Painted Decorative Objects

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

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

Exquisite antique Worcester porcelain desk inkstand and cover in "dragons in compartments" or "bengal tiger" pattern. A stunning piece of English Regency chinoiserie in imari palette...

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 ...

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...

A rare and highly evocative European memento mori terracotta sculpture depicting a human skull resting upon a rocky outcrop, entwined with serpents and surmounted by a distinctive lock of hair. Dating from the late 17th to early 18th century, the piece is likely of German origin. Beautifully modelled and painted in naturalistic tones, the skull is rendered in warm earthy hues, contrasting with the dark green serpents that coil through and around the cranium. The rocky base is finished in rich brown tones, enhancing the sculpture's dramatic presence and symbolic depth. Memento mori, Latin for “remember that you must die,” was a powerful artistic and philosophical motif throughout Europe, serving as a reminder of the transience of earthly life and the certainty of mortality. Here, the skull embodies death, decay, and the fleeting nature of human existence, while the entwined serpents symbolise transformation, renewal, healing, and the eternal cycle of life. Together they create a compelling allegory of mortality and rebirth, where death itself becomes a gateway to regeneration. A striking and unusual example of early European memento mori art...

These are a beautiful set of NINE porcelain Monkey Figures or Figurines all playing in a Band made by Sitzendorf, Germany, circa 1910. What makes these figures special is the excell...

This is a finely hand painted Chinese Export porcelain saucer dish from the 18th century, Qing dynasty, Qianlong period, 1736-1795, probably closer to 1750. The dish is beautifully ...

Oval evening bag in 925/1000 sterling silver with fire enamelled stripes in Art Deco style. Measurement cm. 5.5 x 10 x 14.8, interior with ground mirror. Weight gr. 748. Created in 1...

Antique Southeast Asian Polychrome Wooden Oversized Temple Horse from India. Large Antique Southeast Asian Carved Polychrome Wood Horses. Antique Southeast Asian carved wood model of a parade horse. the body with allover polychrome, saddle and reins carved in high relief, the tail lacquered. 19th century hand carved oversized wooden Indian temple horse...

19th Century Staffordshire Unique Black & White Spaniel with Separated Foot England, Circa 1860s This distinctive 19th-century Staffordshire black-and-white spaniel figure, made in...

Charming antique Italian ceramic trinket dish dating from the 19th century. This handcrafted piece features a hand-painted decoration in shades of blue on a light background, with st...

Large African Tribal Female Bust Sculpture, 32 cm – Hand-Carved Ethnographic Art Figure A wooden striking and highly decorative 32 cm African tribal female bust sculpture, celebrati...

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

Sphere table cigarette lighter in 925/1000 gold-plated sterling silver and translucent fire enamel on guilloché, in a modern contemporary style. Piezoelectric mechanism. Dimensions d...

Mid 19th century Swedish pine long case mora clock circa 1850. Large Swedish long case mora clock, presented in scraped back paint. Scraped back down to reveal a partial colour of ...

A Wonderful Botanical Heavy Classic Painted White Cast Aluminum Openwork Urn On Pedestal With Interior Tin. Urn 19 1/2" H x 14" Round Pedestal 12" Square x 34" H 3 Available, Each S...

Made in the late 18th century, this pair of blue and white Delft jars has an elegant presence. The smooth ovoid bodies rise to a strong, stepped neck and a wide, projecting flange th...

Early 20th-century Modernist figural black cat doorstop, manufactured by the renowned Hubley Manufacturing Company of Lancaster, Pennsylvania, circa 1920–1930. Highly celebrated fo...

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 giant sized handmade Rimini blue ceramic vase designed by Aldo Londi and manufactured by Bitossi. Italy, 1960s. Blue glazed ceramic with engraved patterns adorning the top of the v...

A rare antique French glass paperweight containing a close pack mushroom design by renowned glass makers Baccarat and dating from around 1850. The large and heavily made paperweight ...

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...

Sphera is a set of three sculptural spheres from Katz Studio, each surface split between two states: one finished to a perfectly smooth, unbroken curve, the other appearing worn away...

Pair Japanese Satsuma Style Porcelain Vases, Hand-Painted Court Ladies, Meiji-Taisho Gilt Decoration A finely decorated pair of Japanese Satsuma-style porcelain vases, hand-painted ...

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...

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...

Italian glazed ceramic fruit basket figure sculpture. This compote is handmade with the greatest attention to detail. We see this piece on a kitchen counter or table. The basket is m...

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 ...

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

A fine pair of Louis XVI style chinoiserie gilt-bronze mounted Chinese export famille rose porcelain vases. The ovoid hand painted porcelain body with dual scenes of a sword presenta...

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

A charming turn-of-the-century Austrian cold-painted bronze figurine depicting a Miniature Dachshund standing attentively with detailed facial expression, floppy ears, and an integrated collar with a pendant tag. Executed in the celebrated style of Franz Xaver Bergmann, this unmarked piece features naturalistic casting and an authentic, aged polychrome finish showing desirable surface wear consistent with period age. Sourced directly from an Austrian family who immigrated to the United States in the 1940s. Dimensions: Dimensions: (3.3/16" h x 6"w x 2"d) Details: Period: Circa 1900–1910 (Turn of the Century) Origin: Vienna, Austria Style: Manner of Franz Xaver Bergmann / Austrian Cold-Painted Bronze Subject: Miniature Dachshund / Wiener Dog Materials: Cold-painted cast bronze Condition: Presents in original antique condition. Shows authentic patina, surface oxidation, and age-appropriate loss/rubbing to the cold-painted enamel finish as expected on genuine early 20th-century Viennese bronzes. Unmarked. Keywords: Viennese bronze, antique dog figurine...

Tiffany & Co. porcelain round trinket box. Tiffany & Co. porcelain round map box designed for Tauck World, Made In France. The porcelain lid cover ...

A large Lebrillo bowl, made in Granada, Spain in the late 18th century. Hand decorated using blue paints, most likely formed using a variety of ground mi...

Porcelain sculpture depicting a hare, inspired by the plant motifs of the designer William Morris, one of the all-time masters of the decorative arts. This sculpture, made in matte black porcelain, depicts an exquisitely ornamented hare inspired by the famous patterns with motifs taken from nature that Morris, one of the key figures in the renewal of the decorative arts, applied in all his works. The piece is finished in matte black porcelain and decorated with Morris’s signature plant motifs, finished in green and metallic tones. William Morris was a multifaceted British artist, instrumental in the renewal of design and the decorative arts. The driving force behind the late-nineteenth century Art and...

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

A stunning and rare Bay Keramik floor vase designed by renowned designer Bodo Mans. The decor or pattern is 'Haiti' (1959). BAY Keramik was founded in 1934 by Eduard Bay. At the ear...

Japanese gilt lacquer document box with a calligraphy Document, painted and gilt in flowers, a dedicated artwork. The original decorated strings ...

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, ...

A fine last quarter 19th century Samson porcelain vase of covered baluster form painted in Japanese Edo Imari style, the original lid with foo dog finial and...

A good pair of Art Deco Faience bookends form HB Quimper, in good condition, very colorful. Dimensions are 7.5" long by 4.5" and 7" high. Each. Note, one small lost of glazing on the...

Large antique blue and white Delft covered jar, hand-painted in the Netherlands, circa 1880. The jar features a finely fluted body, creating a graceful vertical rhythm and enhancing the visual depth as light interacts with the curved surfaces. The decoration is executed in rich cobalt blue and arranged within shaped cartouches, and depicting detailed still life scenes of flowers, foliage, and birds, surrounded by additional foliate ornamentation. The shoulders are encircled by stylized floral and leaf borders, providing a cohesive transition to the matching domed covers. The cover is surmounted by a traditional Delft finial...

A stunning footed Art Deco vase with hand-painted gold foot. Made by Rosenthal, Germany in 1930s. Stamped with makers mark. Great condition.

Vintage Italian Modernist ceramic vase manufactured by Bitossi and exported by Raymor (ca. 1960s). Scarcely seen example with geometric pattern and contrasting high gloss and matte g...

Stunning clock for the collectors of rare and truly stylish Gothic antiques. Gothic wall clocks are a rare find and this more than three feet tall specimen probably is the best an...

Italian Majolica Style handcrafted, and hand painted Gold hammered Ceramic Vase with a Crab Figurine on 2 Sides. Nautical Pottery from Italy for large Flowers or Object D' Arte as Fl...

Scandinavian 19th century folk art handmade pine box circa 1830. Good quality piece of Swedish woodwork.  These strong boxes would have been used to store the households valuables i...

A whimsical hand-painted fish-form ceramic dish by the celebrated Sicilian pottery workshop De Simone, Italy. Executed in vibrant shades of red, cobalt blue, turquoise, yellow, and o...

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...

This is a very decorative Chinese export, Canton porcelain, rose medallion Vase which we date to the 19th century, Qing dynasty, circa 1840. The vase has a baluster shape with a f...

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...

Meiji period, Large Satsuma Porcelain vase, decorated with dragon and floral pattern.  

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 ...

An exquisite pair of early 19th century Italian Capodimonte Rocococ style polychrome porcelain incense burners in the form of urn shaped vases with two handles and pierced lids. The...

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...

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

Steel painted with glass front made in Germany in the 1950s. Formerly a slave clock, it is now fitted with a modern quartz movement with a battery. Delivery time about 2 weeks.  

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...