Painted Decorative Objects

GALVANI ceramic plate from Pordenone ITALY 1930. - Designed by ANGELO SIMONETTO, airbrush painted in the ART DECÒ period. Airbrush painted with a beautiful stylized fish.

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 egg figure from Atelier Madoura, Vallauris, France (circa 1960s). This egg-sized ceramic figure is painted with a stylized suited man w...

English, vintage metal washbasin that would have been used on a vanity or in a kitchen, recently updated with new gold paint and decoupage of butterflies. The interior of the bowl gl...

Italian antique hand-painted wooden wall decoration, 1800s Italian antique hand-painted wooden wall decoration, also suitable as an elegant decorative headboard, dating from the earl...

1940s Art Déco Torino painted and glazed ceramic figurine 'Ambretta Dancer' by Sandro Vaccetti for the firm Essevi, Italy By: Sandro Vaccetti Material: ceramic, paint, enamel, clay ...

Songbird Blue Eyes created as a collaboration between Kay Bojesen and Leif Sylvester. The figure is made of painted wood with multicoloured decoration and the Blue Eyes motif. The se...

Presenting a stunning pair of mid to late 19th century French Limoges Bisque porcelain figurines from circa 1870. One is of a lady in period dress/attire cradling a Dove. All hand-painted and decorated to the finest quality. The base is marked with the makers initials “C.H.”. She is made of fine bisque porcelain in the Old Paris porcelain style. The other is of a gentleman set...

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

An unusual and highly decorative antique wooden humidor, probably dating to the early 20th century, featuring elaborate hand-painted decoration inspired by classical mythology. The ...

Created during the height of Europe’s fascination with richly mounted decorative porcelain, this exceptional pair combines the celebrated ceramic artistry of Royal Bonn with the refi...

Vintage Italian modernist soft shaped triangular decorative bowl / wall plate by Fratelli Fancuillacci, late 1950s-early 1960s. Three stylized deer on ea...

Cold painted Austrian bronze sculpture by Franz Bergman depicting a carpet trader. The piece shows great attention to detail and craftsm...

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

Sculpture French Coq made in ceramic, hand painted piece.

This is a Goebel porcelain figurine of a Pied Wagtail bird. It depicts a very well done hand painted black, brown, gray blue and white, Wagtail bird. It has the Goebel hallmark plus ...

Large Pair of Victorian Staffordshire Spaniel Dogs with Amber Glass Eyes, England, Circa 1860 This impressive pair of Victorian Staffordshire spaniel dogs embodies one of the most e...

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...

Nice handpainted Delft blue pottery vase.

A highly collectible American art pottery vase from the renowned Roseville Pottery Company, executed in the iconic Pinecone pattern, model 709-10, circa 1930s. This sculptural form ...

FREE WORLDWIDE SHIPPING Japanese Satsuma earthenware vase by Koshida, dating to circa 1910. The vase is of elegant hexagonal form with a gently tapering body, finely decorated with ...

Asian Chinese hand painted large box decorated with of a small village gathering

Large French stoneware vase created at the renowned Poterie de Ciboure in the French Basque Country during the 1950s. Entirely hand-painted and signed by Carmen Fischer, this impress...

A spectacular relief vase by the renowned manufacturer Gerbig & Stephan of Bodenbach, Bohemia (Czech Republic), crafted around 1880. This flower vase is an exceptional example o...

Rectangular rounded cigar box with vertical opening in 925/1000 sterling silver gold plated with fine miniature hand-painted in tempera on vegetable iv...

Biedermeier picture clock with fountain mechanism Austria Oil on iron sheet circa 1830 Dimensions: H × W × D: 45 × 53 × 14 cm Description: This rare picture clock depicts a villag...

Vase in ceramic from France. It has been done during the 19th Century. Decor with Caracthers and Flowers. Main clors are white blue. Signed Henriot Quimper.

Pair of Japanese Satsuma Kutani porcelain foo dogs, presented as a matched pair of guardian lions with hallmarks stamped. Each figure is hand painted wh...

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 ...

Italian ceramic decorative bottle / single-flower vase by Bruno Gambone (circa 1990s). This smaller sculptural work consists of a rectangular body with soft, curvy shoulders leading ...

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 captivating set of four ceramic plates designed by renowned Swedish artist Åke Arenhill and produced by Höganäs Keramik in the mid-20th century. - Diameter: 25 cm (9.8 inches) - M...

This is a Chinese Export porcelain bowl of mid size, hand painted in a blue and white floral pattern, which we date to the mid 18th Century, Circa 1770 or possibly slightly earlier. ...

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

Elegent contemporary Japanese dimpled decorative porcelain plate, a unique piece gilded and hand painted by highly acclaimed porcelain artist of Japan’s Imari-Arita region. This mast...

Contemporary Japanese porcelain vase, hand painted showcasing a dramatic dragon set against a dimpled black background, a signed piece from the signature dragon collection by highly ...

This elegant pair of lidded vases showcases the artistry of Moustiers faience, produced by the renowned Lallier workshop in southern France. Signed Lallier à Moustiers on the base, they faithfully continue the centuries-old tradition of Provençal ceramics...

Rectangular tray with rounded corners in 925/1000 sterling silver with hand-painted fired enamel like turquoise stone, cm. 9.5 x 18. For fountain pen (4577-5210) with 18 carat gold n...

This is a box for the matcha powder using while tea ceremony in Japan. It is called 'Natsume'. It is made with wood. The design is a boat and it is hand painted. The material is with...

Cigarette case sterling silver with long rounded sides in 925/1000 sterling silver with fire-enamelled stripes in Art Deco style. With “lost” hinge, i.e. semi-invisible. Dimensions ...

Exquisite Japanese contemporary large gilded, intricately hand painted and dimpled porcelain charger by acclaimed master porcelain artist, dramatically showcasing an eagle in flight,...

Germany, circa 1900 A finely carved wooden sculpture depicting the Christ Child holding a Globus Cruciger, the traditional orb surmounted by a cross symbolizing Christ's dominion ov...

Exquisite beauty of this antique Islamic Kashmiri Papier-Mâché Tea Caddy, a stunning storage box with a lid and copper metal lining. This hand-painted gem features intricate miniatur...

This is a Royal Copenhagen porcelain of small bright and colorful bird figurine known as a Blue Tit. At the base is the Royal Copenhagen hallmark with the num...

Painted ceramic, very good original vintage condition. Beautiful and unique decorative sculpture. Dalmatian dog sculpture was produced in Germany. Only one dog available. Signed cera...

A 19th century glazed pottery Yorkshire dog sculpture, hand painted in white with gilt, orange and black accents, mid-19th century, Staffordshire, Englan...

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

A beautiful round porcelain jewelry dish, hand-decorated, with a scalloped edge, in the Anglo-Japanese style, 1987, USA. Piece is made in both Japan and the United States. Colors inc...

FREE WORLDWIDE SHIPPING Tea chest with Chinoiserie decoration, of rectangular sarcophagus form with a slightly tapered body and angled lid, raised upon four brass ball feet and dat...

Exceptional Japanese contemporary large porcelain charger, hand painted showcasing a dramatic scene of two dragons in platinum and gold set against a stunning dimpled deep blue backg...

This Art Nouveau enamelled faience vase, produced in France around 1910 and likely originating from the Longwy region, is executed in a tall baluster form and decorated in heavy enam...

Set of 4 vintage Halcyon Days Enamel Boxes. "Yesterday and Tomorrow" Halcyon Days Enamel Box Shape: Oval Design: A floral and vine motif decorate...

A captivating vintage Limoges trinket box, crafted in fine cobalt blue porcelain and adorned with hand-applied 22-karat gold detailing. The lid features a richly illustrated courtesa...

Decorative ceramic vase handmade in Italy and decorated with platinum luster, the luster process requires three firings of the vase. Dimensions: D 25 cm, H 31 cm. The vase draws ins...

Antique Staffordshire Painted Hen on Nest Covered Box or Tureen, Circa 1880 A charming antique Staffordshire painted hen on a nest-covered box or tureen, dating to circa 1880. This ...

Classic early 20th Century figurine, expertly crafted and beautifully detailed in the tradition of Austrian bronzes. This charming figurine showcases the exceptional artistry for whi...

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...

A very stylish and typically Scandinavian Swedish mid-century hand painted graduated set of carved wooden horse figures by Nils Olsson and dating from around 1950. The figures are each similarly carved standing from a very miniature example to a very large horse. They are simply carved with shaped heads and raised ears and each is hand painted with a patterned saddle and harness and simple facial styling, The saddle is painted with a stylized floral design in tones of blue, black, orange and yellow against an off-white ground with with green/blue edging with the straps similarly decorated and painted against a bright orange ground. The miniature variant has a slightly different coloring and patterning due to the limitations of its size but is an original part of the set. The second largest horse is painted with initials G.E.B. and the three mid-sized horses all retain their original makers paper labels for Nils Olsson. The miniature horse measures...

An outstanding pair of vases by Jean Massier, France's most renowned Art Nouveau ceramic artist. Modeled after nature, the vases take the form of reeds—featuring a distinctive uppe...

Antique Maritime Lantern "Meteorite 50811" by Meteorite Lamp Co., Painted Metal with Fresnel Lens, circa 1920s–30s Height: 25.5" with handle extended, 21" to top of lantern Diameter: 13" Base: 10.5" diameter A striking antique maritime lantern from the Meteorite Lamp Company, England, bearing its original maker's crest and brass plaque marked “METEORITE 50811.” This large-scale lantern is constructed from durable metal and finished in a faux copper paint that has developed a rich, distressed patina with appealing wear and surface texture from years of use. The lantern features a thick, clear Fresnel-style lens, designed to amplify and project light efficiently over long distances at sea. The lens is enclosed within a protective metal cage and accessed via hinged doors at the top and front. The piece remains unwired and without current illumination, preserving its integrity as a collectible artifact. It was originally oil- or kerosene-lit using a removable burner chamber, typical of early 20th-century ship lighting...