintage 1950s Handcrafted Wooden Marionette with Burmese String, Reflecting Asian Opera Artistry. This splendid Burmese-Thai marionette is a testament to masterful hand carving and intricate hand painting. Adorned with ornate fabrics in red and gold colors heavily embellished with beads, sequins, colored glass, embroidery, and gemstones, this marionette is a true work of art. Whether you choose to display it on your wall, use it as a mobile to bring color to a child's room, or incorporate it into your authentic boho and ethnic decor, it will captivate your senses. A fine representation of handcrafted village folk puppets from Asia, this marionette stands out for its unique quality. What sets marionettes apart from regular puppets is their manipulation through strings controlled from above, offering an unparalleled range of movement. Operating these strings demands a high level of skill, making marionettes a cherished form of puppetry. In Asia, marionette troupes were often sponsored and patronized by royalty, and while their performances were undoubtedly captivating and entertaining, they also served a significant cultural role. This marionette is not only a collector's delight but also a stunning piece of art. It portrays Minthar, the prince, in all his vintage glory...

Rectangular photo frame in 9251000 sterling silver gold-plated with translucent fired enamel on guilloché. Modern contemporary style. Ground glass. Blue alcantara panel. External dim...

A very rare and stunning Arts & Crafts studio pottery vase of twisted floral shape made in London by Horace Elliott (British, 1851-1938) dating from the...

Porcelain dog sculpture, Borzoi/ Russian Wolfhound, depicting a Borzoi lying on the floor with outstretched forelegs, naturalistic polychrome painted , signed on the back above the standing edge. This vintage detailed Borzoi figurine...

Early 19th century Charles X style gilt bronze with figural design detail mantel clock. The clock features a surmounted soldier holding a shield. Eight day spring driven brass moveme...

This antique 19th century Victorian bronze ormolu jewelry casket is made of the highest quality! Made in the late 1800's, this petite jewelry box perfect for storing away any precio...

A large Vietnamese altar vase with dramatic flaring neck and bold dragon motif. The black ground sets a striking stage for a dynamic design that unfurls across the surface—an undulat...

19th Century Vienna Porcelain Model of a King Charles Spaniel Austria, Mid-19th Century This exquisite 19th-century Vienna porcelain model of a King Charles Spaniel is a beautifully crafted example of fine European porcelain...

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

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

The mark on the underneath (see image) indicates that this spittoon is of Japanese Imari porcelain, manufactured circa 1880, and made specifically for the American market for the preponderance of bars and saloons at that time. These were popular from 1865 to the turn of the century; this is a particularly fancy and elaborate example. Note the copious and highly detailed and beautiful floral decoration to the inside of the upper portion of the spittoon; pretty fancy for something meant for spit and saliva! Fantastic and all original condition with no cracks, no chips and very bright paint in sharp colors of blue rust and pink, and meticulously painted in a floral pattern. Several of these would have been “stationed” in strategic places within a saloon. This is a wonderful piece of porcelain, and quality item of saloon and Western United States history...