Painted Decorative Objects

This sculpture is a wig holder, made in the 1970s in France. It is a Female Head, in a brown color.

Wall Decoration zebra wall head made in ceramic hand-painted.

This antique and fine lacquered wood box, is painted on both the sides with an elegant portrait of a woman and on the other side a dancer. The piece will be delivered with its certi...

Black painted cast iron dog nut cracker. The condition is very good and in working order.

Hand-painted Danish organic modern ceramic pitcher bottle vase with large handle on one side. Rippled body with slender neck and bright sea green glaze with large anthracite dots. La...

Antique Qing Chinese Export Famille Rose Canton Porcelain Punch Bowl with multiple painted panels. The exterior of this gorgeous bowl is decorated with multiple panels which include ...

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...

Sui or Qi Dynasty Painted Pottery Armored Horse and Warrior Sui Dynasty (581-618) Height: 11 Inches x 10.5 Wide x 4.25 Deep Provenance: Weisbrod Chinese Art, Ltd., New York Conditi...

Antique Cantagalli lusterware pitcher with botanical and geometric decor hand painted in wine red luster glaze. Probably 19th century. Sweet piece. ...

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

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

This listing features a Limoges style cobalt blue handled centerpiece with gilt bronze and hand painted ornamentation. There are no visible markings to suggest that this is an origin...

19th century hand painted Scandinavian oval strong box circa 1850. Good quality piece of rustic Swedish craft work, which still functions as a practical storage solution for today. ...

Large oval table box with mechanical musical movement by the Swiss company Reuge S.A. in 925/1000 sterling silver gold plated with translucent fired enamels on guilloché and on fine ...

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

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...

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...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

Pair of Guangxu period, early 20th century (1900-1910), Chinese Porcelain Vases Decorative Object CA LA. Very beautiful and detailed pair of Chinese Porcelain vases circa early 19th ...

Wonderfully charming hand-carved 19th Century American folk art horse sculpture on stand. Pay special attention to its face and the carved details to appreciate this fine specimen. ...

Beautiful polychrome porcelain crucifix from the Meissen factory, one of the oldest and most prestigious European porcelain manufacturers. The brand...

Four fine quality "Nippon" AUTHENTIC vases from the Meiji dynasty; Japan, Circa 1910. They are all hand painted with moriage accents to three of them; indicative and representative ...

A unique tall Swedish Mora case clock from Hälsingland with traditional wood carvings and original red, salmon, cream and blue folk art paint. Dated - 1842. Clock is sold as a decora...

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...

Playing card suit-shaped box “heart” in 925/1000 sterling silver with red fired enamel in Art Deco style, early 1900s. With lost hinge, i.e. semi-invisible. Dimensions cm. 9.5 x 10 x...

Rectangular pocket cigarette case with long rounded sides in 925/1000 sterling silver with red and black fire-enamelled stripes. With button and spring opening. Measurements cm. 10.3...

Circa 1860-80 Staffordshire Pair of Standing Whippets, English. Eager, happy faces, each proudly displaying a rabbit at its feet; fern & grassy decorated bases. Well painted - a true...

A beautifully executed mid-19th century mantel clock by the esteemed Ansonia Clock Company, featuring the “La Layon” model in collaboration with Royal Bonn, one of Germany’s most cel...

A stunning antique French ormolu clock set, circa 1870, mounted with exquisite Sèvres style porcelain with Rose Pompadour pink ground. Pan...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

Brilliantly faceted and richly colored, this mid-20th century Bohemian crystal vase exemplifies the bold artistry of cut-to-clear glasswork. Crafted circa 1950–1970, the piece featur...

Vase birds porcelain with bronze all in hand painted porcelain and with bronze trim details up and down the vase.

This magnificent Chinese Rose Medallion Tall floor vases/Huge Ginger Jar also know as "Export Porcelain" vase was hand made and hand painted in about 1950 - 1960s with gilt foo dog ...

Léon ledru dance de flore - Val Saint Lambert - Vase with LABEL Part of the Prestige Pieces, Val St Lambert Masterpieces. Gold decorated.?Val Saint Lambert Bowl Derby Val Saint-Lambe...

Sculpture Samuraï Puppet Musha Nyngyo A Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-em...

Vintage Japanese celadon glazed porcelain vase has a hand-painted floral design with basket weave silver overlay design. Measures approx. 6 1/8" height x 4" diameter. Some patina to ...

Postmodern 'Harlequin' Art Glass Vase, Europe, 1980s. This is a very beautiful art glass vase from the 1980s. A fun and joyful postmodern 'harlequin' style design, with hand painted...

Pair of fine antique ginger jars, circa 1699-1714) with pierced and cased cartouches and hand painted figural landscapes. Each with a different scene yet maintaining the mountain, la...

A stunning and very rare cameo glass vase etched and enameled with a fabulous landscape of silver birch trees blown in the wind and the rain, exhibiting excellent colors of deep pink...

A complete set of 6 beautiful bowls / barware appetizer bowls with amazing decor and hand-painted gold details. Designed and produced by Piero Fornasetti in Milano, Italy. Early prod...

True antique of Chinese export porcelain dinner plate, meticulously hand-painted in the exuberant Pseudo-Tobacco leaf pattern with rich foliate and fl...

Antique Oriental Chinese Export Black Lacquered Gilt Painted Covered Box 1940s. Large Asian Chinese black lacquered tea box with numerous figures and gilt detail. Chinoiserie black l...

This shaped Wedgwood creamware dish, hand-painted circa 1780, presents the quiet elegance characteristic of late 18th-century English creamware. The gently undulating rim frames a so...

Rose, lilac and blue porcelain vide poche bowl designed and handpainted by Ingelise Koefoed for Royal Copenhagen in the late 1950s-early 1960s. Organic modern decor, dark blue linin...

This whimsical pair of mid-century candlesticks was crafted circa 1950, likely for the Chinese export market, and features vividly painted porcelain parrots perched atop floral-cover...

A magnificent and large early Tang dynasty (618-906 AD) model of a prancing or dancing horse, circa 7th century. The majestic animal is caught mid-motion, one leg raised, head grace...

Art Deco Large Signed G Carli with stylized Representation of Hunting Dogs Originel Patina on all Parts The piece is in Fair and original condition and a rea...

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

Vintage Turkish enameled Bohemian glass hookah base vase. Clear and gold enameled Bohemian glass hookah base, or flower vase. Bohemian glass hookah ...

A scarce antique Royal Doulton porcelain biscuit box decorated with Old Mother Goose made for Huntley & Palmers biscuit manufacturers in 1905. The box has been formed as a chest of d...

A Wonderful Tole Hand Painted Chinoiserie Moss Green And White Large Planter Raised On Gold Gilt Paw Feet.

This extraordinary Art Nouveau vase attibuted to Wilhelm Kralik Sohn is a stunning example of Bohemian craftsmanship from the late 19th century. Crafted from iridescent green glass...

A large and impressive Art Deco Ruskin crystalline glazed art pottery three handled vase by William Howson Taylor dated 1932. The earthenware vase is thickly made and is of round bul...

Fukagawa Hexagonal Imari Porcelain Vase with Factory Silver Collar, Meiji Period, circa 1900 An exceptional Meiji-period Japanese porcelain vase attributed to the Fukagawa studio, f...

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

Egg on tripod engraved in 925/1000 gilded silver with translucent enamel on fire on guilloché, Russian Empire style inspired by the eggs of Carl Fabergé late 19th century, early 20th...

A pair of American painted concrete deer sculptures from the mid 20th century, with weathered patina. Made in the USA during the midcentury period, this ...

Nice Delft blue pottery vase, handprinted by Gewina Delft.

A very large and exuberantly decorated Japanese Satsuma millefleur covered vase, marked Satsuma, Showa period, mid 20th century, Japan. The large vase of attractive baluster form, with a slightly splayed foot, narrow waist, and tapered body with high shoulders and short neck. The vase topped by a domed cover with a large finial shaped like a hoju, the wish fulfilling jewel. The vase decorated all over in a dense field of flowering blossoms - peony, lotus, and chrysanthemum - in a design known as millefleur, or a thousand flowers. The flowers freely and cheerfully painted in various colors of red, white, orange, green, blue and yellow, with raised white enamels...

An English George III period Chinoiserie parcel gilt and japanned tall case clock from the 18th century, with black paint and arched brass di...