Paint Furniture

A cabinet inspired by the hydrodynamic curves of the great steel ships built on the River Tyne and River Wear. Handcrafted in the North to order, this sideboard can be commissioned ...

A custom fun Conceptual Pop Art lacquer chest, entirely hand-crafted in Italy and completely bespoke in sizes, finishes, colors, and functions, part of a bespoke collection created a...

Original vintage Danish mid-century oil on plate painting of a winter scenery with houses, seen from a window in the Frederiksberg district of Copenhagen. In the foreground, a tree w...

This oak secretary is a striking statement piece with panel doors, dramatic bonnet, and traditional lower three large drawers. The entire secretary has been given a professional cust...

Charming early 19th Century Swedish Gustavian period console table. In original paint with carved detail to all four sides. This table has multiple uses. Circa 1800. With restoration.

A Pair of Empire Style Brass and Ebonized Candlesticks Buffet Lamps Measures 5" in width, 5" in depth and 32" in height.. Shades are 11" in diameter

A stunning papier mache tray from England, 19th century, with “Japanned” black lacquer and parcel gilt illustrations covering the surface. The tray is glowing from the intricate depi...

A petite earthenware ceramic bowl. This small vessel will be a great addition to a coffee table used as a vase, or a side table as a trinket dish. We also love the idea of using it as a salt well...

Long, folding, painted hickory and bronze bench from the Staten Island Ferry. Featuring a narrow sturdy, Hickory seat with oxblood red paint and locking, salt water patinated bronze ...

This striking and unusual painting -- beautifully composed with a rich palette -- depicts two nude British youth, sitting on a rocky outcropping during a day of swimming. Each is sl...

Antique Hand Painted Bisque Porcelain Mother & Child Figure in the Manner of Meissen c1920 Measures- 17.25"H x 9.25"W x 9.25"D

Contemporary Mirror 'Pancakes V2' by Oitoproducts. Dimensions: H 180 x W 55 x D 3,5 cm H 71 x W 21 x D 1,3 in Materials: Painted ecological water paint MDF, silver glass mirror, sp...

ANTIQUE ORIGINAL OIL ON CANVAS PAINTING DEPICTING A FEMALE SITTER, 19TH CENTURY A romantic and skilled depiction of the famous Welsh actress Sarah Siddons (1755-1831). Siddons was t...

A recently made painting of a lady by an unknown Dutch artist. The mixed media collection of materials on canvas depicts a lady's face and is framed...

This refined table features a round glass top supported by gracefully scrolled gilt iron legs, joined by a lower circular stretcher for added stability. Attributed possibly to Giovan...

A pair of French Baroque style hand carved gesso and wood floral scroll design wall brackets featuring a scalloped gild painted shelving. This elegant...

This exceptional three-panel screen by artist Gustavo Novoa is a rare hand-painted work showcasing his whimsical take on Chinoiserie style. Signed by the artist, the screen likely da...

Very fine George III demilune console table, in the manner of Robert Adam, the later marble top over lamb's tongue carved molding over frieze d...

Signed still life oil painting by unknown Swedish artist. Dated 1946.

This wine tasting table, properly known as a vendange, was made in the late 19th century in France by a creative process of wrapping a painted canvas on the walnut planks to create a...

Classic lounge chair "Mademoiselle" designed by Finnish designer Ilmari Tapiovaara and manufactured by Asko. Firstly designed in 1956.

20th c., a finely crafted Baker Furniture coffee table inspired by Chinese design elements. The table has a low profile, with a rectangular top, and is ornately decorated with detail...

This is an original Danish oil on canvas painting estimated to be from the early 20th century. The painting is signed in the bottom left corner and framed in a solid wooden frame wi...

French Provincial Style painted armoire with a double-door design and an arched top. The armoire is painted in a light green coloration with gold highlights on the carvings. The do...

A delightful and vibrant vintage folk art painting depicting a bustling early-20th-century general store, signed M. Stevens on the lower right. This charming naive-style work is fil...

Acrylic painting with Leopard. Hand painted in Italy. In the set of gold wood frame. Very nice decoration for every interior. Only one unique piece.

A beautiful oil on canvas painting of a Parisian street scene. This painting perfectly depicts life in the "City of Lights" with its restaurants, busy streets, cafes and wonderful ar...

A charming antique 19th century French garden table with twisted wrought iron base and rustic patinated metal top. Unique and timeless design for use as garden setting or addind a ru...

Persian Manuscript Page depicting a garden scene. Circa 18th century. Hand painted scene depicts a hilly outdoor landscape where people are congre...

H 13.75” W 9.75” Fabrizio Riccardi “la vecchia storia delle 3 pere”

A pair of Swedish Gustavian style demilune tables featuring decorative hand carved Guilloché scrolling. Rosettes sit atop hand carved tapered legs. This piece has been tastefully han...

A set of three cabbageware coffee mugs or soup mugs. Since Dodie Thayer came out with her iconic Lettuceware or cabbageware green ceramic pieces, anything in this style has become po...

Lovely pair of French 19th century wall mirrors with delicate Neoclassical motifs embossed in the recessed part frame, softened under an allover “French grey” paint and craquelure te...

TAKESHI KAWASHIMA (Japanese/American b. 1930) - Untitled No. 68 - 75/80 - Mid Century original lithograph on paper - featuring a gridded pattern with semi abstract shapes - unframed ...

1970s Space Age avant-garde colorful ceramic tableware 19 pieces set 'La Boule' designed by Helen von Boch for Villeroy & Boch, Germany By: Helen von Boch, Villeroy & Boch Material:...

An exquisite example of fine German porcelain craftsmanship, this mid-20th century reticulated centerpiece footed bowl was created by the esteemed Dresden Porcelain Company. Elegant ...

John Richard Metal Silver and Gold Painted Two Light Candelabra Table Lamp with French sheer shade. Measures 18" in with, 8" in depth and 39" in height to the top of the finial. Lamp...

Copy of a portrait painting titled "Madame Rimsky"

A nice sized Early 20th century American cast iron piggy, penny bank or money box. This decorative bank features a boy fishing and obtains its original anti...

Rare 1950s Robert Mathieu perforated yellow metal and brass wall sconce. Executed in yellow painted metal shade with star perforations and polished brass hardware. A bright and scul...

Drawing from the industrial elegance of ship hulls and the enduring strength of architectural corbels, we pay testament to balance and resilience. Echoing the sweeping curves that cu...

20th century hand carved folk art wooden cat form sculpture or statue. Features a knockdown design with elegant form. Features pointy claws, curled tale an...

Abstract Mid Century on Canvas. This custom frame has been painted white since being photographed. Nice bright colors make up this abstract modern composit...

A beautiful set of four Chinese watercolor / gouaches of Junks and Sampans done by Chinese artists for the increasing western trade who were traveling during the late 18th C. to mid ...

Giovanni Antonio Raggi (Italian, late 19th century) Scene depicting and hookah smoker. Watercolor and gouache on paper. sight: 14 by 20 ¾ inches Frame: 23 by 30 inches

American Victorian painted green and red tole hanging bird cage with finial top.

Designed by Tadao Inouye, Kantan Aluminum exemplifies the breezy spirit of patio life. The frame is newly powder coated in Gray with new white lacing. ...

A visibly old hand-carved Nandi Cow from India. This wood sculpture features a wonderful age related patina and has been hand-painted with a mix of white and...

Very pretty small French still life painting c.1960’s. Oil on board framed.

A Rare Parisian Gem: "Le Vert Galant" by Henri-Jean Pontoy Collectible Rare Original Oil on Canvas Painting by Henri Pontoy, Paris France This captivating oil painting by Henri-Jean Pontoy (1888-1968) offers a unique perspective on the famed Paris, France landscape. While Pontoy is better known for his vibrant Orientalist works, this piece, titled "Le Vert Galant," showcases his mastery in capturing the essence of his adopted home city. This painting by Henri Pontoy (1888–1968) is an excellent example of French Impressionist or Post-Impressionist urban landscape painting...

A gorgeous Neoclassical or Louis XVI style demilune console or bar cabinet Italy, Circa 1940s Hand painted case and top, featuring allegorical scenes, with original brass hardware....

An Early to Mid 20th Century Boho Partial Rusted Iron Hanging Planter Jardiniere. Measures 24" in width, 12" in depth and 36" tall.

Spectacular long Gilt double bench with a new cushion topping it in black cotton velvet. Curly twist ends give a special flair as does it's metal cross weave metal seat revealed when...

Tolix Authentic French Made Chairs in Lemon Yellow Powder-Coated Steel Set of 6. We currently have about 375-400 Authentic Tolix Steel Stacking Chairs in inventory along with another...

Painted at a time when the nation was increasingly interested in exotic places and peoples -- including Mexico, the South Pacific, Asia and the Southwest -- this Art Deco painting of...

Fabulous vintage Hollywood Regency antiqued gold and iron end, side, or accent table with a square glass top. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, it has been given a new coat of gold paint and topped with an antiquing process then clear coated. Please see photos and zoom in for details as they are part of the condition report. We attempt to portray any imperfections. Circa, 1970’s. “A Golden Rule: He who has the gold makes the rules!” Well, we think this extraordinary antique gold...

This Victorian cast iron revolving arm plant stand is a striking example of antique craftsmanship and enduring design, seamlessly blending functionality with ornate visual appeal. Fe...

Large 19th Century Gustavian pedestal with original faux marbled paint and patina. The stately pedestal is a wonderful addition to a hallway, foyer, or anywhere you need to display a...

1950s Overscale Abstract Impressionist Nude Oil Painting on Canvas Offered for sale is a 1950s Mid-century Modern abstract oil painting of a nude created in vivid saturated hues. T...

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...